Soren Andersen

With intelligence and great moviemaking skill, [Reynolds] has created a classic variation on a venerated ancient theme.

Despite its flaws, Flight/Risk is a comprehensive and stinging critique of a once-proud company that has lost its way and is struggling to make a comeback. And it’s a tribute to the people who died and the families who mourn them.

Big, bold and bordering on the unbelievable, Gladiator II delivers, big time.

The new version amplifies and deepens all that is good in the original. The key is in the visuals. Photorealistic computer-generated imagery renders its African landscapes and animals with astonishing realism.

Burton’s command of this material and his masterful visual sense makes this Dumbo an engaging delight. Like that winsome elephant, it really does soar.

The characters are well-defined and Rockwell holds the picture together as he conveys Mr. Wolf’s shifting emotional states: suave, vexed and morally conflicted. Kids will love The Bad Guys and there’s plenty of substance for adults as well.

The picture is a long tease, artfully constructed. Mood is all-important, and it’s a mood designed to keep the audience off balance and on edge until the very end.

See the movie. It’s a treat. And educational, too.

Egerton is commanding throughout. His performance is truly a marvel. Rocketman as well.

The effects work rivals the likes of “Saving Private Ryan” and, well, “Independence Day.” It’s spectacular and realistic-looking. That’s to be expected. What’s not expected is how serious-minded and well-acted the picture is.

Martial-arts action, excitingly mounted, is all part of the package as Po battles a glowering, green-eyed bull (J.K. Simmons) and tries to whip peaceable pandakind into a fighting force to defeat the villain. One-liners fly as fast as kung-fu fisticuffs in this sweet and satisfying picture.

The interweaving of animation and nonanimated footage gives the picture a kind of surreal quality that befits the sense of the survivors of how unreal the event seemed to them.

In the midst of that hostile physical and psychic landscape, de Clermont-Tonnerre has made a stringent tale of a struggle for redemption.

It’s a detective story. It’s a spy thriller. It’s a cautionary tale. And it’s true.

Adapting a prizewinning novel by Canadian writer Patrick deWitt, Audiard has made an atmospheric Western in which the four lead actors portray their characters with remarkable subtlety.

The silence in Silence is deep and profound.

Into the Spider-Verse is pure fun, nonstop from start to finish.

The spell Miss Hokusai casts is a powerful one that lingers long after the lights go up in the theater.

Thewlis voices Michael with weariness and despair until the character encounters Lisa. Leigh mixes eagerness...and an abashed vocal quality that emphasizes her character’s vulnerability.

Complex and lively, The Wild Robot is thoroughly delightful on every level. It’s a rare treat, not just for kids but for adults as well.

All in all, a brilliant piece of work.

Directed once again by Chad Stahelski, the one-time stunt man who has become a first-rate visual stylist and master of pacing over the years of directing “Wicks,” “Chapter 4” is dazzling.

Conversations about competing business strategies, which take up a great deal of The Current War, would seem to be a recipe for a dull movie. But the fervor and intelligence Cumberbatch and Shannon bring to their roles make for a gripping experience.

No previous screen rendering of the Rudyard Kipling classic — not the 2016 Disney live-action epic and certainly not the jaunty, tuneful 1967 Disney animated version beloved by generations — has been so very dark and wild and, surprisingly, thoughtful.

"Guardians” stands apart because it’s somehow truer to a comic book’s essence than any Marvel or DC-derived picture you can name. Which is to say it’s pulpy, kind of cheesy and giddily exaggerated (and aware of it) in a way that, say, the “Thors,” the “Captain Americas” and Christopher Nolan’s Batman movies are not.

Last Jedi is deep. It’s also rollicking. It’s right up there with the very first “Star Wars” in terms of its enjoyability factor. It’s a triumph.

Director Caple Jr. takes his time allowing Ramos and Fishback to develop their characters as they fight being marginalized and dismissed in ‘90s New York. They’re no mere cardboard characters but rather fully dimensional individuals, a rarity in “Transformers” movies.

The acting in all roles is first rate, but in this one De Niro regains the title of undisputed champion.