Eat Drink Man Woman is a piquant delight. [02 Sep 1994, p.3H]

The King's Speech is the epitome of prestige cinema, an impeccably crafted and emotionally compelling drama that deserves the many laurels it surely will receive.

Liman and Cruise previously worked together on the brilliant but overlooked science-fiction flick “Edge of Tomorrow.” Their latest collaboration, which boasts one of Cruise’s best and most charismatic performances, deserves to be a hit.

The first five minutes of this law-enforcement spoof (subtitled ''The Smell of Fear'') are hilarious, as police Lt. Frank Drebin (Leslie Nielsen) brings havoc to a White House dinner that features George and Barbara Bush. Although the movie slows down somewhat after that, there are enough giggles and bellylaughs along the way to make this summer comedy hard to resist. [28 June 1991, p.3F]

In his best performance since “The Social Network,” Eisenberg is perfectly cast as the neurotic Bobby. But the film truly belongs to Stewart, who brings to Vonnie a haunting luminousness.

The performance is both an eerie imitation and a touching revelation. Oscar voters who overlooked Williams for her camouflage roles in "Brokeback Mountain," "Wendy and Lucy" and "Blue Valentine" should now throw diamonds at her feet.

Cregger slowly builds bone-chilling and suspenseful sequences up to screechingly operatic moments of face-melting horror, and then swiftly cuts to a different chapter, making a hard left into a completely different mode, taking us all on the roller-coaster ride. His facility with comedy also aids in these jarring tone switches, and Barbarian is as funny as it is terrifying.

This is epic cinema that begs to be compared to "2001: A Space Odyssey." But unlike Stanley Kubrick's psychedelic joyride, this journey is powered by a human heart.

Yes, Tinker Tailor Soldier Spy is often hard to follow, perhaps overestimating the audience's ability to keep track of what's going on and why. But it's a well-crafted film that wears its old-fashionedness with pride.

The tonal shifts, the "Amelie"-style voiceover and the punk-retro soundtrack may jar some viewers who expect uninterrupted violins, but Declaration of War is alternative therapy that really works.

With Top Five, Rock has finally made the transition to true movie stardom.

Refusing to hold our hands, director Lynne Ramsay ("Morvern Callar") pushes far beyond the boundaries of topical drama into the realm of the surreal.

Written and directed by Matt Ross — who is perhaps best known for his role as Alby on the HBO series “Big Love” — the film raises questions not only about what it means to be a responsible parent but also about what constitutes a meaningful life.

The film isn't quite as edgy as Fincher's best work - "Seven," "Fight Club" and "Zodiac" are masterpieces of modern angst. But the director brings a fresh eye to what might easily have been an unnecessary rehash of the 2009 Swedish adaptation.

Although The Fight is swift and jam-packed with ups, downs, wins, losses, injunctions, stays, hearings and Trump speeches, the film is remarkably detailed and careful.

As original and risk-taking as its subject, Steve Jobs will make you think differently about an American icon.

Shares the magical appeal of the “Harry Potter” movies, which should come as no surprise.

A brainy bio that exerts a gravitational pull on the heartstrings.

Before it turns into a great escape flick, Argo is an amusing spoof of the movie biz.

A beautifully realized drama that gets to the essence of what it's like to be young, confused and in love.

Ultimately Skyfall is rooted in tradition - and in British soil. A pastoral drive to Bond's boyhood home (in a kind of car that will delight purists) opens the gates to some psychological background, and given the true-love subtext of "Casino Royale," it's not surprising that there's an emotional payoff here.

The tale of Jake and his pals is something of a time capsule — and the kind of film from which sociologists decades from now might glean extremely useful information about American culture.

It sustains a palpable fatalism in such recurring details as a whirring buzz saw and the cry of a loon, while the static camera and lack of musical cues enable some unforeseeable plot twists.

Although Precious is based on a novel, it's an act of truth-telling on behalf of a character in hellish enslavement.

The richly constructed first hour is so superior to any feat of sci-fi speculation since "Minority Report" that the bland aftertaste of the chase finale is quickly forgotten.

But what The Paper does best is capture the flavor of a newsroom at its craziest, when, say, you are five minutes past deadline on a breaking story, it's July and the air conditioning is broken, two editors are yelling contradictory commands at you and a workman is standing on your desk putting holes in the ceiling with a deafening electric drill. [25 March 1994, p.3H]

When the two men compare impersonations of Michael Caine or Sean Connery, Brydon's version is always slightly better - and Coogan knows it.

An art-history lesson and a spiritual exercise disguised as a movie.

Not many films address motherhood with as much irreverence and insight as Tully.

