James Franco

I would prepare every day for ten months for a role. Now the problem with that is there’s only so much that a film role can express...I would do all this research, and then it felt to me like eighty percent of it was always just ending up nowhere.

Zesty and essentially true to its source, Spider-Man does the job.

Freer and more commanding, even as it serves the grand designs of a superheroic trilogy.

Okay, so [it's] the hokiest war movie in the last 35 years....Bottom line: is the raid great? The answer is "yes," qualified by the film's unearned 132-minute running time.

A corny, eighties throwback, with thematic mushiness, regressive sexual politics, and cheesy montages to match.

Bypasses the mythic tone of Richard Wagner's opera...without forsaking storybook romance. The inoffensive results get the job done, but sadly fail to excite.

Flyboys' spectacular predictability confirms its shallowness.

Go-for-broke pop entertainment...more action, more humor, and more nastiness than either previous installment, often in loopy combinations.

Charms in large part due to the performances of the two stars.

Despite its rusty mechanics and hodgepodge of tones, Pineapple Express convincingly imitates the mode of Midnight Run: on-the-run odd-couple comedy with gunplay and car chases.

That Milk is merely excellent and not transcendent should not obscure its importance to popular culture...

Julia Roberts and voluptuous production value contribute mightily to this ultimate of wish-fulfillment tales.

Like Ralston, Boyle is an adrenaline junkie, and the film's opening moments establish the searching energy of filmmaker and subject.

Ultimately, the magic-and-monsters milieu isn’t enough when the jokes are half-baked.

This type of thing has already been diluted by...Funny or Die...The main difference...is that This is The End is profane in the extreme, an R-rated stoner comedy gleefully grafted onto a 'splatstick' horror picture...

The main selling point here—and it's a considerable one—is Shannon, who shows new shadings in the role of Kuklinski...

Oz the Great and Powerful gets saved from the junk heap by Franco and especially by director Sam Raimi, who happily treats the enterprise as a sandbox.

Coppola shows genuine interest in emotional detail, and it accumulates into a depth of real feeling.

Determinedly silly...[but the] undisciplined frat-bro comedy's accumulation of innuendos, boner jokes, gay jokes, and gags that tread through racist and misogynist territory works out to less than the sum of the juvenile parts.

Does a lot of its work with its tongue-in-cheek title, a meta commentary on the not-so-broad spectrum of liar, actor, fiction writer, filmmaker and journalist.

Had a lot going for it: a strong creative vision from authorial forces who would go on to take Hollywood, a talented cast that would essentially do the same, and that premise.

Nothing if not formulaic, but it has its passing charms...Ultimately, the hacky plot (partly credited to Franco’s buddy Jonah Hill) is also too primal not to work...

Like the hilariously inept melodrama of The Room itself, Tommy Wiseau offers Franco a gold mine of oddities.