Reading just the synopsis, The Kid's every plot point is obvious and the script doesn't turn away from that predictability, but it has enough sweetness to get by.
Infamous, messy, and tonally bizarre, Howard the Duck's greatest lesson is in treating the source material with respect.
Unusually bland and hollow in its first half, Black Widow finds substance by the end but by then, it's already lost its way and purpose.
Gorgeous to look at and familiar in form, Raya and the Last Dragon offers an important message at the right time.
Speed perfectly stands for what mega-budget action movies should aim to be, turning into a winking metaphor for the entire genre and dwindling attention spans.
Valiant's listlessness can't even achieve equal measure to Disney's manic WWII propaganda films.
An odd outlier in Disney's past, Black Cauldron stands out as an inventive if all too brief animated fantasy in an era with plenty of similar offerings.
A marvelous exploration of life and purpose, Soul goes deeper than even Pixar's usual standards in detailing the afterlife while still presenting a charming front.
Mulan doesn't need the historical setting to work and the animation itself realizes as much, but it's a capable story of cultural bravery.
The New Mutants eschews large scale action for something more intimate and focused, daring to go against trends.
While carrying controversy along with it, Mulan successfully embellishes the feminist themes with a stronger reality base.
Remembered for its cartoon violence, Home Alone is more than that though: A clever commentary on the modern holiday experience.