It is a rare performance when one of the world's most recognizable stars can disappear completely into a character on the screen.

The cinematic equivalent of an elaborate and poetically constructed non sequitur.

Quartet is endearing, sometimes even irresistible.

Scott seduces audiences with thought-provoking possibilities, then pulls a bait-and-switch, subbing in a familiar monster thriller and fiery explosion-fest.

The Lost Bus is a cathartic quest and character study that works thanks to McConaughey’s steeliness and Greengrass’ ability to put you on the edge of your seat (even if it’s just the couch).

Though its romantic-comedy triangle borrows heavily from Cyrano de Bergerac, the film has more in common with Three's Company. A shame, since Dogs boasts more than a few stray pleasures. [26Apr1996, Pg. 04.D]

If The Pursuit of Happyness didn't star Will Smith and his adorable son Jaden, it might be just another tearjerker rags-to-riches story. But their chemistry raises the level of the film, making it heartfelt and compelling.

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.

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

The layered film's blend of Austen-style romance, courtroom drama and historical look at the British slave trade works surprisingly well, though there are moments — especially involving the conniving suitors — that teeter on melodrama.

An ambitious love letter to the original. It's also as polarizing a picture as last year’s “mother!” – which shares a commitment to blood and insanely audacious climaxes – and thoughtfully explores feminine strength amid the proudly self-possessed carnage.

At his best, King's most effective creatures are not the ones behind creaking doors, but inside crooked minds.

A quintessentially European, methodically paced and intelligent slice of life.

The filmmaker keeps upping the ante with surprises until the plot-twist beaut that concludes the picture - a shocker that, upon reflection, is probably the one ending that wouldn't have fallen a little flat.

The recent model for this kind of surreal jazz-riff comedy is Doug Liman's 1999 "Go," a neo-classic. But you know already from the director (Dude, Where's My Car?'s Danny Leiner) if this movie is for you. Leiner has cornered the recent market on low-rent farces.

Fright is way too quick on its feet to be slowed by clichés. David Tennant seizes McDowall's role as Peter Vincent, now a Criss Angel-style clown vampire slayer. Christopher Mintz-Plasse was born to play a high school nerd.

Che is a mass of contradictions, perhaps like the iconic revolutionary himself.

The film’s greatest strength is its major team-up. Caine and Keitel have an electric chemistry when they’re onscreen together.

Geena Davis and Renny Harlin couldn't cut it with Cutthroat Island. Steven Spielberg nearly got the hook for Hook. But leave it to Miss Piggy and Kermit to discover uncharted gold in the shipwrecked-pirate genre. With felt-covered cohorts like Fozzie Bear and human co-stars like Jennifer Saunders of Absolutely Fabulous, the cross-species duo pulls off the rollicking Muppet Treasure Island with only a bump or two. [16 Feb 1996, p.4D]

With Butler’s stellar portrayal, it’s never dull, and more enjoyable than not. The musical numbers are often dazzling, boosted by Luhrmann’s inimitable style. And the plot (for better and for worse) covers a ton of Presley’s life. But even when it’s over, you’re still not sure what Hanks is doing.

With moments of mind-bending creepiness, the film has potential, but eventually it devolves into merely a head-scratcher.

Exceedingly well cast and assembled with flashy visuals and pacing by Harron, this period piece is diminished by its relative pointlessness.

When Team America works, it falls squarely into the category of guilty pleasure.

Canyon is similarly slick, though even more heavy-handed in hammering home its points. [26 Dec 1991]

Satirical comedy, battlefield brutality and personal tragedy mix yet never completely gel in Napoleon, a biopic starring Joaquin Phoenix as the mercurial title character.

Surely there aren't many emotionally fragile mobster stories left in the Hollywood arsenal. But at least Kill is a pretty good shot with the laughs.

There's nothing touchy-feely about Killing Them Softly, a stylish thriller worth seeing -- despite its relentless violence -- for its sharp dialogue, mesmerizing photography and gritty performances.

Some caper movies build suspense, while others tweak the genre with tongue lancing cheek. But this lesbian caper pic (how's that for a rarefied subgenre?) often pulls off both feats in the same scene, even simultaneously. [04 Oct 1996 Pg.04.D]

The saga ultimately lacks the emotional wallop of the TV version. But its clever writing, strong performances and sumptuous production design make for a rich experience nonetheless.

The genre may be old news, but the skillfully made Cloverfield offers a heart-racing experience with plenty of chills, thrills and exhilaration.

Fury does capture the brutality of war and the misery of life spent largely confined in an armored tank during the war's final weeks, in April, 1945.

Tamara Drewe is so light, it's almost pure froth.

