What lifts Equity above ordinary corporate melodrama is its staunchly feminine perspective, and not only in its lead character.

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

Otomo's masterwork uses its brilliantly detailed images to illustrate an epic commentary on the choices that face society and the possibilities for destruction in the near future. [15 Jun 1990, p.7]

Pig in the City is a blatant, heartless attempt to turn a surprise hit into a cash cow. That simply won't do, pig. [25 Nov 1998, p.1D]

There are laughs that stick in your throat, when they aren't broad strokes shattering a forlorn mood that occasionally makes the movie feel like a companion piece to "Magnolia," or any film depicting downbeat people realizing they have more sorrow in common than expected.

Deepwater Horizon is a brawny hybrid of technical expertise and real-life tragedy, with neither quality getting shortchanged.

End of Watch is a repellent movie, first for its shaky-cam conceit rendering much of the action incomprehensible, and finally for seeking to entertain viewers through the thuggish execution of a police officer.

The plot is a piffle but Ozon's presentation is gloriously romantic.

In a movie year of more than two dozen animated films, this and "Rango" tower over all others. Welcome to America, Tintin. It's great getting to know you.

The Conjuring is a throwback to old-school spine tingling, although this movie is less Halloween theme ride and more 1970s post-"Exorcist" terror.

The Homesman isn't as confident with balancing madness and dark humor as Jones' only previous directing job, 2005's border odyssey The Three Burials of Melquiades Estrada. This movie's switchback plotting ambles from crisis to comical, threatening to maintain a tone but not for long.

Next to Swinton's excellent portrayal of a woman on the edge of a nervous breakdown, the movie belongs to the two Kevins, young actors with matching arched eyebrows and sullen expressions.

Early Man proudly retains Park’s simple/not simple Plasticine pleasures.

The East is a crackling thriller and a political statement tough to peg.

Scene by scene, Batman Returns is more outrageous, inventive and fun than the original Batman. Yet, by its apocalyptic ending, Batman Returns is in danger of collapsing under its own weight. [19 June 1992, p.22]

By all accounts, Boston mobster James "Whitey" Bulger was a monster. That's exactly how Johnny Depp plays him in Black Mass, a dark blob of underworld cliches and bad contact lenses.

Quentin Tarantino's The Hateful Eight is vile art, bludgeoning viewers for three hours with indefensibly gratuitous race baiting and blood.

Robinson's screenplay covers all of its bases by the midway point, and then a framing device of Marston being interrogated by a cultural watchdog (Connie Britton) hammers his theories flat.

Chuck is a character study of fleeting fame in prolonged decline, anchored by Liev Schreiber's brutish charisma in the title role.

Graphically thinking outside the box, the Lonely Island comedy team makes a decent splash with Popstar: Never Stop Never Stopping, an SNL spinoff that generally works.

Director Chad Stahelski — Reeves' stunt double for Point Break and The Matrix — aims only for a kinetic revenge yarn with wrinkles drive-in movie critic Joe Bob Briggs might appreciate, like martial arts moves at point blank bullet range; what he'd call gun fu.

The jokes are often double-edged, the performances always spot-on. The Way, Way Back doesn't re-invent the teenage turning point genre, but Faxon and Rash offer a breezy new spin. You'll see more inventive movies this year but few more endearing.

Avalon is a crowning effort by Levinson. He could stop making movies today and be satisfied with his Baltimore trilogy. [19 Oct 1990, p.6]

Feels like half of a good movie, much of it revealed in admittedly thrilling trailers.

My Cousin Vinny is a mildly entertaining courtroom comedy that ultimately must be judged guilty of disappointment. Lynn and Launer's pop-movie mentality wastes a great idea and some terrific performances. [13 Mar 1992, p.10]

It's a story languorously told in three chapters, the first two in the late 1980s and the third 15 years later. Each could be a movie unto themselves. Together they prove Cianfrance to be an effectively unobtrusive storyteller, crafting without artifice what book critics would call a page turner.

While the first half of The Rescuers Down Under is breathtakingly magnificent, the second half is slower than a sloth. [16 Nov 1990, p.7]

Lethal Weapon is harder-edged than Beverly Hills Cop. It never forgets that it's a detective story, an action-adventure with a dash of cheer. Its climax can stop pacemakers at mid-beat. Trash rarely has been this much fun. [06 Mar 1987, p.1D]