The Whale is an exquisitely soulful tale that avoids forgettable sentimentality.

It's an oft-told tale, but director Mike Newell's handsome version of Charles Dickens' epic novel is marked by strong performances, well-developed characters and gorgeous cinematography.

Geared for teens who perhaps found the Twilight series too profound, Warm Bodies is an unabashed homage to that wildly successful franchise. One of its stars, Teresa Palmer, is even done up to be a carbon copy of Kristen Stewart, the anchor of the vampire series.

Even surly moviegoers may discover how pleasant it can be to actually like movie characters.

A cross-cultural charmer, an endearing true story told with intelligence and warmth by director Niki Caro (2002's Whale Rider).

You'll figure out just about everything that's going to happen in Cool Runnings, a congenial Disney comedy, quicker than an icicle melts in Kingston. [4 Oct 1993, p.4D]

The ambitious State of Grace is full of imposing moments, several of them among the screen's most violent since the heyday of Sam Peckinpah. [14 Sep 1990, p.4D]

There’s no end to the schmaltz in Winnie the Pooh’s honey pot, yet Disney’s live-action Christopher Robin also tosses in enough charm and tomfoolery for a sufficiently delightful hang with the iconic bear.

Both female roles are unexpectedly meaty, so much so that the film loses something once the far more lively Stone is dispatched. Hour one (more satirical) is better all around, though the falloff isn't fatal. [1 June 1990, Life, p.2D]

Wonder Woman 1984 is director/co-writer Patty Jenkins’ much lighter, somewhat campy follow up to her World War I-set 2017 hit film, though a lot has to do with the new retro time frame. While not quite up to par with its predecessor, the Reagan-era sequel returns Gal Gadot as the Amazon princess with the bulletproof bracelets, introduces a couple worthy foes, and is a pretty fun time even if the extremely busy “1984” almost wears out its welcome at a hefty two and a half hours.

The Heat is the best female buddy-cop movie since, well, ever.

The stars at least keep Wong Foo watchable. [08 Sep 1995, p.7D]

Danny Trejo plays the long-haired, craggy-faced titular Machete with a combination of swift ferocity and baleful kindliness. And the ladies love it.

Susan Sarandon has never looked better in her 29-year screen career than she does here.

This is the most enjoyable film of its type in recent memory.

Though not exactly dynamic, the movie offers insights into a specific culture. Ashley Rowe's photography is exquisite, and Driver has never been better. [14 Aug 1998]

A spectacular ride for most of it, and while you're a little let down at the end, you kind of want to jump back on and do it all over again.

Point Break points up inherent limitations in the "star" rating system. Its purely visceral material (surf sounds, skydiving stunt work, a tough indoor shootout midway through) are first-rate. As for the tangibles that matter even more (script, acting, directorial control, credible relationships between characters), Break defies belief. Dramatically, it rivals the lowest surf yet this year. [12 July 1991, p.4D]

This cliche primer is a bit more than bearable - even when it's literally and figuratively off the track. It's no Cocktail, but it's no Dom Perignon, either. [27 Jun 1990, p.1D]

Brosnan and Dyrholm are irresistible, communicating volumes with mere glances as well as sharp dialogue.

Sometimes it's the most remarkable and heroic figures whom movies can't seem to get right. Such is the case with Mandela: Long Walk to Freedom, a biopic that is more dutiful than illuminating.

The uneven humor, half-baked plot and generic action scenes keep RED from being much fun.

Tthe writer/producer/director/star’s first film in 15 years struggles with its tone and is a solid if unspectacular effort, though Beatty smartly takes a supporting role to the youngsters by playing the kookily eccentric Hughes.

This is one of those movies in which a strong ending might have made all the difference...But the wrap-up is unsatisfying, with too many questions unanswered.

A well-paced action film in the vein of "Speed."

The pitch of the script, written by director Mark Herman, isn't perfect. But these earthy blokes are an engaging lot, the soot of the earth, with an admirably wry view of their bleak situations. [23May1997 Pg 03.D]

Because De Niro's performance is aptly ''Scorsese-aggressive'' while Crystal effectively underplays, one can easily sit through this bottom-line disappointment with a smile painted on, waiting for belly laughs that rarely come. [5 Mar 1999]

The film's most engaging character is not actually human: It's Manhattan, of course, a point made repeatedly over that protracted dinner by the voluble lovebirds.