With strong themes of friendship, family, and always doing what’s right, there’s so much to love about the poignant and sweet animated mockumentary, “Marcel the Shell With Shoes On.” Everything about this film is simply delightful, from its simple stop-motion animation to terrific voice performances from Jenny Slate and Isabella Rossellini. Based on the hit YouTube film series from the 2010s, the film tells the story of the tiny shell Marcel (voice of Slate) and the day-to-day life that he leads with his grandmother, Nana Connie (voice of Rossellini). The pair live in a house in the suburbs that, after the couple who used to reside there had a very nasty breakup, is now being rented out as an Airbnb. When human documentary filmmaker Dean (Dean Fleischer-Camp) rents the place, he befriends Marcel, learning that his entire shell family disappeared two years ago. Armed with a camera, Dean decides to help his new pal find his lost clan, shooting a documentary about their epic quest. It’s a simple story told in an elemental style, but director Fleischer-Camp has created a world of pure joy. Marcel is as cute as they come, a sweet, positive little guy with the sunniest of dispositions. He travels around in a tennis ball, climbs the walls by smearing honey on his feet, uses toenail clippings for skis, and has a “pet” ball of lint. It’s the little things that are so inventive and clever, so be sure to pay attention to the small details. It’s a lot like the scenes where Marcel gets carsick when he rides on Dean’s dashboard: there’s something irresistible about seeing the world through a shell’s eyes, and it becomes an effortless endeavor to find an appreciation for everything in your own surroundings, too. While this sounds like a movie that’s great for kids, it’s probably better for older tweens (and up). It’s a film that’s more pensive than colorful or action-packed, and there are moments that talk openly and frankly about grief, fear, and death. With the help of Nana Connie, Marcel gains the courage to take risks that are scary but important, and he gains a ton of confidence along the way. The story also has a timely life lesson about the world of social media, and Marcel is given a heavy dose of reality when he learns that many of his online “fans” want to exploit him rather than actually help him find his family. Just ten minutes into the movie, I was concerned that the eccentricity would wear thin quickly, but it does not. Fleischer-Camp, Slate and Nick Paley’s screenplay is so wise and tender and emotionally touching that even when the story ended, I wanted more. I cannot say enough positive things about this entire project because there are no missteps here. That’s why “Marcel the Shell with Shoes On” is one of my favorite films of the year. By: Louisa Moore / SCREEN ZEALOTS

I wasn’t a huge fan of the original “Knives Out,” writer / director Rian Johnson’s 2019 star-powered murder mystery. He follows a similar formula with “Glass Onion: A Knives Out Mystery,” a new installment in what the studio hopes will be a franchise of the whodunit films. If this latest project is any indication, Johnson has a bright future with his Knives Out series. Master detective Benoit Blanc (Daniel Craig) is back on the case as a guest at an eccentric billionaire’s (Ed Norton) birthday party on an exclusive Greek Island. The rich hippie is throwing a murder mystery soiree for a group of his closest friends, and the guest list is equally unconventional. The crew, known as the “disruptors,” includes a former supermodel and fashion designer (Kate Hudson), a scientist (Leslie Odom Jr.), a Senate candidate (Kathryn Hahn), a TikTok alpha male star (Dave Bautista), and a tech entrepreneur (Janelle Monáe). Each person has a clear motive, but it’s no longer a weekend of fun and games when they discover an actual corpse. Johnson has constructed a lively, intriguing mystery that is a whole lot more fun than his first film. There are sight gags and zingers that lend a lighter, funnier tone. Craig hams it up as Blanc, further developing the personality of his detective with a Southern-fried accent and retro fashion flair. He has succeeded in creating and expanding a now-iconic screen character, and one that is worthy of his own franchise. The plot is messy and doesn’t seem to make much sense at first, but don’t worry: it will. Holes are explained (but not always satisfactorily), and there are enough twists, turns, and red herrings that keep it a surprise. I could see future “Knives Out” films being something that fans will undoubtedly look forward to. With a changing cast full of big Hollywood names, there will always be a draw. By calling back classic films like “Murder on the Orient Express” or even “The Love Boat” with a barrage of surprise cameos, Johnson is building a brand with unlimited potential. Thanks to the stellar cast and quirky characters, “Glass Onion: A Knives Out Mystery” succeeds as a clever murder mystery. It feels like Johnson did not know how to end the story (the unsatisfying finale can attest to that), but this is still a very fun whodunit. By: Louisa Moore / SCREEN ZEALOTS

