Diana’s a superhero without a chip on her shoulder; she was raised in love, and Gadot lets that belief shine through her eyes. You’re both drawn to this woman and in awe of her.

The variety of inspirations (not to mention the visual quality of the film clips) is astonishing.

Last Jedi is deep. It’s also rollicking. It’s right up there with the very first “Star Wars” in terms of its enjoyability factor. It’s a triumph.

Guadagnino has explored this territory before...and he’s a master at finding electricity in a glance, beauty in a beam of sunlight, an entire story in the whisper of one name.

Like Kaling’s Molly, Late Night is immensely likable; so much so that you wish it were perfect.

It's a spirited, sumptuously crafted tale about two spoiled Americans, Jake (John Malkovich) and Tina (Andie MacDowell), who have pushed their credit cards to the limit and now are going bankrupt in a London luxury hotel. Andie MacDowell almost equals her performance in sex, lies, and videotape. Funnier and looser than she was in Green Card, she's on her way to becoming our subtlest screen comedienne. [26 Apr 1991, p.3]

Director Caple Jr. takes his time allowing Ramos and Fishback to develop their characters as they fight being marginalized and dismissed in ‘90s New York. They’re no mere cardboard characters but rather fully dimensional individuals, a rarity in “Transformers” movies.

Coogler is a young filmmaker — this is just his third feature, following “Fruitvale Station” and “Creed” (two fine and very different films) — but he marshals this world with confidence and flair. The action sequences are insanely fun.

The acting in all roles is first rate, but in this one De Niro regains the title of undisputed champion.

The movie lets Israel have the last laugh, deliciously so.

Diego Garcia’s cinematography plays a key role, showing us lavender sunsets, endless plains and fire spreading down a hill like melting butter. Amid this beauty, Dano’s direction is restrained, letting us focus on the pain in Mulligan’s darting eyes.

The gorgeous, perfect final shot of Pain and Glory — I might have gasped out loud — will make you feel glad to be alive, and in a movie theater.

There is grace in Sarandon’s performance. And heartbreaking power.

See How They Run is the Saoirse Ronan show. Start to finish. Top to bottom, Now and forever. Amen.

Kobayashi's 1967 hit reflects the social tumult of its time by depicting a defiant swordsman amidst totalitarian excess. The film's escalation of tension is almost unbearable, and Mifune erupts with a ferocity that's as righteous as it is ultimately tragic, for Kobayashi refuses to soften the film's devastating imbalance of power. [16 Jun 2006, p.I22]

The tension never lets up and the shocking twists in the story need to be seen to be believed.

Absorbing 1958 adaptation of Terence Rattigan's play about lonely people at a British seaside hotel. [20 Aug 1998]

It’s impossible to watch this film without a tapping toe and a smile.

At the center, the true general, Prince-Bythewood, marshals every aspect of The Woman King in concert, conducting action, thrills and emotion beautifully. It is a remarkable, powerful film, and not to be missed.

Angela Robinson’s fascinating and surprisingly sweet-natured film is a different sort of superhero origin story, and an appropriate bookend to this summer’s “Wonder Woman.”

Oddly, the film lacks any footage of Twisted Sister’s videos or hit songs, which received heavy rotation on MTV. That may be a drawback for casual fans, but the juicy details about the band’s early days make up for it.

Hawks drew from his entire career to enliven this amalgam of genre traditions, once favored by Quentin Tarantino as a litmus test for potential girlfriends. [26 Oct 2003]

Dreamy and impressionistic, interspersed with fantastic bursts of animation, We the Animals plays like a gauzy, mesmerizing, half-remembered experience from childhood.

The Intervention feels confident and accomplished: The cast immediately seems to bond as a group, with each playing a distinctive, recognizable character. And as the camera becomes a discreet ninth guest, you quickly find that you care about these people.

Fred Rogers is gone and the world is a much scarier place; this film, like a gift, briefly transports us back to the calm we felt long ago.

It’s a world of fantasy, but as depicted in Dungeons & Dragons: Honor Among Thieves, it has a solidity and imaginative depth that makes it seem astonishingly real.

What the movie makes clear is that that deeply spiritual moment represented a triumph of management.

Disobedience unfolds quietly but passionately, with a generosity of spirit toward its three central characters.