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

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.

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.

Take it from this loss prevention specialist: don't play 21.

A reasonably well-made low-end pic that serves as a cautionary tale for callow teens.

Watchable...[but] a time-waster, with an insulting ending that unfortunately takes it down a few pegs.

Eddie, it's time to start thinking big again.

Competent but somewhat slack, modest (and modestly budgeted) shocker that doesn't work quite hard enough to justify its plot mechanics.

Despite the bogus conflict...Step Up 2 The Streets is amiable enough...

The show remains on solid footing, with a writing staff still spinning crafty mysteries and inventing scenarios to get under the skin of Tony Shalhoub's obsessive-compulsive police consultant Adrian Monk.

May not be the definitive doc for which Thompson's fans may be hoping, but it is a worthy contribution to the ongoing popular legend of a distinctive American personality.

Wilson proves again that he's a quick-witted comedic treasure—he's the sort of actor who gets hired to make mediocre movies almost good by his sheer force of comic will.

Consistently stylish, dumb, and entertaining.

The second half gets so worked up over itself that Hancock becomes nearly unrecognizable as the movie we were all enjoying twenty minutes earlier.

You have a rendezvous with Dirty Harry's 62-year-old ass! And if you don't know what that means, you'd better figure it out!

The impact is all in the broad strokes of Scorsese's design: the corresponding coming-of-age stories of three confused and violent adolescents: Amsterdam Vallon, New York City, and America.

After the wayward kids' stuff of [Kids' WB's] The Batman, Batman: Gotham Knight's adult tone and visual wonderment are like (Bat-)manna from heaven.

Asks us to believe the terrorists would, after slaughtering countless people, risk their entire plan—and their very lives—on...well, I won't say. But from my vantage point, it was ridiculous.

Doesn't have a nuance in it, but it's pretty consistently amusing in its latter-day Woody Allen way. For most of the way, its morals are happily, believably wrong, but all bad things must come to an end.

Disturbing in the extreme, Savage Grace gives a guided history tour of a family as dysfunctional as they come.

Profane, hallucinogenic, and wickedly satirical, Oliver Stone's Natural Born Killers mainlined a message from hell (a.k.a. modern America, as seen by Stone) into mall theatres and multiplexes.

Persepolis is so satisfying because it works on a few complimentary levels: as a coming-of-age story tracking innocence to experience, as an accounting of revolutionary and feminist struggles, and as an artful visual experience in cartoon form.

For a movie about magical beasts, The Spiderwick Chronicles does an awfully good job of pegging childhood emotional realities, particularly in a context of divorce.

Thomas Wolfe wrote, "You can't go home again," but the new film from Fatih Akin explores a number of ways one can.

Hello, police? I'd like to report a mugging. Oh, it was horrible, horrible! Yes, I'm safe now. The mugging took place in a movie theatre, but I fear the mugger will strike again!

It's engrossing one minute and stupefying the next, off and on, off and on, for ninety minutes.

Like his wee alter ego, ten-year-old Huey Freeman, McGruder sees himself as hopefully out of step with society—radical, in fact—self-confident, and determined to effect change by any means necessary.

Among the best of the summer movie blockbusters, Men in Black comes on like gangbusters and never lets up.

The Promotion skates out onto that thin ice of comedic subtlety. Like its characters, it's not terribly successful, but it's an admirable effort all the same.

Tucker delivers a stroke of casting so perfect it might seem obvious: Oscar winner Jim Broadbent as the father and Colin Firth as the son.

Harmless but seriously wit-deficient.

The delirious idiosyncracies of the '60s Batman are all on display...a pleasant-enough romp that's just a little too-distracted with its new toys.

If Jumper too often feels like a special-effects demo reel in search of a story, at least the eye candy is pretty darn sweet.

Veteran director Stuart Gordon guts us with dark satire and twists the knife...[this] horror fable is enough to make weary gorehounds sit up at attention.

May be the most entertaining and provocative hybrid of personal essay and American social-satiric documentary since Roger & Me.

Methinks the kids to whom this superhero movie will most appeal won't be able to separate the stereotypes from the political wishful thinking.

By crafting a serious-minded character study, the filmmakers bring us closer to understanding the enigmatic artist's inspiration and desperation: a life that spun out of control.

The ad copy for Grant Gee's 2007 Joy Division calls it "the definitive documentary on Joy Division," and given the roster of participants, it seems a reasonable claim.

Anderson's most mature and ambitious film yet...[though his] growth as a filmmaker remains hindered by an obsession with effect and a disinterest in depth.

A bio-epic on the order of Lawrence of Arabia, Patton is a smart, fully realized historical film.

A fine old-school picture...elevated further by its progressive themes.

Though the film makes a few egregious historical changes for dramatic effect, The Longest Day pretty much lives and dies by its scale.  

Attenborough consistently reinforces the horrors of war by depicting not only the disasterous military engagements and their toll on heroes, but also the witless political decisions that led to needless, excessive loss of life.

Succeeds in giving the general impression of a pivotal historical moment, and excels in crafting some of the most astonishing aerial-warfare sequences ever put on film.

Two years after Match Point, Allen delivers another London-set murder melodrama, with diminishing returns.