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When audiences were given a first glimpse into the side story of Rogue One: A Star Wars Story, it felt … different. This isn't a film that demands lightsabers every 10 or 15 minutes. This isn't what you'd expect from a traditional Star Wars film. This is gritty, dark and war-torn for Star Wars standards.

And it worked.

Rogue One opens without a crawl. "In a galaxy far, far away …" That's it. It hops right into a sweeping aerial shot revealing an Imperial transport ship arriving to a planet with wide oceans and an endless backdrop of mountains. Director Gareth Edwards wasted no time beginning his story.

The Erso family is shown panicking in their home once learning of Imperial head honcho Orson Krennic (Ben Mendelsohn), who oversees the Death Star project. Galen Erso (Mads Mikkelsen) is an Imperial engineer who laid out the design of the Death Star, however there's more to him than meets the eye. Galen's daughter, Jyn (Felicity Jones), is told to follow the escape procedure, which was practiced in the case of Krennic's eventual arrival. Throughout the tense encounter between Krennic and Galen, the darker, more mature tone begins. There's a sense of defeat in Galen's eyes during the interaction, and a sinister look in Krennic's.

Galen's wife, Lyra (Valene Kane), decided to shoot Krennic, barely grazing his left shoulder and, in turn, gets shot. She dies, the score begins to crescendo and we see young Jyn running to the cave and hiding inside of a faux rock structure. After the action cooled down and Krennic presumably vacated the planet, ex-Rebel turned extremist Saw Gerrera (Forest Whitaker) gives Jyn a blaster and wishes her luck.

To digress for a bit, the mention of Whitaker in that line is almost indicative of his screen time, which is not a large amount. Gerrera's character required lots of gruff, and I felt Whitaker gave it justice, but nothing about his character felt necessary in the second half of the film. He served his time well-enough on the Silver Screen.

Years later, Jyn is all grown up and we see her imprisoned. This is how we meet our first of six uncanny heroes.

Rogue One does plenty of planet-hopping, each with the purpose to introduce the audience to the newest characters to the Star Wars universe. When we meet Rebel fighter Cassian Andor (Diego Luna), he's walking with haste within Jedha City, where some of the diverse Star Wars universe is displayed through its people and settings. Andor is a tricks-of-all trades kind of guy. He can pilot a ship, fight and talk his way out of a situation. Andor gained information about defected Imperial pilot, Bodhi Rook. Rook was given instruction by Galen to spill the beans about the engineer's whereabouts. After getting the information about the Death Star, Andor shoots and kills the panicky messenger who delivered the message about Rook.

Rogue One isn't a perfect film, however. Writers Chris Weitz and Tony Gilroy struggled to pen good dialogue between the cast, and there were times the conversations felt heavy-handed with either clichés or poor monologues. "The Force is in me …" is the beginning of a sort-of mantra for Chirrut, but it didn't click. It felt like a cliché that, along with the other clichés, distracted a bit from the storyline.

The lacking dialogue made the nod at a romance between Jyn and Diego hard to believe, as well. There's one moment before the big finale that Jyn looks up and down at Diego in a way that subtly suggested an attraction. Now, both characters are bred to be rebels (no pun intended) and are jaded to most emotion. I can understand them developing a romance down the road, but it felt rushed and used as a desperate plea to fill just one more cliché.

However, when the writing is good, it engulfs the viewer in this world that feels unique and unlike anything fans have witnessed. There are moments when K-2 breaks the tension with well-placed comic relief and other times when heroism is felt through war (Jyn rescuing a child crying out for her mother between gunfire). During one scene at Yavin-4, the Rebel headquarters, Jyn eventually fails to convince the counsel that it's wise to follow her father's instructions in destroying the Death Star. This built Jyn's character towards her eventual status of a leader among the Rebels. The Imperial generals and their evil nature was fun to see unfold in times of dominance and despair.

