Asher Luberto

We Have a Ghost tries to add too many elements to the mix–the horror, the comedy, the drama, and the message about how we need to leave our dead behind. Without committing to a tone, it all feels a bit mangled. It’s a movie that wants to be a mix of everything but, in the end, winds up being nothing.

If you go into Little Dixie expecting nothing more than to watch Grillo take out some bad guys, you’ll be more than satisfied with the ride “Dixie” has to offer. Just don’t go in expecting anything more.

The plot moves as briskly as a ship sailing across the sea, which should please young viewers. While The Sea Beast has some timely messages, it’s mainly just a chance to escape from our living rooms.

A rich, old-fashioned story spun out of modern themes and postmodern storytelling, this film’s decade-long, country-wide examination of art, life, love, and, yes, illusion, has the kind of tone that brings to mind “The Sweet Smell of Success.” It’s a film of smirks and surprises, not least of which is that director Giannoli has taken this material and given it a tragic spin.

While the creators do their darndest to make an animated version of “Adaptation,” they’ve instead made an animated version of “Space Jam: Legacy”–a series of callbacks to IP that serves no other purpose than to remind you that they exist.

It’s a sweetly funny, damning, and poignant depiction of this very specific time in life–at once angsty and lovely–when anything is possible. And it has a killer soundtrack to boot.

This gripping, taciturn thriller set in a frozen landscape isn’t necessarily any different from the other titles, but the well-crafted drama is a good reminder of how tangible atmosphere can transcend predictable narrative. At least at first.

Andrew Gaynord’s All My Friends Hate Me is an incredibly funny look at social anxiety and a send-up to those risks, mixed with a shot of cringe and a dose of horror.

As good as she is, and as timely as the film can be, it is frustrating that the villain seems to have waltzed in from a 1930s noir.

The pleasures of Hotel Transylvania: Transformania are both visual and script-based, as they revolve around the writers’ ability to come up with more fish-out-of-water material.