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 fact-based Stronger is an inspiring tale of reconciliation and reinvention that sidesteps sentimentality to get to emotional truth.

This is the rare mainstream film that addresses the complexities of real life. Brad’s Status may motivate you to question your own.

This is a movie that Holden would have skipped.

Naysayers will no doubt argue that mother! is an incomprehensible mess. But as sheer visceral filmmaking, it’s a must-see. If you’re looking for meaning, read a book.

If you’re looking for a film that’s guaranteed to have you gripping your seat, this is It.

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.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

Good Time is not so much a crime drama as it is a meditation on the genre’s virtues and limitations.

Tatum is terrific as a sort of anti-Clooney, and Driver complements him perfectly.

Friedel turns in a poignant performance as a man who feels that he has no choice but to act on his principles, regardless of the consequences.

A well-crafted drama about the comforts and insecurities of family life.

The film is hard to watch, but its timeliness is impossible to ignore. Still, a case could be made that Bigelow dwells on the violence a bit too obsessively.

Director Matthew Heineman (“Cartel Land”) sticks with the group as it moves from strategy meetings to safe houses, documenting not only its political commitment but also intimate moments of reflection.

A rebuke to the genteel period costume dramas that have long reigned as arthouse staples. Working from a screenplay by Alice Birch, director William Oldroyd turns the genre on its head, penetrating the pretty exteriors that conceal wild and dangerous emotions.

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

Working from his own screenplay, director David Lowery (“Ain’t Them Bodies Saints”) delivers a risky, challenging film that unfolds with a spellbinding momentum. Just what it all means is left to the viewer to contemplate.

Seldom has a film so eloquently captured the craziness, brutality and arbitrariness of war. Dunkirk just might be Nolan’s masterpiece.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

Maudie is a work of art.

The Big Sick has a lot of charm. Just don’t expect the revolution in romantic comedy that its aggressive hype would suggest.

The biography Chaplin, directed by Richard Attenborough, may not qualify as a completely successful film, but there are enough good moments about the great entertainer to make it worth watching. [12 Jan 1993, p.4D]

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]

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]

For sheer waste of talent, if not money, The Burbs deserves to be ranked with Ishtar. A routine slapstick comedy with no cutting edge, and not nearly enough laughs. [21 Feb 1989, p.6D]

Perhaps the only reason to see it is Elliott, who’s terrific as a man who’s desperate to make amends for his shortcomings. It’s one of his finest and most memorable performances. Unfortunately, the script fails to rise to the level of Elliott’s artistry.

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]

Baby Driver zooms onto the screen with an exhilarating combination of smarts and style.