The film takes a long time to unfold, and some scenes feel inert. But ultimately, the conclusion is moving and satisfying.

The movie is more compelling than exciting with one exception: the kind of rocket blast-off sequence for which IMAX screens were seemingly invented.

This crumbled-caper comedy is the funniest movie ever from a film maker late in his eighth decade. [22 July 1988, Life, p.4D]

Amid the razzle-dazzle, Spy Kids 3-D: Game Over is sweetly inspiring.

A minor delight but a delight just the same.

An enjoyably cast, superbly shot, jolt-generating device...It isn't art, but it'll crush your bones.

A strong first half has Jill Clayburgh oozing bile when weasel husband Michael Murphy dumps her. Writer/director Paul Mazursky's sexual-political screen landmark wobbles some when she takes up with artist Alan Bates. [13 Jan 2006, p.14D]

As Phantom Thread flits between complicated character piece and unusually funny romantic comedy, the movie becomes much more about Krieps’ Alma. The Luxembourgian actress holds her own with Day-Lewis and often is the best part of the movie.

That Circle of Life everybody was singing about three decades ago? Thanks to Jenkins’ inimitable grace and Miranda’s tuneful swagger, it continues to feel vibrant.

The film's most climactic moments involve the chilling audiotapes of avaricious Enron traders as they toy with California's energy crisis, wringing millions in profits from the misfortune of an entire state.

A decidedly sentimental American version, with much comedy (by mistake, Bob Cratchit actually knocks Scrooge's hat off with a snowball) and fortified with a Scrooge who is not so much a born-to-be-cruel wretch but a tortured soul who lost the meaning of Christmas along the way. [15 Dec 1992, p.6D]

While there is a vague hint of a vanity project in a few extraneous scenes, directors Barbara Kopple and Cecilia Peck have fashioned a compelling and rousing film that will not only appeal to Chicks fans, but make fans of those who weren't before.

It is in many respects the best installment of the franchise as its stars go from sullen kids to sullen young adults, where their expressions look more natural.

The Intouchables is an exuberantly charming French buddy comedy that proves an audience will suspend disbelief and follow an unlikely story as long as it's superbly crafted.

As a new chapter in the superpowered arachnid saga, it stands on its own quite nicely, focusing more on human emotions than on a panoply of special effects.

Based on the captivating novel by Myla Goldberg, Bee Season is evocative and superbly acted.

A sweet celebration of brotherhood in its many forms. It gently encourages human communion with animals, nature and our fellow man.

There aren't enough movie musicals in general, and especially not enough that experiment with the form like “Spider Woman.” With a satisfying tale that leans timely given the film’s political bent and a knockout performance by Tonatiuh, it might even weave you breathless.

Deliver Me From Nowhere is the solid portrait of an artist working through some stuff, and a man learning the power of being the Boss.

The soundtrack (which includes James Brown, Michael Jackson and The Commodores) is better than a K-Tel "Best of the '70s" compilation, and the broad physical comedy is as reliable as a brick house.

Writer/director Philippe Claudel knows just how to structure a character study of this sort, so that key elements and important secrets are revealed over time, piquing our interest. The film is almost like a novel or short story, so one's curiosity is satisfied slowly.

The script strives to turn Garcia into a nasty Gere alter ego, which may explain why both leads solemnly underplay it. Though Gere's contribution is welcome, two hard-ballers in shades may be one too many; on balance, it's the actresses (especially ever-solid Laurie Metcalf) who sustain interest. [12 Jan 1990, p.2D]

A welcome adult alternative to summer's sophomoric blockbusters. The only transforming going on here is actors skillfully taking on roles of '30s-era gangsters and lawmen.

It's a story that could only happen in an era of YouTube and American Idol. Well-chronicled and fascinating, Don't Stop Believin' is a cinematic journey well worth taking.

The cringingly wacky scenarios, offbeat characters and comic dialogue serve up a crowd-pleasing, laugh-filled experience.

Rarely is the second film in a horror franchise more frightening than the original, but Paranormal Activity 2 has more innocent victims and more scares than its predecessor.

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.

Shannon's restrained and mesmerizing portrayal, bolstered by an excellent offbeat supporting cast, makes for an edgy and compelling Mob yarn.