Jackie Earle Haley

Haley: 'Every punch, every kick is a lash-out against his mom and the horrible upbringing, the neglect, the beatings that tweaked him...he needed to go out and come up with this black-and-white sense of justice just to survive.'

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...

A sort of cinematic comfort food: it's the mac and cheese of the cineplex.

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.

Ol’ Cusinart Hand is back in A Nightmare on Elm Street, a pointless, unimaginative 're-imagining' of Wes Craven’s cleverly conceived slasher movie.

By asking the audience to take far too much on faith, Dark Shadows can only be an interesting failure.

[Has] a soupçon of military-industrial complexity...Judged on its own merits, this RoboCop pump-fakes in some interesting directions without getting to fully explore any of them.

Unsettlingly, Parker’s historical film depicts a tragic uncivil war that bears comparison to our modern racial struggles, and while it’s history not to be forgotten, it’s also not to be mischaracterized.