Frank Lovece

Manages to inject more than a little humor into this tension-filled genre classic.

Serenely stunning.

Refreshing, innovative and immensely funny.

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

A brilliant surrealistic joke about a group of friends whose attempts to dine are continually thwarted.

A radiant, heartbreaking film.

This may be the warmest movie the Coen brothers have ever made. There's something unmistakably human beneath the oh-so-clever surface.

Feel-good tone notwithstanding (and creepy to boot), there are nagging riddles about the Helfgott story that the film has neither the nerve nor the sense to tackle.

The film ends with a return to the beach, and one of the most psychologically chilling and expertly photographed shots imaginable.

A collection of interconnected vignettes shot as live-action digital video footage which is then 'fed into' computer animation software, Linklater's latest film is an audacious, ambitious undertaking. There's a surreal yet consistent logic to it, which is the film's biggest accomplishment.

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.

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.

Colossally entertaining.

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

Captures the way drug addiction gives structure and purpose to aimless lives, and evokes the breathtaking rapture of a fix. All this and a happy ending, too.

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.

In a film mercifully free of the usual warm and fuzzy movie sentimentality, director Maggie Greenwald and her fine cast shatter most hillbilly stereotypes.

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

With grace and cleverness, mixing romance and comedy in a genuinely delightful way.

The film proceeds from an utterly fascinating notion. As with A.I. Artificial Intelligence, Spielberg's admirable intent is to create a prescient, serious science-fiction movie.

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

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

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

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

The ever-charismatic character actor George Coe stands out as a small-town jeweler grateful for a late-life affair.

From the opening lines to the epilogue (one of the film's few misfires), this taut first feature from TV producer and novelist Henry Bromell sustains a taut mood of unease and isolation, and the ensemble performances (TV starlet Campbell's included) have the qualities of the highest-caliber stage work.

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

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.