To its credit, the film isn't foolhardy enough to challenge the unbeatable Errol Flynn version on its own star-power turf. Gritty in most ways, broadly comic in some, and with a dose of the morbidly supernatural, this is a knowing variation at odds with quaint vintage-Hollywood reverence. [14 June 1991, p.1D]

There's one reason to see Tim Burton's flawed, somewhat declawed but often amusing do-over of Planet of the Apes. The apes. What else?

Not only an intelligent, well-told and deftly acted story, it provides refreshing counter-programming in a season filled with noisy, uninspired sequels and mindless action movies.

But this telling of the story filmed on location in the now democratic South Africa is especially heart-rending thanks to superb performances by James Earl Jones and Richard Harris. [1 Jan 2000]

Rude, wrong and laugh-till-you-snort funny, Jackass Presents: Bad Grandpa not only stands as the best installment (by bounds) of Johnny Knoxville's hidden-camera franchise; it's one of the sharpest comedies of the year.

As funny and bitingly satirical as one would expect from his Key & Peele sketches.

Impassioned, informative and entertaining, if sometimes repetitive.

At just 82 minutes, the film's welcome doesn't have time to wear out; especially amusing is the use of '50s pop ballads and some droll elementary-school classroom scenes. Randy Quaid and Mary Beth Hurt are as ''right'' as the indoor production design. [30 June 1989, p.3D]

A must-see for animation fans.

Does “Sleepless in Seattle” slathered in supernatural madness sound like a good time? Then dive into “The Gorge," a Whitman’s Sampler of film genres with a delightfully sweet center that belies its freaky packaging.

Uneven, amateurish and borderline misogynistic. But it's also very funny, and it never loses its cool.

There's more terror than entertainment here, though. I've seen a lot of movies in my life I couldn't wait to see end; this may be the first good one.

Mother and Child is as tangled as the emotions that link parents and children.

The film's most engaging character is not actually human: It's Manhattan, of course, a point made repeatedly over that protracted dinner by the voluble lovebirds.

It’s an irresistibly arresting “Beverly Hills Cop” that knows when to play the hits.

You have to love any movie in which Robert Mitchum sells trains in a toy store and Janet Leigh looks the greatest she ever did on screen this side of Jet Pilot. [19 Dec 2008, p.6E]

While it focuses more on character moments than absolute Bayhem, Bad Boys for Life does feel a bit long and there is a late out-of-nowhere plot twist that feels a little far-fetched even for these movies. Thankfully, neither detracts from the delightful spectacle that comes with Smith and Lawrence fist-bumping and insult-slinging just like it was 1995 again.

A well-crafted affair by debuting director Dan Trachtenberg that mixes elements of an intimate stage play with the white-knuckled tension of a cracking good Twilight Zone episode.

Hardy is half of why Capone works. The other is Trank, the wunderkind whose nuanced 2012 superhero movie “Chronicle” showcased tons of potential that then was questioned with the disastrous “Fantastic Four” and the loss of a “Star Wars” film in its aftermath.

Though rambling and at times self-indulgent, its wit and pageantry, boosted by Heath Ledger's final performance, render it irresistible.

Though dully directed and a bit prettified by Martin Ritt, James Wong Howe's outdoor Pennsylvania vistas often combine stirringly with Henry Mancini's score. [26 Jul 1996, p.3D]

This is a blueprint for mainstream moviegoing, but be forewarned that the finale is surprisingly down-and-dirty. In this case, though, the violence blisteringly redeems what has been a merely OK thriller. [8Nov1996 Pg.01.D]

The Fall is aptly named not only because it pertains to a tragic descent but because viewers will feel as if they have plunged headlong into an alternate universe with this dazzling adult fairy tale.

A surprisingly savory treat, though it doesn't bear much resemblance to the charming classic children's book on which it's based.

An often breathlessly exciting action thriller told with humor and intelligence.

Stately but static. [23 December 1997, p.3D]

Ruffalo and Knightley make an engaging pair of colleagues and their musical adventure together results in an enchanting, gently funny and occasionally poignant story.

Sarandon is worth leaving home for, even if Jeff won't.

These characters are interesting for their flaws and wounds, but the movie doesn't delve deeply into the sources of their pain. See this movie for its humor and talented cast and you won't be disappointed.

The car chases are unremarkable, but the stunts — which comically juxtapose Tatum's athletic grace and Hill's stocky clumsiness — are a hoot.

Even tonal issues can’t upend the magic this movie taps into putting Thor and Hulk together as new best buddies, whether they’re throwing down in an arena or having a bromantic heart-to-heart.

