Here's the pitch for Accepted: Animal House meets Ferris Bueller.

Tony Jaa: 'You can either change your movements from being a trunk grabbing a person's leg or arms, you can always change it to make it into the elephant's tusk, you know?'

In his laughing-outlaw way, Hooper pointed a new direction for horror cinema. [2-Disc Ultimate Edition Reviewed]

My, he's an uncouth roughneck, but perhaps, just perhaps I can mold his raw talent into the dance partner of my dreams!

The trick plot enabling this Electra Complex situation tragedy is somewhat novel, but surprisingly not enough to sustain even a 103-minute running time.

Brian DePalma's Before Sunset.

If your taste runs to scatology and you find little people inherently funny, Little Man may be the movie for you.

What About Bob this ain't.

The film's consistent ticklishness frequently breaks out into uproarious set pieces.

Another tale of an unlikely family dynamic showing the way for closed-minded conservatives, Quinceañera may be simplistic at heart, but its drama is reasonably effective.

The slippery natures of truth, fiction, lies, and wishful thinking...get full play in the screen adaptation of The Night Listener.

A lean, mean genre exercise for those who prefer their horror full-blooded.

Like his superhero, director Bryan Singer carries an Atlas-like burden [but]...with thorough, fan-friendly fetishism, Singer honors the Superman mythos.

Steve Lemme and Erik Stolhanske: [Lemme:] I'll issue this challenge now. I am the best Robotron player...on the planet. I dare anybody to come and beat me at Robotron. That's a game from like 1952.'

Neil Burger: 'He gets arrested at the end of the short story...for blurring the distinction between art and reality...it's an abstract, intellectual idea and not kind of emotional or impactful enough to hang the climax of a movie on...'

A rubbernecker's movie....There's a new Zalman King in town, and his name is Lee Daniels.

Has an ace in its anthill...political allegory that separates this one from the pack.

A painfully protracted muddle of dull deals and somnambulent standoffs.

Armistead Maupin & Patrick Stettner: '[Maupin:] I'm aware that my best material comes from the truth of my own life, so I try to use it as much as possible. And I have confidence in those emotions.'

Seems less a joyous return to innocence and more like the nightmares we have while contemplating the real-estate market.

I hated Lady in the Water, but not because Shyamalan took a sophomoric potshot at critics. I hated Lady in the Water because it's...stupid.

Jonathan Dayton & Valerie Faris: '[Dayton:] We took all the actors out to lunch and asked that they stay in character.'

By design, nasty, brutish, and short...functions as drama because shock crosses through sensationalism to a kind of purity in the character study of a man in desperate need of repair.

A cinematic tone poem, wafting on wistful tableaus and sad faces....mostly elaborates on how death must ultimately be a personal experience.

The comedy misfires and the film winds up strangely...impenetrable.

Elisha Cuthbert: 'And here I am playing a seventeen-year-old. Not just physically, but mentally getting into that place. It was really difficult. And I don't know if I could ever do it again.'

Jamie Babbit: 'You know, I've had so many battles with the MPAA...I think young people will definitely find the film...[and] I think it got the rating that it deserved.'

Sprinkled comments provide enough intellectual provocation to begin debate, but the main course is Koko's wide-ranging behavior.

An enlightening look back at how "the world's sport" briefly took off in the US.

Watching The War Tapes is a bit like sifting though puzzle pieces and studying the images, but it's possible to make at least some of those pieces fit.

The cut-rate production resulted in what Reeve termed "catastrophe" for a film intended to marry a serious message to the series' signature action, humor, and romance.

By its very nature, the resulting film is severely compromised, but still rip-roaring, unpretentious entertainment.

Reeve continues his traditions of graceful flying moves, confident carriage, and twinkly warmth. Sadly, none of it is enough to save Superman III from being at home only in a junkyard.

Donner keeps his film briskly funny and exciting, with smart and spectacular action....The greatest effect of all, however, is Reeve's miraculous performance.

A photo essay with moving pictures: anthropological snapshots of seven Salvadoran and Guatemalan skaters...[also] may be [Larry Clark's] most immature film.

The outlandish gags are usually good for at least a chuckle, and Colbert's left-field satire classes up the enterprise, but multiplying the tight sitcom half-hour by four may not be a science experiment worth repeating.

Even at under an hour, this children's fantasy is sluggishly paced by today's standards...but it does have its charms and a relevant social message at its core.

[The] uniquely Eastern European brand of absurdity recalls the work of Vaclav Havel, playwright and former President of Czechoslovakia. At least, it would be absurd if it weren't so credible.

Paine amasses evidence--including dissenting voices--that's consistently illuminating.

Pleasantly fluffy but depthless...each story develops a worst-case scenario that proceeds to a too-comforting, too-swift resolution.

If it rarely becomes more than a conventional Hollywood movie with conventional conflicts, at least it remembers to amuse, and has a force of nature in Streep.

Larry Clark: 'Jonathan and Kiko, one day, didn't go to school...And I said, "Why aren't you going to school?" and they said, "We don't feel like fighting today."'

I like to play and make believe, you know, like Johnny Depp is in his pirate movie. So I'm not digging in deep.

By Columbo's fifth season, the character was firmly established....every detail contributed delicious eccentricity to a character as unpredictable to criminals as the proverbial curious cat.

The writers deserve credit for continuing to whip up entertaining iterations on the Monk formula.

It's not obvious to have a male character in this kind of story, I think, because very often the films with men are about action and not interiority...