The visually dazzling “Puss in Boots: The Last Wish” is a swashbuckling adventure with heart that has just as much substance as it does style. From the high-stakes, emotional story and beautifully directed action scenes to the terrific voice performances, this animated film is a cut above typical family-friendly entertainment. Puss in Boots (voice of Antonio Banderas) has always had a passion for daring exploits. Never one to shy away from danger, the brave kitty often finds himself in perilous situations that don’t always have a positive outcome. When Puss learns that he’s reached his eight life out of nine, he is forced to retire from his swashbuckling days and goes to live with a cat lady who rescues wayward felines. Here he meets the chatty and cheerful Perro (Harvey Guillén), a friendly Chihuahua who is only pretending to be a cat. When Puss learns that his lost lives can be restored by the magical Wishing Star, he swallows his pride and asks his former partner (and current nemesis) Kitty Softpaws (voice of Salma Hayek) for help. With an epic quest on the horizon, Puss, Kitty and Perro venture together into the Black Forest to search for the Star. They face obstacles along the way, struggling to stay ahead of the Big Bad Wolf (voice of Wagner Moura), Big Jack Horner (voice of John Mulaney), and the nefarious Three Bears crime family (led by Goldilocks (voice of Florence Pugh)). The bright, colorful animation is lively, and co-directors Joel Crawford and Januel Mercado understand the language of action cinema. This is an exciting film with thrilling scenes of adventure, but Paul Fisher’s screenplay has a surprising amount of emotional weight. At the heart of the film is a sweet story about friendship and forgiveness, and many of the narrative elements are extremely touching. One of the most stirring is Perro’s back story, an innocent dog who lived a sad life of abandonment and cruelty. Despite his devastating past, Perro is good-natured, optimistic, and proves to be the film’s most inspiring character. The actors bring their animated counterparts to life, and the voice performances are strong. From suave (Banderas) to heartfelt (Guillén) to delightfully mischievous (Pugh), there isn’t a misstep by anyone in the cast. The idea of a fearless hero suddenly being afraid gives the film a layered richness that makes “Puss in Boots: The Last Wish” more interesting than other animated films. In fact, it’s far better than expected. By: Louisa Moore / SCREEN ZEALOTS

Directing duo Daniels (Daniel Scheinert and Dan Kwan) have a signature style and vision when it comes to making art, and their latest project stays true to their offbeat creativity. “Everything Everywhere All At Once” has been described as “an assault on the senses,” and that’s the most accurate statement I have ever heard. This film embraces chaos and feels like a mash-up of “The Matrix,” “Eternal Sunshine of the Spotless Mind,” and “Tree of Life.” It defies categorization. For those of you who thought “‘Swiss Army Man’ was just too mainstream for me,” hold on to your seat for this one. Chinese immigrant Evelyn Wang (Michelle Yeoh) is just trying to do her taxes. She’s being pulled in so many different directions that she’s unable to focus on any of her tasks at hand. When Evelyn discovers that she’s needed to save the world, she travels to other connected universes, exploring the many lives she could have led. It’s better to leave the plot summary at that. The less you know, the more you’ll love about the movie. I’m not even sure how to write a thorough synopsis of this one because it’s so wild and unique. There’s a eclectic anarchy to this frantic, high-energy film, and it’s exhausting — but in a good way. The script is absolutely bonkers, but it makes sense. I give great respect to Daniels for creating clear multiverse rules within their story as well as managing to keep their established rules consistent throughout. That’s not an easy feat, especially in a film with such a complex narrative. I’m not sure how Daniels pulled it off, but all of this comes together in a cohesive, if totally bizarro, film. The