The invitation to introspection about empty American lives is a good idea, but who are we kidding? Hot Tub Time Machine is built for gross gags...and wan '80s nostalgia...

Mother's success partly owes to Bong's twisty mystery script, but the South Korean film wouldn't fly without the achingly intense performance of Kim Hye-ja.

On the page and on the screen, Kick-Ass riffs on the wish-fulfillment afforded by tales of derring-do and the ill-advisedness of taking on the task in real life.

[Cage:] I like to take bad sounds and just see if I can make them sound good...And I make it extra-hard on myself. But otherwise it's not interesting for me. You know, so I'm always tryin' to mess it up a little bit, or subvert it.

These guys are just so involved in comic books, and all they've ever seen is Spider-Man's like this, Batman's like that, Superman can do these things...they're kind of brainwashed by this world...quite naively and not thinking about the consequences...

Kids who want to be astronauts get to go to space camp when they're little. I get to be on a sitcom...people have this connotation with child actors that, like, you know, it's some kind of horrible burden. But for me it was great.

[Moretz:] You really get into character when you put on the jacket and the pants and the boots and the amazing wig...I kind of walked like a boy. It was really funny. Every time I was in that costume, I was always, like, really tough.

[Goldman:] Matthew and I were concentrating on the movie, and John and Mark were concentrating on the comic—apart from when we stole John away to do the animated sequence!

With its colorful, exciting action and well-defined emotional underpinnings, Batman: Under the Red Hood is the best yet in the DC Universe Animated Original Movies line.

The extended rescue climax provides the heights of Steamboat Bill, Jr.'s ingenious choreography, but Keaton's brilliance as a performer shines just as brightly (if not more) in the simpler moments...

It's a fine premise to meet with USA's 'Characters Welcome' formula...Creator Jeff Eastin keeps it light, focusing on the odd couple of straight-laced Burke and swingin' Caffrey...

Once you've boogied out to Harold Faltermeyer's self-parodic "Axel F"-style music, it's all downhill from there.

This comic-book knockoff of The A-Team...is a lot easier to enjoy than Fox's sanctioned remake of The A-Team. Perhaps that's because Sylvain White's The Losers is self-aware of its schlock value...

Leading man Sam Worthington exacerbates the film’s downbeat tone: as Perseus, Worthington remains a credible but basically charisma-free actor.

When the film, as it must, comes to an end after two and a half hours, you won't be ready; the bond made to this family makes its sudden absence feel downright brutal.

A sublime melodrama...[with a] still astonishing expressionistic dance sequence.

Perhaps its best that Predators keeps its ambitions humble, but a dearth of inspiration makes this fifth Predator film dangerously close to a rehash of the first.

Weds a Charles Addams drollness to Looney Tunes one-upmanship.

Lacking the psychological intimacy afforded by the page, Daniel Alfredson’s film won’t inspire better than a shrug from audiences.

A patient and never less than gripping character study that serves as a reminder of the emotional intimacy achievable on film.

Tends to be off-putting, which is a shame, because it's on to something about the dynamic between put-together women and the legions of nervous men who shoot themselves in the feet while longing for them.

An enjoyable PG-rated family adventure in its own right, but Columbus' film can't live up to the Potter gold standard, and it strays enough from Riordan's source material to make its tween readership blow a gasket every few minutes.

Haneke's noodlings on the nature of evil...reach a sort of culmination in The White Ribbon, 2009 Palme d'Or winner at the Cannes Film Festival.

The timing is right for HBO's half-hour dramedy Hung...a darkly tinged recessionary comedy of (self-)destruction and erection.

A dumber version of the Alien franchise, but this initial picture works anyway, as an atmospheric exercise in pure, primal action with a science-fiction-y twist.

A campy cult classic remembered for its over-the-top acting, design, and music by Queen.

Serves up soldiers, spies, politicians, reporters, and Iraqi civilians who speak almost entirely in clichés.

Urban legends and archetypal mythology go out for a horror spin...Though the series' mythology is distinctly dark, there's also plenty of fun to be had...

Emphasizes the dog-eat-dog nature of show biz...[but fails] to illuminate, or apparently even investigate, the early source of its subject’s hungry void.

Can I interest you in a nice nap?

'You see what you want to see'...either a quietly affecting, top-drawer drama or a Hallmark Hall of Fame TV-movie dressed up in Euro-indie clothing.

Burger winningly combines relatively rare elements--a turn-of-the-century setting, an assured star turn by Edward Norton, and a deft Philip Glass score--to pull off a tricked-out romantic thriller.

Wry and melancholic, Solitary Man recalls Wonder Boys as a character-study showcase worthy of Douglas’ ability.

The very concept of turning Life of Brian, itself a filmic spoof of Biblical epics, into a spoof of Handel's Messiah is funny, and the name—riffing on one of Life of Brian's most famous lines—is genius.

Despite being ungainly, Caddyshack is the kind of comedy you can pan for gold in...

The one in which Clint Eastwood gets raped...

A strange but mostly satisfying hybrid of WWII actioner and anti-war satire...

A straight-ahead, old-school action movie for war-espionage junkies.

Multiplex entertainment this distinctive and provocative doesn’t come along every day: it’s a head trip well worth taking.

Reaches its apex with a manic party scene that unleashes the full intimidation of P. Diddy and guarantees the phrase “stroke the furry wall” a place in the comedy lexicon...

Delivers more than the filmmaker ever has before...richer themes and more skillful audience involvement.

Park pays most of his attention to visceral style, but he sketches in enough about his characters to make them frighteningly relatable.

When we think of our heart or soul, we kind of press toward our actual physical heart, but I think that kind of soul or emotion can’t exist on one’s own; it has to be between people...

I had an appointment in an [ad] agency in San Francisco. And some people told me, 'Every day we heard something about Amélie. "We want the style of Amélie!’...If I could have one dollar for each time...

Mamet has always been concerned with primal masculinity...The test of these men is twofold: can they survive the wilderness, and can they survive each other?

Tennant's restless Hamlet is never boring, and it's not irredeemably a stage performance on camera: at times—like the ever-intimidating 'To be or not to be speech'—Tennant curls up into fetal intimacy...

It was impossible in The Basketball Diaries not to take notice of DiCaprio's seemingly undauntable talent, as he channeled the tortures of the drug-addicted damned.

Like a couple of hours of channel-surfing among the Travel Channel, the History Channel and Discovery Health.

Now, don't get me wrong. Valentine's Day is bad. But it's difficult to hate a Garry Marshall movie.

Despite hewing fairly closely to the facts, has trouble seeming truthful. Practically everyone behaves like an allegorical symbol rather than a person, a problem the script anticipates and acknowledges but only feebly attempts to solve.