An unpretentious pulp adventure...

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

Whatever your taste, you'll have to agree: Shine a Light is music and cinema writ large.

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.

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...

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.

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.

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.

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

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.

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.

Harold Prince's original staging remains the gold standard, but John Doyle offers an intriguing alternative on Sondheim's ode to commitment anxiety.

An anti-Independence Day, a cousin of Close Encounters, but most of all, a well-modulated, dread-laden, faith-based mystery.

Watchable only for its star power and scarce caffeine kicks...awfully predictable.

The mysteriously titled project might just as well have been called "9/11: The Thrill Ride," so thoroughly does it trade on our emotions of that disaster.

An audacious comic-book movie on steroids...cinematic junk food, but even a dieter deserves to cheat once in a while.

Seinfeld's pleasingly idiosyncratic comic voice comes through in the haphazard, slaphappy storyline.

This is your action movie on drugs—any questions?

Full-blown 'Jack'—his face a spectacular special effect of full-blown energy—remains an irresistible act.

It may not be fashionable to like Twister, but darn if it isn't an entertaining electro-shock of action cinema.

Though Adamson lacks Lewis' storytelling confidence...The Lion, The Witch and the Wardrobe still comes across as a quirkily diverting children's entertainment.

The script includes a verbal motif that reminds us of what binds the film's four central talents together: 'I want to show you something.'

Like its hero, extraordinary in every way.

A bona fide landmark in American film, Bonnie and Clyde stands the test of time the same way its protagonists did: by breaking all the rules.

Downright hokey...a billboard for a Batman-Superman team-up movie...will elicit more gasps from the fanboys than anything else.

This brand of unfailing comic timing and expressive physicality is rare, and it's why Pegg, in particular, is a star.

A sort of teenage Fight Club, complete with daddy issues, Never Back Down is a slight refinement of the sort of picture that was ascendant in the '80s...

A big, bold Hollywood movie that won't be winning any awards for subtlety but can't be denied its popcorn appeal.