This is a slight movie, but it's Williams' all the way (possibly to an Oscar nod) while the rest of the cast supports her well.

Man Bites Dog is a strange, undeniably powerful hybrid of Henry: Portrait of a Serial Killer and This is Spinal Tap; a jaw-dropper that takes your breath away with its scabrous mayhem, then replaces it with an uneasy chuckle. [5 Nov 1993, p.7]

Remember that ultra-violent scene in "Old Boy" when the dude plowed through a subway platform of bad guys and was the only one left standing? Multiply it by four or five and that's The Raid: Redemption.

Turner cuts a hilarious swath across the screen in a courageously over-the-top performance that perfectly fits Waters' twisted vision. [15 Apr 1994, p.6]

Dawn of the Dead is very much its own movie, and a disturbing one at that. But it also realizes we're in the theater to have fun, either grotesquely or cleverly.

This movie embraces everything that should make it lousy, calling out itself for aping the source's bad ideas then flipping the script with meta precision.

As a purely sensory experience at the movies you're hard-pressed to find anything more dazzling than the first 90 minutes of The Great Gatsby, when Luhrmann's riotous amusements make anything possible.

While the result isn't the greatest show on Earth, it certainly is a lot of fun.

Another Earth is stealthily effective, with silences often counting more than words.

Choosing any unwieldy subplot to trim from Rio 2 is tough, as they're each so vibrantly rendered.

Lin siphons elements of his previous gig into this one. More precisely, he accentuates the existing "family" dynamic of Star Trek, leading to genuinely earned lumps in Trekker throats.

Philomena is simply one of those small, true stories that astonish in print and inspire good movies.

It's about time that another Scream flick came along to gouge the new cliches out of their sockets. Scream 4 does it in grandly Guignol style.

This is a performance without ego or modesty, for a character without self-respect, played by Witherspoon as unvarnished as any pampered movie star can be expected.

Gabe Polsky's movie about the dynastic Soviet Union hockey team is surprisingly light on its skates, despite being a Cold War history lesson and conventional sports documentary.

Heaven Is for Real works in mysterious ways for a faith-based movie. It actually leaves room for doubt, in a genre founded on Christian absolutes. Tears aren't jerked; bibles aren't thumped. Believing gets easier.

The Infiltrator is an evocative crime drama, anchored by Cranston's gift for playing internal conflict with wordless expression and that deep, clinched voice.

There's a pervasive cruelty, a condescension toward common folks like the Westons that's frequently off-putting, even as we're laughing.

A sensory and intellectual overload from start to finish, a brawny, brainy summer movie that may infuriate as many viewers as it enraptures.

This summer's funniest movie.

There's a subtle wisdom to this screenplay that complements its exceedingly bad taste, small lessons among the laughs.

As usual, psychological anguish is a key element of Marvel heroes. Age of Ultron boasts a cast of actors that "serious" filmmakers would kill for, so the gravitas they're capable of conveying amid such outlandish fantasy is the franchise's stealth advantage.

Even in repetitive or undernourished moments Keaton, Offerman and Lynch always entertain. Their performances have fallen through the cracks of awards season.

The Avengers is as brawny and lamebrainy as any comic book movie deserves to be, capped by a 40-minute assault pummeling senses as few action sequences ever have.

The images captured by cinematographer Adam Arkapaw are more dreamy than nightmarish as if his camera — like the children — doesn't fully understand the dangers.

Even when The Net goes off-line, Bullock's captivating presence is a screen saver. [28 July 1995, p.6]

A nice balance of solemn myth making and genre irreverence lifts Doctor Strange to Marvel's first tier of movie franchises.

How many surprises and peaks can Walken possibly have left, after so many movies and memorable roles? Well, there's this one.

Vallée's movie itself begins falling apart after being so artfully put together. Yet Gyllenhaal's performance is the center that holds, making Davis' melancholic obsession and irrational acts seem like the sanest things anyone could do. His disintegration is the actor's triumph.

Tampa Bay wears fringe nihilism well, including wet-fever dreams of trigger-happy angels floating on cannabis clouds and dusted with cocaine like beignets waiting to be licked clean. Or drug gangstas sporting cornrows and gold-grill teeth, living large and thinking three-ways. Film as a fetish tool, that's what Spring Breakers is all about, y'all.

If he made The Ghost Writer under a pseudonym, it might be roundly hailed as the classy white-knuckler it is. But it's Polanski's name above the title, with his own ghosts haunting each frame.

Whatever definition of "dope" you prefer, it applies to Rick Famuyiwa's movie of the same name.

Spider-Man: Homecoming does the improbable, successfully rebooting a reboot of a trilogy that did the job well enough only a decade ago. It's a movie that could be unnecessary but isn't.

Forbes' screenplay is fuller of humor than the topic might suggest, and Ruffalo as usual is imminently watchable, in a uniquely feel-good movie.

Even with its faults, The Fugitive is an uncommon joyride among this summer's movies: a thriller that doesn't depend on bombs, bimbos or blue-screen effects to scare a smile onto your face. [6 Aug 1993, p.14]

The man is a movie star, underline it twice. Cruise is this young century's personification of what it takes to earn that title, a perfect storm of personality, drive and talent on delivery, incapable of irrelevance.