Once you get past the fact that lovely Emily Blunt doesn't look anything like the dour historical pictures of Britain's longest-reigning monarch, The Young Victoria is an appealing and well-crafted, if staid, portrait of a fascinating ruler.

While the film is not as resonant as the novel, it is an honorable adaptation, capturing the essence of the bond between father and son.

Thankfully, this time Eastwood flirts (and ogles) but stops just short of going completely over the top. [19 March 1999, Life, p.13E]

First they marched, then they tap-danced. Now they ride the waves on souped-up boards. It really doesn't matter what stunts they try to pull off: Who can resist an animated mockumentary in the style of "This Is Spinal Tap" starring the black-and-white big birds of the moment?

The intelligent, timely and twisty thriller Miss Sloane introduces an antiheroine feared by both Republicans and Democrats. Jessica Chastain is all hellfire and high heels as powerful Washington lobbyist Elizabeth Sloane.

It has an elusive, haunting quality, but it's too long at 133 minutes, and there aren't many movies these days that get more involving as they progress.

The film has its moments as a mood piece.

Inside Deep Throat, an NC-17 documentary that deftly chronicles the fallout -- with about 15 seconds of hard-core footage -- has some surprise credits.

A riveting and disturbing documentary that falls short of greatness by not providing enough insight into the characters. It is mostly intent on inciting a sense of outrage in the viewer, and it succeeds.

Though the movie rambles in the middle, it gets back on track when Nick and Norah have a sweet encounter in an unexpected place. The soundtrack is an excellent counterpoint to the film's quirky scenarios.

Tonally, Ant-Man is a little all over the place — at times, it's a quirky comedy, heist film, trippy sci-fi project and family drama, never able to really blend everything in a cohesive fashion.... That said, when it's on its game, Ant-Man does some of the best stuff ever in a Marvel movie.

It's easily the most political of the three films. It also is the most absorbing and best in the series.

Despite little dialogue, the story and screenplay were Oscar-nominated -- and, at 50, Wilde's physique is amazing for an actor who once played Chopin. [18 Jan 2008, p.4D]

A hilarious, heartbreaking, touching and rather wonderful close to an enjoyable trilogy.

Never enough goodies to keep the two-hour running time from seeming like three.

Part of the problem lies in the casting imbalance: Ferrell is so much more adept at this comedy style than Heder.

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.

Intelligent and engrossing saga.

The laughs -- mostly crude, profane and drug-addled -- are almost non-stop.

A film in which precocious kids say things real kids never would, and larcenous drunks come off as adorable.

Cradle settles for saying ''boo'' when it could have said a lot more about parental fears. [10 Jan 1992, p.4D]

Rock actually rocks out as one of the year's most purely entertaining movies (just keep thinking: Bill Murray as a ventriloquist).

Harris is a major asset in a film that is entertaining but somewhat unfocused and occasionally badly cast.

With so much covered superficially here, little is covered well. But the film moves fast, with the cafe becoming a viable - even vital - character. [30 Dec 1991, p.4D]

Whatever problems some might have with its execution, it's hard to argue against a film whose intent is to kindle youthful compassion for living things and inspire action to protect Earth and its creatures.

Missing are well-choreographed action scenes, likable characters and involving plot twists.

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

A showcase for Vince Vaughn's rantings and Owen Wilson's standard but affable chum act.

Blood Diamond is a gem in a season with lots of worthy movies.

Freedom Writers is an earnest, well-meaning attempt at inspirational teen drama. It has some moving scenes and honest observations, based on a school in Long Beach, Calif., but the movie sinks under the weight of formula and stereotypes.

Like a padded "Saturday Night Live" sketch. What would have been very funny for 15 minutes, and pretty funny for 45, doesn't maintain the standard over the course of a feature-length film.

Myers' sense of humor is interspersed throughout the engaging film, which consists of a host of wild stories, as well as vivid archival footage, talking heads and cleverly made re-enactments.

Director Ridley Scott unleashes a pumped-up, action-packed sequel that lacks the gravitas of the 2000 original, mainly because it’s way more interested in pulpy soap opera.

The story's presentation is easy to take. And lot of this is because of Lathan, who is funny by not trying to be.

Nobody fails to break a bunch of new ground transforming another normal guy into a murder machine although Odenkirk's presence does give the film a conflicted and darkly comic center. Let's hope more machine-gun antics are in his future.

Fortunately, Games' finale is lively enough to keep viewers from cursing on the way out; there's a monsoon, a speedboat chase, a fire, explosion, the usual. Yet does it really exceed action genre expectations? Not really. Even enthusiasts may exit Red October's sequel feeling a little blue. [5 June 1992, p.4D]

A loving ode to a few decades that Spielberg made his own, Ready Player One’s an entertaining nostalgia trip that wears its influences proudly but throws them at such dizzying force that sometimes you feel like you’re buried under Chuck E. Cheese tokens.

