Annie is not a great movie musical — but it’s a fun time at the movies.

Although the film is frequently brilliant, it’s not quite as clever as it thinks it is. The cast, however, is terrific. Particularly good is Buscemi, who’s engagingly cranky as Khrushchev.

While the wilderness vistas are starkly beautiful, there’s no tangible sense of Strayed’s ultimate goal. (Why Oregon?) And the flashbacks, which include scenes of sexual misadventure and heroin use, are too brief to provide answers.

Not Without My Daughter, based on the true story of Betty Mahmoody, presents a strong picture of the struggle of a mother and daughter trying to leave Iran together. The film succeeds very well in creating suspense over their situation without coating it with undue sentimentality. [12 Jan 1991, p.5D]

Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]

Because VanDyke wasn’t embedded with the American media, Point and Shoot has some priceless front-line footage, including a chilling scene where he must decide if he’s willing to kill for someone else’s cause. But without a rigorous editor, it’s “How I Spent My Summer Vacation.”

Mostly the movie is about process and perspective. Through the documentary lens, Richter's enigmatic paintings speak to us.

In a movie of murky surfaces and deep loneliness, the redemptive surprise of A Single Man is how it becomes a clear endorsement of the Buddy System.

One of the pleasures of Edge of Seventeen is it makes you nostalgic for high school yet so relieved it’s over.

This jam-packed picture is too zippily scripted and edited to get stuck in message mode, yet the stellar cast achieves a rare harmonic convergence.

We are reminded: War is hell. But at their best, war movies can be cool and beautiful.

The world Nair shows us is, on the whole, an unpleasant one, but there is never any sense of false melodrama or of the camera selecting only shocking or hopeless images. And as a whole, the film documents how difficult it is to defeat the human spirit. [24 Mar 1989, p.3F]

Hot Shots! is packed with enough sight gags and slapstick to keep an audience grinning even when some of the jokes fall flat. This isn't as funny as "Airplane!" but it's not a bad try...Hot Shots! isn't the sort of movie that will set you thinking, but for mindless, summer entertainment it fills the bill nicely. [6 Aug 1991, p.4D]

Ice-T delivers a love letter to hip-hop with Something from Nothing: The Art of Rap.

The dialogue still sparkles, but the story is a bit weaker than the previous editions. [02 Aug 2005, p.E1]

Although the film has elements of a puzzler by Michelangelo Antonioni and a psychodrama by Ingmar Bergman, it never becomes compellingly intellectual or unnervingly emotional.

The larger-than-life actor is as emblematic of his country as Tom Hanks is of ours, and My Afternoons With Margueritte is his "Forrest Gump." Only better.

Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

Cunningham's answers to pointed questions about romantic love and religious faith are so open-hearted, we understand that he's bigger than just New York.

A sophisticated comedy about New Yorkers who might easily be mistaken for characters in a Woody Allen movie.

Working from a screenplay by Ed Solomon, director Jon M. Chu is more craftsman than poet, but the charismatic ensemble cast engages in the trickery with style.

The real stars here are Scott's behind-the-curtain crew, who fill every frame with tech-savvy details and take the sets to another dimension with immersive 3-D imagery.

Given the turbulent water of world affairs and sea changes in the media, a follow-up a year from now might be titled "Gray Lady Down" if the Times does not chart a new course.

Highly unconventional in structure and tone, the story is engrossing and exquisitely acted. [17 Jun 1999, p.14]

As popcorn entertainment, it's right on schedule.

This 19th Bond film has all of the required scenes, lines, gags and gadgets to keep Bond fans pleased - as well as a few new twists to update and energize it. [19 Dec 1997, p.E3]

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

Black Rain is a brilliant visual tour de force wrapped around a fair suspense plot. The result is a movie that is so exciting to look at that you tend to forget that the story is rather hackneyed, except for the setting. [26 Sep 1989, p.3D]

It's faint praise to say that this is the best of the "Planet of the Apes" movies, because the evolution of special effects and makeup was predictable. But the unexpected strength of the film is its heart.

An inspiring but formulaic film about triumph over adversity.

A taut psychological thriller, just as tense for those who already know its conclusion.

A splendid murder mystery, but one with as much gore and steamy sex as I've seen in a long time. [20 Mar 1992, p.3F]

Bana ("Munich") makes an effective bad guy. Hunnam portrays Jay as a hero worth rooting for. And Wilde turns in a nuanced performance as a woman in conflict with herself.

Lacking beef or sufficient spice, it's nonetheless colorful comfort food.

