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It's been a few days since I saw it, and I still can't decide whether I consider the brutal, sometimes brutally funny Blumhouse thriller The Hunt a strangely great terrible movie or a strangely terrible great movie. Either way, I generally had a ball.

Pixar's new adventure comedy Onward is about fathers and sons, about big and little brothers, about facing fears and taking risks and finding gratitude in the face of loss. It's also about as much fun as I've had at the movies in months.

You may not know precisely where the woman's tormentor is at any given time, but damned if you're not convinced that you can see him anyway, and in a movie suffused with genre pleasures, Leigh Whannell's and Elisabeth Moss' combined ability to make invisible terrors visible has to stand as its biggest one.

Once you adjust to Buck's initially off-putting quality, and the similar anthropomorphism of the film's other animals, and the intentional broadness of everything from the compositions to the choreography to the humans, Chris Sanders' outing emerges as an unexpectedly winning and effective family flick. The wide-screen vistas and gripping action sequences make seeing it at the cineplex preferable, but don't fret if you miss the movie now – once it lands, it'll be a go-to choice on Disney+ forever.

Friday, February 14, 10:30 a.m.-ish: As I deeply love movies, and have been known to occasionally fall in love with movies, it feels appropriate that I'd spend a large chunk of this year's Valentine's Day at my first quadruple feature in 10 months. Yet while previous four-fers have started better, I'm not sure any of them have started weirder than this one, given that it begins with a reboot of television's Fantasy Island, that deliciously cheesy Aaron Spelling soap that demanded “Smiles, everyone, smiles!” from the start and almost couldn't help but deliver them.

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