The slick, colorful, nicely acted Night Watch is all I ask and never get from Hollywood's monochromatic, humorless vampire pictures.

You don't need to have seen the original to pick up the user-friendly sequel. Take a deep breath after the intimidating opening montage and you'll be just fine.

Millar and Gough's final season gives cause for reflection on the bumpy evolution of a series once intended to keep its roots planted in the title town of Smallville, Kansas.

NBC's The Office has become a TV comedy classic in its own right and holds the crown of the funniest series on American TV today.

Both a gory monster movie and a Twilight Zone-styled morality play on mob mentality and religion run amok.

A rousing, high-spirited family entertainment rightly regarded as one for the ages.

Not just another cop show...traffic[s] in the shadowy moral ambiguity of noir.

Producer-director Sam White brainstormed the concept of Moe as Hitler, Curly as Göring, and Larry as Goebbels, promising, despite the dark reality, 'I'll make it funny.'

A highly satisfying old-fashioned comedy-drama...[with] a strong undercurrent of religion and philosophy that helps Hunt make her film profound in a way that sneaks up on you.

Another predictable romantic comedy, one that insists that spending time locked into an unhappy marriage doesn't breed contempt, but sows love.

Tone deaf...only slightly better than the worst sitcom you've ever seen.

It's Coogan's show, in a grotesquely overstated performance that makes sense for the character but isn't always easy to watch.

A clear-headed and comprehensible picture of American fiscal policy, but one that's not in the least boring.

An allegory of what's wrong with our country...Mamet has spent the last decade layering popular entertainments with subversive ideas about social politics.

Preserves a time when one could not only get away with making an allegory with an existential hero, but stock it with an ensemble from the Actors Studio.

An expertly crafted Hollywod entertainment...[constructed] as a series of grippingly fateful 'moments of truth.'

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.

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.'

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...