An interesting idea explored in a range of movies -- how a person's life could've been different if some factor was changed -- is expanded to involve couples. In Four to Dinner, the idea is explored through the lens of whether soulmates exist. The film cleverly sets up the main characters through a pair of introductions -- first, two friends tell another couple about the scenario, and then, the four single adults meet for the first time at the same friends' Roman rooftop terrace. From there, the film weaves back and forth in segments of different pairings between the two couples. Some of the back-and-forth gets a little confusing at first because some time changes are titled while others aren't, but eventually the divergent paths result in four different but interrelated stories. The film could've been more tightly edited: at an hour and 44 minutes, the length drags a bit. But the stories, actors, and setting all have their appeal, and the fact that all four possible pairs work out makes them all satisfying (to varying degrees). Read the full review at Common Sense Media.

Italy's 2021 submission for the International Oscar is a beautiful coming-of-age story and a love letter to both director Paolo Sorrentino's native Naples and the art of filmmaking. There are many memorable images in The Hand of God, mostly involving a contrast of dark interiors with the sapphire Mediterranean and the blinding sun of southern Italy. Likewise, the film's characters and scenarios are extremely evocative, and many viewers likely won't be certain for the first hour or so of where this family portrait is leading, story-wise. Late in the film, after the story's arc is clear, Fabietto (fantastic newcomer Scotti) meets a fictionalized version of Napolese filmmaker Antonio Capuana, and the two have a conversation about what inspires meaningful movies. It feels like the Naples-born Sorrentino talking to a younger version of himself, and indeed the tragedy at the heart of this story is autobiographical. A character in The Hand of God repeatedly asks why his relatives are all such "disappointments," and Sorrentino does seem to want to delve into the messiness of humankind, our contradictions and complications. Rather than depict Fabietto's parents as perfect, a lazier way of eliciting emotion upon (spoiler alert) their demise, Sorrentino shows that they have a wonderful love story while also living with infidelities and inconsistencies. The film forces viewers to confront their own biases, expectations, and moral discrepancies -- for example, in a sex scene that many would classify as inappropriate but which still conveys great tenderness and benevolence, or through quirky, Fellini-esque characters and disconcerting scenarios. The pranks and mutual critiques of family members in the film can border on cruelty, but family is always there -- stuffed into crowded apartments, watched over by black-clad matriarchs, celebrating soccer highs, commiserating life's lows. The movie's memorable blend of characters, ideas, and images add up to a striking film-watching experience, and one with more cohesion and poignant storytelling than Sorrentino's 2014 Oscar-winner The Great Beauty. Read the full review at Common Sense Media.

An appealing cast and light tone keep this middling Brazilian comedy afloat, but just barely. Star Manoela -- much funnier in the recent Secret Diary of an Exchange Student -- is hampered by Lulli's script, which seems to want to avoid going too deep. But staying on the surface means we don't get to know any of the characters well enough to feel they're flesh and blood. This is disappointing because some, especially goofy best friend Vanessa (de Godoi) and sweet gay buddy Julio (Malheiro), had potential. Vanessa's ability to mind-read also offered up the opportunity for a lot more interesting scenarios than exploited here. Read the full review at Common Sense Media.

Sensitive performances drive this high-concept drama, which aims to inspire deep thoughts about the pros and cons of technological advances and what humans are willing to do for love. Some of the futuristic gadgets in Swan Song don't feel that unimaginable -- like driverless cars, smart contact lenses in place of phones, life-sized video calls, and 3D video games. But other inventions, like the cloning of a person and all of their memories and experiences, aren't just distant but ethically challenging, too. Ali thoughtfully embodies the moral quandaries at stake in his dual roles as the dying Cameron and his clone, "Jack," both of whom are conflicted about the journey they're embarking on. The film builds a certain amount of suspense in whether Cameron will go quietly and whether Jack is ready for his new job. That tension is stylishly visualized in the movie's cold colors and sparse settings. Some of the flashbacks to Cameron's memories look like ad campaigns (and raise the question: do we see ourselves from the outside in our memories?). Ultimately, Swan Song drags in the second half. The story's focus on the emotional drama feels stretched a bit too thin for a full two hours. But the cast is very watchable, especially the magnetic Ali, Harris as his beloved wife, and Awkwafina as a fellow client with a sense of humor. Alas, the always solid Close is underused as the doctor overseeing the cloning process, and the likable Nyasha Hatendi (Casual) never seems to get enough screen time. Read the full review at Common Sense Media.

