Wonder Woman 1984 is worthwhile mainly because its sense of hopeful uplift is genuine.

Their face-off is a violently over-the-top slug-fest that lands the majority of its punches, and the ultimate victors are audiences who purchased a ring-side ticket to see these two warriors slug it out in the pursuit of apex predator supremacy.

Spectacularly animated and building to a heartfelt conclusion rooted in community and togetherness, Disney’s Raya and the Last Dragon is a stupendously entertaining adventure.

There is something to be said about the hopeful altitude to which Land attempts to ascend, battling an assortment of melodramatic platitudes and genre clichés as it does so.

Monster Hunter is exactly what you think it is going to be, nothing more, and certainly nothing less, and I’m okay with that.

Wonder Woman 1984 is an ambitious adventure, one that exuberantly galivants between Themyscira, Washington, DC, the Middle East and an isolated top-secret military satellite station with breakneck enthusiasm.

Thanks to the talented cast a lot of the humor worked for me, and as relentlessly energetic as The Croods: A New Age can be, I still spent the majority of my time watching it with a gigantic grin plastered on my face.

Yet the kinetic fury of Snyder’s box office smash cannot be denied. It’s numerous flaws notwithstanding, this is still a rousingly entertaining spectacle, and watching it again I was struck by just how absorbing I continue to find 300 to be.

Mulan becomes a story of embracing one’s true identity and the innate power that comes along with doing that, this simple conceit the crucial through-line around which the entire plot emphatically revolves.