Jurassic World gives us enough dino-mite action to stave off excitement extinction.

A family movie with a heart and a brain. And if you aren't moved to tears, you might need an organ transplant.

Time has marched on for the second ''best-picture'' Oscar winner, but this is still a seamy story about two Midwestern sisters (Bessie Love and Anita Page) singing, hoofing and (in Page's case) teasing their way to success. [24 Feb 1989, p.3D]

If it's not conventionally speedy, it is almost always gripping.

An unusually knowing movie from filmmakers of any age, both in its coldly clinical viewpoint and assured filmmaking style that even puts fresh spin on a routine police interrogation. [26 May 1993, Life, p.8D]

While the movie overcomplicates matters as the plot tosses in assorted criminal types and various twists, the leads always keep it watchable just riffing off each other with verbal barbs and sharp looks as their unnamed characters’ icy relationship melts and they find a mutual respect.

The finale, which utilizes vintage home movies to show us the real people we've just seen portrayed, packs a wallop. [19 February 1999, Life, p.13E]

Maestro offers a counterpoint of sorts to last year’s “Tár.” Whereas Cate Blanchett’s look at a fictional conductor is a more insightful look at the complicated aspects of artistry, Cooper’s work succeeds in bringing an American legend to life while also examining his humanity.

When it comes to sheer spectacle, Star Trek, as re-imagined by J.J. Abrams, delivers.

Those who appreciated "Metallica: Some Kind of Monster" will probably enjoy this documentary.

However flawed, this film proves two things: Davis is still peaking as a lead, and Hanks is in a league with funny male leads of any movie era. [1 July 1992, p.1D]

The film's real heart is splitsville Pollack and Davis - he for the comedy his foolhardy fling provides and she for creating a complex character too direct to maintain marital harmony she may well need. It would be heartening if Davis, not scandal, were to be the film's ultimate legacy. Look for her to figure in the year-end supporting actress awards. [18 Sept 1992, p.1D]

Julianne Moore shoots and scores – as well as laughs, cries, smokes, drinks, flies and sings – in the quirky Gloria Bell, which minds a fine line between in-depth character study and offbeat romantic comedy.

A high-octane mind game best enjoyed by following a key character's advice: "The Source Code is a gift. Don't squander it by thinking."

As stuffed with beguiling performances - some of them unexpectedly good - as its script is overstuffed. And though even the beguiled may feel manipulated the next morning (or when hitting the exits), the players put it over by a nose. Happy holidays.

Clint Eastwood remains a competent, rather than distinctive, film maker, but he obviously respects the material. Bird is essentially factual, and we come to understand why so many other musicians thought shooting heroin might enable them to transfer [Charlie Parker]'s genius to themselves. [26 Sept 1988, p. 4D]

Talk to Me speaks powerfully to audiences with its potent blend of extraordinary performances and engaging soundtrack.

Some bits fall flat, yet when the Coens hit, there’s nothing better, especially with their usual ridiculously sublime banter.

Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

Even with the occasional misfire in the plot, Fey’s strong performance throughout the film lets Whiskey go down in smooth and satisfying fashion.

If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

The movie's appeal is largely the result of the perfectly cast James Marsden as Fred, a lovable slacker who accidentally injures a floppy-eared rabbit who calls himself E.B. (perfectly voiced by Russell Brand).

The follow-up plots an extremely familiar course but at least does so with fresh new personalities and more inspired Pacific Island influence.

It's a pleasure to watch these men perform. These are real-life guitar heroes. But it would have been a treat to see more of them talking shop.

Enlivened by a strong cast, Cesar Chavez is a straightforward and inspiring account of a noble man.

Pixar doesn’t have the greatest track record when it comes to sequels, but this follow-up surpasses most everything without Toy Story in the title. The animation is stellar and detailed in excellent action sequences, Michael Giacchino’s score swings harder than ever, and the first film’s family-friendly warmth is just as appealing now as it was then, even if Incredibles 2 isn’t totally incredible itself.

Pooh succeeds by embracing much of what modern films (including Potter's) have largely forgotten: old-fashioned movie pleasures.

In the movie's high point, (Jeremy) Northam conducts an antagonistic interview with the boy, who eludes well-placed lawyerly traps.

Blue Car is like an unpolished sapphire, at once harshly realistic and resplendent.

It's certainly not Mamet's signature rapid-fire dialogue, but it's an intriguing and engrossing departure.