It works because Timberlake and Kunis are totally in control of their damaged characters without winking at the audience, as if to say: "Aren't we cute, behaving so naughty?" Their sex is amusingly awkward, and their repressed longings more so. It's the kind of chemistry that comes along once in a generation.

2 Days in the Valley is a neatly folded piece of cinematic quirk.

Corbijn keeps the intrigue uncluttered, guided by Andrew Bovell's economical adapted screenplay.

Working for the first time with French cinematographer Jean-Claude Larrieu, the director retains his signature framing and crimson flourishes.

Jeff Nichols fashions three-quarters of a terrific movie with Midnight Special, a slow burn science fiction thriller. The rest is merely gripping, which isn't a bad problem to have.

Lynn takes a familiar premise and makes it a small gem for 94 minutes, if not beyond. [30 Mar 1996, p.2B]

The R-rated Bad Moms channels the raunch in a liberating, hilarious way.

The movie's first half is its funniest, as Moore sets up this alternate low-resolution universe.

It only took four years for New Jack Cinema to devolve into the same old cliches of the 'hood, and only 86 minutes for the first family of def comedy to blow them away. [14 Jan 1996, p.2B]

Wormald won't make anyone forget Bacon, but he dances better, and without a stand-in. Hough's dance ability is well-known, but she also displays flashes of acting skill.

The Kids in the Hall might be impossible to like if they didn't pursue their constitutional right to offend with such whimsy and joy. Even in their darkest moments, the comedy doesn't seem mean-spirited, and there is a righteous undercurrent that hints the guys care about their targets more than one might think. [19 Apr 1996, p.3]

Like Lone Survivor and Deepwater Horizon before, Patriots Day is a brawny procedural, more than the exploitation flick it could be. Berg and Wahlberg's commitment to details beyond death and destruction feels like a calling.

The choicest performance in Animal Kingdom is Weaver's sing-song sinister matriarch of the Cody clan, a cheery sort with the benign nickname "Mama Smurf."

War Dogs is cocked with an irreverent pedigree and loaded with the genius teaming of Jonah Hill and Miles Teller as high rolling gun runners making up everything as they go. It's a splendid mismatch, physically and tempermentally, folded into a screenplay that's only occasionally as razored as it might be.

This movie, saddle sores and all, is a lot of fun.

Finally, a horror film that doesn't turn on the gore machine nor confuse dread with decibels. One of the most convincing members of the cast is the gloriously creaky old house that sets up the spooky action. [23 July 1999, p.03]

Rudy and his wonderful story could make even an FSU fan genuflect before Touchdown Jesus. [13 Oct 1993, p.6B]

Outbreak is an expert what-if nightmare, albeit occasionally tempered by conventional distractions. [10 Mar 1995, p.2B]

The movie is as quietly assured as its heroine, Bathsheba Everdene, gracefully played by Carey Mulligan.

Nobody's Fool is an actors' showcase and a dramatist's doodle. But what an actor. Newman's eloquent, understated portrayal of a jovial heel ranks among his greatest. [13 Jan 1995, p.8]

Working in tandem they (Gordon-Levitt/Shannon) make Premium Rush a movie that's off the chain, as the kids say.

As viscerally exciting as Padilha's RoboCop can be, the movie is elevated by serious considerations of the ethics of using robots as guardians (shades of drones), commercialism, playing God with science, and what being human is about.

The triumph of Manhattan Murder Mystery is the return to form of Keaton, whose Annie Hall mannerisms have been smoothed by age, but can still erupt in the face of frustration. Watching her and Allen work together again is a joy; there are times when it seems that this couple is actually Annie and Alvy Singer, all grown up and no place else to go but New York City. Keaton's delightful performance is the re-emergence of a fine actor who was creatively sidetracked too long. [20 Aug 1993, p.8]

Hercules isn't likely to be revered 30 years from now like other Disney classics, but it's smart, safe family entertainment. [27 June 1997, p.3]

The Force Awakens accomplishes its fan base mission, bringing back a modern myth with the torch-passing respect it deserves (plus some crass commercialism it doesn't).

Haynes designs a perfectly nostalgic sensory experience — something like a Manhattan department store window — needing a suppler story to sell.

The River Wild is simply a terrific nail biter, with the same constant, misleadingly tranquil jeopardy that give whitewater rafters such a charge. [30 Sep 1994, p.6]

Quantum of Solace bends whatever rules 2006's Casino Royale didn't break, presenting more action in less time, with a world domination scheme based on natural resources rather than unnatural gadgets.

Ritchie stages plenty of gunfights and beatdowns to satisfy action fans, pausing to consider the beauty of violence before resuming speed and piling on more.

Megamind's Kryptonite is a common weakness for any comedy so fast out of the blocks: It simply runs out of surprises.

This movie's balletic brutality, its relentless pacing and practical stunt work are breathtaking.

This movie is smart terror that’s a lot of fun if you let it be. Stay quiet or stay at home.

For two hours it's a fun head trip.

