With a musical that doesn’t shy away from tackling issues of racism and immigration, viewers will find themselves immersed in a song-filled, universally relatable story about chasing dreams and building community.

Unsurprisingly, Spielbergian wonder is sprinkled throughout the episodic Fabelmans. The movie starts out slow, though when the filmmaker gets to Sammy’s high school days, he finds that signature electricity so apparent in his blockbuster career.

For much of its length, the premise seems less wilted than you'd guess. This is because, for one thing, Mendes gives as good as she gets.

Preposterous yet solidly entertaining.

There is nothing flashy about these performances, but Gyllenhaal, Dillon and Gosling fully inhabit their characters, giving haunting portrayals. Watch for these names to emerge on the short list for Academy Award consideration.

Two films in one: an intriguing child-disappearance mystery and an uncommonly affecting domestic drama realized by four terrific central performances.

The distanced result, screen-adapted by playwright Christopher Hampton, never quite overwhelms you. [21 Dec 1988, Life, p.1D]

The best thing O’Connor does here, as he also did with the underrated “The Accountant,” is let Affleck remind us once again that he’s a first-class actor – just in case anyone forgot after his brief stint in an infamous cape and cowl.

An exhilarating fantasy adventure marred only by its length and protracted climactic battle scenes.

With its lush colors, imaginative view of ordinary objects and meticulously crafted miniature civilization, it transports viewers to an enchanting alternate storybook reality.

Grimly claustrophobic movies can make viewers put up a shield, yet Tim Blake Nelson (who directed O) invests this unusual Holocaust drama with dramatic intensity that in no way cheapens its subject matter.

By emphasizing surreal humor and fast-paced action instead, Rodriguez has crafted a prepubescent version of James Bond without aping that series' style.

Don't be put off by the title. This is no sequel, but a surprisingly charming British comedy that is only tangentially associated with "Rambo."

A mildly satirical but essentially sweet, benign comedy.

Although it's a quintessential popcorn movie, Wolverine is not mindless. Hood and Jackman bring depth to a comic-book tale of anti-heroes with anger issues.

“Fury” piles on the mythos, monsters and magic, a smidge too heavily at times, but stays grounded, thanks to its earnestly goofy main man.

The kind of quirky, character-driven comedy they don't make much anymore.

It’s a more demanding narrative to navigate than the director’s previous efforts, and not all of it works with its sly subtlety. Yet there’s sensational artistry at work, with Aster peppering much of his storytelling in the background of scenes (photos on walls, informative signs, etc.) that a lot of folks might not even notice.

Gator-filled swamps, an ultra-grungy murderer, racial undertones and a sexually charged atmosphere make up the tense and lurid world of The Paperboy.

Captures a potent sense of the Old West with its multidimensional raw performances and captivating final shootout sequence. But with its emphasis on emotional truths, it transcends the confines of a cowboy movie.

Aziz Ansari’s directorial debut, the comedy “Good Fortune” would have been just fine as a lively two-hander with Ansari and Seth Rogen that acts as a funny, often insightful exploration of the modern gig economy. It’s Reeves, though, who literally comes down from heaven (actually, more often a rooftop) to be the supernatural presence the movie needs to be something special.

However solid the grown-ups are, the youngsters together – whether in the first film or the sequel – make “It” shine.

This movie doesn't make you think you are watching art. It's closer to a high-end TV movie with lots of familiar faces.

The stories run a gamut of emotions: melancholy, bittersweet, provocative, witty, poignant, silly and fanciful.

Soderbergh takes a deadly serious news story and amplifies and colors it to the point of outrageousness. The results aren't always consistent, but they are undeniably compelling.

The best romantic comedies intoxicate like vintage champagne. Picture Perfect, on the other hand, is like a wine spritzer. Insubstantial and oversweet, it still refreshes as a midsummer brain cooler. [1 August 1997, p. 3D]

As easy to enjoy as picking up a spare, and we don't mean a tire around the waist.

Babys is intellectually stimulating and emotionally stirring, a rare combination these days, though hardly unusual for writer/director John Sayles.