A highly personal tale of undergrown men and overgrown boys experiencing the growing pains of love turned unrequited, and the realization that nothing—not freedom, not security, not innocence, not love—lasts forever.

It's hard not to see Cavalcade today as a corny contraption...

Pure, uncut del Toro. The filmmaker accomplishes riveting scenes of suspense and scares he honestly come by, sticking the landing of every effect he attempts.

While showing great fidelity to his source, Brook succeeded in delivering a version of Lord of the Flies that could best be described as psychological horror...

With a concept and influences consciously in mind; fine performances by Creed-Miles, Poulter, and Williams; and approving cameos...Fletcher is able to put his best foot forward in this creditable debut.

Hill has remained a steadily stylish presence in the idiom of action cinema. His genres of concern tend to be the Western and the urban crime drama, and the twain meet in neo-noir The Driver.

On paper, In the Family is an 'issue movie'...But in practice, it's a made-to-scale love story and a thoughtful family drama. In other words, it's a true rarity of contemporary cinema.

There's a tough-mindedness there that's admirable, even if it's preaching to a mall-multiplex choir. But one wishes Blomkamp were less concerned with his Halo-style run-and-gunning and more interested in the subtler repercussions...

Mean-spirited to squishy does not a convincing trajectory make...That wouldn't be so much of an issue if We're the Millers weren't such a dismally unfunny endurance test, but there you are.

Yes, Percy faces his Charybdis, but...Percy Jackson: Sea of Monsters not surprisingly feels more dutiful than creatively energized.

Under the leadership of head writer Michael Piller...the series broke the mold with the outstanding character piece 'Family.' That episode title would also serve as a pithy summation of the fourth season's primary theme.

Perhaps the most commonly applied adjective when it comes to the Klingon homeworld episodes of Star Trek...is 'Shakespearean'...[given] a certain unity of voice, as well as compelling throne-room drama and civil-war intrigue.

In the show's grand tradition of family entertainment, with scary creatures, exciting chases, chaste romance (with a buxom companion), and more than a few choice laughs on the off chance anyone might start taking the show too seriously.

While we've seen plenty of R-rated action buddy comedies before, the stream of amusing banter here comes with plotting that has a few good tricks in reserve.

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

Handsome but flatfooted, The Wolverine comes tantalizingly close to working, which makes it all the more disappointing that Mangold comes up short.

Coogler isn't after much more than what naturally comes with his approach: a memorial in dramatic prose, an occasion for cathartic outrage and empathetic grief.

Handled with care and patience by McGowan, proves mightily compelling, and deftly sidesteps sentimentality and cliche.

'Blackout comedy' for the Comic-Con set, the nerd's Laugh-In...all in good fun.

The kind of movie you root for to get its act together..Take the great Kristen Wiig out...and it would be unbearable.

Kids...will probably ho-hum their way through Turbo happily enough and forget it moments later. But they deserve better, too, than this lackluster, generic kiddie flick.

Culminates in a double-music video finish designed to see audiences out in a pop-narcotic laughing-gas daze. As a tactic, it’s a poor substitute for a satisfying story.

A perverted comedy of manners, with the characters spilling drinks, secrets, and sperm...but coming more from a place of 'I'm going to make my dolls kiss. Won't that be naughty?' than one of productive social satire.

The meeting of McCarthy's stinging zingers and Bullock's practiced exasperation almost justifies The Heat, but it's more of a lob than a fastball.

If you're an inveterate softie looking to hydrate your eyes, yes...can't bear the thought of missing good work by Redgrave and Stamp, maybe...low tolerance for having your intelligence insulted (or dreadful renditions of "Love Shack"), it's a definite no.

True crime with a dash of social satire...Coppola remains mesmerizingly stylish, but...The Bling Ring winds up being skin deep: superficial characters portrayed superficially in a shallow-pool reflection of shallowness.

The film is undeniably a celebration of community, but on Shira, one gets the disturbing whiff of Stockholm Syndrome.

On balance, this new cinematic take on a 75-year-old icon constitutes a worthy Superman movie and a modest improvement for a franchise that had creatively stalled.

The show continues to grow in dimension and in scope, a reality that's also meaningful within its fictional universe.

[Broussard:] I think he was just lost. And he got lost a little more, but at least he was being loved and at least he learned something from that...not only about the consequences but about who he was. And it’s okay to be who you’re gonna be.

On video, Safety Last! is a certified treat, but in packed movie houses, with audiences invariably gasping and giggling on every cue, it's a near-religious experience.

This type of thing has already been diluted by...Funny or Die...The main difference...is that This is The End is profane in the extreme, an R-rated stoner comedy gleefully grafted onto a 'splatstick' horror picture...

The first major Western in sound...One can occasionally feel the filmmakers showing off the technology, with close-ups of a crying baby or sizzling ham and eggs.

Oz the Great and Powerful gets saved from the junk heap by Franco and especially by director Sam Raimi, who happily treats the enterprise as a sandbox.

By setting the show in the recent past, Sorkin can productively remind or inform a broad audience of the pith of important news we've lived through...a subplot about [NSA] wiretapping...[even] gets ahead of the curve...

Once blithely acceptable as American id, McClane's become the archetypal American idiot.

Cannily plays in equal measure to the sci-fi TV crowd and families, to red states and blue states, and it's a formula—refined in Season Two—that seems to be working.

Although Vaughn's riffing skills remain in fine form, as do Wilson's, the story makes every obvious and conventional choice.

[Denisof:] He wanted to bring a feel of the mid-century Golden Age of moviemaking, the noir, romantic noir, comedy: some hybrid of that. So kinda keep pushing the tempo of it a little bit so it stays fast and muscular.

[Judy Blume:] My father did die suddenly when I was twenty-one...I really don't think I was thinking of that when I wrote the book, but now that I see the movie, I know that it is so much of understanding of loss of a beloved parent...It's so hard.

So preposterous in its particulars, so ludicrous in its lowdown, that you're liable to kick yourself silly for having bothered to play along.

What remains most striking about Philadelphia may be the...conspicuous emphasis on intense close-ups. They force an inescapable emotional intimacy in relation to issues the mainstream, at least at the time, would rather have looked away from.

Distinguished by its thoughtfulness regarding the nature of Western heroism, as defined not only by dead-eye gunplay, but by family, community, and moral rectitude.

Everybody goes off and has careers and that kind of thing, so it's been a little challenging to schedule everybody together. And, um, but we've all—everyone who's agreed to make this movie has agreed to make this movie.

Winkler: I don’t know what happened to me, but when I first read this script, and I went in, I did it with a great calm. I just did him, and I spoke very quietly...he’s always on the verge of possibly crying, it seems like.

I did play those kind of parts, quite frankly...maybe a little bit too much...So I made a decision that I did want to kind of harness whatever a-hole capabilities that I have and use them for good.

Nothing new, but given its solidly built kids' adventure, I'm not going to, y'know, look down on it.

Less like a movie and more like a contractual obligation.

The awfulness of the narrative is plain to see, and yet...no one can say Stand Up Guys lacks personality.

Smart or...dumb? Yes, and...fun to hang around with for a couple of hours.