Back from the time when Scream director Wes Craven still made real horror. A family on vacation with a trailer is irritating enough. But then their ride breaks down in the desert, and there's a clash of family values with a family of inbred cannibals. During the struggle for survival, it gets hard to tell who the real savages are. [27 Oct 2003, p.E1]

The film draws you deeply into Baker’s fantasy world, to the point that the entreaty of his famous recording, “Let’s Get Lost,” almost seems like a good idea.

As it is, Elvis is a gorgeous tragedy, a movie mixtape with a sonorous performance at its core, maybe Luhrmann’s best since “Romeo + Juliet” (1996) and perhaps his most postcard-perfect movie ever. But it has a rubberized script, a turgid length and a key issue that affects many musical biopics: It’s not really sure what it thinks or wants to say about Presley.

Every dog in this sweetly earnest movie seems to have a strong sense of responsibility.

Directors Laura Collado and Jim Loomis’ cleverly edited and deliciously photographed food porn is a tasty peek at the cutthroat culinary world and one of its most mysterious figures.

As far as truly caring about anything that goes on in this epic, well, that’s a chore. And with a run time of more than 2½ hours, that chore becomes ever more burdensome as the minutes tick away.

Perhaps Downsizing needed to be downsized a bit; as it is, it’s an intriguing concept that slips away.

It’s a feel-good film about dreams, about obsession, about believing in yourself when nobody else seems to be doing it for you, and Hawkins carries it with effortless ease.

The problem with Miles Ahead isn’t the playful, broad license it takes with Davis’ story, but that it’s so silly.

Nadja is a one-way ticket to a visual paradise that unearths nothing more substantial than splendid Gothic atmosphere. In opting for artiness, it strands its cast in lifelessness, an anemic exercise in desperate need of a blood transfusion. [15 Sept 1995, p.F5]

Florid but warmhearted — much like the man at its center — The Happy Prince is a haunting portrait of the aftermath of betrayal; of how the master of comedy became a tragedy.

As with any Michael Moore movie, attention must be paid.

Cornel Wilde directed and stars in this nearly wordless 1966 story of a stripped white man hunted by African natives. It has several elements in common with Passion in the Desert. [09 Jul 1998, p.E3]

Despite all the nudity, it's less erotic than Duigan's charming schoolkids romance "Flirting." If only "Sirens" could have been a little livelier, if only Duigan, Grant and Neill had gone too far. [11 March 1994, p.D26]

You know, there was a time when “Guardians of the Galaxy” was fun. That time was 2014, when the first picture came out... Now here’s “Vol. III.” And it’s no fun at all.

What Warner undergoes in Crown Heights is difficult to watch. Yet in the end, remarkably. there is triumph. And, finally, justice.

Byrne, a recent Oscar nominee for “If I Had Legs I’d Kick You,” holds it together.

But while the message of Amanda Silver's screenplay may be unpalatable to some, this nanny-from-hell thriller is so artfully paced and performed that there's little resisting it.

It's all over the place, trying to cover every base as it delivers its neon-style message: Nothing is more important than friendship. Indeed, it's so busy pushing buttons that it rarely has time to settle down to establish even one relationship that rings true - by and large, we have to take the actors' word for it - yet fans of this cast probably won't mind too much.

This isn’t really a movie, but a delicious wallow, and regular movie rules don’t apply.

Big, bold and bordering on the unbelievable, Gladiator II delivers, big time.

Patriot Games doesn't set any new standards for its genre, but it delivers the goods, announcing a sequel with a hokey but wonderfully domestic cliffhanger. [5 June 1992, p.24]

This film celebrates Halston’s work but shows more interest in the man — and the unexpected corporate drama — behind it.

There seem to be entire worlds behind every sentence in this film, floating somewhere just past our line of vision, calling to us as they slip away.

The emphasis here is on the splashy spectacle with those insider-knowledge elements jammed together in a frenetic hodgepodge.

Writer-director Ti West brings not an iota of originality to his handling of this material. Plods, the picture does, through its predictable paces.

The Muppet Christmas Carol is cute rather than touching. It could have been both. [11 Dec 1992, p.24]

The characters are well-defined and Rockwell holds the picture together as he conveys Mr. Wolf’s shifting emotional states: suave, vexed and morally conflicted. Kids will love The Bad Guys and there’s plenty of substance for adults as well.