The ending is nicely wistful but let's get real. A couple of million doesn't go far these days, at least not at the rate of Perez's shopping sprees. Still, if you're willing to take a chance on romance, buy a ticket to It Could Happen to You. Just don't expect a huge payoff. [29 July 1994, p.7D]

Proof proves undeniably that the intimacy of a stage play can be re-created powerfully on screen.

Sheer power, moral and otherwise. It possesses a massively majestic hero. [10 Dec 1997, p.D1]

Jack Goes Boating won't knock you over, but it lulls you with its slow-warming heart.

Little ones may squirm during the more literary parts, but the sappy tunes by Paul Williams make fine potty breaks. Adults will enjoy the gently mocking tone - Rizzo asks whether the ghostly goings-on will scare kids. ''Nah,'' replies Gonzo. ''This is culture.'' As for the Muppets, it's great to see them together again on the big screen. God bless them, every one. [11 Dec 1992, p.4D]

Peter is as adequate as the Harry Potter movies are, though you never sense in either case that kids are being bitten with the permanent movie-loving bug.

For those who don't equate sexual appetite with the intricacies of fly fishing, Nymphomaniac: Vol. 1 is more tiresome than titillating.

The voice talent behind Robots reads like a who's who of comic actors...But too much reliance is placed on their star power and not enough on an interesting and fresh idea.

The movie is successful at finding little details that make it feel lived-in and authentic.

Even when the movie works, it's so much like having Daffy Duck assault your face that you want to buy a box set of elevator music for the calming drive home.

Usually, I'm as slow as the pacing of a movie in figuring out who's done it. If you can't solve this mystery with an hour to go (as I did), better call for a transfusion so a better type of blood will start flowing to your brain.

But it does mine Murphy's gifts, and the payoff is both nutty and funny. Sometimes even touching, too. [28Jun1996 Pg.01.D]

It's a family drama that treads on well-worn middle-class territory but is redeemed by the complexity of the characters and the intriguing ambiguity of their actions.

The computer-generated wolves have more personality than any of the dull characters in The Grey.

With Serial Mom, the renegade director/writer kicks the nation smack in its collective groin, marvelously mocking the oh-so-current mania over crime figures and tabloid scandals. [13 Apr 1994, p.1D]

Once again, the anchor aboard this ship of fools is the drolly doltish Leslie Nielsen, who can deliver lines like "I like my sex the way I play basketball - one on one, with as little dribbling as possible" as if they were first-class mail. Let's hope Zucker and Co. quit while they are ahead. [18 Mar 1994, p.4D]

This is the kind of movie that has always polarized serious film folk, while the public usually elects to stay home and prune shrubs.

Willis' performance mystifies, while Mos Def's mesmerizes.

With a half-dozen characters sorting out life's woes, the pacing is a couple of beats faster than languorous — just enough to sustain one's interest.

Unfaithful doesn't push the melodrama the way "Attraction" did, but it lingers in the mind as much.

When we first see Meryl Streep's happy homemaker in One True Thing, she's a domestic dinosaur circa late '80s, a regular mommy monster. [18 September 1998, p.3E]

The moving and eye-popping thriller, starring a never-better John David Washington, dives into the hot-button topic of artificial intelligence but more importantly mankind's tendency toward war and how we treat those different than us.

Young girls will enjoy Lohan's matchmaking antics. But nostalgia-craving oldsters should stick to fond memories of Hayley [Mills]'s heyday.

Hong Kong's China-born cult director makes his U.S. debut here, serving up so many briskly staged and edited action scenes that you'll wager Sam Peckinpah somehow figured in his gene pool. Forget grenades and assault weapons (though they're here, too); Target deals in bows and arrows, a serpent booby-trap and even one portly hero (Wilford Brimley) on horseback. All this and Brimley's Cajun accent, too. [20 Aug 1993, p.1D]

Even without the surprise of seeing Spader going for laughs and getting them, Secretary is just too original to be ignored.

If it's conventional, it's also competent. Thanks to director Charles Stone III (of the famed "Whassuup?!" Budweiser spots), the clichés at least have a good beat.

This genre-busting movie has the appearance of a love story but morphs into a thriller, told cleverly in a nonlinear style. Think "Sliding Doors" crossed with "The Sixth Sense," with a little "Memento" thrown in.

Out of Time seems out of another time and place. Remember "Presumed Innocent?"

Emmerich might have had a masterpiece, but he'll have to settle for what comes close to being a must-see movie today.