This most unusual dramedy of errors is one of the most riveting hours on television...Breaking Bad continues to shock and delight.

Remains an intriguing blend of the political and the personal, with Stone turning his memories and his opinions about Vietnam into potent drama.

Kipling's exhilarating and disconcerting tale of high adventure...

[McGregor:] Research I find very boring...it’s all just whatever’s required for that character. And if it involves sitting in a library looking through research books, that—you won’t find me there, I don’t think.

The weakness of the film is in its blandness of character and obviousness of storytelling: it’s all kept storybook simple...

Compelling from start to finish...with heartfelt speeches and dialogues that disturb hidden depths and allow the truth to rise to the surface.

The cosmic equivalent of hearing a Homeric epic in ancient times: we thrill to the battles, we wait with bated breath for the appearance of our favorite characters, and we root for noble, righteous warriors.

And thus the old joke has finally been fulfilled of someone pitching Romeo and Juliet to Hollywood and hearing in response, 'Couldn't they live at the end? I mean, it's kind of a downer.'

While it's fair to call The Usual Suspects a gimmick in search of a movie, one could say something similar of, say, an Agatha Christie mystery.

No creative inspiration gets in the way of the beautiful people running and jumping and kissing while things go boom in the forgettable teen sci-fi actioner I Am Number Four.

The TV-bred Wells...has written and directed The Company Men without ever coloring outside the lines: it’s all a bit too neat and obvious and predictable.

Adam Sandler movies are for everyone! Unless you’re ugly, uncool, old, fat, gay, non-white or, heaven help you, all of the above.

Though the story is pat...there's pleasure to be had in the memorable one-liners, the irreverent humor...and the Western action against the backdrop of frontier scenery.

Succumbs to turgidity. And...intentionally or not...conveys the impression that the film uncritically celebrates the Confederacy.

Gettysburg wins the day by giving a detailed account of the three-day battle (for the first time in a feature film), shot on the actual locations where the events took place.

Yes, the driving scenes dazzle, but Frankenheimer also embeds his 1966 Cinerama epic with some interesting commentary about risk-taking professions in general and the Formula One driver in particular.

Carion's film admirably resists overselling the material: it's an adult espionage film, with no comic-book theatrics.

The ostensible genre elements that seem to pitch The Double Hour somewhere between crime film and ghost story begin to look like the stuff of an allegory about modern relationships and the fright of commitment.

Agreeable enough fare for families craving a little action, comedy, and action-comedy.

Functions better as an emotional drama than a history lesson...remains an important and, at times, profounding moving film.

Like its defector hero, Mao’s Last Dancer is neither here nor there...determinedly dull, even in the flatly filmed ballet sequences.

A cyberpunk picture that flirts with emotional resonance but mostly focuses on the gut...testosterone-fueled, estrogen-boosted action melodrama.

An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.

You know, life is tragic and comic. And it is excruciatingly painful and totally joyful. And you cannot embrace one without embracing the other.

Unfortunately, the film's postmodern staginess assists in keeping Porter endlessly at arm's length.

Branagh's highly entertaining and accessible take on one of the Bard's zestiest comedies.

Sweet, sad and funny...an entertaining fable about the phenomenon of socially crippled singles.

As a musical look at family, generational and cultural conflict, and faith, Fiddler on the Roof makes a virtue of its quaintness.

Any film that features Johnny Depp performing salutes to the great silent comedians (and, in particular, Buster Keaton) deserves a little slack...

A postmodern tragedy of two people at odds who are both right and both wrong in their argument, sharing responsibility for the birth and death of love.

Though the film's heart is in the right place, somehow it all winds up about as flat as one of the celebrated pies at Mystic Pizza.

Clobberin’ action, a touch of ’50s sci-fi, and a heaping portion of titan-clashing theatrics spell something a little different for the comic-book movie.

As a fast-food pitchwoman once asked, 'Where’s the beef?'

[Routh:] There were kind of like a lot of Han Solo moments in there where he's up against something...but he's still calm and cool and collected and has some witty, sarcastic remark and saves the day... [Huntington:] Spoiler alert.

[Gaiman:] Originally the episode actually started as if you were in the middle of another episode. And the Doctor and Amy are off having an adventure, and they've been captured...[an] essentially Simpsons-style beginning...

A pointless, tired, sugary, pink and teal affront to Reese Witherspoon, Bob Newhart, any important political cause...Mr. Smith Goes to Washington, and—oh, let's just say it—humanity.

A touchstone in the development of CGI as a storytelling tool, and almost thirty years later...the basis for a surprising franchise revival, beginning with the big-budget theatrical sequel Tron: Legacy.

Despite its exotic setting, the personal connection of Rio-bred director Carlos Saldanha, the odd eye-popping sequence, and a lot of literal color, the new CGI-animated Rio turns out to be figuratively colorless.

An epic battle between conformity and exceptionality...which will be catnip for superhero buffs and a great time at the movies for everyone else.

Where Black Swan most succeeds is in Aronofsky’s high-flying style, his approach to the story as a fever dream blurring the fine line between a performer playing a role and a psychotic succumbing to delusion.

[Wilson:] All those details, I think they help all actors. Y'know, Dwight's glasses and wristwatch: you put anyone in that short-sleeved shirt and those glasses and that wristwatch, and they're gonna kinda act like Dwight.

[Ronan:] I got to see everything in a new light, and so fresh and pure. So that was fun. And it’s something I've held onto, actually...

A mixture of light satire, light tragedy, political thriller, and domestic drama: a Casino Jack of all trades, master of none.

There's something oddly remote about Every Day, which plays like a double-wide version of a perfectly acceptable Showtime pilot.

Doggedly obvious melodrama...But what makes the clichés palatable is a communal commitment to getting the story right.

There's something indelible about Rain Man, and not only to those of us who lived through the time when it was a zeitgeist movie.

Took the world by storm with its strategy of sexual frankness and a towering performance by Marlon Brando.

A quickie sequel to a film released only last year, Diary of a Wimpy Kid: Rodrick Rules surprisingly improves on its predecessor. 

Wears its off-balance as a badge of pride.

Seen in a forgiving light, it's a perfectly acceptable way to scratch your action-movie itch, but anyone feeling such a tingle will also have to concede that The Man From Nowhere never met a cliché it didn't embrace.