Paul Simon and a Parisian orangutan tell us the same thing: It's all happening at the zoo.

This is rich material that Moretti mines for both superficial absurdity and deep pathos.

Barry Levinson's film, Bugsy, glamorizes the back side of the American dream, adjusting facts as necessary to keep the story dramatic and to paint Siegel in better colors. The result is a strong, fascinating film that features a number of impressive performances, especially from Warren Beatty as Siegel and Annette Bening as Virginia Hill, whose nickname became the name of Siegel's dream hotel and casino in Las Vegas, the Flamingo.

Throughout his career, Burton has always been capable of surprising audiences. Big Eyes is no exception.

The secret in this case is the jokes, which are ferocious. Marrying a monster flick with an adolescent romance has produced a merry mutant.

Because the sociopath at the center of this family portrait never asks for forgiveness, The Iceman is truly chilling.

A film that's as much a character study as it is a crime drama. At the heart of it is Caine's hauntingly memorable performance.

THE LAIR of the White Worm is an extremely silly and rather bloody movie. If you are willing to accept it as a tacky spoof of tacky horror movies, you should find it funny - at times, downright hilarious. [3 Feb 1989, p.3G]

At nearly three hours long, "An Unexpected Journey" has moments when the caravan seems both overstuffed and out of balance, but it's such a scenic trip that only a stubborn homebody could complain.

Like a Fishbone show or an LA weather forecast, the dark curtain rises, and there's a promise of more sunshine.

The accents are thick, but if you listen closely you'll be well rewarded with smart, wry humor, peculiar but likable characters and a story that while slow in spots is altogether intriguing. [1 July 1989, p.E6]

The simmering rivalry between Di and Fiamma, inflamed by the kind of glimpsed indiscretion that makes adolescent melodramas tick, explodes in a thriller ending that turns an observant coming-of-age story into something resembling "The Lord of the Flies."

Quite a few filmgoers lament the shortage of movies for adults. Ricki and the Flash goes against that trend with rock ’n’ roll attitude.

A full plate of tear-jerking drama is served here. And it’s even tastier than the first time around.

The Beaver isn't a perfect film, but it's challenging and original.

Although the story of Sin-Dee and Alexandra might have benefited from a bit more structure, it’s a window into a world of which many people are unaware — but a world that has its share of dreamers.

Arau gives the northern Mexican landscape a strange beauty, and the acting is sensual and effective, though there are periods when the dialogue becomes heavy-handed and the pace too slow. [07 May 1993, p.3G]

With Whitaker, Daniels and screenwriter Danny Strong pulling the strings, The Butler can take a bow.

Page is outstanding as a young woman who has finally found happiness, only to see it cruelly slipping away.

Mbatha-Raw continues to be a true revelation in a role that could be not be any more different from her star turn in “Belle” this year.

The fact-based Denial is a well-crafted and skillfully acted drama about standing up for the truth, regardless of how challenging that might be.

In the end, Light Sleeper is slightly more optimistic than some of Schrader's earlier works, but it's a tough, hard-nosed film that shows, in small moments here and there, what life in drugs is all about - and it ain't all about fun. [11 Sep 1992, p.3F]

Bernal (“Y Tu Mama Tambien”), an actor of Mexican heritage, brings to the role a charismatic resolve. It’s an impressive and impassioned performance.

It's zippy, and the movie version has both a computerized sheen and handcrafted detailing. Because the details are cribbed from classics, parents can enjoy this 'toon as much as their kids.

The libido and bloodlust flowing from the pint-size Page is the funniest thing in the movie, but elsewhere, the mix of the goofy and ghastly is hard to digest.

This melodrama about spousal abuse and honor killings might be too grim to bear, but Kekilli keeps it centered.

Working from a screenplay that he co-wrote with Stephen Chin and Jason Smilovic, Phillips delivers a film that raises provocative questions about the economic imperatives of war while masquerading as a buddy comedy.

While Looper lacks the heft of a classic, this wayback machine is worth taking for a spin.

Penn and de Niro are wonderful as the changelings, trying to adjust to a community of goodness after one of badness. They speak English with an accent as thick as an elephant's hide and they make faces that communicate far beyond words. They work well under the direction of Neil Jordan, who steers the movie on its fine course between comedy and drama. [17 Dec 1989, p.7]

Taiwanese director Ang Lee sees the '60s through a rose-colored telephoto lens, but his sympathetic spirit extends the generous message of the hippie era like a passed joint.

