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]

Smart, sexy and outrageous, Deadpool delivers.

Maudie is a work of art.

Director Alan Rudolph and writers William Reilly and Claude Kerven don't play fair with the audience. They stack the deck and then deal from the bottom, and the result is such a surprise that I felt let down, even angry. I don't mind not figuring out who the murderer is, but Rudolph should show the viewer a few things along the way to allow it to be figured out. [19 Apr 1991, p.3F]

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.

It's not quite infectious, but some of the high notes manage to drown out some of the guttural lows.

With a title taken from an American Indian word for "life out of balance," Godfrey Reggio's wordless documentary lured dreamers into the sacred cave of cinema, where they ingested the serial music of Philip Glass and the time-lapse imagery of cinematographer Ron Fricke.

Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

The thread connecting the ambitious girl to the acclaimed woman is enough to make us wish for a sequel titled "Chanel No. 2."

If you’ve got a hankering for a Western, Hostiles is must-viewing.

Sometimes the zaniness borders on stupidity, but more often it hits the jovial farce mark, which is largely because of writer Andrew Bergman's clever screenplay, Michael Hoffman's tight direction and a generally first-rate ensemble cast. [31 May 1991, p.3F]

Unfortunately, as the characters change, Harris cannot keep up with them, and as the film becomes more and more melodramatic, it becomes less exciting. A good movie, but Harris had potential for a great one and let it get away. [02 Apr 1993, p.3G]

As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.

The movie is an eyeful, especially in 3-D, but even with humans at the helms of the machines, it’s a hollow exercise in homage.

Harry Potter and the Deathly Hallows: Part 1 is slower and stranger than any of the previous films, simultaneously raising hopes for a haunting finale while dimming hopes for a magical one.

Ondine is dipped in whimsy and might have drifted out to sea, but it's bounded on four sides by love stories -- between a father and a daughter, a man and a mermaid, an actor and his co-star, and a director and his country.

Although it starts slowly, the accumulated tension and thematic resonance leaves us breathless.

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.”

Pleasant, well-acted but somewhat overlong, The Way was written and directed by Estevez, who's perhaps best known for his acting career ("The Breakfast Club").

The Rover is a sterling example of the new Australian noir.

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

Guilty By Suspicion isn't easy, but it's a powerful and gripping story, and the fact that it's true makes it that much stronger during the action and slightly incredible afterward when considering the fact that it happened at all. [15 Mar 1991, p.3F]

Unfortunately, Garcia can't quite resist sentimentality, giving us an ending that's a bit too emotionally neat. Still, Mother and Child is a thoughtful and provocative film about the way we live now.

A true story of animal rescue, and it even stars the sea creature to whom it happened. But it's the humans who do the cutesy tricks that make it a mixed blessing.

Unfolds like a fable instead of a believable slice of life. Mexican TV and film star Bichir gives a poignant performance, but he's distinctly more European than the cholos and Chicano laborers on the sketchy edges of the hero's plight.

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]

They have the perfect supporting cast, made up of a group of exceptional real-life musicians: retired members of orchestras and opera companies, and a pianist bristling with the suppressed impatience of the longtime accompanist. (To see who they are, stick around for the credits.)

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.

Afghanistan-born Atiq Rahimi has powerfully adapted his own acclaimed novel, but the film is unlikely to play in the Middle Eastern countries to which this plea for sexual equality seems directed.

Photography — and thus filmmaking — is painting with light. The connection is illuminated in the lovely Renoir, a twilight-years biography of the great French Impressionist.

The problem with In Praise of Love is not that it seems to be possessed by a kind of free floating anti-Americanism. I'm not all that crazy about some of the things this country does, either, and I detest some of the big-budget movies Hollywood makes. The problem with In Praise of Love is that it never shuts up. [1 Nov 2002, p.E4]

With stately surroundings and hissable villains, director Amma Assante imbues the finale with such dramatic resonance that Belle becomes a ringing proclamation of human dignity.

If you’ve been looking for a film that puts a daringly surreal spin on “Cast Away,” you’ll be in paradise.

