Without McKay, Me and Orson Welles would be unthinkable as a film; with him, Linklater’s delightful celebration of the arts turns out to be one of the season’s most surprising gifts. 
Tony is as much an archetype of the American father as Homer Simpson, only just smart enough to be perpetually miserable. 
In working to keep the audience off-center...Desplechin artfully makes the well-worn family-weekend plot endearing again. 
A serially bold experiment in audience engagement and the ability to produce feature-quality genre entertainment...on a weekly television budget. 
Musters only a few lackluster laughs...[but] has one trump card: it’s a kid-friendly, “PG” film that celebrates museums. 
Rude, raunchy and given to comical violence, the show sets out to offend delicate sensibilities and to get tough ones laughing their asses off. Abandon political correctness all who enter here. 
Whether you're talking about an empire or a TV series, it doesn't get much bigger than Rome. 
Because Costello is himself so hugely talented as an eclectic songwriter and performer, because his taste is so impeccable, and because he is such a cultural magpie...Spectacle is a wholly addictive musical program for the ages. 
Series creator Bill Lawrence has always toggled between the zany and the emotional, and the eighth season is no exception. 
The action sometimes conjures a thrill-ride's breathtaking quality or, in other words, Terminator Salvation's only hope of redemption with audiences. 
A potent and distinctly philosophical morality play about human instinct, the moral cost of survival, and a father’s love for his child... 
Keaton proves as endlessly clever and athletic as his screen surrogates...chock-full of hilarious sight gags, including bits of business that incorporate moving trains, cow-catchers, a bear (and bear trap), and a misbehaving cannon. 
Try not to giggle when...Langdon is being called in for "[his] expertise, [his] erudition." The guy from Bachelor Party? Just kidding, Tom, we love you—just not in this kind of pricy but conspicuously soulless crap. 
Guaranteed to entertain actual "clerks" and those who have outgrown slackerdom to look back in bemused fondness at wasted time. 
Smith has made a film with the potential to improve gender relations—without sacrificing his profane style. 
In a wonderful evocation of the art of war, Woo not only recreates elegant troop movements but also stages a memorable scene in which...[two men of war], still wary of each other, bond over music as they play what becomes a conversational duet. 
Just creative enough to keep kids glazed over with nominal interest, but it won’t challenge them much... 
Undeniably manipulative, not only in its plot, but in its dramatization of it. 
Gabourey Sidibe brilliantly embodies the understandably bitter Precious, who shares her heartbreaking despair through extensive narration. 
One of the seminal films of the 1990s...just as darkly funny, epic, and psychically wrenching as ever. 
Ribbing for your pleasure, Brüno is crafted to cause a flurry of varied reactions, even within a single viewer. 
For everything else that's come down the road, nothing has been better to Stallone than his baby, Rocky. 
Does Chris Columbus owe somebody a favor? 
Has enough crisp sight gags, character moments, frantic mayhem, and musical interludes...to box the family crowd into a state of punch-drunk love. 
A labor of love...so it's appropriate that the film should also be about love, the spanner in the works that allows humanity to triumph over machinery. 
Usefully, it provides counter-balance to its own doom-saying with numerous suggestions of how to deal with the corporatization of food. 
'A remake and a hostage picture! Can both the good guys and the bad guys use Sony laptops?' Yes, they can. 
Comes close to the pantheon of so-bad-they're-good horror movies, but as they say, no cigar. 
Boreanaz and Deschanel keep the series percolating with their oil-and-water opposites shtick, defined less by chafing annoyance and more by mutual respect...naturally, these opposites attract. 
Branagh's ambitious take succeeds as a cautionary tale about true monstrosity: hubris and man's inhumanity to man. But one man's operatic style is another man's unintentionally comical excess, and ...Frankenstein certainly tempts fate... 
Mike Nichols' underrated 1994 hybrid not only of wolf and man, but also of satire and horror...an eccentric film that may well be regarded, decades hence, as a movie classic. 
There is no escape from The Village: you're living in it. 
What Astro Boy has in spades are energy, good humor, and the demolition-derby action of a superhero smash-up, reasons enough to recommend it to grade-school boys. 
Gothic pop...a ripping yarn for the big screen... 
Remains a powerful tone poem about America at a cultural crossroads. 
Thrilling, funny, and romantic; it elevates popcorn adventure to art...defines the ideal use of star power....[and] marries deadly intrigue to out-and-out delight. 
The pairings of Margaret and Henry, and Helen and Leonard, attempt to cross fault lines widened by class, and the tragedy of Howards End is in the absolute necessity and absolute inefficacy of doing so at their moment in history. 
Acknowledges the best and worst of family, love and marriage with admirable equanimity. 
Raimi puts his pent-up energy to good use in Drag Me to Hell, an unpretentious horror hoot that's scary and funny in equal measure. 
Part of Boris’ worldview seems to be to excuse the movie in which he stars. Try not to overthink it, Allen seems to say: just enjoy it. 