The cinematography was the most on-the-nose difference from the previous Star Wars films. Edwards is no stranger to shooting in low lighting with neutral colors (Godzilla), so it was nice to see the film open with a bleak tone that the rest of Rogue One retained. Well, most of the film. The second half became a bit lighter and not only because some takes place on the beach. This is attributed to some of the cheese felt through the clichés, as I mentioned before. It took a dark tone and tried to add a Hollywood spin towards the final 15 minutes. If the entirety of Rogue One was a product of its final act, I'd imagine my feelings for it wouldn't be as positive.

Rogue One was different and dark enough to make me satisfied as the end credits ran. The war-torn approach to a Star Wars saga that otherwise indulged in fluff around mature subjects, like death, was welcomed. Also, kudos to whoever worked on the CGI faces for General Moff Tarkin and … well, you'll see who the big reveal is at the conclusion of the film.

There are few films that can take you out of whatever current situation you're in and allow an escape from the world. Moana succeeds in painting a beautiful world of its own while being fun.

Upon hearing the news of Dwayne Johnson being onboard for the role of Maui, plenty of people's interests were piqued. Although, the addition of Lin Manuel-Miranda glued this film together. Riding a large wave of success due to his Broadway hit "Hamilton," there isn't a part of this world out of reach for the 36-year-old.

Disney films are known for their soundtracks and catchy ballads, but, man, Moana is the first Disney film in years that has me humming along to the likes of "You're Welcome" and "How Far I'll Go." With the original music helmed by Manuel-Miranda Mark Mancina, and Opetaia Foa'i, this film had set a high-ish bar for itself before anyone sat down to witness the final product. The heavy Manuel-Miranda influence on each original musical number bled through the speakers as he took a Broadway vibe and mixed it with a hip-hop flow. "The Rock" rapped about eels and coconuts, and it didn't sound zany to sing aloud.

The music was nearly perfect, which leaves the bits of dialogue in- between. Disney's first Polynesian princess, Moana (Auli'i Cravalho), happily distanced herself from any Lilo and Stitch comparisons. She was a strong character with an innocent charm underneath it all. She was also not your typical princess. She didn't wear a crown, elegant dress or anything you'd expect from a Disney princess. Moana was tough as nails through her journey of self-discovery. Auli'i Cravalho captured this role with her dynamic voice and her ability to naturally deliver lines in times of happiness and despair. Plus, it helped that she had the direction of legendary animation directors Ron Clements and John Musker.

Johnson's transition to voice acting felt challenging in Moana, since his Hawaiian accent isn't strong compared to the rest of the cast. However, his charisma and humorous mannerisms were expressed well through Maui, demigod, shapeshifter, yadda, yadda. You can practically envision Johnson's acting behind the microphone in the studio. Maui is a fish-hook-wielding warrior who has a clear-cut mission of his own: Get off this darn island of his!

The overall story of Moana is simple, yet ambitious: Mother Island, where Moana, her family and people live, is beginning to undergo hard times. Trees are drying and not producing fruit, schools of fish are vanishing near the island — it's beginning to become unlivable. Talk about a tall first order for the young princess-to- be Moana: Find a way to save your people!

The film takes you on this journey by first showing you a glance into Moana's past, allowing you to understand her adventurous persona. She wants to travel beyond the reef, but her father, Chief Tui (Temuera Morrison), tells her numerous times, "Nothing good is beyond the reef!"

Eventually, Moana listens to her grandmother, Gramma Tala (Rachel House), who motivates her to find Maui, who is the only one that can put Mother Island's heart back into place to allow Moana's home to thrive once more.

It's a fun tale that allows the beauty of Hawaii to spill onto your lap. There's never a dull moment. A fun fact I learned after the film is Moana means "the ocean," which gives reason to the ocean — yes, the ocean — aiding Moana in her and Maui's journey.