Don't be late to this homecoming of director Wes Craven and writer Kevin Williamson's horror series, which begins with a twisty opening sequence that's bloody fun.

What really sets The Man From U.N.C.L.E. apart is its refusal to pander to short attention spans. This is a movie whose charm sneaks up on you, like a spy in the night.

HOW FUNNY CAN a movie be when it consists of stupid jokes, dreadful puns and stale sight gags? Pretty funny, actually. [21 May 1993, p.3G]

Rounded, redemptive and refreshingly free of cynicism.

As Refn is riffing on thriller cliches, he gets solid support from the ensemble. Brooks, a comedic standout since the '70s, makes a sympathetic villain, and Gosling stokes the young-Brando comparisons - instead of settling for Richard Gere.

Chi-Raq is a mess — tonally inconsistent, overbearing in its earnestness and badly in need of editing. But it’s also director Spike Lee’s most passionate film since “25th Hour” (2002).

Im Sang-soo has crafted an erotic thriller whose cool beauty speaks for itself.

Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.

These days, it’s tough to find a comedy that even aspires to sophistication. The Intern entertainingly fills that slot.

Ultimately what makes Gone Girl so watchable is the three-headed monster of Fincher, Pike and Affleck. The director bathes the B-movie scenario in the queasy-green hues of a morgue, while Affleck flashes his million-dollar smile like a dime-store Dracula and the beautifully inscrutable Pike absorbs the light like a wax mannequin. If it’s true that Nick and Amy were made for each other, they were made in a fiendish lab.

Yet so much about The Lovely Bones is so skillfully orchestrated, from the chillingly methodical villainy to the thrillingly paced manhunt, we can accept that we're in the hands of a higher power.

This vision of a violent future makes Elysium well worth seeing, even as the conventional violence of the thriller finale makes it a missed opportunity.

With his actors and crew hewing to the script, the director’s craft is impeccable. His low-light images are suitable for framing, and there’s scarcely a moment of modernity, let alone humor or loose ends, to disrupt the tragic trajectory.

Here’s a toast to the cast and crew: Drinking Buddies is a three-dimensional movie that doesn’t require beer goggles.

Hidden Figures is an admirable attempt to dramatize an overlooked aspect of American history. Working from a screenplay that he co-wrote with Allison Schroeder, director Theodore Melfi (“St. Vincent”) delivers a crowd-pleasing film that often resembles a sitcom but frankly addresses the social inequities of the period.

As biopics go, The Iron Lady is among the more intriguing ones.

This send-up of current horror movies is a go-for-broke hoot, a hot mess of a comedy that doesn’t have a lick of sense. And knowing that going in adds to the often knee-slapping laughs.

To its credit, Celeste and Jesse Forever wants to be more than a formulaic farce. It succeeds to the extent that the neighbors keep up with Jones.

Delivers a feel-good film that nonetheless allows for genuine moments of working-class anger.

An engaging but problematic film. Working from a screenplay that he co-wrote with Laura Terruso, director Michael Showalter (“The Baxter”) seems a bit uncertain in his approach.

House of Gucci is Gaga’s movie, and she won’t let you forget it. She delivers a bravura performance as Patrizia, an alchemical blend of sheer charisma, power of personality, undeniable magnetism, and most importantly, commitment to the bit.

As the wife to a wolf of Wall Street, Blanchett shows us a lost sheep both before and after the slaughter. It’s not a pretty picture, but it’s twitching with life.

Whereas many kung-fu movies are a feast that leaves us weary with sensations, the tastefully bittersweet “Grandmaster” puts us in the mood for more.

This Robert Altman film offers a good look at the life of a professional gambler. [15 Mar 2005, p.E1]

Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.

There are three sides to most love stories: his, hers and the truth. But on London's Fleet Street, the three sides are his, hers and the tabloids'.

The Rescuers Down Under is further evidence that the Disney organization has regained its magic touch with animated features. [16 Nov 1990, p.3F]

Doggedly indie but unpretentious, Begin Again is one of the best movies I’ve seen about the music industry and the ways it changes people whose paths diverge.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

While the student travails explored here are time worn and insipid, Croghan looks at them from a fresh perspective and with humor. The combination makes this debut film more than just another been there, done that experience. [25 Apr 1997, p.03E]

While we await the definitive documentary about the glut of garbage, Waste Land reduces this global catastrophe to touchingly human scale.

It’s an enigmatic and austere film from a region where political, sexual and religious repression are as stifling as the sooty air.