But expect a logical plot, and you'll walk out of the theater with a host of questions, mostly concerning procedural points of the alien attack.

Casanova is an entertaining if silly romp, with amusing dialogue, gorgeous production design and painterly cinematography. Venice, where the movie is set, has never been so breathtaking.

It's a welcome update, qualifying as the best in the series since the first film captivated and unnerved audiences in 2007.

The cautionary tale feels surprisingly fresh and entertaining, given that this is the fifth "Planet of the Apes" film since the 1968 original.

Less ambitious and more narrowly focused than the CIA saga "The Good Shepherd," Breach is a compelling, intelligent drama.

The low-key satire would have benefited from more of a back story to Giamatti's character and a clearer sense of his relationship with his wife. But what we do get is compelling in the way of an indelible, dreamy short story.

Nil is harrowing and soul-sapping, a look into the heart of darkness of London's underclass.

Overall, this is a tart little toughie - within its limitations. Like 1987's The Bedroom Window, also directed by Curtis Hanson, it admittedly pales next to suspense classics it recalls. Yet on its own terms, it's a hefty cut above the norm. [09 Mar 1990, p.1D]

It's fast, easy on the eyes, full of funny putdowns and cast well enough to have two memorable villains.

The Boxtrolls hold their own on screen, too, and children will fall in love with the creatures' mischievous antics, gurgling language and tendency to use their boxes as both a disguise and a portable bedroom.

This movie is so much the opposite of uplifting that you think Gary Oldman ought to be in it. But it's honestly made, and its second half does linger in the memory.

Who's more pretentious: hipster Millennials or bourgeois Gen Xers? It's a question While We're Young toys with, if only to provide a context for a sharply observed and witty dark comedy.

Pace and performances dominate, with popped salutes going to Keifer Sutherland, Kevin Pollack, Kevin Bacon and especially Nicholson's smiling barracuda. [11 Dec 1992]

Thank the wizardry of Jim Henson's Creature Shop, well-choreographed martial-arts fights and sharp direction by video whiz Steve Barron (he did Michael Jackson's Billie Jean) for keeping these comic-book heroes from going amok like Howard the Duck. [30 Mar 1990, p.1D]

A documentary that dissects the essence of comedy as well as showcases outrageous improvisational humor.

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

For a movie that earns its R-rating for drug content and violence atop language and sexuality, it leaves you with the next thing to a mellow smile.

The scenes in Pandora -- a planet with an Earth-like environment -- are so breathtaking that the narrative seems almost beside the point.

The rambunctious Iron Man 3 is a briskly paced thrill ride until about 90 minutes in, when the excitement wanes. A few late-breaking surprises re-invigorate the tale, however.

Not all the swings land in “The Smashing Machine.” Which is fine, given how hard Johnson hits (and gets hit) with this fascinating shift in his acting. Going to the mat here with the role of his life – so far at least – shows a performer whose true potential we're just now finally seeing.

Almost as impressive as Tatum's moves are his comic flair and breezy grace. He proved his comic talents earlier this year in "21 Jump Street" and shows them off winningly here.

Land has a lot of funny moments, which are no less serious for being so, especially when the script turns politically prickly.

Far from redundant. That's because (Kirk) Wong deftly balances the outrageous stunts. [24 April 1998, p. 6E]

While “Challengers” falls nebulously somewhere between a coming-of-age flick, dysfunctional relationship drama and snazzy sports extravaganza, Guadagnino nevertheless holds serve with yet another engaging, hot-blooded tale of flawed humans figuring out their feelings.

Talk about the limitations of using the four-star rating system to assess a movie both glorious and dreadful, with the dreadful components glorious as well in their own bent way. [23 Feb 1996, p.1D]

While not quite as subversive and refreshing as the first “Trolls,” “World Tour” offers endless cuteness, an impressive voice cast and just enough depth for grownups and children alike to chew on.

A pretty good “Chapter 3” still equals insanely explosive, two-fisted exhilaration.

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

Despite a slight tendency to be overly pleased with itself, this is a smart piece of work that got Arcand's screenplay an award at Cannes.

The filmmaker's new subject, the German occupation of France, has been treated with the seriousness it deserves in countless movies over the past half-century. This treatment is light and breezy for a change, though not altogether frivolous.

As he did in "Stranger Than Fiction," Ferrell displays surprising range when he ratchets down the volume.

Old-school Potterheads will rejoice, though fans of the charmingly quirky group of heroes from the first “Beasts” may lament their do-gooders getting lost in a growing magical landscape.

Although overly familiar, “Dominion” boasts everything you’d ever want in a “Jurassic” film and is the best in the series since the original 1993 movie.

