The plot is such hooey...and the plot holes so gaping that End of Days proves more exasperating than enjoyable.

[Both] a rousing action thriller...[and] near-parody of the rah-rah American military adventures that filled screens in the '40s and '50s.

A convincing blend of Shakespearean tragedy and Citizen Kane, Nixon paints the thirty-seventh President of the United States as a uniquely American tragic hero...

A surprisingly consistent level of quality and creative energy...put the loveably corny Super Friends in its place.

The risk paid off: not only does the show still work, but it's more spontaneous than it's been since the series debuted.

Competent but fatally lacking in the element of surprise.

[A] derisive discussion of 'stupid cookie-cutter pop star stuff' is more than a little ironic in this Radio Disney petri dish, but at least the Jonas Brothers are a class act.

He’s very effusive and emotionally open in a way that’s not very masculine. And certainly not British...someone who sort of waves his arms around a lot and clutches his bosom. It’s like he actually thinks his life is a movie.

Captures an artist in love with his art, but not so preciously that he forgets to share the love.

The confluence of events allows the film to arrive somewhere that may not be original, but feels honest...at other times, the film seems to be chasing the same old indie dragon of quirky escapades that can be shot on the cheap.

One of those hidden treasures of the art house that it's your duty to seek out.

Only the 3D process helps to dispel the impression that what you’re seeing lacks wit and is completely generic in terms of characters and 'humor.'

Well, the mythological arc of the saga doesn't really continue in these other things...which means we're not encumbered by this mythological uber-story of the psychological underpinnings of why somebody turns to be a bad person.

The energetic action isn't quite enough to overcome an undernourished story.

He knows he's the hundredth director to rip off E.T.: he's just going to do it better, and with jokes fit for a vintage Warner Brothers cartoon.

The series has a solid cast, stylish production values and, under its belt, a season that demonstrates great potential.

Season Eleven had a crappy front seven and a strong back seven, though the season is defined by the heavily promoted three-parter "Imaginationland"...

Demonstrates Neumeier's ambition, but this budget-constrained rush job winds up not much more politically biting than a Mad magazine spread.

So full of self-aware speechifying, howlingly bad verbal pissing contests, and audacious bulls**t plotting that it almost flies as a parody of itself. Almost.

A worthy cinematic adaptation, with interesting and provocative mythic ideas of its own, and suprisingly lyrical images to match.

A movie for adolescents, and adults who willfully decide not to know better for a couple of hours.

Explores the rapture and torture of desire, and the tension between harsh reality and escapist fantasy.

Engrossing...the great irony of the story is its triumph of the visionary individual over authoritarian bureaucracy.

Insanely subversive...functions as a visually dazzling science-fiction action picture, a philosophical challenge, and a hilarious, incisive comedy.

As for the inevitable fudging of fact, it doesn’t bend the true story to its breaking point—on balance, Bottle Shock is an entertaining tour of wine country.

Ford gives one of his most commanding performances outside of a Lucas production, establishing an action formula Ford would repeat...

As for the film's suspense credentials, you know it's time to get tense when James Earl Jones intones, 'Mother of God.'

Though this political adventure requires substantial suspension of disbelief, the witty script and mature approach keep the film on track.

A latter-day Abbott and Costello flick, where the monster they encounter isn't Frankenstein, but the Bush Administration.

Overplayed: there are entirely too many beaming smiles and emotional flip-outs...the only reason to see this movie is Foster, whose overplaying somehow succeeds at charming where her costars fail.

'This night is about the American dream,' Kumar promises. And you know what? It sort of is.

Remains the gold standard for the TV miniseries format...stands among the best Western films ever made.

Proyas assembles his inspirations into a unique amalgam with the power of myth to tap the fears and desires of our collective unconscious.

A ridiculous though not entirely unpleasant way to while away ninety-two minutes.

The film's bloated ambition seems of a piece with its panting, happy-dog charm.

An unpretentious pulp adventure...

With its cool cast and classic kiss-off ending, The Lost Boys will forever be a cultural touchstone of '80s cinema.

Goosebump alert: the disc kicks off with one of the all-time great movie themes, the "Raiders March"...a magnificent, brassy piece of music.

They can't run over us if we really want to stand up. So as long as we have our vote, we have some hope.

Leo: 'I think living with a gambling addict...whether she had this skill [for lying] before she was married to him all those years ago or not, she certainly developed it over the years and, in fact, we've taught her son to be a pretty handy liar too.'

I lost my virginity to Lorne Greene narrating Lorne Greene's Nature Wildlife Theatre. I think he was talking about how bugs gnaw each other's heads off while screwing. And here I was, not losing my head at all.

No classic, but it does hold interest, in part by dealing honestly with the intriguing religious themes and in part for its fine cast.

Despite the film's incredible specificity as one man's take on one city, the wistful My Winnipeg achieves a powerful universality.

The film's funniest moments come early...But the more outlandish the joke (a.k.a. little kids pick fights with the men), the less purchase McKay finds, as our investment in the film's reality checks out.

Whatever your taste, you'll have to agree: Shine a Light is music and cinema writ large.

Duchovny: 'There is a journey to be had. So you either have to start on top or on the bottom for a journey to happen. You can't start at the middle...'

Carter: 'There's a beef recall. Mulder's a cross-dresser. Aah, I'm not going to tell you, only because you really don't want to know...'

More of a marketing sensation than a cinematic one...a documentary shouldn't feel this packaged.

A bold and convincing effort to dramatize contemporary political history.

An exploitation picture given the 'A' treatment... Putting aside the nagging liberties taken with Anneliese Michel's experiences...[it's] a good scary movie.