Here’s some Disney magic for you: The new Beauty and the Beast actually improves upon the animated classic.

What makes the new psychological thriller Antebellum effective, however, is not just studying the past of America’s original sin but deftly showing how it still paints our present day.

Visually sumptuous and surprisingly sensual, "Nosferatu" isn’t as wonderfully original (or bonkers) as Eggers' top-notch flicks “The Witch” and “The Northman,” but great turns from Lily-Rose Depp and Bill Skarsgård sell its disturbing, otherworldly beauty-and-the-beast tale.

There's nothing touchy-feely about Killing Them Softly, a stylish thriller worth seeing -- despite its relentless violence -- for its sharp dialogue, mesmerizing photography and gritty performances.

Imagine if “The Phantom Menace” was better than every episode of George Lucas’ original “Star Wars” trilogy. Kind of bonkers to think about, right? But that’s pretty much the situation with “The Hunger Games: The Ballad of Songbirds and Snakes”, an enticing blend of dystopian action epic and musical drama that surpasses the previous films starring Jennifer Lawrence.

A sweet, family-friendly retelling of a touching and funny Newbery Award-winning children's book.

Most novel is Rounders' message that the real sin isn't giving into vice but denying your God-given talents and not risking it all.

Not as incisive a political commentary as "Thank You For Smoking," American Dreamz lampoons the public's appetite for mindless entertainment and easy distraction from serious concerns.

A moving tale with wryly funny moments.

JCVD is a whimsical twist on the biopic, sending up heist movies and breaking cinematic rules to interesting effect. At a critical moment, Van Damme rises out of a tense hostage situation to look into the camera and speak movingly to the audience. He has never seemed more convincing.

Not only is Saved! subversively funny, it is unexpectedly sweet.

With its vibrant sparkle and enchanting visuals, Cinderella almost makes you believe in magic.

No masterpiece but undeniably heavy on laughs, the movie is put over by the buffed, lubricated dynamics of two leads who substantially transcend what is otherwise a borderline tepid dose of family values. [9 May 1997, p.13D]

The Sting-like ending with its crosses and double-crosses could have been better handled, but there are plenty of other payoffs in Hoodlum. [27Aug1995 Pg02.D]

Warrior is a relentless, emotionally engaging family drama and underdog saga with touches of "Rocky" mixed with "The Fighter."

Yes, it's loud, explosive and silly, but it also perfectly embodies the concept of a summer blockbuster with its simple good-guys-vs.-bad-guys plot, cheeky humor and flawless special effects.

The film is involving, nimbly acted and smartly directed, though conventional in its narrative style.

It’s not really a horror movie, although it is plenty horrifying. It’s a love story that’s devoid of sentimentality and romance. And it’s also quite funny at times, though you’re never quite sure the laughs are because of the gallows humor or simply a defense mechanism to keep one’s sanity.

While Deepwater Horizon effectively shows its mettle as a proper action film, it goes the extra mile and drills a little deeper to unearth a lot of heart as well.

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]

Goldie Hawn and Steve Martin make Housesitter worth sitting through. While no Hepburn and Tracy, the pair still transform this overly contrived screwball romp into an inspired game of charades. [12 July 1992, p.4D]

Well-crafted, Tarantino-esque story.

Let the killjoys squawk. Lucas has proved he has the Naboos to pull it off again. And again. And again.

Whereas the book was lyrical and moving, the movie is surrealistic and inventive.

The result is two or three cuts above genre standard.

Keaton doesn't stoop to bitter-spinster blather. Instead, the luminous vulnerability that served her well in such dramas as "Shoot the Moon" lights up this depressing, gallows-humored heart-tugger. [18 Dec 1996, Pg.01.D]

May not be a straightforward bio, nor does it offer much in the way of Barris' motivations, but the film is an oddly fascinating depiction of an architect of pop culture.

Affleck ought to do more quirky character roles rather than leading-man parts in action films. Bateman plays his low-key straight man/protagonist to perfection.