The logistics of this outdoor adventure may not be entirely convincing, but the characters usually are. That's a rarity in this kind of picture, and Anthony Hopkins and Alec Baldwin rise to the challenge with some of the best work they've done in a long time. [26 Sep 1997]

While it is a work that can only hold a candle to the enduring piece of literature written all those decades ago, there is still something oddly spectacular about it.

King of New York may have its moments. But with the standard in gangster films so high right now ("GoodFellas," "The Krays," "Miller's Crossing"), there's no real way to recommend it. [12 Jan 1991, p.C3]

We may know how this strange saga ends, but Dumb Money will make you feel something, too. Whether that’s jubilation for the Davids or rage at the Goliaths, well, isn’t that kind of the point?

A haunting and lovely documentary.

Although the film is a beautiful tribute to Pavarotti, the less-inspired approach Howard took to the film plus a slower editing beat (the running time is 114 minutes) compared to his examination of the Beatles makes the project seem like a small step backward.

The film is an achievement in authentic world-building, but you can’t shake the feeling that what Mid90s does say isn’t perhaps what Hill intended it to.

In any future compendium of film clips from anti-Hollywood satires, Swimming With Sharks will surely be included. Several scenes are so incisive and well-written that they stand out as classics of their kind. [09 June 1995, p.H32]

Marshall is a handsome, old-fashioned film about a real-life hero, with a message of equality and justice that always bears repeating.

Harriet is a handsome and surprisingly quiet film, taking the time to honor the main character’s deep religious faith.

Ball takes his time presenting Noa’s world in detail. Too much time, frankly. There is no real sense of urgency here. Everything is carefully worked out. The visuals are handsome but unremarkable. Consequently, the picture feels dutiful and oddly bloodless.

The script by sports-movie veteran Ron Shelton is an understandable but rather monotonous attempt to deal with the differences between hard truth and media-created mirages.

There’s room for improvement in the “Fantastic Beasts” universe; perhaps we’ll see it in the next installment or two. Meanwhile — even if you, like me, are a bit Pottered out and wish Rowling would devote herself instead to her marvelous Cormoran Strike detective-novel series (magic comes in many forms) — it’s still a pleasure to revisit the author’s world.

This gem of a film manages to draw together our questions about the universe and ourselves into one single adventure story that hits every emotional beat. It’s what Pixar does best, and “Elio” is another knockout, a quiet but determined shooting star that earns its place in the galaxy.

The remake is both more romantic and more resonant than the original. It's less of a star vehicle for its leading actor, and it sticks to its guns right down its stunningly orchestrated finish. In almost every way it's an intelligent improvement. [05 Feb 1993, p.3]

When Frankie and Johnny works, it works because of Pfeiffer, whose impact is cumulative. Pfeiffer finds her own kind of truth in the role, especially in the final scenes, when the character's looks cease to matter. [11 Oct 1991, p.3]

The original “Deadpool” caught lightning in a bottle. The sequel sparks only intermittently.

Affleck, who has struggled in real life with alcoholism and has been in and out of rehab on a number of occasions over the years, makes his character’s pain palpable and totally believable.

Though The Infiltrator breaks no new ground in its storytelling, it is nonetheless a riveting piece of work.

Mary Poppins Returns, made with palpable love for its predecessor, is glorious and gorgeous, and I adored it.

The lessons of compassion and empathy are profound, and remind us that tales of good triumphing over evil are evergreen, even when it doesn’t seem to be reflected in the world around us.

Downton Abbey: The Grand Finale is as good as it needs to be, though like the other movies it’s probably a complete puzzlement to anyone not already familiar with the franchise, and creator/writer Julian Fellowes can’t resist having someone earnestly intone something about Things Change And We Must Change With Them every two minutes.

Bille August, the prize-winning director of "Pelle the Conqueror" and "The Best Intentions," takes on the much-filmed Victor Hugo novel in this sturdy, well-produced nonmusical treatment of the story starring Liam Neeson and Geoffrey Rush. [05 Nov 1998]

Everybody involved seems to be having a blast making this latest “SpongeBob” a funny, fast-paced pleasure.

The action sequences, both on the ground and in space, are rousingly staged. But the losses incurred in those sequences are sobering. The stakes in the “Star Wars” rebellion are high indeed.

The chemistry between the two actors is a pleasure.

Though Wright can’t quite sustain the tension through the final half-hour, Last Night in Soho is full of dark pleasures.

At its best, White Men Can't Jump gives two talented actresses a chance to shine. At worst, it's just somewhat less coherent and compelling than Shelton's previous work. [27 Mar 1992, p.19]