The acting is good, organic and not stilted but the problem is within the script which operates tightly with a build n the beginning but seems to meander in its meaning a little too much as it personifies its ending with an author taking credit for understanding Ned in the guise of politics.

"Onward" works well and bring in textures of mythology but within the context of a modern world. It is intrinsic but, despite the quest motif, almost seems smaller than one would expect.

"The Invisible Man" is much better than it has any right to be but that is because of the committed nature of Elizabeth Moss and Whannel knowing how to work with cinematic perspective for much of the movie without anything really being there...but also knowing not to pull the punches when need be.

The resolution is typical graphic novel style overload but undeniably entertaining with the set up ripe for engagement and continuation. "Guns Akimbo" is good fun with its tongue-in-cheek, a good sense of itself and a flagrant style.

"The Call Of The Wild" does it differently and, as a result, benefits from what would be seen as a more natural performance of the dog. The dog of course is not a dog at all but motion captured but the way it is done seems undeniable.

Overall the film though maintains its pace while getting slightly sloppy at the end because all details can ride together…but "Fantasy Island" knows its audience, still wanting to give them scares but without creeping or goring them out too much

The laughs are still there, Smith and Lawrence do their jobs well but they do lumber more, especially Lawrence but that is the point of the story. Smith understands this and is smart about it. What is also glaring, but more of a nitpick, is that one can tell that much of the film is not shot in Miami.

The beauty of a film like "Malificent: Mistress Of Evil" can be reflected in its idea of perspective versus perception. The way that characters interact shows a dexterity of what is trying to be shown. In talking to Joachim Ronning, the director, it is reflected in ideas of the women involved.

The film here feels right. It is the best made of this trilogy of films mating some of the basic risks that Abrams might have avoided with “Force Awakens” which felt infinitely too safe but also keying into aspects of what fans would like to see.