Frank Lovece

Amusing and at times uproarious.

The movie's physical violence isn't gratuitous -- it's the emotional violence that makes this a movie for grown-ups, not kids.

It would have been nice if Hardwick had a bigger budget for retakes to work out some of the supporting actors' stiffness, but he does keep the story moving, finding the humor in characters caught up in their own machinations rather than cheap wisecracks.

Kristin Scott Thomas is the film's revelation. She takes center stage as a smart, fearless woman who's utterly irresistible.

Essentially a feature-length episode of the popular Nickelodeon animated series, this faithful expansion is savvy enough to stay put.

The funny lines fall flat and the relationships and conversations among adult characters are straight out of 1950s sitcoms. Now that's scary.

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.

A massive, sweaty, frequently silly epic that nevertheless delivers enough brute pleasure to pass a rainy afternoon.

Some brilliant human moments do emerge, and there's nothing wrong with a reminder to live life in harmony, and not to beat yourself up.

This lively and nicely timed comedy has plenty enough, farce, slapstick and even drawing-room humor.

A rare sequel that's better than the original.

Screenwriter Christopher McQuarrie's tough-guy dialogue and Bryan Singer's crisp direction give the ensemble cast every opportunity to shine, and they do.

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

Deeply adolescent; its impact is visceral rather than intellectual.

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

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

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.

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.

Most of the film's imagination and energy seem to have gone into the clever casting and flamboyant costume and set design.

The non-action scenes are so pedestrian that one suspects the good stuff is less due to workmanlike director Lee Tamahori than to one of the best second-unit crews in the biz.

Photographed as harsh spectacle in brown and gray with unfailingly overcast skies, the story is affecting and suspenseful enough when focusing on Vassili, the humble peasant youth, and his patrician adversary playing a chess-like game of cat-and-mouse.

Occasionally marred by purple narration; it's also a mite sloppy in terms of time-passage and geography. Yet its mythic characters feel like genuine, hurting human beings.

Relentless parade of tragedy.

Sarandon is terrific and Penn is in top form, but the film is an achingly earnest message movie with a curiously muddled message.

A romantic comedy distinguished by the particular roadblocks writer/director Kevin Smith throws up in front of his characters.

Suffers from wishy-washiness.

Formulaic but not entirely predictable, it's like old-school Disney, but without Tim Conway.

Grownups who grew up on The Jetsons and children who, like the movie's heroes, aren't yet nine years old, should enjoy this film.

Thought-provoking but proceeding at a crawl, the film suffers from performances that are virtually all pitched to the same note of existential ennui -- thank goodness, then, for Rush, who's arrives like a wake-up blast of compressed air.

The film is a harmless extension of the skit, aimed at fans and best viewed as a showcase for Meadows's considerable talents.

The title of the film is most unfortunate because it gives no indication of the film's stark theme. Moreau is good as the disenchanted woman, but Mann is less effective.

A meandering and deeply shallow tale of spiritual redemption.

They STILL didn't get it right this TIME.

A sad blot on an impressive career.

Despite the Lear-like trappings and the talented young cast, which does its work with considerable grace, it has little momentum or punch.

Heartfelt as Reno and Applegate are here, the film strands them with an impotently blustering, straw-dog villain and a limp, directionless story.

In the end the film has absolutely nothing to say.

The story's a bore; its arrhythmic stutter of humor and drama, tension and calm never builds into any coherent emotional arc.

Kudos to writer-director Eric Schaeffer for doing a sexually graphic romantic comedy about fiftysomethings without being patronizing or cutesy. With both heart and guts, he honestly depicts how that moony-eyed, falling-in-love rush of endorphins is the same at 55 as it is at 15.

Some great things can found in this fluidly kinetic film, well-directed by X-Files series and movie veteran Rob Bowman, including no-nonsense dialogue, epic photography and a terrific score. It's too bad the story is so sloppy and stupid.

Bighearted and wistful, but with no fresh spin or anything new to say.

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

The real trouble is Jack: He's narcissistic and tough to like (Pontevecchio's fine, but a younger actor might not have brought an impression of arrested development to the character), and his crude sense of humor borders on the disgusting.

Overblown, ridiculously contrived drive-in flick.

Happily, a feeling of genuine comradeship among these athletes shines through, and their irreverent, go-for-broke comments are a jolt of fun compared to the usual canned epigrams from pampered sports multimillionaires.

Never has the adage "You can't help who you fall in love with" been more lavishly illustrated than in this historical drama.

This ORANGE is a lemon.