This meta movie even has fun with faulty translations between French and English. To paraphrase Gemma as she conjugates verbs on the treadmill, “J’ai adorée.”

If you don’t know the true story, we won’t spoil it for you except to say that it’s not the expected outcome. But if you’re willing to be thrown for a loop, you’re in good hands with this medal-worthy cast and crew.

Star Wars: The Last Jedi has more than enough action, humor and stuff blowing up to thoroughly satisfy fans of the long-running franchise.

An artfully observant and unexpectedly moving documentary.

With a stellar cast and seductive look, Ex Machina is a sleek contraption for capturing our imagination.

A movie that will be discovered, embraced and shared with friends like a favorite record album.

The kind of film that’s capable of eliciting wildly different reactions. Art-film aficionados would be impressed with its atmospheric storytelling and emphasis on character. Devotees of mainstream cinema would likely complain that “nothing happened.”

The Illusionist has surprises up its sleeve that are unusually nuanced for an animated movie.

There's a running joke that this epic of also-ran heroism is set in eternally modest Toronto; but its real locale is an alternate universe without parents or the unhip.

Unhurried in its storytelling but unshakable in its impact.

This humane movie is an ode to joy, albeit of the mature sort.

THANKS to the boys of summer - nine wonderful child actors - and a sweetly nostalgic story well told by writer-director David Mickey Evans, The Sandlot is a winner. [9 Apr 1993, p.3F]

Memphis Belle is a great movie of men in combat, and the bonding it provides. At the same time, it shows the awful face of war so quietly that it speaks with great volume. [12 Oct 1990, p.3F]

It's a wholly successful sequel - audacious, entertaining and bracingly pertinent.

With its exploded notions of heroism, torture-rack dramatics and kamikaze gusto, it's a fiendishly entertaining flick.

It’s a party where we want to stay, until we’re dragged out kicking and screaming.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

THIS is one tough movie....When its uncompromising final scene has faded, we are emotionally shattered, left with some inkling of how the citizens of Salem, Mass., must have felt 300 years ago, after a reign of self-righteous, hysterical, scapegoating terror had swept through their claustrophobic town, sending a significant portion of its tiny population to the gallows, or worse. [20 Sept 1996, p.3E]

Gordon-Levitt turns in an Oscar-worthy performance as a man who’s all too aware of what he’s letting himself in for. And Woodley skillfully balances a range of emotions as Lindsay.

The film is perhaps best appreciated as a showcase for the gifted Simonischek, whose portrayal of Winfried/Toni is one for the ages.

Ferrell's dryly understated performance is a shorthand for an alcoholic's denial and repressed rage, and as Nick grows increasingly desperate for a drink, he keeps his anger stashed like a last beer for emergencies.

With a mad captain at the helm, this documentary version of Jodorowsky’s “Dune” is probably more entertaining than what Hollywood would have done to it, with a clearer message: Our lives are like sands though an hourglass, so dream the impossible dream.

Kristen Wiig is the best sketch comic alive, and Bridesmaids should finally make her a movie star.

As an homage to an influential director, Submarine blows "Super 8" out of the water.

As the deeply principled Donovan, Hanks deftly balances earnestness and humor. And Rylance’s spirited performance is almost certain to yield an Oscar nomination.

The virtue of Inherent Vice is that we can stop chasing the tale and just enjoy the sunset of the ’60s dream.

Pratt is engagingly rascally as Quill, and Saldana brings a sassy charisma to the no-nonsense Gamora. But as might be expected, Baby Groot steals the film.

Thanks in great part to a couple of dozen wonderful soul songs from the 1960s, and a very engaging and talented group of young Dubliners, The Commitments is a thorough delight - warm, funny and deeply human. [13 Sep 1991, p.3F]

Bonnaire, whose films include "Vagabond" and "Monsieur Hire," gets Helene just right, registering her joys and disappointments with finesse.

Notwithstanding exquisite images that evoke Terrence Malick's "Days of Heaven," city-slicker audiences may find themselves getting saddle sore. But those with the courage to explore uncharted territory will be rewarded with a rough gem of a movie.

It’s true that not much happens — except cinema at its finest.

You might expect a cartoon about a man and his dog to be strictly for kids, but My Dog Tulip, based on a memoir by J.R. Ackerley, has a psychological richness and anatomical explicitness that is very grown-up.

Credit goes to smart casting of unknowns in the leads, who click uniformly; a packed script that manages not to feel overly long and social commentary that is timeless.

Director John Boorman (Deliverance, Hope and Glory) stretched the limits of 1960s cinematic storytelling with his nonlinear plot construction, experimental camera angles and psychedelic flashbacks. While some of it seems a bit trite by today's standards, it was rather innovative at the time. [05 Jul 2005, p.D1]

Rango is iconic like a spaghetti Western, smart like a '70s conspiracy thriller and lively like a Coen brothers comedy.

