Alec Baldwin

Has the blunt energy of a teamster's truck taking on speed bumps...watch underrated actors Broderick and Baldwin try to outdo each other.

A character plans out a 42-hour-and-11 minute journey accompanied by a 16-CD soundtrack....Elizabethtown feels every bit as long and music-saturated...

Starts out as a nifty satire, then turns ghastly for most of its running time.

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

As for the film's suspense credentials, you know it's time to get tense when James Earl Jones intones, 'Mother of God.'

Despite the stress of the strike, creator/head writer/star Tina Fey and her sterling team of writers and actors crafted new highs for the series...

Energetic, fast-paced, and pumped full of zany humor...sure to entertain the younguns and be fairly painless for their guardians.

Undeniably manipulative, not only in its plot, but in its dramatization of it.

Mamet has always been concerned with primal masculinity...The test of these men is twofold: can they survive the wilderness, and can they survive each other?

More distressing are Allen’s regressive treatment of women...and an off-putting solipsism.

Shankman's frappé of '80s rock is hideous, but weirdly fascinating...this is a movie you'll never be able to un-see, so think carefully...

Even if the cause and effect of the plot proves fairly impenetrable...one can't deny the film is frequently visually resplendent and imaginative...

Blanchett's edgy comic brio, in Jasmine's blithely imperious manner, magically complements her tragic mental fragility and self-defeating desperation.

Still still hums with humanity in the person of Moore, whose towering performance shows a staggering technical proficiency while never losing a whit of emotional resonance.

McQuarrie doesn't make it easy to invest in the characters here, but paradoxically he does know how to make us grip our armrests as they face danger, and thus the mission is accomplished once more.

In his screenplay and performance as Hughes, Beatty offers a canny, sharply drawn, and highly personal take on the billionaire, with strong elements of lacerating self-parody. 

Fairly one-note in its humor, and not as lively as you would assume it would be [but with] all-around strong voice work and a predictably sweet message about sharing the love...it’s all, as they say, good enough for government work.

Fallout proves deliberately dizzying, not just with its oft-vertiginous action, but in its outrageous plotting, its deliriously absurd entanglements of double agents, double crosses, and just plain doubles...