This handsome movie works thanks to its lack of pretension and an atmosphere somewhat akin to the gentle wackiness of director Bill Forsyth's better works.

Jurassic World gives us enough dino-mite action to stave off excitement extinction.

A family movie with a heart and a brain. And if you aren't moved to tears, you might need an organ transplant.

Time has marched on for the second ''best-picture'' Oscar winner, but this is still a seamy story about two Midwestern sisters (Bessie Love and Anita Page) singing, hoofing and (in Page's case) teasing their way to success. [24 Feb 1989, p.3D]

If it's not conventionally speedy, it is almost always gripping.

An unusually knowing movie from filmmakers of any age, both in its coldly clinical viewpoint and assured filmmaking style that even puts fresh spin on a routine police interrogation. [26 May 1993, Life, p.8D]

While the movie overcomplicates matters as the plot tosses in assorted criminal types and various twists, the leads always keep it watchable just riffing off each other with verbal barbs and sharp looks as their unnamed characters’ icy relationship melts and they find a mutual respect.

The finale, which utilizes vintage home movies to show us the real people we've just seen portrayed, packs a wallop. [19 February 1999, Life, p.13E]

Maestro offers a counterpoint of sorts to last year’s “Tár.” Whereas Cate Blanchett’s look at a fictional conductor is a more insightful look at the complicated aspects of artistry, Cooper’s work succeeds in bringing an American legend to life while also examining his humanity.

When it comes to sheer spectacle, Star Trek, as re-imagined by J.J. Abrams, delivers.

Those who appreciated "Metallica: Some Kind of Monster" will probably enjoy this documentary.

However flawed, this film proves two things: Davis is still peaking as a lead, and Hanks is in a league with funny male leads of any movie era. [1 July 1992, p.1D]

The film's real heart is splitsville Pollack and Davis - he for the comedy his foolhardy fling provides and she for creating a complex character too direct to maintain marital harmony she may well need. It would be heartening if Davis, not scandal, were to be the film's ultimate legacy. Look for her to figure in the year-end supporting actress awards. [18 Sept 1992, p.1D]

Julianne Moore shoots and scores – as well as laughs, cries, smokes, drinks, flies and sings – in the quirky Gloria Bell, which minds a fine line between in-depth character study and offbeat romantic comedy.

A high-octane mind game best enjoyed by following a key character's advice: "The Source Code is a gift. Don't squander it by thinking."

As stuffed with beguiling performances - some of them unexpectedly good - as its script is overstuffed. And though even the beguiled may feel manipulated the next morning (or when hitting the exits), the players put it over by a nose. Happy holidays.

Clint Eastwood remains a competent, rather than distinctive, film maker, but he obviously respects the material. Bird is essentially factual, and we come to understand why so many other musicians thought shooting heroin might enable them to transfer [Charlie Parker]'s genius to themselves. [26 Sept 1988, p. 4D]

Talk to Me speaks powerfully to audiences with its potent blend of extraordinary performances and engaging soundtrack.

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

Moon, a superb first feature directed by Duncan Jones (David Bowie's son) and starring an impressive Sam Rockwell, is an intelligent, evocative and deceptively low-key sci-fi adventure.

Even with the occasional misfire in the plot, Fey’s strong performance throughout the film lets Whiskey go down in smooth and satisfying fashion.

If moviegoers suspend their disbelief -- easy enough thanks to the diverse and talented cast, as well as Spielberg's capable direction -- they're bound to enjoy this cinematic fantasy.

The movie's appeal is largely the result of the perfectly cast James Marsden as Fred, a lovable slacker who accidentally injures a floppy-eared rabbit who calls himself E.B. (perfectly voiced by Russell Brand).

The follow-up plots an extremely familiar course but at least does so with fresh new personalities and more inspired Pacific Island influence.

It's a pleasure to watch these men perform. These are real-life guitar heroes. But it would have been a treat to see more of them talking shop.

Enlivened by a strong cast, Cesar Chavez is a straightforward and inspiring account of a noble man.

Pixar doesn’t have the greatest track record when it comes to sequels, but this follow-up surpasses most everything without Toy Story in the title. The animation is stellar and detailed in excellent action sequences, Michael Giacchino’s score swings harder than ever, and the first film’s family-friendly warmth is just as appealing now as it was then, even if Incredibles 2 isn’t totally incredible itself.

Pooh succeeds by embracing much of what modern films (including Potter's) have largely forgotten: old-fashioned movie pleasures.