A period piece that may play well with those who hate period pieces.

The adventures that happily disturb the slippers-and-newspaper routine emerge as surprising crosses of science-fiction comedy and the thrills and spills of Hitchcock.

Its dull colors and folk-rock soundtrack...attempt to achieve the oft-chased feel of '70s cinema--in this case, Hal Ashby or Mike Nichols. It's a game try, but the transparently schematic result too often gets under the skin in the wrong way.

Theirs is, in their own words, 'A story,' 'All mixed up,' and their self-construction mimics that of their true Creator, the ever-experimental auteur Jean-Luc Godard.

Abrams and co-creators Alex Kurtzman & Roberto Orci...chiefly credit the work of David Cronenberg for sending them into their own 'Videodrome' playground of body-threatening, science-gone-wrong invasiveness.

Looking back on a time when music mattered, it's all good—at least as seen through the lens of documentary filmmaker D.A. Pennebaker...

Impeccable performances...crack timing...Horror plaudits aside, Shaun of the Dead is out in front as the funniest comedy of the year.

Endearingly overstuffed...curiously high-strung...[but has] a pleasing sense of the absurd...

A "Sommers" movie..."roller-coaster ride"...[that] rattles and swoops and thunders so incessantly that no one can much care by the time it reaches its supposed big finish.

A balance of colorful visual and aural poetry, elegant plot structure, and battles marked by a swift graphic intensity and epic scope.

A phenomenon the likes of which television has seen no equal...

A seriously guilty pleasure aimed squarely at teen boys and sexual Peter Pans.

Despite my aversion to derivative, lazy, and improbable thrillers, I'd be lying if I said High Crimes had no pulp entertainment value.

Mind-bogglingly well-produced, each hour the equivalent of a mini-movie.

Say what you will about the highly entertaining Supernatural, but you cannot deny it traffics in the highest stakes on television.

The Office has the funniest ensemble of any sitcom on the air...

In casting the great Tim Roth as psychologist Dr. Cal Lightman, Lie to Me won the added value of a weekly master class in acting.

Heroes still has some way to go in restoring the cohesion of its initial run, but Fuller has helped the show to prove it's capable of hitting a stride and mining fresh stories that deepen the mythology...

Montiel and his collaborators can pat themselves on the back for elevating empty material just a bit, but this is disposable cinema, designed to hit and run after an opening weekend.

Sugar showcases a lovely performance by Soto, a match for the modest, low-key filmmaking style of Boden and Fleck...

The film's greatest pleasure is in the snappy dialogue Gilroy crafts for the capable duo of Roberts and Owen...

Despite having something of the flavor of TV's most testosterone-laden shows, Sons of Anarchy is its own distinctive beast and another worthy entry in the stakes of addictive serialized TV.

Macdonald shifts the emphasis to highlight a moment when declining readership and corporate bottom lines threaten the tradition of print journalism.

A modest but bubbly comedy of manners.

The sort of movie you root for, hoping it’ll break through to be something special. It never quite does, but it still has the not-insignificant value of two fine actresses cast as sisters.

Though Smallville has morphed into something awfully close to The New Adventures of Lois and Clark, it continues to be an entertaining and occasionally poignant pastime for Superman fans.

The heart of Adventureland lies in the emotional microcosm of the amusement park, a place that delivers its share of laughs and lust but turns out to be not all fun and games.

More diabolical than ever.

Hey, are you looking for an exciting movie about pirates of the, well, um, Caribbean?

Sorely underrated...wisely counter-cultural to Hollywood's idea of what a supernatural thriller should be.

Utterly unconventional and strikingly unique; it begs not to be watched in the same manner as a conventional narrative film. Like a great painting, it is meant to be savored, pored over, observed from different angles and revisited in time.

The way this movie ends is so wrong that it doesn't deserve a pass as frothy entertainment. Why? Because it's actively sending a bad message to kids.

Charmingly hokey...takes the suburban-working-class-folks-meet-space-aliens paradigm of early Spielberg and marries it to Lucas' Star Wars.

Those viewers trapped in the film's nihilism and hoping for more can amuse themselves by looking at the film as an Aristotelian tragedy—take that, Friday the 13th remake!

It’s a strange movie indeed that is all about a 37-year-old heterosexual male and yet isn’t likely to appeal to any 37-year-old heterosexual males.

A fine example of the Kurosawa style...precision of narrative in both scripting and imagistic storytelling...

A great achievement in cinematic realism...when conflict arises, and it frequently does, the filmmakers refuse to instruct us on who’s right and who’s wrong, making the film its own kind of Socratic lecture.

What can I say about Teenage Mutant Ninja Turtles that the title doesn't economically express?

The last ten episodes of Battlestar Galactica deliver plenty of puzzles, prophecies and dreams; answer questions and raise others; and pay off characters in satisfying and usually surprising ways.

A "B"-movie-style Western meets Eastern, a supernatural "chopsocky" fantasy with leading man Kurt Russell doing a feature-length impression of a dead movie star. Put that in your pipe and smoke it.

The minor miracle of My Cousin Vinny is that—though the picture never scores any guffaws, the villains remain off-screen, and the conclusion is never in doubt—the movie's full two-hour running time passes so breezily.

If it's possible for a movie to be agressively bland, Race to Witch Mountain is that movie.

There's an innocence to The Waterboy that makes the picture part slapstick and part fairy tale...The only problem with letting kids see this Adam Sandler movie? They might want to see another one.

Thornton brings three key ingredients to the table: distinctive, rich, authentic Southern locations, patient and painterly atmosphere, and a precise and fresh character to study.

[This] bromantic drama...becomes as frustratedly impotent as Lopez feels, and as chokingly symbolic as Ayers looks with an Uncle Sam top hat on his head and an American flag in his shopping cart.

A smart pseudo-anthology vehicle for Dushku to spread her wings (not unlike the way Quantum Leap showcased Scott Bakula's versatility) with a touch of The Prisoner in the dark overtones of the show's ongoing mythology.

If the film meanders at times, reaching for significance in the wrong places, football fans will nevertheless find it charming.

The story of an embarrasingly inept heavy-metal band called Spinal Tap, Rob Reiner's film set the mockumentary standard that has come to define much of modern screen comedy.

Gilliam's polarizing style is at its near-best...a dazzling feat of storytelling that bristles with provocative ideas.

Polanski dares the viewer to plunge into that eye and through the psychic rabbit hole that is its owner's increasingly unhinged personality.