The Incredible Hulk gets 'er done, but while  "Hulk smash!" is essential, it's also undeniably uninteresting when handed over to a computer.

What a pleasure it is, then, to report that Burton's version tends more to the abattoir than the amusement park...

A modern cinematic classic...the alchemical reaction of a director and a charmed collaboration of actors, writers, and design artists...

Favreau fully respects the material, and brings to the table a highly developed sense of humor and—praise the heavens—taste.

With its faithful rendering of a true inspirational story, Rudy earns its sentiment...an irresistable inspirational movie for all ages.

A crowd-pleasing romantic comedy with enough complexity to set it ahead of the pack.

It's easy to forget the idiosyncracies of a film that so successfully trades on adolescent male fantasies and nightmares.

Not much distinguishes this determinedly average Hollywood outing, but it can claim Sydney Pollack's final performance and Patrick Dempsey's first big-screen starring role since his career second-wind...

The most significant achievement in the last forty years of American cinema.

Affleck's lanky, offhand softness hardly suits the superheroic archetype... [but] The R-rated Director's Cut...deserves an extra half-star.

Something borrowed, something bloody.

Corteo is classic Cirque du Soleil, a multilingual paegant of music, dance, acrobatics, gymnastics, and clowning...the ingenious production design run with highly refined coordination.

The Wachowski Brothers overshoot the mark with Speed Racer, an eccentric misfire that panders to the ADHD set and—in the adult arena—idiots and acid-droppers.

A wacky weekly comedy-mystery-adventure-romance that the whole family can enjoy, in colors that haven't been so super-saturated since the 1966 Batman.

His saddle bag is a mixed one, though Pale Rider still has the touch of quality associated with latter-day Eastwood.

Delivered big with breathtaking location work and an all-star cast...

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.

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.

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.

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

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.

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.

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.

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.

Insanely subversive...functions as a visually dazzling science-fiction action picture, a philosophical challenge, and a hilarious, incisive comedy.

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.