More coming-of-age story than biopic, this Guevara odyssey is a transformative adventure well worth watching.

Like the best French cuisine, Ratatouille is ambitious and delightful.

One small documentary for a filmmaker and one giant leap in inspiration for audiences.

It winds up working as a ominous climax, however, and you’re left wanting to avoid any and all farm animals for a while — which for this excellent piece of filmmaking is high praise.

A Hitchcockian chase...A crowd-pleasing airport-pursuit pic. [27 Dec 1995, p.D1]

Riveting and darkly comic Super Size Me is a whip-smart documentary.

It's a grounded, well-acted ode to the power of journalism and a thought-provoking, visceral fireball of an anti-war movie.

This is a romantic comedy for people who don't like rom-coms. There's no chance of a happy ending, but its tender mercies speak volumes.

Some will think this film silly; my guess is that Kaufman has himself an upscale cult movie, a la Women in Love or his own Unbearable Lightness. [05 Oct 1990, p.4D]

A thoughtful film about ideas — creativity, the power of language and the eloquence of visuals — it features two impeccable performances full of vitality.

The ideal culmination of a fantasy series that has artfully blended excitement, adventure and terror with humor, kinship and love.

These swashbuckling romps are packed with the kind of slapstick and throwaway asides you may not expect before noting both were directed by Richard Lester, the man who molded the Beatles on screen. [01 May 1998]

About a Boy is a rarity in many ways. It's a well-written, witty film whose memorable characters grapple with the nature of family, love, friendship and despair. Even its soundtrack, by Badly Drawn Boy, is perfectly pitched.

It's a tough entry into the tough black-comic genre; don't be surprised if it becomes a classic. [31 March 1989]

And novel insights notwithstanding, this is a plain old good movie, too.

No movie this year has covered a larger canvas than director Chen Kaige's 2 1/2-hour spectacle. [29 Oct 1993, p.4D]

Drivers congest highways, while many of their cars inevitably end up as twisted scrap. The final Monsieur Hulot comedy from France's Jacques Tati couldn't possibly be more topical. [18 Jul 2008, p.13D]

Though less than the sum of its brilliant parts, the Coens' latest will still be must viewing in 32 years. [21 Aug 1991]

At a time when romantic comedies seem to have exhausted unique ideas, along comes Lars, an original, amusing and heartfelt tale sharply written by Nancy Oliver (Six Feet Under).

A rare blend of emotional content and intelligent material that makes it simultaneously gut-wrenching and thought-provoking.

But let's not mislead about acting gold: Without Nicholson and Keaton, the movie would be fair. With them, it's one of the few good romantic comedies this year. What we gotta give is thanks.

Overall, however, the manner in which the film blends the tale of an imperiled boy and the history of cinema makes for an ambitious and fanciful ride.

Fury, I Am a Fugitive, Wild Boys of the Road and Emperor of the North come immediately to mind as definitive Depression movies. This little gem, which may get overlooked, deserves to be on the same list. [20 August 1993, p.5D]

A comic-fantasy nightmare of the wickedest kind. [22 Jul 1992, p.4D

Original writer/director Dean DeBlois returns for a revamped “Dragon” that feels like a different experience but is just as good as the original, with moments of wonder and awe featuring characters fleshed out in new ways – literally and figuratively.

This cult movie for the ages suggests a Twilight Zone episode taken to gruesome extremes. [09 May 1997, p.3D]

Renner, in one of his best roles, lends a weathered depth to Cory but also surprising intelligence to the character deemed “Sherlock Snow.”

Despite the unsexy title, it's one unusually well told. [11 Aug 1993, p.1D]

One of the deeper and most thoughtful projects in Scorsese’s career. It feels as though his entire Hollywood career has culminated in this grand quest, which while excessively long, effectively explores the brutal costs of unbending faith.

River ranks with the best movies Eastwood has directed: "The Outlaw Josey Wales," "Unforgiven" and "The Bridges of Madison County." But this time, the work is strong without his own on-screen presence -- a significant achievement.

Just be glad that Hanks and Zemeckis toiled mightily to pull off at least two-thirds of a remarkable achievement.

Fast and slick, it recalls The Buddy Holly Story - perhaps the last pop bio that was this much fun to watch. [7 May 1993, p.4D]

This gem features five topnotch, multidimensional performances in one of this summer's most engaging films.