This movie is more wistful and winking, though it's obvious Mario is still working out emotional baggage with his tyrannically driven old man.

Even with some familiar faces, The Stanford Prison Experiment feels like an honest-to-goodness documentary — a high compliment for a movie based on an infamous college project.

One can't underestimate the appeal of any movie constructed around Sean Connery's charm.

As a successful careerist who tries purging his neuroses in a coin-operated batting cage, Crystal is funny enough to keep Ryan from all-out stealing the film. She, though, is smashing in an eye-opening performance, another tribute to Reiner's flair with actors. [12 July 1989, Life, p.1D]

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

Well-acted and intriguing exploration of dishonesty in its varied forms, leavened with a dry comic touch.

An engaging film bolstered by the stellar performance of Julianne Moore.

Feast upon a career-peak Willem Dafoe performance as a bat-eared fiend who is foul, funny, ferocious, forlorn and unforgettable.

Transforming Clouseau's perennial nemesis into a more urbane smoothie, Kevin Kline delivers like a pro.

I'm Your Man movingly captures the artist's lifelong search for truth and beauty and his translation of it into song.

Little Children maintains much of the power, humor and nuance of Tom Perrotta's wonderful novel, but seems unsure if it's a satire or a serious drama.

Shouldn't be overrated, but it's the first film of the year - and it's mid-February already - capable of keeping a grown-up awake.

War Horse will likely take its place alongside beloved family films. But that doesn't mean sitting through it is pure pleasure. It's a long slog at almost 2½ hours, and occasionally it resorts to obvious sentimentality. At times it's hard to escape the sense that we're watching "Saving Private Ryan"-meets-"The Black Stallion."

Written by Robert Zemeckis and Bob Gale (who created Back to the Future), this is director Walter Hill's best movie since 48 HRS. - unless you're among the cult fans of 1989's Johnny Handsome. [07 May 1993, p.3D]

Rocket flies with comic-kaze crooks. [21 February 1996, p. D6]

Carell accomplishes the task of being sweet-natured without becoming cloying.

As crazed as its predecessor after a slower start. [21 Sep 2007, p.11D]

A spectacular ride for most of it, and while you're a little let down at the end, you kind of want to jump back on and do it all over again.

Though not quite up to "The Full Monty" or "Waking Ned Devine," there's just enough left in that overseas whimsy stockpile to generate good buzz (the word-of-mouth moviegoer kind).

The filmmaker embraces unpredictability and plenty of gore for his graphic spectacle, yet Alvarez first makes us care for his main characters before unleashing sheer terror.

A sensitive and occasionally poetic film, Brick Lane is an absorbing tale of personal empowerment and emotional growth.

Director Todd Phillips (Old School) has a knack for extreme scenarios and outside-the-box casting. He has made a movie that is consistently funny from start to finish.

The Beautiful Country might be too slow-moving for some, but it has powerful performances and a multi-layered quality. It is an epic journey worth taking.

Aside from the "Nutty Professor," this is the funniest Murphy comedy since the Reagan Administration.

Solidly entertaining.

The ambitious State of Grace is full of imposing moments, several of them among the screen's most violent since the heyday of Sam Peckinpah. [14 Sep 1990, p.4D]

American Made points out an unfortunate time in our history when government shenanigans ran amok internationally and people did bad things in the name of greed and power. But hoo-boy, does Tom Cruise have fun with it.

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 presence of "Election's" Chris Klein as the male contingent's most sensitive member only emphasizes how much smarter that high school comedy was.

The film is surprisingly deft and entertains at both the adult and juvenile levels. If something in Guardians catches your eye, trust your gizzard.

Pop culture references intermingle with the loopy trio's iconic foolishness, and the result is a movie with some big laughs, plenty of heart and terrible coifs.

His complex personality comes through in this surprisingly affecting minor pleasure, though perhaps one shouldn't be surprised when two of Hoop Dreams' key makers reunite for another smart sports pic. [24Jan1997 Pg.03.D]

A young-Turk poker player challenges an old pro the way pool shooter Paul Newman took on Jackie Gleason in The Hustler, though the result lacks its predecessor's depth. Carrying Kid is one of the best casts ever. [03 Jun 2005, p.7E]

This dark comedy comes off more giddy than gritty.

Intelligent and engrossing saga.

Just a good time at the movies, but it's still a smarter two hours than most "good times" are.

An historical opus that is equal parts ballet and biography, though the second component pales in comparison with the first.