technical aspects are terrific, including the stellar editing and fight choreography, as well as the inventive costuming and makeup. Of course, the real star here is Yeoh. It’s an atypical part for a more mature actor, especially a 59 year old Asian woman, and she turns in a phenomenal performance in a role that asks a lot from her. Yeoh shows off a huge range where she handles enormous demands, effortlessly. Her comedic timing reaches perfection, and she dances between action stunts and drama with ease. The film is wonderfully cast as a whole, with solid supporting turns from Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis, and James Hong. I could see this film becoming a cult classic, and I would guess that there’s a benefit to watching this stoned out of your mind. It’s outrageous and bizarre, sometimes to a fault. The in-your-face eccentricity and the film’s 139 minute runtime does wear thin in spots, which requires a lot of stamina from the audience. It’s tough to be jolted from one tone to the next as the story shifts from a family drama to an offbeat comedy to an existential nightmare to a dreamlike fantasy to a martial arts action thriller at what feels like the snap of two fingers. There’s a total evolution that occurs, ending with an unexpected heart and sincerity underneath the chaos. While “Everything Everywhere All at Once” may be too wacky and weird for some, you can’t say that the film doesn’t have a fully realized vision and story. It’s frenzied and eccentric and brimming with chaos, and I was enchanted by this tale of love, the multiverse, and bagels. By: Louisa Moore / SCREEN ZEALOTS

I tend to hold my breath when a studio announces their intention to make a sequel to a beloved, decades-old, action mega hit, but my apprehension was unwarranted with “Top Gun: Maverick.” The film is not without its problems, but it’s a near-perfect master class in giving the people what they want. Not straying too much from its roots, the sequel is almost a carbon copy of its 1986 predecessor. From the opening synth theme to slightly different situations that deliver a hearty dose of deja vu, director Joseph Kosinski sticks to a formula with a proven, successful track record. It’s a film with an endless supply of nostalgia for those of us who fondly remember the original, but is also updated in a way that can also be enjoyed by the younger generation. The story doesn’t seem far fetched, but it is unoriginal. After more than 30 years in the service as one of the country’s top aviators, Pete “Maverick” Mitchell (Tom Cruise, who is still a bonafide superstar) is ordered back to Top Gun, the home of the Navy elite. He’s been tasked with training the “best of the best” new graduates for a dangerous mission that will take a lot of skill and a whole lot more luck. Things get sticky when Maverick learns Lt. Bradley Bradshaw (Miles Teller), the son of his late wingman Goose, is part of the elite team. Confronting the old ghosts of guilt and regret, Maverick must let go of the past if he wants a shot at redemption. For a story that talks a lot about moving on, it sure is stuck on reliving the glory days. Maverick is set in his ways, and his stubbornness and rebellious attitude is celebrated: but you can’t hide the fact that he’s 60 and has never moved up in rank. There are new characters introduced that are so close to carbon copies of the minor ones from the first film that I found myself referring to them as “the new Iceman” and “the new Merlin.” It’s terrific that the new cast is so diverse, but the hyper-masculine nature of the military is still out in full force. The two major female characters are a bartender and a pilot, neither of which are in powerful positions or rank. It wouldn’t have been so difficult to cast a woman in one of the film’s many Officer roles. This isn’t a challenging nor particularly intelligent movie, and it’s not one I’d want to revisit nor even begin to consider an instant classic. The first half is formulaic and clunky, with a bland, uncomplicated story. It’s the second half that’s worth waiting for, as Kosinski kicks the afterburners into high gear. The aerial photography (from cinematographer Claudio Miranda) is spectacular, especially when the teams of pilots finally fly the “impossible” mission that feels as if it will lead to certain death. It’s a true edge-of-your-seat thrill ride, and it’s precisely why many of us love summer blockbusters in the first place. “Top Gun: Maverick” fulfills just about every single thing audiences expect and crave, and it’s a film that does it exceedingly well. By: Louisa Moore / SCREEN ZEALOTS