Frank Lovece

The filmmakers believe they have better emotional beats at the end than what that hack Dr. Seuss came up with—and in the process make the Grinch pathetic and practically groveling.

Deftly tweaking the tropes of rock biopics, this drama of singer Freddie Mercury and British hitmakers Queen dazzlingly captures an era, a man and the universal quest for identity.

There's something for everybody in The Lost Village, but it's like a beef-casserole milkshake.

Beautiful is the apt description for this hilarious masterpiece that embraces reason, celebrates truth and ultimately believes we're civilized enough to accept both.

It is a tremendous disappointment to find such estimable folk meandering in an only intermittently amusing story of no clear point or theme.

As fascinating and well-crafted as it is, The Public Image Is Rotten is ultimately a vanity project, authorized by Lydon and his manager and meant less as an unvarnished journalistic documentary but as a burnishing of, well, his public image.

There is magic in this film's ode to growing old and being with the people who knew us young.

Aside from a witty montage near the start of the movie and sparks of his cheeky, goodhearted subversiveness later on, most of Hotel Transylvania 3: Summer Vacation is bludgeoningly broad and obvious.

Refreshing, innovative and immensely funny.

This is no film for the squeamish.

A meandering and deeply shallow tale of spiritual redemption.

Characters' eccentricities feel contrived and the wackiness seems forced, though the film's amiable ambling does keep the viewer intrigued, if not charmed.

Compared with most of what passes for scary movies these days, this is golden: It's not stupid, it's not wussy and it pulls off a couple of pretty nasty jolts.

This truly terrifying film version of the best-selling Blatty novel is far superior to the book.

They STILL didn't get it right this TIME.

The movie sticks with you as few do: It's rewardingly authentic and emotionally real.

While the unfortunate epilogue strains the naturalism of what's gone on before and leaves a bit of a sour taste, this semi-improvisational comedy otherwise reaches Balzacian brilliance.

Deeply adolescent; its impact is visceral rather than intellectual.

Even the snowboarding scenes that might have been the visceral heart of this thing are cut in such a way that we never get more than a few seconds of full-frame athletic skill; despite the real-life snowboarders doing the stunt work (including Rob "Sluggo" Boyce, Tara Dakides and Javas Lehn), it all looks like editing-room cheats.

Overall it's a funny film, but parents should decide if the anti-gay and misogynist elements are worth the laughs.

If you've never seen a martial arts movie, this is a great place to start.

An effective and moving drama about the strength of the human spirit and the will to survive.

The genial humor is occasionally marred by an overall sexist tone and some downright nasty homophobic and racist attempts at humor.

A sad blot on an impressive career.

The atmosphere is Southern Gothic pure enough to do Carson McCullers proud -- grotesque, sentimental and dankly nasty -- and Thornton manages not to undermine his own writing.

The glammed-up Kinski looks the same age throughout and only has three expressions: angry, wistful, and someone's-killed-my-dog.

Stands separate from the rest, in a pantheon, a true cinematic masterwork of sight, sound, intelligence, and most importantly--passion.

Extremely well-shot espionage thriller that might have worked as an old-fashioned guy's-guy movie if the guys involved had any real, human personality and the espionage were actually thrilling.