Seemingly based on the premise that human emotion is at the heart of all compelling sci-fi, this film misfires a bit by focusing too heavily on the drama of a pregnant couple in an apocalyptic world. Mother/Android is much more "mother" than "android." There's some tension around Georgia and Sam's survival (and that of their imminent baby), but the murderous robots and the circumstances involving their rebellion deserved more development. The performances are compelling -- particularly Moretz, who's a very credible pregnant woman on the run -- and the grey tonality of the film successfully conveys the harshness of their situation. But the story's focus may disappoint both those looking for romantic drama and those looking for sci-fi action. And the ending forces the actors into a scene that feels disconnected from the rest of the film. Read the full review at Common Sense Media.

This sweet romance is easy to watch, but there's not much new added to the formula of its predecessor, and the result is both predictable and a little dull. Still, the appealing real-life starring couple have obvious chemistry, and A California Christmas: City Lights offers positive messages about giving and love that are hard to critique. That said, there's very little subtlety in the delivery of those messages, particularly the use of a nativity play to remind viewers that Jesus didn't need red carpets or limousines. The highlight of the cast is, once again, David Del Rio in the role of farmhand Manny. This time he gets a romance of his own, and his wannabe sexy dance while washing a pick-up truck is very funny. Read the full review at Common Sense Media.

It's hard to go wrong with the repeatedly proven source material of this beloved series, but this CG animated version lacks some of the charm of the books and the previous live-action films. It doesn't help that the characters, sketched to look like the drawings in the Diary of a Wimpy Kid books, have vacant ink-black eyes. It makes them harder to connect to, at least at first. By the end, which comes within the hour, you'll be rooting for the pair as always. The film looks but doesn't feel like it's targeted at younger kids. Its first half sets middle school up as a seriously mean more than a humorously miserable place. Things pick up when the boys embark on trick-or-treating adventures with Greg's little brother, complete with Rowley's over-the-top, mom-approved costume, and when Rowley gains status at school for his broken arm. Greg's revenge visit to Fregley's house is hilariously wacky, though some of the dark humor could go over kids' heads. There might be better adaptations out there, but this one is still sure to draw fans. Disney has already announced a follow-up in the works. Read the full review at Common Sense Media.

This terrific rendering of the energy, innocence, and angst of the tween years squeezes a lot of emotion and a cast of memorable characters into its 97 minutes. Mixtape perfectly captures how tweens hit that critical point of growth where they push away from parents (or in this case, a grandparent) and look to define their own identities. The fact that 7th grader Bev's mom went through something similar, then ended up pregnant at 15 and dead in a car crash, makes the transition that much more meaningful. We feel this acutely in Julie Bowen's portrayal of the no-nonsense postal worker grandma, emotionally stuck in her inability to face the loss of her daughter or allow her granddaughter latitude from a predetermined safer path. Life doesn't always go the way we plan. The tweens know this, trained for survival in the comically cruel social world of middle school. Good girls Bev and Ellen are reminiscent of Gilmore Girls' Rory and BFF Lane, and Gemma Brooke Allen and Audrey Hsieh are perfect in the roles. Same goes for Olga Petsa as Nicky, their classmate who dresses and acts tough but is also just tween girl waiting for her period and searching for her place. Record store owner "Anti" (a droll Nick Thune) is a recovering alcoholic with a world-weary demeanor and a heart of gold. If the characters themselves convey how even good intentions can go awry, then the film's overly-tidy ending should likewise be forgiven. Rainy, emerald-green Spokane, an interior city in the Pacific Northwest, was a subtle and meaningful choice of settings that matches the '70s and '80s soundtrack to set the mood for this story of love, loss, friendship, and life. Read the full review at Common Sense Media.