Has been criticized as endorsing or condoning violence, but that assessment is unfair and inaccurate. If terrorism is to be eliminated, it must be understood, not oversimplified.

Zobel's unsparing approach is justified. This film should be hard to watch - and it is. But it's also hard to forget.

A rousingly funny sequel. [25 July 1993, p.7D]

Black Swan is ridiculously over the top, but in a way that makes it fascinating to watch.

Whether true or a hoax, I'm Still Here represents real risk-taking that I can only applaud.

This is a sad and gallant chapter, and a first-rate movie. [12 Jan 1990, p.3F]

One part personal mystery and one part art-appreciation class.

This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.

A charming throwback filled with authentic characters.

It’s ultimately everything a modern horror movie should be.

Although Lebanon is to be congratulated for its bold visual strategy and strong antiwar stance, the film becomes claustrophobic after a while.

A film that's all the more intriguing for being virtually impossible to categorize.

The best kind of comic-book movie. It's stylish and spectacular, yet it's rooted in history and human emotions. It's smart yet it's funny. It's wise yet it kicks ass when it has to. Just like the U.S. of A.

Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.

The funniest movie of the year.

At the confluence of altered states and state-sanctioned violence, this drug-fueled thriller is Stone's most successfully provocative picture since "JFK."

Although it alludes to romantic conventions, with overt references to Hollywood history and an overemphatic jazz soundtrack, Wild Grass is neither poignant nor zany. It's an exercise in artifice, not unlike David Lynch's "Mulholland Drive" set in the City of Lights. I'm sure the French have a word for it, but je ne sais quoi it is.

In its uncompromising vision, it may not be for everyone, but it’s definitely the movie that Batman needed.

If you're looking for a political message, either for or against U.S. involvement in Afghanistan, this is not your movie. The directors were satisfied with telling us about a group of courageous, honorable young soldiers - a salute these men richly deserve.

Anyone suggesting that an Italian film could rival the style and grandeur of "The Godfather" might end up sleeping with the fishes. But Il Divo delivers.

Is this a family film? No way. Does it include scenes that some may find painful to watch? You bet. Will you be entertained? Thoroughly.

The Oscar-nominated No has the gritty feel of a foreign film from the 1970s. As such, it may take a few minutes for most moviegoers to adjust to its rhythms. Ironically for a film about advertising, there’s nothing slick about it — and therein lies much of its greatness.

Stallone starring in a comedy? Absolutely. Furthermore, it's a terrific comedy. Oscar is a fast-moving, highly stylized, very entertaining farce that is played as a combination of comic opera (complete with numerous soundtrack references to The Barber of Seville) and Depression-era zany comedy. [26 Apr 1991, p.3F]

Arrival is science fiction in the classic sense and a film of otherworldly ambition.

Morgan’s writing is occasionally pedestrian, but the sweep of the story, the performances and Gavron’s vision make up for it.

A Monster Calls is the rare film that addresses the mysteries of childhood without succumbing to schmaltz.

The performances are spot-on. Ali brings depths of feeling to Juan, giving us a drug dealer we haven’t seen before. Harris (Miss Moneypenny in the recent Bond films) is uncomfortably authentic as an ultimately repentant junkie.

It’s hard to imagine an actor more appropriate to portray Sully than Hanks, who brings to the role a bedrock decency and soulful introspection. And Eckhart is perfect as the droll, easygoing Skiles.

An evolutionary leap forward, a visually exquisite film that doesn't ignore the truths of pollution and predatory survival.

Foley's direction approaches perfection, almost always avoiding thriller cliches and showy distractions in favor of a crisp yet imaginative visual style. After Dark, My Sweet delivers the goods as a crime movie, but it is a fascinating character study as well. [14 Sep 1990, p.3F]

The Last Days manages to accomplish something even those other esteemed works do not: It melds meticulous historical accuracy and rare film footage with an achingly human spirit provided by five survivors. And all this is delivered in a fresh, concise manner. [12 Mar 1999, p.E3]

School Ties offers a moving and uncompromising look at religious intolerance, narrow-mindedness and hatred. And although this movie is set in a prep school, it has more in common with ''Gentlemen's Agreement'' than with ''Dead Poets Society.'' [19 Sept 1992, p.7D]

Despite the melancholy background of Scandinavia, the repressive work ethic, the class struggle, this is a beautiful love story. [14 Aug 1992, p.3G]

Although The Gatekeepers lacks the stylistic inventiveness of “Fog,” it is nonetheless a compelling account of what can go wrong when power is unrestrained.