It honors the original throughout, including a memorable nightclub scene and a surprise cameo that's a huge crowd-pleaser, while at the same time giving updates to make it fresher and better than ever.

It’s not necessary to be a jazz fan to get lost in this poetic and poignant film.

An inconsequential mess.

Like the politicians it tries to pull into the big picture, Killing Them Softly promises more than it delivers.

Working from a screenplay that he co-wrote with Jim Taylor, Payne delivers what must be his least funny film — if, indeed, his intention was to be funny.

As the central character in “Polar Bear,” Ruffalo impressively explores the geography of a troubled mind, and makes the journey fascinating.

Fury is a guided tour through a manmade hell.

It's a tart trifle, but in the madding crowd of year-end movies, Tamara Drewe rocks.

If not for Blunt's solid performance and good support from Friend and others, The Young Victoria would not be worth the price of the ticket.

The Road has the signposts of an important film, but it lacks the diversions of an inviting trip.

If you’ve been wondering how Washington really works, this film is required viewing.

A serviceable behind-the-scenes tour documentary with about as much insight as a talk-show monologue.

This debut film is fun, and everyone involved can proudly declare, “Honey, I shrunk the Marvel Cinematic Universe.”

Although it doesn’t make a lick of sense as a stand-alone story, Mockingjay — Part 1 is the first “Hunger Games” movie with meat on its bones.

Where to Invade Next isn’t his funniest documentary, but it may be his most poignant.

Gunn exhorts the audience to embrace the quirky, the messy, the flawed, to strive for connection, not precision in this world and beyond. It’s a resonant message at the center of all the din.

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

The Hedgehog sneaks up on you with its heartfelt storytelling and sophisticated wit.

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

Despite its flaws, Little Odessa haunts the memory. [30 June 1995, p.3G]

The iconic actor may be too gruff for sainthood, but Murray still retains a secret stash of soul.

ALTHOUGH deranged baby sitters have become standard suspense thriller fodder, The Hand That Rocks the Cradle offers a few chills despite its hard-to-swallow premise and tedious, predictable ending. [9 Jan 1992, p.5E]

The four leading actresses give memorable portrayals, all worth watching. The message, of the universal necessity of love and human kindness, is certainly important. But as a total movie experience, Fried Green Tomatoes gives way to sentimentality and calculated tear-jerking. [28 Jan 1992, p.4D]

The funniest movie of the year.

Everything you would want in a summer action-suspense movie - and just a little bit more. The movie delivers enough thrills to satisfy all but the most hard-core adrenaline addicts. And several touches, especially the lead performance of Harrison Ford, elevate this film above the standard summer suspense offerings.[9 June 1992, p.4D]

Raises more questions than it can answer in its travelogue format. It's because the premise is so intriguing and the drama is so compelling that the result is so confounding.

Although Ready Player One is nowhere near as memorable as “Jaws” or “Close Encounters of the Third Kind,” it demonstrates that the director is fully capable of adapting to the times. What the film lacks in substance, it makes up for in style.

There is much to like about this film, good performances and writing, enough true laughs for the comedy label and enough true love to keep the romance fans happy. To top it all off, the soundtrack uses Tony Bennett and Frank Sinatra at all the right moments. Try to leave this movie without humming one of the tunes on the way home. [29 July 1994, p.5F]

Like Ernest Borgnine, Philip Seymour Hoffman is an unconventional leading man with an Oscar on his mantle, and his bittersweet Jack Goes Boating has elicited comparisons with "Marty."

With the broad satiric hands of Christopher Guest and Michael McKean as two of the screenplay authors (Michael Varhol is the other), and Guest as director, there are overtones of This Is Spinal Tap, although the final result is less successful. The spoof of Hollywood manners, morals, talent and success hits with some real humor. [15 Dec 1989, 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.

Presented as a stand-alone film, but without an explanation for the protagonist’s physical and emotional injuries, it’s a head-scratcher. As with Joe’s sexual compulsion, scratching can’t cure the itch.