When the film reaches its climax, it felt as if it didn't matter whether the final fight to preserve Mother Island and its heart would be successful or not. The story had been a success in itself. Maui and Moana's journey together was heartfelt –they learned how to show compassion for one another, and the story fared well on its own.

The film's beauty lied in not only the music, but its telling of a story full of life lessons, as plenty of Disney films have done in the past. Moana takes its viewers on a pleasant vacation to a beautiful island where an abundance of love, smiles and relatable characters await.

P.S. Jemaine Clement (Flight of the Conchords) makes an amazing cameo in this film.

Five years later, and we have yet another film set in the magical world of Harry Potter. Naturally, director David Yates, who directed four Harry Potter films, takes the reins of Fantastic Beasts and Where to Find Them and the Potter universe's expansion.

The film opens with a thrust into the action and an introduction to a certain "something" that has torn up a home in New York. Policeman Percival Graves (Colin Farrell) stands over the scene as the audience observes the destruction. The year is 1926, and the city is ripe with wizards, Muggles and those who choose to cast evil upon them.

Yates, along with writer J.K. Rowling, paints a beautiful picture of an expanded Harry Potter universe in 133 minutes worth of film. There is an exceptional use of CGI, from the smallest to the largest scaled scenes, and practical effects. This is no Hogwarts, mind you, but the film eventually makes you feel forget about events that took place years later.

I say "eventually" because Fantastic Beasts requires a bit of patience during its first act. There's a slow burn associated with even the initial appearance of Newt Scamander (Oscar-winner Eddie Redmayne), a wizard kicked out of Hogwarts. His accent is expected albeit a tad tough to understand at times. Eventually (there's that word again) the dialogue gets rolling and any untrained ears become familiarized with Redmayne's British tongue.

However, I think the soft-spoken, awkward and generally antisocial character of Newt demands a soft-spoken and awkward performance, which Redmayne delivers. There is a particular scene where I quickly jotted the note, "He's in his element." Newt and his newest compadre, Jacob Kowalski (Dan Fogler), a baker, fall into the suitcase we see throughout the film. This suitcase of Scamander's is full of beasts he wishes to protect, nurture and soon write a book about. Similar to the reveal of Hogwarts castle as it comes into frame in 2001, there was a sense of exploration. The James Newton Howard-led score settles into the moment and we're given a full- fledged lesson on many beasts. It was a scene that had me smiling along with the rest of the theater, and it felt natural thanks to Redmayne. He also portrayed Scamander well enough to make us empathize along with the character during a certain sequence later in the film.

Although, the best performance during Fantastic Beasts goes to Dan Fogler. He brought the genuine humor, was not an over-the-top No Maj (what Americans call Muggles) and brought the humane touch to a film about animals that can store two tons of gold in their stomach and wizards flying around New York, casting umbrellas and force fields with a wand.

As the film progresses and wannabe wizard cop Porpentina Goldstein (Katherine Waterston) fails to bring Newt into custody, the two become attracted to one another. Maybe not (yet) the lovey-dovey type of attraction, but their eventual discovery of similar social awkwardness warms your heart.

The conflict of the film surrounds a foster family led by American No-Maj and leader of the New Salem Philanthropic Society Mary Lou (Samantha Morton). This foster family's aim is to exterminate witches. Lou beats one of her foster children, Credence (Ezra Miller), for the heck of it. Throughout Fantastic Beasts we see Graves and Credence meet, with Graves' intention to find the Obscurus, an evil entity which seeks wizards who suppress their powers. Ezra Miller, who's gearing up for his role as Flash in Justice League, emitted a spooky persona despite speaking for the first time at nearly an hour into the film. Colin Farrell fits the cunning role of Graves incredibly well, although one knock on his role is that it felt … underused — as if he were being held back ever so slightly. There can only be so much room in one film, however, and based on recent news there will be five sequels in the Fantastic Beasts saga, that's plenty of time to flesh out characters, right?

