The pairings of Margaret and Henry, and Helen and Leonard, attempt to cross fault lines widened by class, and the tragedy of Howards End is in the absolute necessity and absolute inefficacy of doing so at their moment in history. 
Acknowledges the best and worst of family, love and marriage with admirable equanimity. 
Raimi puts his pent-up energy to good use in Drag Me to Hell, an unpretentious horror hoot that's scary and funny in equal measure. 
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. 
Though there's definitely an audience for the story's increasingly sunny sweetness, the film sparks to life pretty much only when the estimable duo of Bullock and Reynolds bickers. 
A buried treasure...it's time for a reappraisal of this long-lost gem. 
The movie equivalent of a fling that you won't entirely regret but won't ever want to see again. 
There’s no shortage of anatomical jokes, scatological jokes, and fart jokes, toilet humor being the last refuge of a spent comedy writer. 
Every week...an action-packed chase story, a Fugitive-styled slice-of-life-on-the-run, a thoughtful short story ruminating on a science-fiction concept...a tragedy-tinged psychodrama about one's pre-written role in humanity's bleak fate... 
One of the most important films in the history of popular cinema, and film fans must never forget the incredible achievement it was in 1937. 
With admirably funkiness and bold flavor, Hill has made the anti-Blart...but at a time when we've seen seven mass shootings in a month, do we really need the comedy version of Taxi Driver? 
It's more than a movie; it's an American rite of passage. 
A single-camera sitcom about idiots living in 'flyover' country...the Coen Brothers film Raising Arizona is a clear—and acknowledged—inspiration . 
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. 