This rom-com is pleasant, sweet, and wholesome, but also pretty immediately forgettable. Handsome, charismatic stars Michael Urie and Philemon Chambers play gay besties and housemates who discover they are actually in love in Single All the Way. There's a bit of funny snark at the film's opening, and some topical humor about the Homosexual Gay TV network (HGTV -- a "kind of" porn), or being an "Insta-gay," "guncle," and "FOMO-sexual." But once the men leave LA for small-town New Hampshire and Christmas holidays with their affluent and loving extended family, the film flattens out into formulaic blandness. It's like a Christmas cookie without the frosting. Single All the Way looks and feels like other Netflix rom-coms you've probably already seen, and the movie's poster is an unabashed copy of Love Actually's. It's probably a great sign that a gay rom-com feels so conventional or familiar, and this one is decidedly targeted at a mainstream audience, but it could have been more. The ensemble cast has no shortage of gifted actors, led by Kathy Najimy as mom, Schitt's Creek alum Jennifer Robertson as big sis, Barry Bostwick as solid dad, and Jennifer Coolidge as the flamboyant "gays-love-me" aunt. Watch for a cameo by Najimy's hilarious singer-husband Dan Finnerty as well. Read the full review at Common Sense Media.

If a documentary chronicling how an uncommonly charismatic, brave, and socially-conscious young man breaks six world records doesn't find an audience, there's something wrong. True, 14 Peaks: Nothing is Impossible might not immediately draw viewers without connection or interest in mountaineering. But its combination of life-or-death suspense, compelling back story, message of possibility, and gorgeous scenery prove captivating. Will the team of Nepali climbers reach their goal to summit 14 of the world's highest mountains in record time with no injuries or losses? Will the leader's beloved but ailing mother survive long enough to see her son's success? The film bounces around in time to share leader Nims' backstory, including a devoted wife, a loving family, and an unparalleled drive, discipline, competitiveness, and physical prowess. Considering one of the film's key messages is fighting for recognition for overlooked Nepali climbers, it comes across as a little shallow that it dedicates so much time to Nims and almost none to the backgrounds of his other teammates who scale all the same mountains as him. But Nims is an undeniably appealing star, and his project gains from his online presence and likeability. His attachment and devotion to his mother are charming, and seeing her get flown in by helicopter in what looks like a fuzzy pink bathrobe to celebrate Nims' achievements is adorable. The film is dedicated to her, which seems just about right for the tale's message of aspiring to ever greater endeavors for reasons beyond self aggrandizement. Read the full review at Common Sense Media.

With all the hallmarks of, well, a Hallmark movie, this Scottish-set romance stumbles -- despite likable characters -- because of a predictable story and some typecasting. Viewers of a certain age might be curious about A Castle for Christmas thanks to the pairing of stars Brooke Shields and Cary Elwes. Attractive and charismatic, they both do their best with the material, and some of their flirtatious sparring is cute. But Elwes in particular is straddled with a poorly-developed character and a laborious accent. Why the production put two England-born Brits in the lead male roles as Scots, with one of them wearing kilts even as he does house chores, is anyone's guess. Be warned, Scottish viewers: you are once again depicted as merry, folk-dancing, whiskey-drinking, plaid-wearing pub-dwellers. Meanwhile, the arrival of the wealthy American who will bring this village and its castle back to life is played entirely straight. The Christmas timing is also gratuitous. There's a scene where two characters checking into the inn are given lingering attention. Why? Were they written out of the final film but their intro left in? It's confusing. Still, there's something refreshing about a silver screen romance starring late middle-aged actors, and the film's locations and folksy music are appealing. Read the full review at Common Sense Media.

This '80s nostalgia tour might appeal more to parents than kids, but its goofy tale of childhood shenanigans is fun for most ages. Anyone with a connection to the 1980s will appreciate the references in 8-Bit Christmas, from first-generation video games to the Cabbage Patch Kid craze, slideshows, roller rinks, leg warmers, baseball cards, triumphant Footloose music, and teachers insisting the Dewey Decimal System will always be vital for finding information. A boy's ADD diagnosis is described as "extremely rare" and parents protest the dangers of video games. Younger viewers will probably enjoy the sarcastic tone a present-day kid takes about the past, but the naivete of the '80s scenes and the way the kids roam freely in packs and hatch wild plots completely out of view of adults could leave a lasting impression. Every generation seems to recall its own childhood years as more innocent, and in most cases, they're probably right. What this film shows is a time when kids had to use their own ingenuity and work hard to get coveted gifts and possessions, as opposed to just badgering Dad for a smart phone (as the present-day kid does). It ends as a tribute to a parent, a conclusion that doesn't feel entirely justified by the rest of the tale. The kid actors are great, especially star Winslow Fegley (Nightbooks), who never gives the impression he's acting, and the oversized, over-the-top elementary school bully played by Cyrus Arnold. Expect some political incorrectness by today's standards, delivered with an affectionate wink and nod. Read the full review at Common Sense Media.