From whence comes a filmmaker as original and strange as David Lynch?

Starts out as a nifty satire, then turns ghastly for most of its running time.

Unprecedented nonsense that--fashions aside--will remain timeless comedy cinema. [new DVD review]

Stands out for its sheer audacity of subject matter and its sustained emotional-roller-coaster effect: it's quite possibly the most high-strung movie ever made.

An unusual and rich blend of epic film and memory play.

The film's ambition makes Burnett's occasional overstatement easy to forgive.

Offers plenty to appeal to children and adults, and the clever ending delivers one more treat to pay off the story's tricks.

Essentially, The Batman/Superman Movie is an action comedy, a superhero "buddy picture"...this eventful superhero adventure delivers twice the fun.

"The Great British Public" says the darndest things....creature comforts tickles most effectively in its small doses, but its cleverness and craft are undeniable.

Fans of the series will be hooked, if not thoroughly delighted, and others may prove unable to resist the train-wreck spectacle...unabashedly cheesy but 100% mesmerizing.

Fans will be positively enthralled at the well-preserved nuggets, and neophytes will understand the fuss over the musician and the man.

Sometimes resembled a weekly Neil Simon play...but James Brooks' celebrated brilliance with emotional storylines also justified experiments in the absurd and satirical.

Frasier was a series that enjoyed dabbling in farce, and the sixth season includes some relatively simple farcical gestures...as well as full-blown efforts.

A typical season of Cheers, which is to say 'excellent.'

Occasionally hit the heights of Trek feature-film action, and often used the plot to ask the moral questions that have been Trek's raison d'être on TV.

Repetition is what sent longtime Trek fans packing...[but the] season does muster a number of good episodes...while maintaining its high quality of production value.

Narrative elegance and rapturous imagery highlight The Warrior...[as well as] the dark charisma of leading man Khan...and lovely vistas.

Many Season One stories flounder through familiar-feeling alien-encounter and spatial-phenomena plots, but just as many episodes stand out for their creative energy.

A pleasant surprise, a sprightly comedy with a dramatic aftertaste.

What starts out seeming courageous rapidly reveals itself as a narcissistic, opportunistic stunt.

With brisk energy, Baumbach finds equal parts humor and sadness in the foibles of his family.

Ghosts threaten to make matters miserable for the living, sort of like The Skeleton Key. As Peter Sarsgaard says...too convincingly, 'All I know is the checks clear.'

A sketchy horror plot slips from episode to episode with no particular momentum. As far as I can tell, Kruger made a list of scares, and Nakata ticked them off.

Not for the resolutely politically correct or the shtick-averse. For everyone else, it's the Christmas gift that keeps on giving.

Family-friendly films for girls...[usually] drip with phony commercialism and pettiness of character; by comparison, Sisterhood is not only a class-act, but a godsend.

Thoughtful and energetic....Anderson has in Ryan's story a bittersweet exemplar for the unsung toil and love of prefeminist desperate housewives...

Who would've thought...that the certifiably awful/unaccountably popular Hilary Duff was daring enough to make a movie about having a lesbian relationship with her mother?

To those who think critics are too hard on movies...I ask, can you tell the difference between a Pacifier and a School of Rock? Family films don't have to suck.

I bow to the Buddha nature of Jackson and Levy....the average moviegoer in me can see the entertainment value in The Man. Just not $9 bucks worth.

An unconventional romance...a complex crime movie, and a jaunty comedy...few will leave this stylish, adventurous film wanting for entertainment.

Just remember kids: as fun as it all seems, fast food, soda, candy, binge drinking, reckless driving, steroids, dirty ball and, well, yes, Adam Sandler movies are bad for you.

That Maybury's film avoids easy categorization (and the increasingly cheap twistiness of today's psychological horror thrillers) is one of its finest points.

Dimwitted, action-flailing mediocrity....Michael Bay...[said,] "I always say, '**** the critics'"...I'll tell you what I always say: "Michael Bay is a tool."

A second-rate morality play, with red herrings and MacGuffins shoring up a tower of Babel. Do yourself a favor and rent Death and the Maiden instead.

Zesty enough to make the ol' noir two-step seem worthwhile.

The Honeymooners, though not bad, is hardly ever good, either.

Audiences can be grateful for the unique absurdist dimensions and freewheeling irreverence of Adams, which place the film in its own category of science-fiction comedy.

Okay, so [it's] the hokiest war movie in the last 35 years....Bottom line: is the raid great? The answer is "yes," qualified by the film's unearned 132-minute running time.

Weingartner proves too ready to pat his inner rebels on their backs....[but asks] provocative questions about liberal revolt...and the effect of age on ideology.

Remember: friends don't let friends go to The Dukes of Hazzard sober.

Horror-punk, outlaw entertainment, an exploitation pic with a '70s aesthetic and endless scenarios of white-trash unpleasantness....[not for] Merchant-Ivory fans.

A bit staid in its thriller mechanics...[but] engaging in its drama, amusing in its fragments of bone-dry wit, and suspenseful in its dual mystery.

Now that Hollywood has manufactured enough Alien clones to fill a wall at Blockbuster, who needs another?

Easy to recommend but hard to love, distinguished by Gilliam's extravagant and funny style, but compromised by creative warfare and budgetary limitations.

If Moland is a bit more interested in romantic melodrama than anthropology, the plight of the refugee still makes the intended emotional impact.