The original "True Grit" might have been eclipsed by John Wayne's larger-than-life persona, but the Coen brothers' remake is an ensemble piece that feels freshly their own.

The suspense becomes so unbearable that it's easy to overlook questions about whether anyone in such circumstances would continue filming.

The Force Awakens reveals surprising connections, begins a few bromances, solves mysteries while digging up others, and sets a strong tone for what comes next in Star Wars lore. Best of all? It’ll make you feel like a kid being introduced to something truly special once again.

Nothing in John McNaughton's script and direction is exploitative; there isn't a frame of wasted action in what may well remain the year's most tightly constructed movie. As such, you're with this qualified classic all the way, you believe in it all the way, and you're thus forced to take its sporadic atrocities seriously. How many movies (and how long has it been since we've seen one) have really pulled this off? [20 April 1990, p.4D]

Casts a potent spell.

The most un-MGM movie that the studio ever made gave Dracula director Tod Browning the chance to tell a story that horrified audiences. [13 Aug 2004, p.4E]

Caro gives the fablesque story -- based on a 1,000-year-old Maori legend -- both a contemporary and timeless quality, anchored by newcomer Castle-Hughes' powerful and haunting performance.

“Barbie” is really an insightful exploration of humanity, the meaning of life and the cognitive dissonance of a woman living in the patriarchy, all with a really big heart and style to spare.

Stripped of all bravado, Cruise delivers a raw and probably detractor-proof performance. Spielberg does what he did right in creating a novel milieu for "A.I. Artificial Intelligence," but this time the writing is fresher and anything but unwieldy.

The good news is that this is not merely a few episodes cobbled together: It's a real movie.

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.

Happily, there's nothing to misconstrue about the film: It's fabulous.

The only things missing from making this showdown worthy of a Western is Murrow's sheriff's badge, a dusty street and maybe a spittoon for McCarthy's infamous invectives.

Coraline is a plucky heroine, and director Selig's imagination is indisputable. But the story falters in parts, and its dark tone could be off-putting for children.

It has been a while since we've seen such a consistently funny and entertaining road movie.

This is entertainment worth thumping your chest over. [18 June 1999, Life, p.2E]

This smashingly filmed and performed one-shot is (uh, so to speak) the year's best romantic comedy. [8 Dec 1989]

It's hard to imagine how a film built around one-on-one interviews could be entertaining, but Frost/Nixon could not be more enthralling.

Its interpersonal dynamics are constructed with care to equal chef Lung's elaborate concoctions. [19 Aug 1994]

Though the comedy is sometimes more frenetic than inspired and viewer emotions are rarely touched to any notable degree, the movie is as visually inventive as its Pixar predecessors.

A moving tale with wryly funny moments.

A wonderful throwback about a flawed figure who took on a hostile era in Hollywood with choice words and major chutzpah.

A cinematic experience that is dazzlingly different from anything currently in theaters, March of the Penguins captivates with its straightforward but powerful story of dogged determination, survival against harsh odds and sacrifice.

A beautiful and brutal headtrip exploring the positives and negatives inherent in mankind's evolution, with characters struggling against losing themselves to something alien.

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]

This is one movie in which you don't feel the long-ish running time, in part because there always seems to be a surprise (as well as a new street guerrilla) around every corner.

The film's resolution is uplifting but not unrealistic, and Pariah exercises restraint by not tying up every loose end.

Emerges as an African version of "Schindler's List."