Perhaps Nichols and May's greatest accomplishment is capturing perfectly on film the mysterious, complex, compromised relationship the public has with today's political leaders.

While the themes are deep, Black Panther is at the same time a visual joy to behold, with confident quirkiness (those aforementioned war rhinos), insane action sequences and special effects, and the glorious reveal of Wakanda, whose culture is steeped in African influences but which also offers a jaw-dropping look at what a city of the future could be.

That this is Fukunaga's first film is astonishing, given its sharp script, technical proficiency and suspenseful pacing. The ensemble cast is top-notch.

Topically relevant and emotionally overwhelming, John Ford's memory-movie concerns the devastation of a Welsh coal-mining family after mine owners impose cutbacks. [16 Jun 1992, p.6D]

The latest version of Hardy's 1874 classic works on all levels. Foremost, it is brilliantly directed by Thomas Vinterberg,who also made two other masterful dramas, 2012's "The Huntand" 1998's "The Celebration."

It's slick, melodramatic, even inherently trashy - but a blue-chip moviegoer investment. [11 Dec 1987, p.1D]

In Capote, Philip Seymour Hoffman's brilliant transformation into the mannered writer takes your breath away.

The definitive time capsule of mid-'60s swinging London. [05 Dec 2003]

Screenwriter Alan Sharp's dialogue, as edgy as his name, combines with Penn's incisive direction to create memorable characters played by Hackman, Ward, Jennifer Warren and a young James Woods as an auto mechanic you don't want messing with your points and plugs. [22 July 2005, p.6E]

Joins company with "Sullivan's Travels" and "Sunset Boulevard" as the quintessential Hollywood peek-a-boos...[and] Tim Robbins' modulated performance rates rhapsodic praise. [10 Apr 1992]

The Little Mermaid, or Hans Christian Andersen Goes Hip, is the most thoroughly socko kiddie cartoon feature in decades. [15 Nov 1989, p.1D]

The Queen is the kind of thought-provoking, well-written and savvy film that discerning filmgoers long for but rarely get.

Shanghai Triad concludes the sublime seven-movie collaboration of Chinese filmmaker Zhang Yimou and actress Gong Li with a bang worthy of the most jubilant New Year's Eve.

A masterpiece. (9 Jan 1998, p.3D)

Unpretentious as it is, Big takes you beyond laughter, to where you live. And there's nothing small about that. [3 Jun 1988, p.1D]

The Brutalist is a toxic tale of the immigrant experience and a gripping narrative of love and hope tested through vice and struggle.

Tempers moments of despair with deliriously romantic passages abetted by James Horner's traditionally lush score and photography by John Toll ("Legends of the Fall's" Oscar winner).

The film owes much of its success to the inspired pairing of Fincher and Sorkin.

Still mesmerizes on the strength of George C. Scott's chew-your-behind performance. [5 Nov. 1999, p.6E]

Manhattan Murder Mystery may be lightweight Woody, but it's also a mile-wide grin with a surprisingly satisfying mystery angle. [18 Aug 1993, p.1D]

Boasts a classic screwball script by Charles Brackett and Billy Wilder. [10 May 1995, p.5D]

With its original performances that can't be reduced to simplistic labels, Juno is charming, honest and terrifically acted.

Director Hayao Miyazaki treats his audience as imaginative and intelligent human beings, rather than catering to kids with rote displays of silliness, stunts and scares.

Tightly constructed and controlled.

Drama, comedy, action and romance are intertwined in this gorgeously photographed and brilliantly directed film. Lead performances are thoroughly engaging despite - or perhaps because of - being wordless.

With flawless precision, the movie flows seamlessly between a virtual newsreel approach (to chronicle senseless, arbitrary atrocities on the people) and a slightly more direct narrative technique that characterized the film's three dominant characters - each one cast to perfection. [15 Dec 1993]

Jojo Rabbit succeeds even with a high degree of difficulty, given the sensitivities of the subject matter, the emotional undercurrent of a mother’s devotion to her son and the breaking down of artificial walls to let love in. As much as it makes you laugh, Waititi’s must-watch effort is a warm hug of a movie that just so happens to have a lot of important things to say.

The most un-MGM movie that the studio ever made gave Dracula director Tod Browning the chance to tell a story that horrified audiences. [13 Aug 2004, p.4E]