To avoid revealing too much and spoiling a fresh and intriguing experience, let's just say this: Catch Catfish.

Banshees masterfully explores the complications of a platonic friendship – when old pals stop being polite and start getting real – with a sailor’s mouth and a mix of hilarity and tragedy in one wail of a tale.

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

Though the narrative is a conventional one, the well-acted, suspenseful story deals in fascinatingly murky morality and mines intriguing material from a historic and complex city.

Irresistibly endearing, with a visual verve all its own.

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

Powered by Blanchett’s baton-wielding tour de force, the film is a modern tale about a cultural giant who uses her power in not-so-great fashion, so there’s shades of #MeToo at play. However, Tár has more of a timeless quality, playing out in the style of a Greek tragedy with the epic downfall of a woman behaving badly.

The one movie families search for every Christmas for an outing, the way "Something's Gotta Give" was last year and "Jerry Maguire" was in 1996.

With its clever faux documentary style, this is the most imaginative science-fiction movie to come along in years.

It's a case of actors and strong writing coming together, and it's uncommon in contemporary movies.

This tough and unsparing film feels authentic; the cops are ever-railing against the FBI, and have sickly skin tones that probably result from too many bad burgers on the run. Homicide is provocative and, in its first hour, even hilarious. Its prestigious closing slot at the just-completed New York Film Festival was deserved. [10 Oct 1991, p.4D]

We are slowly and mightily drawn into this intimate story, which is both intellectually stimulating and emotionally moving.

One of those movies in which pacing, dialogue and the right actors enliven a familiar story.

Such pure, naked joy is utterly contagious.

When so much of what Hollywood churns out is almost instantly forgettable, it says a lot about a film when viewers want to take time to argue, ponder and puzzle over it.

Does the finest job of any film in painting a believable portrait of aging, capturing the sadness, confusion, anxiety and defiance of the early stages of dementia.

Naji is an expressive actor, and so are the wonderful young non-pros who play his children.

Powerfully disturbing.

With its unflinching style, Training Day can be hard to sit through at times. But it's worth the discomfort for the adrenaline rush of the plot and Washington's compelling performance.

It's gratifying to see a comedy can have no redeeming social value yet be full of hearty laughs.

Stardust lights up the screen with a splendid tale of heroism and romance.

T&H isn't art, but it's surprisingly good ''arf'' - and I know what I like. [28 July 1989, p.5D]

If you want a brain puzzler that will ensure a lively conversation on the way home, Nine Queens is the real deal.

A horror movie that follows none of the predictable paths of the genre, it offers disturbing psychological drama and nuanced chills rather than outright terror.

Doctor Strange in the Multiverse of Madness definitely makes good on the promises of an excessive title: Alternate realities are in full effect, things get progressively more bonkers, and the latest adventure for Benedict Cumberbatch’s Marvel magic man takes “the search for one’s self” conceit to a whole new level.

This mid-19th century tale of survival after the death of a parent is still compelling today, and its message of strength and the importance of family continues to resonate.

The look of the film, shot on digital video, is haunting and gritty. The cleaner, prettier look of 35mm would have detracted from the immediacy and sense of foreboding created in this artful blend of sci-fi and pseudo-realism.

When all cylinders are pumping, Baby Driver is an enchanting experiment that puts the pedal to the metal. And even a few off notes can’t stop the beat of Wright’s fast and furious symphony.

The new version has the zip of a 96-yard punt return and all the ingredients to inspire the celebratory crushing of empty beer cans.

Deliberately paced, epic and ambitious, The Good Shepherd feels related in tone, mood and style to "The Godfather."

With good guys aplenty and a big heart, The Flash pens a love letter to DC superhero movies past, though the film runs around in circles trying to make it all work.

Deliberately downbeat, it's best as a two-person character study, stumbling a bit whenever it extends its parameters.

The spirited a cappella singing in Pitch Perfect makes a predictable, feather-light coming-of-age film irresistibly fun.

There's a cold intelligence at work here. Though its pleasures are plentiful enough to reward a second viewing, only Nicholson has saved Warners from a wing-clip. [23 June 1989, Life, p.1D]

Bale's is a pitch-perfect, understated performance in this involving neo-noir thriller.

