Sam Rockwell shines in the witty, tender directorial debut of actor/screenwriters Nat Faxon and Jim Rash.
Can't Bruce Willis find a better use of his time than headlining old-guy action franchises?
As its title suggests, Guillermo del Toro's latest film is precision-engineered for the international market.
The would-be blockbuster by Gore Verbinski and Johnny Depp lays bare Hollywood's delusion that bigger is better.
Roland Emmerich's latest action movie is essentially a louder, sillier version of the Bruce Willis classic.
Monsters University ranks as one of the influential animation firm's worst-reviewed films—as did the two Pixar films that preceded it.
The actor is rightly celebrated for changing the way we watch television. But his big-screen contributions, from True Romance to Where the Wild Things Are, bear remembering, too.
The reboot, from director Zack Snyder and co-writer Christopher Nolan, is thoughtful, ambitious—and less fun than it might have been.
Seth Rogen's End Times comedy is crass, self-referential, and extremely funny.
The Avengers director discusses adapting Shakespeare's comedy to the present day, what it was like to film in his own house, and the future of Dr. Horrible 2.
On the upside, this may be the first terrible movie by M. Night Shyamalan that's not primarily his fault.
The 15 episodes of Season Four aren't really episodes—or a season.
As before, the cast is lively, the plot ridiculous, and the action nearly nonstop.
For Storm of Swords readers only!
Baz Luhrmann's adaptation is just the latest example of his tragic attraction to tragedy.
Sure, the plot's a mess. But Robert Downey Jr. and writer/director Shane Black keep the focus where it belongs: on the man, not his armor.
Is the director's hypnotism thriller good? Bad? It's hard to say—maybe it's both.
Fede Alvarez's remake of the 1981 Sam Raimi classic is a stylish, inventive, gruesome homage.
Why we'll miss him
Does Pixar's worsening case of sequel-itis mean the studio's heyday is already past?