Ewan McGregor

[McGregor:] Research I find very boring...it’s all just whatever’s required for that character. And if it involves sitting in a library looking through research books, that—you won’t find me there, I don’t think.

It's impossible...to dismiss a film with this much stuff: exotic production design, imaginative characters, and a wide variety of digital jedi fu.

I'm hard-pressed not to recommend Robots as an energetic family-movie distraction...[but] plotting is...mechanical.

So sound in its construction and...[its] space-operatic catharsis that even the nitpickiest fanboy will likely adopt a humbly mumbled "All is forgiven" as a daily mantra.

Dimwitted, action-flailing mediocrity....Michael Bay...[said,] "I always say, '**** the critics'"...I'll tell you what I always say: "Michael Bay is a tool."

[Rider's] squirrelly film debut amps up Horowitz's wry humor, putting silliness in unintentional competition with the film's action and dramatic elements.

Labors mightily to present world-famous children's author Beatrix Potter as a preternaturally free spirit.

Two years after Match Point, Allen delivers another London-set murder melodrama, with diminishing returns.

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.

The director’s shrewd and witty approach to the material demonstrates his finely tuned sense of the absurd.

One is always in good hands with Thompson, even in this kiddie franchise...for the kids, there’s not only the sobering reminder that they're works in progress but also lots of...fairy-tale magic, with a touch of Babe’s farm charm.

It’s funny because it’s true. That’s the idea behind the mad-love story I Love You Phillip Morris, which gets its kicks by being much stranger than fiction.

Cuts the whimsy with melancholy...its case of the cutes isn’t terminal.

Finds Soderbergh keeping it simple, stupid, by filling the story's hollowness with kick-butt action and elements of style.

Takes dicey material—the story of one privileged family's suffering during the 2004 Indian Ocean tsunami—and transcends its political incorrectness by focusing on the human condition.

Absent the electricity of live-wire live performance, the play's paucity of depth becomes more obvious. What's left to carry the day are a nasty streak of black comedy and the redoubtable acting ensemble.

Not everyone will agree with how Cheadle answers the key questions, but only a fool would say his take lacks creativity, heart, energy, and a gutsy willingness to take risks (as Davis says in the film, 'Be wrong strong').

Pound for pound, scene for scene, there’s not a sequence here that the original film doesn’t execute better in the clean lines of hand-drawn animation and the crisp vocals of the original cast.

In some ways, Doctor Sleep has to feel like a pop cultural footnote, but that's not fair to what's a ripping yarn in its own right. 

Practically dares its audience to make the mistake of taking it seriously, and yet it’s a bizarrely uplifting story of credibly tough women...survivors all, supporting each other to vanquish a sneering, preening abuser whose time’s up.