Patrick Stewart

Tinkers around with an intriguing premise but with little creative facility for dialogue or structure...[splits] the difference between fans and neophytes, impressing neither.

Runs hot and cold, but mostly satisfies with its "upgraded" science-fiction razzle-dazzle.

Far more manic than funny, Chicken Little tries to spin the kiddie standard about a little chick convinced the sky is falling into a depressingly "hip," Shreky-green comedy act.

A full-fledged mutant jamboree, but one that blunts thematic and character development in favor of narrative expediency.

What can I say about Teenage Mutant Ninja Turtles that the title doesn't economically express?

Tennant's restless Hamlet is never boring, and it's not irredeemably a stage performance on camera: at times—like the ever-intimidating 'To be or not to be speech'—Tennant curls up into fetal intimacy...

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.'

If you yearn to be treated like an eight-year-old, this R-rated kids movie for adults—the very opposite of Judd Apatow’s wave of 'time to grow up' comedies— is all yours.

The shakedown cruise of Star Trek: The Next Generation—may have been a bumpy one, but it got the newest incarnation of the U.S.S. Enterprise into action while winning over the 'Trekker' fanbase at large.

Trek became famous in large part for its (often corny) science-fiction morality plays...Few episodes of either series achieve this goal more elegantly than Melinda Snodgrass' 'The Measure of a Man.'

As good as, if not better than, any of the feature films that would later star the Next Generation cast.

Not only did the third season mark a quantum leap in non-niche popularity for the series, but a greater consistency in the show's writing and execution that meant a precipitous drop in fan complaints.

Perhaps the most commonly applied adjective when it comes to the Klingon homeworld episodes of Star Trek...is 'Shakespearean'...[given] a certain unity of voice, as well as compelling throne-room drama and civil-war intrigue.

Under the leadership of head writer Michael Piller...the series broke the mold with the outstanding character piece 'Family.' That episode title would also serve as a pithy summation of the fourth season's primary theme.

What makes [it] more than just a thrilling science-fiction actioner is the past-present poignancy allowed by time travel and astral projection, indulging everyone's fantasy of telling a younger self what he or she needs to hear.

Considerably ahead of the curve in taking on the character and meaning and consequences of torture as a fruitless and brutal human rights abuse...shows The Next Generation operating at the top of its game.

By its sixth season, Star Trek: The Next Generation had figured out how to maximize its cast and characters.

There's a resonant motif in Logan that times have changed for the worst, but this dystopian world revives the humanity in these characters, a development that's all for the best.