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]