Patrick Wilson

Wilson: 'the leaps that they had made, or the changes that they made, rather, from the graphic novel sort of left room for a minor bit of input, at least, from our side.'

Roars to life in its least intimate passages...If not for his blind spot for his "angel in hell" Phantom, Schumacher would do Webber's popular entertainment justice.

Skews just enough toward Death and the Maiden and away from Saw III.

That the narration and Field's God's-eye camera draw attention to the film's form doesn't detract from its function: to give us that 'second' in the mirror...

Any film that depicts a 'superheroic' rapist-brute as a self-styled parody of America's 'true face' can hardly be accused of thematic squeamishness, and any film that sends readers back to the comic for Moore (and Gibbons) has served the public interest.

Any film that depicts a 'superheroic' rapist-brute as a self-styled parody of America's 'true face' can hardly be accused of thematic squeamishness, and any film that sends readers back to the comic for Moore (and Gibbons) has served the public interest.

What ultimately makes Young Adult worth the trip is Theron’s uncompromising performance, which dares to make Mavis unlikeable and, in the process, earns our pity and, more disturbingly, our identification.

Maybe Prometheus is deep, after all, with Weyland Corporation standing in for 20th Century Fox in an allegory for Scott's artistic aspirations: funding and undermining his ambitions at the same time.

When there’s somefin strange...in your neighbor’ood...’oo you gonna call?

Call it 'Big Mac-beth.'