Hollywood excelled at this kind of toughie from the mid-'40s through the mid-1950s, and you can see this film's equal every night on a cable movie channel. This summer, however, it's a jewel. [22 July 1992, p.4D]

More admirable than riveting, Fair Game works best as a portrait of power games at the highest levels.

Side-splitting laughter, along with some powerful cringing, are likely to be audiences' dominant reactions.

Glossy or not, the movie is unflinchingly tough-minded, down to its Hollywood-weepy ending, which, if you think about it, may be the year's gloomiest.

A riveting cinematic quest for journalistic truth – especially one like She Said, which tackles an issue that means so much to so many – should always be embraced, no matter the era.

In his directorial debut “Monkey Man,” Dev Patel gifts action-movie fans with a multilayered, hyperviolent narrative. Sure, he pulls off a deep dive into Indian mythology, yet he's pretty darn good at attacking goons with fireworks, platform shoes and all manner of sharp objects too.

Seemingly fueled by Mountain Dew and Hostess pies, the delightfully berzerk Logan Lucky is a love letter to backwoods ingenuity and, at a time with a deep divide between red and blue states, a universal dose of hillbilly hilarity.

Walker is adorable, but gives a one-note performance. Greenwood, a charismatic and unsung character actor, has the most noteworthy human performance as a somewhat arrogant academic whose decency keeps him from becoming a stock villain in a formulaic story.

Unlike most rom-coms, Celeste and Jesse Forever delves into the complicated heart of relationships, exposes some painful truths and allows melancholy to co-exist alongside breezy humor.

There isn't any kind of dance you can compare to Robert Duvall's latest as an actor/director, though a slo-mo minuet might come close.

Frisky fun made all the more entertaining because of the potent chemistry between its quartet of lead actors.

As shallow as a shot glass.

It's as disturbing a movie as you are likely to witness this year. [21Feb1997 Pg.04.D]

The better-than-expected revamp strips away some of the forgettable matter – no charming princes here! Most importantly, "White" gives an inspired Rachel Zegler a different character arc and a smattering of original songs to let Snow strut as the fairest of them all.

Boaz Yakin's slick direction, marked by quick cuts, unstinting energy and a lack of sentimentality, makes the action scenes satisfying. But he's a better director than writer.

It's not quite up to the caliber of Richard Yates' novel, which is deeply nuanced and rich in subtext. But the performances are superb, and the film is beautifully shot.

The script is consistently humorous, even if a few punch lines are predictable and the wit is neither highbrow nor split-a-gut funny.

Notable for the easy chemistry of its ensemble cast.

At its best in scenes featuring Hathaway's mercurial character. It's a triumphant and darkly nuanced role for her and a departure from the more lighthearted comedic performances she has given.

If E.T. was human, wore swim goggles and read Superman comics by flashlight, he’d be the 8-year-old boy at the center of the heartfelt, lo-fi sci-fi spectacular Midnight Special.

Someone in Hollywood ought to speak for the trees, and The Lorax does it with verve and vibrancy.

The familiar dialogue here makes one long for something closer to the edginess of "Manhattan" or the offbeat humor of "Vicky Cristina Barcelona."

All one needs to grasp is the hope and inherent magic of a kid and a dragon being BFFs, then let the feels flow from there.

All about macho my-weapon-is-bigger-than-your-weapon posturing and far-fetched coincidences that slam together in an entertaining rush.

Like many frugally financed movies, director Ang Lee's charmer depends on characterizations, not flamboyant technique. [19 Aug 1993, p.4D]

Though it could work as effectively as a television vehicle, American Teen is revealing, funny and involving.

A touching and illuminating documentary.

Secret Life anchors itself on an oh-so-familiar concept but sparkles most when imagining some of its crazier shenanigans.

It’s rather elementary: Young women yearning for an action heroine of their own get one with Enola Holmes, a problem-solving youngster we all could use more of in our streaming lives.

The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying.

The movie is more compelling than exciting with one exception: the kind of rocket blast-off sequence for which IMAX screens were seemingly invented.

This crumbled-caper comedy is the funniest movie ever from a film maker late in his eighth decade. [22 July 1988, Life, p.4D]

Amid the razzle-dazzle, Spy Kids 3-D: Game Over is sweetly inspiring.

A minor delight but a delight just the same.

An enjoyably cast, superbly shot, jolt-generating device...It isn't art, but it'll crush your bones.

A strong first half has Jill Clayburgh oozing bile when weasel husband Michael Murphy dumps her. Writer/director Paul Mazursky's sexual-political screen landmark wobbles some when she takes up with artist Alan Bates. [13 Jan 2006, p.14D]

As Phantom Thread flits between complicated character piece and unusually funny romantic comedy, the movie becomes much more about Krieps’ Alma. The Luxembourgian actress holds her own with Day-Lewis and often is the best part of the movie.