The strongest point of the film lies in the second act. There's a flow that culminates in some of the more memorable scenes, like a hybrid Rhino beast slipping and sliding on ice with the intention of possibly eating Kowalski. There's the buildup to its unexpected ending, as well.

Speaking of the conclusion, I feel it's where Yates struggled ever so slightly. The grandiose fight scene lasted all but 10-15 minutes and felt as if it were wrapped up too nicely. Sure, dialogue suffers most times in favor of action, but even after the main event, the tempo and interactions felt as if it were a sprint towards the finish line.

The biggest takeaway is the solid foundation this film has built for its five successors. I find it hard to believe this saga will enjoy riches akin to the Harry Potter films at the box office, but the foreseeable future of this expanded universe is promising.

For the record, I love Thanksgiving and am not a fan of putting up Christmas trees this early, but I can appreciate a feel-good holiday film anytime of the year.

Unfortunately for director David E. Talbert, this delivered few laughs and some grunts and sighs. It's to be expected, though, as these sorts of films make their rounds ad nauseam during the holidays.

Almost Christmas brings together a recognizable cast, which includes Danny Glover, Mo'Nique and Gabrielle Union, that surely makes the characters more appealing to moviegoers. The premise for this film surrounds a family reunion during Christmas in Birmingham, Alabama, months after Walter's (Glover) wife, Grace, dies. The once- functional family struggles to get along due to implicit and explicit frustrations among one another.

Ain't No Woman Like the One I Got by the Four Tops softly plays in the background as a very quick opening montage through the years shows how Walter, Grace and their family loved each other. What struck through the first half hour was a sense of composure, which some of these one-time holiday films usually fail to achieve.

As the five-day countdown until Christmas began, the comedic writing by Talbert kicked into gear and shoved more of the serious tones out of the window. Aunt May (Mo'Nique) is very outspoken and makes her presence known from the minute she appears. Most of the personal insults come from her, but not all were cringe-worthy. I even found myself laughing in-between the more heavy-handed jokes, but it was almost too obvious in moments that the stage was her's.

However, there were far too many cheesy moments and exactly that: heavy-handed jokes. Yeah, we get it, children love their iPhones and documenting everything for social media. But do we need to hear them shout, "Worldstar!"? Yeah, we also get that Uncle Lonnie (J.B. Smoove) is making Santa Claus butt jokes, but you don't need to linger on the fact that they're butt jokes. Make 'em and move forward, except for the Worldstar joke. Don't ever make that joke again.

The movie also introduces Jessie T. Usher for the first time since Independence Day: Resurgence. Usher plays Evan, Walter's son and a star college football athlete who has everything, yet is addicted to painkillers he was prescribed for his once-injured shoulder. The film uses his drug use to teach a lesson later in the film that was oddly placed in-between another conflict.

Rachel (Union) and her sister, Cheryl (Kimberly Elise), have a bad relationship to boot which ends up being the best relationship/conflict throughout the film. The other relationships were … eh, forgettable. There's a weaker subplot which involves Christian (Romany Malco), Walter's son-turned-politician, and it feels like it's no more than a stopgap for the "Christmas miracle" of the film. It was added to the list of generic moments triggered by the film's screenplay.

Glover adds little to the film as it moves on other than stopping arguments and reminding his children and family that they need to love rather than shout. It's understandable why he's soft-spoken throughout the entire film after losing his wife, but this showcases that his best acting days may be behind him.

I feel the movie will resonate well with audiences that can truly relate to the dysfunction of dinners during the holidays. There were many specific moments where the theater was in raucous laughter and others that struck heartstrings. There's fun found in a dancing scene, and Almost Christmas ends as it began: with the Four Tops. Seriously speaking, it ends on a feel-good note and is tolerable, but it just doesn't bring enough to the table to break out of its generic shell.

Magic, sorcery and contortion of time and space -- this is all so new for the Marvel Cinematic Universe. That's part of Doctor Strange's charm: It doesn't feel too much like previous Marvel iterations in spots, but then we're reminded most of the story is a generic superhero origin plot.

