Soul ends on the perfect note, its last moments overflowing in voluminous human insights so melodious I could happily hum its climactic tune for a lifetime and likely never grow tired of hearing it.

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.

I enjoyed what Lister-Jones accomplishes with The Craft: Legacy even if not everything she conjures up successfully manifests. There’s magic being performed by this quartet of young witches, and here’s my hope that the target audience is there to bear witness.

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.

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.

Wendy isn’t a modern spin on a classic tale of fantasy and wonder, it’s an outright nightmare I never want to think about ever again.

It’s all a bunch of colorfully anarchic, emotionally uplifting heartfelt supernatural silliness, all of which helps make Pixar’s latest comedic adventure Onward a goofy good time I’d be excited to see again.

The final third is a massive disaster that’s bewildering in its narrative ineptitude, and as I sat there in the theatre I was dumbfounded how those involved with Fantasy Island thought any of this was a going to play even reasonably well with a paying audience.