While its narrative is unnecessarily complex and its story influences obvious, director Karyn Kusama (“The Invitation”) is mostly successful juggling a noir style, shifty denizens and shadowy dealings under L.A.’s bright sun.

With “Tragedy of Macbeth,” something wicked this way comes – something familiar to anyone who remembers high school English classes but also at times a darkly enchanting delight.

Farmiga never seems to strike a false note in any role, but this is perhaps her most reflective and multi-layered performance.

Despite an abrupt ending and the worst title of the year, Arbitrage manages to leverage real tension from its veteran stars in one of Hollywood's first pedigreed films of the fall.

Like "Anchorman," the secret to the inspired absurdity of Talladega Nights: The Ballad of Ricky Bobby is in the improv.

More than a quarter-century ago, Redford played a young CIA employee in "Three Days of the Condor." Someday, it will make a great living-room double bill with Spy Game -- the actor then and now.

Entertainingly epic eye candy.

Neighbors is the "Animal House" for an era in which food fights seem quaint.

This fun-filled adventure avoids formula with a whimsical story and terrific voice casting.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

Brutally intense and elegantly crafted, the film showcases the stellar acting chops of Andrew Garfield and Vince Vaughn, and it’s director Mel Gibson’s best work behind the scenes since 1995’s Oscar best-picture winner Braveheart.

The story has just the right blend of child-centered silliness and winking adult humor.

In the Heart of the Sea really gives Hemsworth a chance to shine. He’s not just the hammer-slinging Thor: The Aussie continues to make the most of his dramatic work — as in Howard’s 2013 Formula 1 film "Rush" — and showcases a considerable amount of gravitas.

It's consistently funny -- with witty dialogue and offbeat banter that stays in your head for days.

A deep and adventurous exploration of canines as man's (and one particular kid's) best friend.

The movie has a couple of surprises, including a major plot turn at the end that leads to a memorable resolution somewhere between happy and wistful.

The illegal goings-on move to New York, where the plot plods until the crew gets together and the movie unleashes its secret comedic weapon: Anne Hathaway.

Visually stunning and narratively stunted, this IMAX documentary is the family version of 2006's "An Inconvenient Truth," Al Gore's Oscar-winning documentary on global warming.

James is a stunner with a breathtaking array of eye-teasers. [12 Apr 1996]

Intricately plotted without being contrived and exhilarating in its eccentricity.

Beauty is about two-thirds the serious-edged romp it would like to be, which still leaves a lot of room for tony fun.

Among the many things it does well — from hilariously quotable lines to catchy, albeit obscene, songs — the mockumentary Popstar: Never Stop Never Stopping has found the best use for the poop emoji yet.

Indeed, Eve's milieu is fresh and specific enough to make even Jackson subordinate to Kasi Lemmons, the writer (and sometimes actress) who dreamed up this story for her directorial debut. [07Nov1997 Pg08.D]

This time, he (Ang Lee) has Kevin Kline, Joan Allen and Sigourney Weaver trudging through ice both emotional and literal -- an omnipresent metaphor but not one unduly sledgehammered. [26 September 1997, pg. 1 D}

Feig blends a keen sense of physical comedy and exquisite timing with all the requisite spy-flick tropes, from the trippy and stylish opening credits to surprisingly violent, bone-breaking action scenes that he refrains from playing for laughs.

A junior chick flick. But unlike many of its more mature counterparts, it is emotionally affecting, avoiding the manipulation and formulaic camaraderie that often spoil the genre.

The Overlook Hotel is still plenty creepy, as is the crusty naked ghost lady in Room 217. But the adaptation of Stephen King's Doctor Sleep is more likely to keep you awake at night with the fresher stuff than the retreads.

Alas, what you've heard about Sofia Coppola (as Michael's daughter) is true; she swallows words and speaks “valley girl.'' What a difference Winona Ryder would have made. [24 Dec 1990, Life, p.1D]

It reminds the generations who witnessed Jackson’s ascension in real time of the extent of his singularity and educates younger audiences about the magnitude of his talent and scope.

This very funny spoof of telenovelas and classic Mexican westerns is decidedly offbeat and absurdly daffy.

As an aging wheelman-for-hire on an underdog racing team, Pitt brings plenty of personality – and vroom-vroom steeliness – to the on-the-track thrills of the crowd-pleasing if mildly predictable F1.

Scarlett Johansson is ideally cast as a rapidly evolving kick-ass hero in Lucy, a stylish action thriller that is equal parts dazzling and ludicrous.

It’s another complete and uncanny transformation for Theron, who dazzles as anchor Megyn Kelly in the all-star drama Bombshell.