Wonder Woman 1984 is director/co-writer Patty Jenkins’ much lighter, somewhat campy follow up to her World War I-set 2017 hit film, though a lot has to do with the new retro time frame. While not quite up to par with its predecessor, the Reagan-era sequel returns Gal Gadot as the Amazon princess with the bulletproof bracelets, introduces a couple worthy foes, and is a pretty fun time even if the extremely busy “1984” almost wears out its welcome at a hefty two and a half hours.

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.

Richard Jenkins and Bradley Whitford are particularly funny in their middle-management roles.

Vinny's humor is cooked to al dente perfection. And that ain't just whistling Dixie.

Back when anthology TV shows such as The Twilight Zone and Thriller were in their heyday, the movies, too, entertained a spate of horror/supernatural multistory features that fans still regard with affection. Director Mario Bava, whose earlier single-story satanic yarn Black Sunday picked up a wide following, turned Sabbath into one of the best. [11 Aug 2000, 8E]

It's no "Taxi Driver" or even "Open Water," but Route has enough attractions to warrant the trip.

Political scandals are standard movie fare, and this one, which hinges on sex and power, doesn't offer a new take. But that's the point: The all-too-familiar blend of hubris and lust for power makes the machinations no less poisonous and perhaps more regrettable for their sad predictability.

Relentlessly grim and grisly, 28 Weeks Later is not for the faint of heart. But its provocative post-apocalyptic theme makes for a smart and deeply unsettling film.

While Walt & El Grupo could use trimming, it also is visually stunning.

A revelation: funny, fascinating and insightful.

A Dry White Season, despite transcendent subject matter, is arousing natural moviegoer interest as Marlon Brando's first screen outing in nine years. To his and everyone else's credit, the actor's undiminished magnetism never overwhelms a no-frills drama inspired by the 1976 uprising in Soweto, South Africa. [20 Sept 1989, p.4D]

Beowulf couldn't be less faithful to the original epic poem, and that's actually a good thing for moviegoers. It's a lot more fun than the mythic adventure most of us read in school.

Partners is exceedingly well-cast and well-acted, bringing a lightly satirical and witty script to life. Meester and Jacobs have a disarming chemistry, and their conversation is filled with a comfortable shorthand.

It's an artistic and authentic evocation of an era but a rather surface-skimming story of the '70s all-girl rock band fronted by Joan Jett and Cherie Currie. If anything, it just makes you want to know more about Jett's back story and Currie's subsequent life.

Scotsman Gerard Butler does a fine job as the charismatic, ghostly character.

Aerial sequences are often thrilling. However, interpersonal relations are front and center in this installment.

By the end of the movie, all we want is for Barrymore to give him the time of day.

Williams is impressively restrained as well as funny, so fans need not fret. It only means that instead of Good Morning, Preppies, we're given a bittersweet, even eerie Goodbye, Mr. Hip. [2 June 1989, Life, p.1D]

While other Alzheimer's-related films, including "Amour," "Iris" and "Away from Her", delved more deeply into the subject, Alice is understated yet still moving.

The story has its clichéd and sentimental moments. It's no "Raging Bull," more like "Rocky" shot with a handheld camera. But Rourke's wounded tough guy is undeniably captivating.

Numbers abound ('Round Midnight and Pannonica are just two), and the film addresses the mysterious psychological malady that shortened Monk's career. Has anyone ever been more fun to watch play than Monk? [26 Oct 1990, p.3D]

It’s a bigger, showier follow-up, from the A-list cast to the twistier twists, even if it doesn’t have the same witty punch as the original. The script is taut and surprising, though, and Daniel Craig's return as super-sleuth Benoit Blanc is a Southern-fried godsend.

Fascinating, visionary filmmaking. With its amber-tinged palette and its distinctively dystopian view of life, it may be the most unique-looking film we've seen in ages...[but] defies logic and makes frightening and unexpected leaps.

Director Joe Cornish grounded the alien-invasion genre with clever plotting and entertaining English youngsters with 2011's “Attack the Block” and does the same with epic fantasy with this clever “Kid.”

The soundtrack is mostly Elvis tunes, and Stitch even does an adorable impersonation of the King. As Elvis might put it, you can't help falling in love with Lilo & Stitch.

The satisfying adventure features side players from past projects like “Black Widow” and “Ant-Man and the Wasp” coming into their own, plus skillfully juggles bleak darkness and inspired humor in a surprisingly moving exploration of mental health.

Given the story's focus on religion and the intolerance that still rages in today's world, The Merchant of Venice remains deeply meaningful.

The film is entertaining if contrived. It is not as cleverly structured as Roos' best ensemble comedy, "The Opposite of Sex," which also co-starred Kudrow. But it does have humorous moments.