'A remake and a hostage picture! Can both the good guys and the bad guys use Sony laptops?' Yes, they can.

Comes close to the pantheon of so-bad-they're-good horror movies, but as they say, no cigar.

Boreanaz and Deschanel keep the series percolating with their oil-and-water opposites shtick, defined less by chafing annoyance and more by mutual respect...naturally, these opposites attract.

Branagh's ambitious take succeeds as a cautionary tale about true monstrosity: hubris and man's inhumanity to man. But one man's operatic style is another man's unintentionally comical excess, and ...Frankenstein certainly tempts fate...

Mike Nichols' underrated 1994 hybrid not only of wolf and man, but also of satire and horror...an eccentric film that may well be regarded, decades hence, as a movie classic.

There is no escape from The Village: you're living in it.

What Astro Boy has in spades are energy, good humor, and the demolition-derby action of a superhero smash-up, reasons enough to recommend it to grade-school boys.

Gothic pop...a ripping yarn for the big screen...

Remains a powerful tone poem about America at a cultural crossroads.

Thrilling, funny, and romantic; it elevates popcorn adventure to art...defines the ideal use of star power....[and] marries deadly intrigue to out-and-out delight.

The pairings of Margaret and Henry, and Helen and Leonard, attempt to cross fault lines widened by class, and the tragedy of Howards End is in the absolute necessity and absolute inefficacy of doing so at their moment in history.

Spike Jonze: 'That was sort of the goal of the movie, really, just to try and capture the feeling, to make a movie from the point of view of a nine-year-old. So the viewer is for that period of time experiencing the world from that vantage point.'

Acknowledges the best and worst of family, love and marriage with admirable equanimity.

Raimi puts his pent-up energy to good use in Drag Me to Hell, an unpretentious horror hoot that's scary and funny in equal measure.

Part of Boris’ worldview seems to be to excuse the movie in which he stars. Try not to overthink it, Allen seems to say: just enjoy it.

Though there's definitely an audience for the story's increasingly sunny sweetness, the film sparks to life pretty much only when the estimable duo of Bullock and Reynolds bickers.

A buried treasure...it's time for a reappraisal of this long-lost gem.

I’d like to believe that he’s wondering the same questions we are: 'Why is this happening to me? And how do I get myself out of this situation?' He’s tryin’, y’know?

A fine conversation piece for gifted kids—assuming parents willing to talk to their kids about their feelings...also a fascinating psychological study for adults looking back on the roiling emotions of childhood.

The movie equivalent of a fling that you won't entirely regret but won't ever want to see again.

There’s no shortage of anatomical jokes, scatological jokes, and fart jokes, toilet humor being the last refuge of a spent comedy writer.

Mawkish...Owen is forced to go the sackcloth-and-ashes route with multiple crying scenes, conversations with a dead spouse, and overcooked scenes of despair, anger, and unfettered joy spent with troubled offspring.

Every week...an action-packed chase story, a Fugitive-styled slice-of-life-on-the-run, a thoughtful short story ruminating on a science-fiction concept...a tragedy-tinged psychodrama about one's pre-written role in humanity's bleak fate...

One of the most important films in the history of popular cinema, and film fans must never forget the incredible achievement it was in 1937.

With admirably funkiness and bold flavor, Hill has made the anti-Blart...but at a time when we've seen seven mass shootings in a month, do we really need the comedy version of Taxi Driver?

Succeeds in being a daring satire by positing Mark as a Messiah...It’s a shame that the comedy tends to be repetitive, and more funny clever than funny ha ha.

It's more than a movie; it's an American rite of passage.

A single-camera sitcom about idiots living in 'flyover' country...the Coen Brothers film Raising Arizona is a clear—and acknowledged—inspiration .

A period piece that may play well with those who hate period pieces.

The adventures that happily disturb the slippers-and-newspaper routine emerge as surprising crosses of science-fiction comedy and the thrills and spills of Hitchcock.

Its dull colors and folk-rock soundtrack...attempt to achieve the oft-chased feel of '70s cinema--in this case, Hal Ashby or Mike Nichols. It's a game try, but the transparently schematic result too often gets under the skin in the wrong way.

Theirs is, in their own words, 'A story,' 'All mixed up,' and their self-construction mimics that of their true Creator, the ever-experimental auteur Jean-Luc Godard.

Abrams and co-creators Alex Kurtzman & Roberto Orci...chiefly credit the work of David Cronenberg for sending them into their own 'Videodrome' playground of body-threatening, science-gone-wrong invasiveness.

Looking back on a time when music mattered, it's all good—at least as seen through the lens of documentary filmmaker D.A. Pennebaker...

Impeccable performances...crack timing...Horror plaudits aside, Shaun of the Dead is out in front as the funniest comedy of the year.

Endearingly overstuffed...curiously high-strung...[but has] a pleasing sense of the absurd...

A "Sommers" movie..."roller-coaster ride"...[that] rattles and swoops and thunders so incessantly that no one can much care by the time it reaches its supposed big finish.

Pure Hollywood hokum, with plotting that’s practically impossible...graceless product placement, cutesy situations, and neatly tied bows.

A balance of colorful visual and aural poetry, elegant plot structure, and battles marked by a swift graphic intensity and epic scope.

A phenomenon the likes of which television has seen no equal...

A seriously guilty pleasure aimed squarely at teen boys and sexual Peter Pans.

Despite my aversion to derivative, lazy, and improbable thrillers, I'd be lying if I said High Crimes had no pulp entertainment value.

At least 10% more exciting than correction fluid.

One senses Acker stretching his eleven-minute short rather than containing bigger ideas and characters who have taken on lives of their own: 9 too clearly puts style over substance.

Mind-bogglingly well-produced, each hour the equivalent of a mini-movie.

Say what you will about the highly entertaining Supernatural, but you cannot deny it traffics in the highest stakes on television.

The Office has the funniest ensemble of any sitcom on the air...

In casting the great Tim Roth as psychologist Dr. Cal Lightman, Lie to Me won the added value of a weekly master class in acting.

Heroes still has some way to go in restoring the cohesion of its initial run, but Fuller has helped the show to prove it's capable of hitting a stride and mining fresh stories that deepen the mythology...

On balance...like Teichberg—takes after its immigrant American father, evincing a quiet humility in offering its rambling 'little perspective' of an emblematic happening that was almost everything it was cracked up to be.