A sense of family, the one you have and the one you make, strongly pervades every inch of the world that The Good Dinosaur inhabits.

The dialogue is fast-paced and full of pop-culture references. It all makes for an entertaining blend of buddy-cop action and irreverent teen-comedy satire.

The thin story, which sometimes feels like a series of one-liners strung together, is wisely kept short. But the gags are funny and the characters endearing.

While it's the most ambitious of the three films, it's not as mesmerizing as 2008's "The Dark Knight." The plot is occasionally murky, its archvillain lacks charismatic menace, and the last hour is belabored.

Girls isn't fabulous, but you do feel its characters really have connected.

Damon and Affleck lead a starry action vehicle – including Golden Globe winner Teyana Taylor – that, even with some plot issues and an overbearing intensity, is way better than most straight-to-Netflix potboilers.

Blast feels positively timely if not downright positive about the human race's ability to endure. Forget radiation. Fraser and folks actually survive three decades-plus of Perry Como music. [12 February 1999, Life, p.8E]

Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.

The side story about Muslim extremists is a little ham-handed for a film that otherwise exercises such restraint.

Despite pockmarking racial humor, this is an appealing Fred MacMurray-Barbara Stanwyck companion piece to Double Indemnity and Douglas Sirk's There's Always Tomorrow. [29 Sep 1995, p.3D]

The milieu here is unforgiving, which makes fighting for basic rights important. You get a sense of why Bob Dylan -- who performs on this soundtrack -- wanted to bolt this frigid part of the map.

While the tension is sometimes muted, this is more than a procedural round of spy games. The deliberately paced but riveting film is made all the better because of Hoffman's breathtakingly nuanced portrayal.

If feuds, drunken outbursts and thoughtless bed-hopping sound like fun, then A Christmas Tale is a hoot. Some wry humor runs through the course of the overly long saga. But there's not enough dark wit to mitigate the tedium and pretentiousness.

Furious 7 offers edge-of-the-seat excitement with outlandish action sequences, inventive stunts, hilarious cartoonish moments and even some touching emotion.

The point of the film is not to scorn or mock the Siegels, despite their excesses. They embody the quintessentially American urge to live beyond one's means. Their saga is simply the story of a nation's materialism writ large.

Like a bag of Skittles come to life, there’s more sugar and style to Trolls than substance — with the exception of a “Find your own happiness” theme — but you’d be hard-pressed to keep from smiling throughout the trippy dance sequences and clever banter in this feel-good confection.

Earnest and understated, Gran Torino is an unflinching examination of themes that have fascinated Eastwood in most of his recent films: family, war, loss, faith and unexpected human connection.

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.

The Curse of the Golden Flower is the year's most operatic and visually lavish film.

Mashing up satire, subtle social commentary, clever gadgetry, keen wit and high-octane style, this spy saga — based on the comic book series The Secret Service — is bolstered by a terrific cast.

The Long Walk Home sounds as if it's going to be one of those primers in contemporary social history with made-for-TV written all over it. This is much, much better - even worthy of the big screen. [21 Dec 1990, p.5D]

Though the documentary painted a story and highlighted onboard emotions of anxiety, frustration and fear, something was missing: input from health and industry officials.

Hyperviolent, highly watchable action comedy.

Marvel’s Black Widow is a strong solo superhero effort that feels both timely and also way too late.

July is solid throwback storytelling, a crime yarn that may not blow you away but can cut to the bone.

The glacial pacing may put some people off, but it also has a hypnotic quality. And some viewers might find it fascinating to be a voyeur into someone's tortured psyche.

The film's look, fashioned by production designer Michael Howells, is noteworthy for its vibrant colors and fantastical feel.

Artful and emotionally compelling.

The movie cleverly spoofs the 24-hour TV news cycle, as well as sexism and racism in the workplace. Not every scene is equally funny, of course, but most of the comic antics generate laughs.

The quirky film is simultaneously bizarre, humorous, disturbing and suspenseful.

Both female roles are unexpectedly meaty, so much so that the film loses something once the far more lively Stone is dispatched. Hour one (more satirical) is better all around, though the falloff isn't fatal. [1 June 1990, Life, p.2D]

An engaging tragicomedy, exploring the consequences of single-minded fervor in a humorous and humane fashion.

A long-on-video 1993 release now restored to its original Cantonese with different music and more audio pop.

As opposed to modern horror flicks like the "Saw" movies, where gruesome violence can almost blunt fears, The Woman in Black is a tasteful, old-school frightener, emphasizing suspense and foreboding over blood and guts.