Not only historically significant but also truly excellent.

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

Though some have taken this '94 film fest fave fairly straight, it strikes me as eerily arch and quite the sly hoot as it connects maybe two-thirds of the time. [07 Mar 1995, p.4D]

Produced by horror masters Jason Blum and James Wan ("The Conjuring"), M3GAN satisfies with slasher gusto, “Black Mirror”-esque satire and social media savvy. It’s also just plain fun to watch a film that packs a healthy amount of absurdity alongside an insightful exploration of 21st-century parenting, though you might never trust Alexa ever again afterward.

A moving documentary that informs, entertains and inspires.

One of the film's strengths is that nobody -- male, female, gay, straight or Jewish mother -- is reduced to stereotype.

Fortunately, a movie that needs some levity gets a comic boost from William H. Macy as a fictional racing handicapper from the golden days of radio. As if training a horse, Macy cues us to laugh every time he's on screen.

If this is Bong’s take on a Hollywood space blockbuster, it’s better than most. “Mickey 17,” led by a quirky underdog, offers a timely escape where empathy can overcome cruelty on the other side of the galaxy.

If you've watched the BBC series "Planet Earth," then Earth will seem like a familiar, if stunning, global rewarming.

A rousing spectacle.

The snappy sci-fi hoot Men in Black...is a kind of "Independence Day" for smart people.

Ultimately, this film is more interesting than rousing; missing is a John Ford-ian wealth of idiosyncratic characters. [9 Nov 1990, Life, 4D]

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

To its credit, the ravenously awaited film version of Presumed Innocent should engross and reward two distinct audiences: Those who've read Scott Turow's 1987 best seller, and those who haven't. But remember: Engross and reward isn't quite synonymous with a cinematic trip to the moon. [27 July 1990]

With Halloween bags still brimming, it's an ideal time for the inventive candy-colored fun and wicked humor that is Wreck-It Ralph.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Shot in semidocumentary fashion, it builds to a more visceral climax than one initially expects. [26Nov1997 Pg.09.D]

Hellboy's cheeky attitude and snarky dialogue, specifically Perlman's snidely funny lines, are the highlights.

Yet, when it all clicks, Ephron is able to make the familiar sparkle anew. [25 Jun 1993 Pg. 01.D]

Some bits fall flat, yet when the Coens hit, there’s nothing better, especially with their usual ridiculously sublime banter.

The musical's ultimately feel-good narrative hinges on Barrino’s deft navigation of a gut-wrenching character arc – and she can still belt like a champ.

It's equally endearing as a sweetly funny romance between two likable oddballs and as a low-tech time-travel thriller, and has something profound to say about making the most of the present.

True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]

The result is a foot-stomping rouser. Where else can you get a cop in his underwear boogalooing with skyscraper terrorists? [15 July 1988, Life, p.4D]

Spectacular special effects, superbly crafted action sequences, plenty of humor and terrific performances render it a cut above most summer blockbusters.

Newcomer Shameik Moore shines with geeky gusto in a breakthrough role in the coming-of-age comedy/drama, which tackles racial stereotypes and 1990s culture as a kind of spiritual descendant of "Friday" and "Do the Right Thing" while still featuring a singular voice.

A decidedly sentimental American version, with much comedy (by mistake, Bob Cratchit actually knocks Scrooge's hat off with a snowball) and fortified with a Scrooge who is not so much a born-to-be-cruel wretch but a tortured soul who lost the meaning of Christmas along the way. [15 Dec 1992, p.6D]

While tonally jumbled and at times violently jarring, the movie delivers strange vibes and extremely strong performances from Jesse Plemons at his oddball finest and Emma Stone, who may or may not be from our planet.