Robert De Niro

More than any other Robert De Niro film, invites the speculation that the once-revered actor has become the gimmicky comic screenwriter's whipping boy.

DeNiro is pretty much the only reason to see Meet the Fockers...[betrays] creative exhaustion.

Hide and Seek is trashy, but there's no fun to be had in its ugly child-endangerment psychoses....The hidden-in-plain-sight "secret": another crappy movie.

The film finally resembles nothing so much as its most persistent symbol: an objet d'art crafted to impress with empty trickery.

It's been quite some time since a fantasy adventure this cheekily entertaining has made its way down the pipeline.

The new thriller that emphatically pairs [De Niro and Pacino] qualifies as a historic event, whether it's any good or not.

A scathing insider look at Hollywood...De Niro gives one of his most winning performances of recent years...

A touchstone for cinematographic greatness and the possibilities of screen acting, as well as an "instant classic" of the boxing-movie genre.

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...

A stealth epic, framing an urban jungle and making its own kind of contemporary history by pairing acting giants Robert De Niro and Al Pacino in what has arguably become the preeminent cops-and-robbers movie.

Thanks to three very strong writers...and the willpower of its leads, Analyze This turns out to be an amusing piffle.

Ultimately a very personal film about how Scorsese views a genre of film and, as such, has a much more coherent vision than its reputation would suggest.

Burger plunges into the material at such a headlong pace and with sufficient adrenalized style as to propel this essentially trashy thriller and distract from the abundant loose ends.

Despite it all, just try to take your eyes off this movie: skillfully crafted by Levinson, Sleepers is eminently watchable, deeply emotional, and populated with top acting talent.

What Killer Elite never manages is to convince us of its sociopolitical import...or its emotional resonance.

I tell ya, I haven't heard this much talk about ball-dropping since the junior high locker room.

Succeeds as a witty Elmore Leonard crime story...but also as a surprisingly affecting mid-life romance.

Comes full up with heavy-handed signifiers, from Ben's choice of reading (Hemingway...) to a hammered motif of lapsed Christianity (the climax takes place in a rotting church) that underlines the theme of living with the sins of the past.

A popular entertainment with two movie stars in likeable mode, a sunny Hollywood sheen, and a novel premise. And yet there’s something vaguely unsettling about how Myers’ mildly amusing comedy gets tangled up in political (in)correctness.

Though everything around this resilient central figure is wan sitcom, 'Joy the Doer' provides a rooting interest potent enough to justify the film.

The film works as well as it does on the strength of its acting. De Niro is in fine, grounded form, and his verbal sparring with Ramírez, [et al]...elevates the film, the overlapping dialogue highly effective in infusing naturalistic energy.

Surprise, this is a romantic comedy...this stand-up gives you no reason to sit down.

Joker isn’t the film to seriously tackle the issue[s]--it's more concerned with flair than genuine inquiry--but Phoenix’s pained, raw-nerve performance is one for the ages.