As an aging wheelman-for-hire on an underdog racing team, Pitt brings plenty of personality – and vroom-vroom steeliness – to the on-the-track thrills of the crowd-pleasing if mildly predictable F1.

John Wick serves up a noxious, clashing blend of hyper-realistic and cartoonish violence. Too bad there's no cinema decontaminating service that can wash our memories clean of such useless gore.

Chayefsky's untempered windiness and direction (by Arthur Hiller) so impersonal that this D-day black comedy could just as well be an I Dream of Jeannie episode. [22 June 1990, p.3D]

A slow-cooked film that's one of the most heartwarming of the young year.

A much better version and one of the most popular 3-D movies. [03 May 2005]

The result isn't quite a Michael Moore movie without the hubris, but it's reasonably close. It's thoughtful, and you have to take it seriously and with respect.

A summer crowd-pleaser worthy of its wind.

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

One of the best films of the year.

The film is likable, with some funny moments and recognizable human conflicts. But the origin of the women's friendship is not explained, and the nature of Olivia's problems is not examined or taken very seriously, making her seem inexplicably lost and shallow.

It’s rather elementary: Young women yearning for an action heroine of their own get one with Enola Holmes, a problem-solving youngster we all could use more of in our streaming lives.

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

The longer the movie goes, the more its 133 minutes prove wearing. The story tries to develop a love angle between Jackman and Janssen, but it doesn't begin to take. And the finale is particularly weak.

No-frills chills are what Paranormal Activity offers in unrelenting supply.

Amid seriously high stakes, Craig makes you root for Bond like never before in a swan song that’ll leave die-hards shaken, if not stirred.

Though Maclean's bedrock prose is perfection in print, the film may be another case (like actor Redford's "The Great Gatsby") in which text defies translation. [09 Oct 1992]

Kikuchi brought humanity to the robots-vs.-monsters action of Pacific Rim in a small supporting role, and she ups that much more with the meek title character of Kumiko, directed by David Zellner from a screenplay co-written with brother Nathan.

Individually, the episodes aren't much, but it's impressive that Jarmusch even pulled off the logistics. [01 May 1992, p.7D]

A solid courtroom drama that most fans of the genre have seen before. But great acting, an engaging real-life tale and moments of heartfelt honesty – with a fair bit of rousing satisfaction – elevate director Destin Daniel Cretton’s true-life story.

A riveting crime thriller, it's also a multi-generational familial saga that approaches Greek tragedy.

Its deadpan wit, ingenious fairy-tale premise and superbly accomplished cast will leave you feeling positively oxygenated.

Disney has another first-rate animated villain in The Rescuers Down Under: an Australian poacher with the voice of George C. Scott, who looks like a cross between Scott and Jim Varney. [16 Nov 1990, p.4D]

The movie is still too solemn.

Even for non-fans, Revenge of the Sith is engrossing, and fans of the series will likely be over the moon -- and into another galaxy -- with this film.

The movie features pervasive positivity, one really cool canine and a bright comic-book aesthetic. And while this fresh superhero landscape is extremely busy and a little bit familiar, it also feels lived-in and electric.

Though there is plenty of gunplay, this is a wondrously contemplative and poetic saga that offers a fresh and bewitching take on a timeworn genre.

It's a provocative game that plays out with intelligence and wit.

Though events unravel predictably, the film is profoundly affecting, thanks to a well-written story, rich characters and superlative acting.