Ron Howard

Cinderella Man may not be subtle, but it's reminiscent of the well-crafted popular entertainments of Hollywood's Golden Age, blarney and all.

Too measured to be lively, too skittish to be provocative, too dramatically slack to be more than a ploddingly literal book-on-film.

Entertaining and provocative...a satisfying intellectual bout.

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.

Typically slick, both overstated and undernourished when it comes to the drama. All the same, Rush makes for a pretty good fall night at the movies: fast and furious, but not too stupid.

A network sitcom with predictable conflicts meandering their way to 'all's well that ends well' resolutions, but the show—starting out on its now-historic eight-year run—functions not unlike its bucolic setting: it's a nice place to visit.

Depict[s] a writer’s process of scavenging and soul-stealing...[as well as] being “in the oil business” to the exclusion of morality and ethics, and with implications for the ecosystem.

You won't ever find me calling Inferno a good movie, but I won't deny that, in dribs and drabs, it gets closer to the marks of fun and quality than I thought possible from this picturesque but dopey franchise.

Like estimations of how many parsecs it takes to make the Kessel Run, your mileage may vary when it comes to Solo: A Star Wars Story.

Director Ron Howard and screenwriter William Nicholson do an excellent, bang-up job of adapting this complex story in to a feature film.