The visuals are impressive, while the goodhearted and endearing story is a little slight.

Peanuts is all about simplicity, and what the plot lacks in nuance and complexity is made up for with relatable characters whom people have spent a lifetime watching.

What the film does best is remind us of the brilliance of Keats flame and how it was extinguished far too early.

Night Moves is a thoughtful, clear-eyed and provocative film that raises thorny questions but doesn't offer easy answers.

The fictional premise is used cleverly to illuminate the creative process and explore romantic minefields, and the appealing Ruby Sparks has a low-key, polished charm.

With its introduction of wonderfully memorable characters and blend of humor, action and catchy tunes, Guardians is perfectly pitched escapist fun.

Even by today's standards, some scenes are jaw-dropping in their bloodshed. To that end, Lurie accomplishes some of what Peckinpah evoked 40 years ago.

Singh brings cheeky humor, an eccentric sensibility and an enchanting look to his re-imagined tale.

Note this in your Starlog: Tacky toupees are out. Chrome domes are in. And not only is the future in safe hands, so is the "Star Trek" franchise. [22 Nov 1996 Pg.05.D]

With one of the year's busiest scripts, Little launches 76 zippy minutes.

The musical numbers, with Brown's remixed vocals and Boseman re-creating his signature dance moves, are mesmerizing.

Surely there aren't many emotionally fragile mobster stories left in the Hollywood arsenal. But at least Kill is a pretty good shot with the laughs.

This is the kind of well-made movie you wish well but you don't particularly wish to see again.

Doesn't always have a clear path, but that is part of its meandering appeal. It asks if true love exists, then renders it a rhetorical question.

It's a rare movie that prefers a moral victory over a rah-rah one. [18 Sept 1992, p.5D]

The movie works mostly because of the artistry of its stellar cast and heartfelt script by writer-director Paul Andrew Williams.

This is director Stanley Donen's spotty but superior original -- made before Dudley Moore's superstardom but after his and co-star/co-writer Peter Cook's Beyond the Fringe stage glory. [06 Apr 2007, p.8E]

A refreshingly silly and clever portrait of a strikingly daft and clueless man.

The intelligent, timely and twisty thriller Miss Sloane introduces an antiheroine feared by both Republicans and Democrats. Jessica Chastain is all hellfire and high heels as powerful Washington lobbyist Elizabeth Sloane.

The first all computer-animated feature, which brings a bedroom of playthings to bouncy life, is yummy eye candy spiked with 3-D-style tactile treats.

Shaolin Soccer's infectious style has a way of lifting spirits. You don't have to be a fan of soccer or kung fu to enjoy it.

Grabber sub-plots further boost a story that is basically made by its three leads.

Plays like a labor of love.

This has to be the raunchiest full-length animated feature since Fritz the Cat, which got an X rating in 1971.

Directed by Nia DaCosta (“Candyman”), Marvels throws a ton of plot at viewers that too often falls back to Marvel-y familiarity – world-saving stakes, villain with a light-up doodad – yet enjoyably soars when it centers on its core trio and dares to go gonzo.

Of all the pop-psychiatry movies from the 1940s, Spellbound survives its kitschy elements -- wallows in them, even -- to remain as fascinating as expected from a collaboration that was contentious. [04 Oct 2002]

As close as anything could be to a light Mamet comedy.

John’s gifts are his songs, and with Rocketman, his wonderful life gets a worthy, refreshing big-screen treatment.