Frank Lovece

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

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

The effect is one of gorgeous puppets, a removed perspective that makes some of the most powerful political and social events in history seem like the sad, desperate flailing of monkeys.

This is no film for the squeamish.

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

Sexist, plot-hole-riddled movie equates women with cows and men with bulls.

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

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

Delightful, off-the-wall, and ultimately moving.

A comic masterpiece.

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.

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

This is as powerful a set of evidence as you'll ever find of why art matters, and how it can resonate far beyond museum walls and through to the most painfully marginal lives.

The combat visuals that follow are as powerful as those of any war film.

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

Like the hardscrabble lives of this isolated wasteland, it's equal parts unforgiving white-heat aridity and golden late-afternoon glow.

A sad blot on an impressive career.

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.

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.

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.

The film burbles with delightful dialogue and a sparkling sense of life.

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.

While this is just as long as the first film, more convincing special effects help make time fly.

A rare sequel that's better than the original.

No matter your age, this is one great AGE to be at.

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.

Sometimes seems as noisy and unrefined as Jean himself. But it has just as much heart, and builds up to rousingly "Rocky"-like climax.

This sweet, lovingly passionate story is nonetheless a charmer. Anderson's technique -- jaggy, product-testimonial close-ups; eerie still-image insertions -- is arresting, but this is an actors' showcase.