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.