Caché is unsettling and tense, even shocking. And its story of enduring tensions between an Algerian immigrant and a well-off French family is particularly timely.

“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.

Compared to its ilk, Suicide Squad is an excellently quirky, proudly raised middle finger to the staid superhero-movie establishment.

The sequel both honors and reimagines the Spider-Man mythos for a new generation of movie fans with an artistic bent, a love for its characters and a willingness to break the rules to create something special.

Spike Lee has been trying to get people to do the right thing for years, but with Chi-Raq, he solidifies a peaceful movie message in lyrical as well as powerful fashion.

Viewers should know that the film's resolution, though admirably restrained and unsentimental, is devastatingly sad. Parents should take this into account. This beautifully rendered family film is told in a classic and old-fashioned style, in the best sense, providing poignant and powerful teachable moments.

The new “Black Panther” celebrates and honors its fallen hero, at the same time showing that this corner of the MCU remains in extremely capable hands.

Filmmakers of Bernardo Bertolucci's magnitude don't often take on sexual coming-of-age movies, but judging from the pleasures of Stealing Beauty, maybe more of them should. [14 Jun 1996 Pg.04.D]

The gritty, Oscar-nominated "Traffic" is a limo ride compared with the bloodletting in this year's foreign-film nominee from Mexico.

Once is a film for anyone who has ever been transported by the power and passion of music.

True to its title, Elegy is a spare, meditative and melancholy film. It is a deeply affecting and profoundly observed saga about love, art, beauty and, especially, mortality.

Blisteringly fast, Bourne also has a strong or striking supporting actor around every corner: Chris Cooper, Brian Cox, Julia Stiles and Clive Owen in roles that range from meaty to amazingly small.

The documentary's scathing attack on the war in Iraq and George W. Bush's presidency is informative, provocative, frightening, compelling, funny, manipulative and, most of all, entertaining.

This sleek adaptation of James Ellroy's dauntingly complex novel has the black-and-white tabloid soul of an old "Confidential" magazine.

Star Trek was never about gizmos, but about relationships - both among its crew members and with its audience. Star Trek VI more than upholds the tradition, making it a satisfying send-off for a mighty ship of foils. [6 Dec. 1991, p.1D]

An enthralling tale of friendship that transcends biases, Ernest & Celestine offers a lovely lesson on acceptance and inclusion.

Huston's movie seems to disappoint some who've read the novel, but the forlorn humanity that triumphs over the depravity and poverty is unforgettably affecting. [13 Dec 1996, p.1D]

It's a mature, intricately layered visual delight.

Brannigan is terrific as Robbie, and the entire supporting cast is superb.

It’s an outstanding, feel-good combination of East and West that depicts Japan's popular "rental family" business – where actors play a client's parent, spouse, sibling or friend at events or in their personal life – while also nimbly exploring loneliness, identity and the importance of found family.

Damon convincingly matches Williams recrimination for recrimination in this portrayal of mutual tough love, even with the latter giving what may be the best performance of his career.

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.

With its complex look at storytelling, imagination and the teacher-student dynamic, In the House is an elaborate cinematic fresco.

You get the sense that there's probably more to the story than you get here. But the movie's moral will soon be indelible: You just can't fake it in the Internet age.

Increasingly piquant tale of culture clash in 1954 post-independence India.

What's wonderfully explored here, though, isn't the killer streak, but instead the gravity of taking a darker path and being left at the end with nothing but bloody memories.

Highly entertaining and informative.

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.