Michael Caine

Access the Batcomputer!

Sir Michael Caine and Katie Holmes on Batman Begins and Career Highlights

Nicole Kidman tells the ubiquitous Will Farrell, "I think the fact that you're a hopeless mess is very refreshing," but critics are not so charitable about bad movies.

The ne plus ultra of comic-book films...an appropriately tough movie, busy but efficient, rich and thoughtful, and ornamented with visual appeal and exciting action.

Strikes just the right balance of irony and sincerity...genuinely heartwarming, from its opening dedication to Henson and Hunt to its joy-to-the-world finale.

Nolan's supreme confidence, narrative skill, and taste for complexity make for unusually rich popular entertainment. Where was The Prestige this summer when we needed it most?

In Cuarón's highly-skilled hands, Children of Men continuously threatens to develop into something more fascinating than it is.

An enthralling bauble of many facets: part feminist thriller, part "howdunnit" mystery, and all good old-fashioned story.

The script includes a verbal motif that reminds us of what binds the film's four central talents together: 'I want to show you something.'

Attenborough consistently reinforces the horrors of war by depicting not only the disasterous military engagements and their toll on heroes, but also the witless political decisions that led to needless, excessive loss of life.

Ledger slips into the purple suit as if it were an animal skin for a primal, archetypal dance...Nolan's richly realized adaptation of a modern American mythology fulfills our faith in the material and its interpreters.

The simplest way to sum up the greatness of Inception is to identify it as a new classic of science-fiction cinema (and, for that matter, the heist genre).

As a study of social façades as a means of social climbing, and as a character study of Hoskins' would-be angel, Mona Lisa excels...

And thus the old joke has finally been fulfilled of someone pitching Romeo and Juliet to Hollywood and hearing in response, 'Couldn't they live at the end? I mean, it's kind of a downer.'

Kipling's exhilarating and disconcerting tale of high adventure...

Director John Lasseter pushes the credo 'Story is king,' but the sequel to the 2006 hit Cars unwittingly abdicates the throne.

The Nolans consider the issues of the day...explore the role of legendary heroes (from Robin Hood to Batman and Robin) in galvanizing the public, and labor mightily to ensure that how their Batman ends dovetails with 2005’s Batman Begins.

It would be criminal to reveal how the plot unfolds, other than to say it's impressive dramatic origami, manipulated deftly by an ideal cast and one of Hollywood's all-time top directors.

So preposterous in its particulars, so ludicrous in its lowdown, that you're liable to kick yourself silly for having bothered to play along.

Love is what's really between the stars, y'all.

Doubles down on glib ultraviolence while pressing buttons of class-consciousness and teasing out pop-culture allusions and self-aware witticisms. But this time, the postmodernism feels played out.

For a long two hours, Sorrentino flatters old white men, devalues women, and annoys with his lush coffee-table-book photography as he plays his own 'Simple Songs' of frustrated old age and tantalizing youth...

Not only can the center not hold, but there is no center to begin with...The story mostly speeds along at an obnoxious rate and pitch, the better to misdirect from the next dumb abracadabra plot twist, but good luck hanging in for over two hours of it.

Polished but hollow...It’s another sign of the times that Hollywood thinks we can no longer handle the original storyline.