The movie falters because Waters' screenplay is too shallow and brief to provide sufficient underpinning. [15 Apr 1994, p.3D]

It's not quite up to, or maybe down to, the level of the first two movies. But the movie rolls to a wildly funny climax at the Oscar presentations, where Drebin is mistaken for Phil Donahue. Surely, there are enough belly laughs and knee slaps to make this film worth your time. And stop calling me Shirley. [23 Mar 1994, p.6F]

We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.

As a diversion, Babies is like a wind-up toy that will tickle anyone with a pulse. As a documentary, it's like a cache of home videos that will frustrate anyone with an inquiring mind.

More scenic than scary.

The documentary ends on a hopeful note, as Indians themselves have taken control of their image.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

Strikes an uneasy compromise between liberty and justice. It marches at an efficient pace, but there's too much collateral damage to believability.

Although there's a skeletal story, A Cat in Paris evokes a mood instead of a moral. Like a cat nap, it gives us a brief, refreshing dream with little to remember.

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.

Some may scoff when the boys exhibit traits and interests derived from the biological parents they never knew, but The Other Son is such a disarming feat that cynics will get left at the checkpoint.

Out of the Furnace is hot air.

Second verse, not as good as the first.

The acting is solid, but the story sags from time to time, and it's very predictable, though when it's funny, it's very funny. [21 Nov 1992, p.7D]

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

A stylish but empty spy flick, redeemed only by well-executed action sequences.

Even more than most versions of Anna Karenina, this chamber piece is heated by two combustible characters, not by the winds of war and peace.

This is an entertaining, sexy, cleverly constructed thriller. [09 Mar 1990, p.3F]

A bait-and-switch comedy. It poses as a naughty "no-mance" about friends who use each other for casual sex, but at the moment of truth it goes limp.

Gilchrist ("United States of Tara") is immensely appealing as a kid who's just a bit too wrapped up in himself to grasp that perhaps his problems aren't insurmountable.

Summer Wars has engineered a truce between the familiar and the fantastical.

To keep serious cinema from going extinct, this could be sold as "The Hunger Games" cross-bred with "The Lorax," but it's better and more mature than either of those hit movies.

Fans of the franchise will greet Les Misérables as a feast for the senses, but the rest of us are left with crumbs.

Hot Tub Time Machine isn't a good movie, but like a bubbling bath it keeps pounding at us until our resistance wears down.

The movie won't stand up to much analysis, but it delivers a fair amount of electricity, and Gere plays his nasty character with a great deal of relish. Internal Affairs is fun, in a rather perverse way. [11 Jan 1990, p.3E]

It’s a measure of the movie’s success that we never stop to question how or when the trickery is employed.

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

THE MAN who would trade his fiancee - but just for the weekend! - for a $65,000 gambling debt may be rather sleazy, but it probably wouldn't raise many eyebrows in Las Vegas, where sleaze and the concept of woman-as-object have marched hand-in-hand for many years. ''Honeymoon in Vegas'' continues those precepts, and does so woefully, with dumb writing, ordinary direction and performances by Nicolas Cage, Sarah Jessica Parker and James Caan that are so awful as to be mind-boggling. [28 Aug 1992, p.3F]

Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."

The River Wild is an exhilarating thriller, and Streep is memorable as a former whitewater river guide who has to summon up all of her old skills to save her life and the lives of her husband (David Straithairn) and son (Joseph Mazzello). [30 Sep 1994, p.3G]

The Jungle Book is, in a sense, a movie for children, but it is one that adults should love as well. [23 Dec 1994, p.3F]

Lutz created more than just a mystery yarn, and Don Roos' screenplay and Schroeder's direction take the story even further and, of course, make it a lot more visual. [14 Aug 1992, p.3G]

With a greater emphasis on sex than violence, Spring Breakers is a more enjoyable guilty pleasure than “Natural Born Killers” and just as acute about our cultural devolution. For all its seeming stupidity, its masterstroke is making us complicit in the corruption of its young stars (who include the director’s own wife).