Which isn't entirely horrible.

Doctor Stephen Strange (Benedict Cumberbatch) is an egotistical surgeon who takes on flashy operations and gets paid the big bucks. The good doctor and Christine Palmer (Rachel McAdams), who assists him in surgeries, display their on-screen chemistry early as Strange is thrown into an operation to save a man's life. This is a man who had been incorrectly pronounced brain dead by Dr. Nicodemus West (Michael Stuhlbarg), a fellow doctor who seems to rub Strange the wrong way.

It was a pleasure to see Cumberbatch and McAdams work together on-screen. There's the smart-ass dialogue of the former that pairs well with the strong attitude of the latter. Their interactions are some of the highlights of Doctor Strange, but at times during their back-and-forth, I can hear Cumberbatch's accent slip ever-so slightly. Dang it, fix that, Benedict! Or don't and continue swooning most audience members.

This may just have been a spur-of-the-moment observation as I sat in the theater, but during a moment in the film where Palmer and Strange continue to poke fun st each other, it reminded me of a similar relationship: Thor and Jane Foster. It's almost as Marvel Studios learned from their previous failures and delivered on a smarter, more well-rounded relationship with McAdams and Cumberbatch.

After the initial scene, we get a small glimpse into Strange's high-profile lifestyle, filled with a quick cut to his drawer full of rotating watches ripe for the picking. Of course, it plays to another character in the MCU who started off with everything and felt invincible (ahem Iron Man ahem).

There's an interesting conflict developed thereafter by director Scott Derrickson (Sinister, Day the Earth Stood Still). It's quite surprising that a director notorious for horror was given the reigns of a Marvel film. However, it worked, and the darker tones of Doctor Strange benefited.

The story became predictable once our doctor traveled east to the village of Kamar- Taj after struggling to find Western medicine suitable for his near impossible recovery. This is the film's biggest flaw: It strayed from the Marvel formula in some moments while failing to make itself unique in others. The progression is methodical at this rate for the MCU's superhero origin films: Strange has everything, nearly dies, losses it all, only to find there's a bigger evil than the internal demons he faces.

Although, there's enough of a supporting cast here to make the ride enjoyable. Tilda Swinton (The Ancient One) gave the best performance of the film, the other Benedict, Benedict Wong (Wong) gave a fun performance, Chiwetel Ejiofor's role (Mordo) was safe, but good enough, and then there's the curious case of Mads Mikkelsen's role as Kaecilius.

Oh, Marvel villains -- why must your screenwriters continue to give you trivial roles? Besides the unique use of bending time and space, Kaecilius is written as yet another generic baddie. Please, spare me the clichés, Jon Spaihts and C. Rober Cargill (screenwriters). Viewers were able to see the fate of Kaecilius and his cult coming from miles away.

Another problem that surfaced from the writing is the millennial-driven humor. Ugh, I sighed and grunted at the Adele and Beyoncé jokes back-to-back. I was upset Spaihts, Cargill and Derrickson chose to go for the cheap jokes rather than stick to some of the better forms of humor found in other areas of the film.

But, those negatives were quickly washed away once the film ponies up the action. Doctor Strange's first combat sequence is spectacular. Kaecilius takes on Strange, and it left my jaw hinged wide open. Derrickson played with unique angles during combat scenes that didn't leave me with a headache, but the mesmerizing visual effects as time and space were bent became the most impressive moments of this film. These visuals were the best among any MCU film to date, and Doctor Strange was better because of them.

The film's pacing was handled well, and it functioned without much of a hitch within its one hour and 55 minute runtime.

I think there's enough highs in spite of its lows to make it a fun, upper-tier MCU film. Take away Marvel Studios' tag, and the film can be a player on its own without needing the Avengers' help.

But I wish they did away with the heavy-handed humor. Gosh, Beyo- I mean, Wong!