That Circle of Life everybody was singing about three decades ago? Thanks to Jenkins’ inimitable grace and Miranda’s tuneful swagger, it continues to feel vibrant.

The film's most climactic moments involve the chilling audiotapes of avaricious Enron traders as they toy with California's energy crisis, wringing millions in profits from the misfortune of an entire state.

A decidedly sentimental American version, with much comedy (by mistake, Bob Cratchit actually knocks Scrooge's hat off with a snowball) and fortified with a Scrooge who is not so much a born-to-be-cruel wretch but a tortured soul who lost the meaning of Christmas along the way. [15 Dec 1992, p.6D]

While there is a vague hint of a vanity project in a few extraneous scenes, directors Barbara Kopple and Cecilia Peck have fashioned a compelling and rousing film that will not only appeal to Chicks fans, but make fans of those who weren't before.

It is in many respects the best installment of the franchise as its stars go from sullen kids to sullen young adults, where their expressions look more natural.

The Intouchables is an exuberantly charming French buddy comedy that proves an audience will suspend disbelief and follow an unlikely story as long as it's superbly crafted.

As a new chapter in the superpowered arachnid saga, it stands on its own quite nicely, focusing more on human emotions than on a panoply of special effects.

Based on the captivating novel by Myla Goldberg, Bee Season is evocative and superbly acted.

A sweet celebration of brotherhood in its many forms. It gently encourages human communion with animals, nature and our fellow man.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

Deliver Me From Nowhere is the solid portrait of an artist working through some stuff, and a man learning the power of being the Boss.

The soundtrack (which includes James Brown, Michael Jackson and The Commodores) is better than a K-Tel "Best of the '70s" compilation, and the broad physical comedy is as reliable as a brick house.

Writer/director Philippe Claudel knows just how to structure a character study of this sort, so that key elements and important secrets are revealed over time, piquing our interest. The film is almost like a novel or short story, so one's curiosity is satisfied slowly.

The script strives to turn Garcia into a nasty Gere alter ego, which may explain why both leads solemnly underplay it. Though Gere's contribution is welcome, two hard-ballers in shades may be one too many; on balance, it's the actresses (especially ever-solid Laurie Metcalf) who sustain interest. [12 Jan 1990, p.2D]

A welcome adult alternative to summer's sophomoric blockbusters. The only transforming going on here is actors skillfully taking on roles of '30s-era gangsters and lawmen.

It's a story that could only happen in an era of YouTube and American Idol. Well-chronicled and fascinating, Don't Stop Believin' is a cinematic journey well worth taking.

The cringingly wacky scenarios, offbeat characters and comic dialogue serve up a crowd-pleasing, laugh-filled experience.

Rarely is the second film in a horror franchise more frightening than the original, but Paranormal Activity 2 has more innocent victims and more scares than its predecessor.

Kikuchi brought humanity to the robots-vs.-monsters action of Pacific Rim in a small supporting role, and she ups that much more with the meek title character of Kumiko, directed by David Zellner from a screenplay co-written with brother Nathan.

Shannon's restrained and mesmerizing portrayal, bolstered by an excellent offbeat supporting cast, makes for an edgy and compelling Mob yarn.

Power Rangers belongs to our inner kids, and "Once and Always" remembers that.

By adhering to the romantic-comedy formula, The Invention of Lying stops short of being truly inventive. But enough sequences are fresh and inspired to make this a comedy honestly worth catching.

Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue.

John Williams composes a sprawling, effervescent score that, while not his best, certainly captures the musical magic that makes his partnership with Spielberg so special.

Oil derricks, booze, sports cars and nymphomania spelled huge box office. [10 Feb 2004]

The only character we get to know fully as she evolves from child to older woman is Vivi. Too bad the movie didn't also trace the lives of her "sisters." That might have been divine.

What we're left with is solid if not exceptional, though it's good to see Mendes expanding as a filmmaker.

Even with an administration full of smart, capable people, no one is properly prepared when nuclear weaponry is triggered, and “A House of Dynamite” puts an extremely human spin on that particular no-win situation.

Shi crafts a heartwarming, empowering and fun narrative about female puberty and a changing mother/daughter relationship.

Though the effort is uneven, it's a well-acted romance that becomes a less compelling courtroom drama.

With "Nope," Peele showcases a new sense of blockbuster flair while maintaining his signature gift for twisted modern relevance.