Pilcher and Thomas do a fine job bringing their stories to life, A Call to Spy a sublime testament to unheralded heroics which should have been documented long before now.

Once Upon a River is a redemptive tale caked in catastrophic mistakes which lead to terrifying consequences, some of which will leave lasting psychological scars while others conceal the potential for a rejuvenated rebirth that might lead to unforeseen future happiness.

Quinto provides an instant jolt of electricity I did not see coming. There is an effortlessness to his line delivery that held me spellbound.

Sean Durkin’s The Nest is a stinging marital drama that’s nothing short of superb.

Alone is crackerjack white-knuckle entertainment, and personally I cannot wait to see it again.

As excellent as the performances might be and as competent as the filmmaking undeniably is, this story never rang true to me, and I can’t help but believe that even under the best of viewing conditions Blackbird would have left me frustratingly cold.

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.

I’m having a polarized love-hate reaction to director Thor Freudenthal and screenwriter Nick Naveda’s ambitious, if at times oddly schmaltzy and saccharine, adaptation of author Julia Walton’s best-selling young adult romance Words on Bathroom Walls.

This new The Secret Garden, while full of life and overflowing in imagination, isn’t still without a few thorns. Had those been trimmed back even a little bit, I’d likely be frolicking through this film’s cinematic fields in bare feet and a large smile plastered on my face.