Woo's film has an exciting look and visceral feel that is unique in Western filmmaking. If nothing else, it should increase video rentals of Woo's foreign films and make a ton of money for those happy capitalists at Universal Pictures.

Stone is terrific, easy to cheer. She's feisty but a bit softer around the edges than King deserves. Another Oscar nomination is certain. Throw in Steve Carell's uncanny impersonation of Riggs and a stellar supporting cast and Battle of the Sexes has the makings of fine time capsule comedy, an extraordinary sports happening even by today's wired standards.

Thompson's fans will embrace its twisted verbal dexterity, romantically imagining the author feverishly pulling strings from the beyond.

10 Cloverfield Lane superbly shuffles what we know (and don't) and what the characters are experiencing.

Hugo is Scorsese's most personal film, from the standpoint of both an artist and a grandfather. He is as interested in Melies' posterity as in making a movie that his descendants can see before they're adults.

Director Jean-Marc Vallee dutifully progresses from one obvious scene to the next. Solid work but unspectacular, perhaps figuring the boldness of his characters' words and actions can be artistic enough. And it is, in the hands of a temporarily reformed sex symbol and his unexpected leading lady.

Director John Madden and an ensemble of polished actors in their second primes make this a constant amusement and a nice alternative at the movies.

Christensen plays him with Lecter-like intensity; the unsettling calmness of someone capable of anything.

Frankel's movie is as refreshing as a walk in the woods and surprising as a chance encounter with the best that nature can offer.

One of the best screen encores since Hollywood started depending on sequels to break even. It accomplishes what audiences should demand from a follow-up; familiar characters with a new slant to their exploits that makes us view them differently from before. Nostalgia isn't what it used to be around the Brady household, and we'll thank Sanford for that as soon as we finish snickering. [23 Aug 1996, p.5]

Baumbach keeps everything dialed down to medium cool, with occasional flashes of exuberance like Frances dancing down a street to the beat of David Bowie's Modern Love.

Dragon: The Story of Bruce Lee is therefore one of those rarities, a biography as entertaining as it is informative. [7 May 1993, p.6]

This movie has everything up its sleeve and presto chango at its core, ending in defiance to the plot's established logic before viewers realize they've been had.

Leaner than "Harry Potter's" adventures, meaner than the "Twilight" saga, The Hunger Games lives up to its source if not entirely the hype.

The Gift is B-movie melodrama at its lurid finest, and worth a look.

With Mock 1, the Hunger Games franchise continues to entertain and evolve, not perfectly but smartly, so we can't wait to see what's next. That's what counts when all is said, done and deposited in the bank.

The first film that comes close to capturing the Bohemian flair and everyman accents of Generation X life while remaining a first-rate piece of entertainment. Stiller and his knowing screenwriter Helen Childress fashioned a wise, very funny film that brightens the slow early going of 1994. [18 Feb 1994, p.6]

Snitch is grittily streetwise, and until its last 20 minutes fairly credible compared to other movies "inspired by" true stories.

How much you enjoy Presumed Innocent depends on whether you read Scott Turow's exhilarating legal thriller about a prosecutor charged with murdering a colleague who was briefly his lover. If you haven't, director Alan J. Pakula's adaptation will leave you dazzled and drained long before the final twist. If you have, you'll appreciate Pakula's faithful, though overly restrained, approach to Turow's 1987 novel that sold 1-million hardback copies and spent 44 weeks on The New York Times best-seller list. [27 July 1990, p.6]

The filmmaker who counted A Place in the Sun, Giant, and The Greatest Story Ever Told among his epic works made this rather intimate Western in which character dominates the landscape. [18 Aug 2000, p.9W]

Running on Empty, for all its implausibilities and pseudo-radical bourgeois banter, is an unusually engaging movie. [14 Oct 1988, p.10]

Distant Voices, Still Lives is both a personal and social portrait. It often flows without dialogue, eloquently relating a tragic story that words could not describe. [10 Nov 1989, p.13]

A well-intentioned but negligible story elevated to the charming through elegant performance and direction. It probably wouldn't work with any other players, but it gets high marks here. [27 July 1990, p.7]

Salaam Bombay brilliantly reminds us, with barely a trace of sugarcoating, that there must always be room for the children. [23 Dec 1988, p.8]

The Last of the Mohicans is grand entertainment. Romantic, exciting, though unremittingly violent at times, it is rich in frontier lore and in its respect for the land that the conquering settlers too often take for granted. [25 Sep 1992, p.5]

Fonda's comedy instincts are in top form as a herpetologist duped by a con artist (Barbara Stanwyck) in a screwball comedy from director Preston Sturges. A vintage example of pratfalling into love. [16 May 2002, p.11W]

It's a feather-light fantasy bouyed by faith, hope and good will. [15 Dec 1989, p.12]

After his hit-and-miss starring role in Purple Rain and the so-bad-it's-funny Under the Cherry Moon, Prince has come into his own as a film maker by doing what he does best: putting his consummate musical and performance talents into a vehicle that smokes from wire-to-wire. [29 Dec 1987, p.3D]

Aladdin is a treat for adults, as much as it is for children, because the big blue Genie of the lamp is none other than Robin Williams. [25 Nov 1992, p.7B]