Awfully forgettable, but Harlin makes things go boom again, with ruthless efficiency that puts the flick just over the hump of the straight-to-cable Jeff Speakman school. 

The best that can be said for Goyer's latest is that it's competent. How competent is a matter of debate, as is the degree to which Goyer is self-aware about the film's camp value. 

It's a--look, it has to be said--corny "B" horror flick with a certain je ne sais WTF about it. 

Has enough crisp sight gags, character moments, frantic mayhem, and musical interludes...to box the family crowd into a state of punch-drunk love. 

There’s still much to admire in the visual craft and offbeat cultural sampling Coppola heroically brings to a homogenized cinema, but Tetro rides off the rails. 

For All Mankind is about what makes these men all the same...and, to some extent what makes us all the same: our infinitesimal smallness in the humbling vastness of the universe. 

Hollywood likes nothing more than having its cake and eating it too, which explains the confusions of P.J. Hogan’s Confessions of a Shopaholic. 

True-crime story or romantic myth-making? This was the question I brought in to Michael Mann's Public Enemies...and, though seemingly an either-or proposition, the question still on my mind when I walked out. 

I sure hope Sandler's next movie is about learning the pain of Asian folks...that'd be hilarious! 

Remains a potent statement about the horrors of war and a valid testament to the girl who could answer them by writing, 'I still believe, in spite of everything, that people are really good at heart.' 

Despite the dirty jokes hidden in plain sight ('Never underestimate the power of the Schwartz!'), Spaceballs is a PG-rated comedy that makes silliness sublime. 

The lazy script fails at every turn fully to exploit the premise...while making the dogged Carrey fetch his shtick. 

Creator Matt Nix manages convincing action sequences and a sense of danger while keeping the show essentially optimistic and light-footed. 

A towering achievement in American cinema, Spike Lee's Do the Right Thing takes a hard look at a community in crisis. 

Part of Boris’ worldview seems to be to excuse the movie in which he stars. Try not to overthink it, Allen seems to say: just enjoy it. 

Usefully, it provides counter-balance to its own doom-saying with numerous suggestions of how to deal with the corporatization of food. 

Undeniably manipulative, not only in its plot, but in its dramatization of it. 

Doesn’t so much get anything wrong; it just fails to go oh so right. 

Not since Psycho has a movie taken such advantage of the phallic nature of slasher horror. 

Basically only for completists looking to see Jason take center stage for the first time. 

[Walt Disney] pulled the car off to the side, and stopped the car, and he says, 'You're not going to give your royalties on this song away! It's going to put your kids through college!' 

Common: 'One day they came and told me...'Yo, it’s the scene your brother got killed.' I’m like, 'I didn’t even know I had a brother!'...when I got to the set, they was like 'Oh, he’s not your brother anymore.' 

With the second one, should we be able to make it, I can’t stand how excited I am about it. Let’s just say that it involves time travel, and it involves John Connor once again trying to galvanize the forces of those who think he’s crazy. 

Yelchin: 'I just kind of fully embraced Chekov...there’s no point to losing the potential within Chekov just by making him a Russian kid...it’s a Cold War stereotype meets Davy Jones, you know?' 

Zachary Quinto: 'There is an optimism that lives in the heart of this film and in the heart of the franchise that I think is a really great thing for us to be able to share with the world right now.' 

The training was great...it was sort of like simulating the Starfleet Academy. And it just felt like we'd gone through something together. 

It’s wonderful for me to see it with audiences now because they just laugh, or they’re really scared or they’re really touched, you know? It’s got all the elements of the '50s movies, but with the added layer that it’s funny. 

Do you realize, the lesson at the end of this movie is just 'Call your mother!'? I understand that! 

We get in these super-huge geeky debates sometimes about 'Oh, Steve Trevor would never say that' or...'That’s completely out of character,' and it’s like, who says, ya know? 

Batman and Superman and Wonder Woman are their most precious babies. All the other characters, they’re like 'Oh yeah, fine. Whatever. Sign off, they’re cool.' But Wonder Woman was a bitch to nail down.