At the rate things are going, all of Hollywood will put in about a day's work on "Ocean's Seventeen."

Black is clearly suited for the role of a modern-day Inspector Clouseau, a hero clown who can't help but save the day.

This X- Men is indeed first class: an exciting, bold and thoroughly enjoyable summer blockbuster.

Irresistible lives up to its title with an enchanting twist on a well-trod narrative and thankfully brings back the gifted satirical mind that our crazy world has sorely missed.

Rob Reiner's competent-plus wax job on William Goldman's script is keenly orchestrated manipulation. [30 Nov 1990, p.4D]

Cars is a classic American tale firing on all cylinders and fueled by organic emotion and a lively sense of adventure.

By staying true only to the initial narrative, this Halloween solidly ranks as the best chapter since the first – not exactly the highest bar – mostly by making Laurie (a remarkable Jamie Lee Curtis, whose last appearance in the series was 2002's "Halloween: Resurrection") anything but a victim.

Though it's not likely to become a classic like the Hitchcock film, it's a smart and well-acted teen thriller that serves up some lively scares.

The story itself is surprisingly seamless, yet it's the individual components that linger.

Amiable, consistently amusing and surprisingly affecting, it has the flavor of a Nick Hornby novel, with its focus on an overgrown boy struggling to grow up and be a man.

That he can make his anchorman chauvinistic, deluded and ridiculous but still manage to give him some humanity is testimony to Ferrell's comic talents.

When the original filmmaker upgrades and expands on an idea and uses new technology while retaining the essence of the original story, it can be just the ticket for jaded moviegoers. Such is the case with Mad Max: Fury Road, an operatic extravaganza of thrilling action and nearly non-stop mayhem.

“Kingdom” aims to bring big ideas into a sprawling blockbuster atmosphere, though that gambit winds up weighed down by its own ambitions.

The Heat is the best female buddy-cop movie since, well, ever.

While the new “Ralph” falls short of the original’s brilliance, any adventure with the big oaf and his glitchy BFF is #winning.

Roma is an elegiac and moving work driven by Aparicio’s understated and nuanced performance.

Guilty of inciting a near-laugh riot thanks to an irresistible leading lady whose comic instincts are as impeccable as her manicure.

When Sorkin does go off on side episodes, they’re for the greater good. Molly’s dealings with a nihilistic and smarmy A-list movie star (Michael Cera), a gambler (Bill Camp) who loses his cool, and the drunk Irishman (Chris O‘Dowd) responsible for pulling the Russian mafia into her games actually boost the overall narrative rather than cannibalize it.

More amiable than witty and relying heavily on the likability and charm of its lead actors, Leatherheads scores more points as a retro romantic comedy than a football saga.

More Mexican mayhem with a you-know-what in 1957's The Black Scorpion, with effects by Harryhausen's mentor, Willis O'Brien. [24 Oct 2003]

It's a sweet tale, but the movie's real subject is Zhang, the camera's muse that the lens adores.

Even for hardcore fans, Wish comes close to overdoing it with the, well, Disney-ness. That’s when Oscar winner Ariana DeBose (“West Side Story”) becomes the movie’s saving grace, as a likable, idealistic teen heroine with plucky verve and powerhouse vocals.

It's a lively, psychologically astute tale filled with humanity, wit and charming performances.

Monster House may be the first true horror film for children.

Quinceañera is a spirited and poignant exploration of the bonds and challenges facing a Latino family and the pains of a community undergoing a transition of its own.

It mostly works – Hanks is ostensibly a supporting player and noticeably missed when not onscreen – and Heller’s creativity proves just as key as her star. “A Beautiful Day” acts as a two-hour episode of “Mister Rogers’ Neighborhood” for grown-ups, a meta-narrative showing the real world through a kids' show lens and Hanks’ Rogers sitting us all down for an educational experience.

In contrast to big-screen bummers we see every week, this movie conveys genuine sorrow.

Far more coherent than last year's aimless "On the Road" and more sharply focused than 2010's "Howl," it centers on a youthful Ginsberg finding his nascent artistic voice.

Jolie and Pitt project more than just body heat. They convey a multi-faceted attraction, toss off clever repartee and dazzle audiences with their seemingly natural connection. And that's worth watching.

Consistently compelling without being truly memorable.