Olaf's Frozen Adventure (2017)

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

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Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.

Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.

The 100 imagines a future where humanity's overcome some of its most pervasive forms of prejudice—only to create new ones.