Nobody can disagree that Waiting for Superman deals with a subject demanding attention. But it paints the engulfing problems of U.S. education with a brush too broad and samples too small to be definitive.

Ridley Scott's The Martian is a brainy blockbuster, melding genuine science and fiction into a rare popcorn epic that actually makes you feel smarter for watching.

The movie grabbed me and wouldn't let go during a bravura set piece at a soccer game when Campanella's camera glides into the stadium, finds Benjamin's face in the crowd and doesn't stop moving (with only a couple of edits) for six breathtaking minutes.

The Safdies' knack for '70s-era grit set to techno beats impresses nearly as much as their star, a teen dream waking up to an exciting new stage of his career.

The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.

Incendies is a gallery of nightly news atrocities - a bus massacre, rape, children with guns - yet it's made intensely personal under the director's steady hand.

The man's goodness and his support team's devotion are quickly obvious; Gleason is nearly two hours long. Tweel could get to every uplifting turn his movie makes a bit sooner.

Casino Royale mostly succeeds as an introduction to a badder Bond than ever.

It's a remarkable movie, the first of 2015 that I can't wait to see and hear again.

Levinson's Bugsy is painted against a vast tableau as sprawling as his Avalon and Rain Man. Bugsy is his most sophisticated film to date, a celebration of an outlaw's scheme to turn sand into gold; not for profit, but for love of a woman called Flamingo. [20 Dec 1991, p.24]

Sure, Arnold's movie is aimless, at times frustrating, like its characters. It's also a harshly poetic reflection on what being young must mean today.

True Grit is a very good movie that might be more embraceable if we didn't know who was pulling the trigger.

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).

Director/co-writer Miller and terrific performances make Lorenzo's Oil one of the don't-miss movies of the year. [22 Jan 1993, p.5]

For those viewers who've watched Stewart's recent progression in offbeat films like Camp X-Ray and Still Alice — when she held her own opposite Academy Award winner Julianne Moore — it shouldn't be a surprise. Clouds of Sils Maria matches Stewart with another Oscar honoree, Juliette Binoche, with equally impressive results.

Thanks to Jackson's involvement as a producer, Berg has time and access Berlinger and Sinofsky didn't, allowing expansion of whatever material that's repeated.

Eat Drink Man Woman cleverly leaps between the two generations, with a wise sense of humor that illuminates the security and restrictions of the ties that bind. [02 Sep 1994, p.6]

The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.

Alex Garland’s Annihilation is a bracing blend of cerebral sci-fi and grindhouse terror, a genre movie that’s more, maybe too much for some viewers.

Good performances and flashes of goose-bump-raising wit, but one is left wondering what all the fuss was about. [16 Sep 1994, p.12]

In the movie's best moments, Rivers is defiantly obnoxious and forthcoming about the fact that she'll do anything for money. At other times, the filmmakers attempt to make the wildcat warmer and fuzzier.

A Most Violent Year has its share of wham-bam moments — a car-truck-foot chase into the city's bowels is superb — but the action never speaks louder than Chandor's hard-boiled words.

Gone Girl is a terrific movie, everything the book and its fans deserve.

Only Scorsese could craft a film of such moral gravity for multiplexes and fascinate for nearly three hours.

Buckle up for a bumpy ride but one that a road warrior like McQueen would hitch in a heartbeat.

A boxing movie swinging in too many directions at once, as if someone sneaked a third clubber into the ring. All the emotional punches land solidly, to occasionally devastating effect, but at the conclusion you're not sure which competing cliche wins.

Herbert's tale is twisted into a barely recognizable rush of pretentions made entertaining by Jodorowsky's glee in describing them. At age 85 he remains a madman with immense personality, a pinhole visionary insisting his Dune would be a prophecy shaping generations. Jodorowsky's Dune makes a viewer wish he'd gotten the chance.

Green Room is a blunt instrument of terror announcing Saulnier as a filmmaker to watch, just as soon as you pry those fingers off your eyes.