Lots of "Lord of the Rings" here. Unlike Burton's "Alice in Wonderland," though, this film handles the high fantasy well. There's no heavy reliance on CGI--Snow White is grounded in grit.

Burton nonchalantly juggles between Gothic tragedy and pop culture absurdist humor. Some funny moments, particularly from Depp, but quite a mess. I liked all the sex. Vampire blowjobs... who'd have thought?

"That guy didn't think we'd notice him playing Galaga... but we did."

I expected a fun superhero blockbuster, I even expected a damned good one after four entire movies of buildup, but what I did not expect was jokes. This thing is fucking funny. The Avengers delivers.

Definitely has its funny moments. Seth Gordon is shaping up into a skilled director--he gets some memorable performances out of the cast, particularly Charlie Day. At times, though, the film is just too ridiculous for its own good, such as the scene in which the three leads try to hire a hitman. No normal functioning adult would be that stupid. Oh, well; at least it's never boring.

Easily the best romantic comedy I've seen in a long time. Jason Segal and Nicholas Stoller are a formidable duo. I laughed a lot, and I laughed hard. This thing is bursting with good jokes. Also, Emily Blunt--what a babe. I would do nasty, weird things to her.

This movie was surprising. So different for Smith! Waco, TX in a post 9/11 world--good food for thought. Perfect ending, too; "Shut the fuck up!"

When Kaneda catches Tetsuo's soul orb thingies in his hands at the end, and they dissolve... gets me every time. ;__;

This film is beautiful. I mean it. It's a grand achievement in animation and in filmmaking, period. In the distant future where anti-gravity is the norm some fools still have a passion for wheels, and today, in our modern world of computer animation, some crazy motherfuckers still love the artform enough to spend seven long years drawing Speed Racer from hell. Glorious.

Derivative, kind of boring, not at all scary, but still cool in its own way. Some pretty nice sets.

This movie is weird. Not in the interesting or otherworldy way that the show was, but in the unnatural abomination kind of way. Spielberg's segment is one of the worst things I've ever seen.

Really interesting. Clearly an essay on the modern state of horror films. Its thesis asks whether or not the genre is dead and if it's high time for something new. The answer? Less clear, since the film is pretty derivative, but the pendulum, I think, is currently headed towards a "yes."

Nice effects.

Fucking abysmal.

Really interesting movie. Manages to be totally effective in its creepiness without succumbing to the standard serial killer story. I especially liked the subtext about the "essence" of film, particularly in this world of digital images. I wasn't crazy about the final act, though. It got a little silly for me.

Pretty lame movie, but a nice cast, and a hilariously humble opening credits sequence.

Weird CGI creatures roaming the streets of Manhattan? wut

Oh, and Jennifer Lawrence has a great ass.

Gary Ross is not the visionary director needed to bring a dystopian future to life, but he is great with actors, particularly with young actors. Also, it was nice to see some good ol' grain in some of the darker scenes in the forest. Quite refreshing in this world of digital images.

Reitman's most mature (and best) film yet. He reigns in the music video editing and instead replaces it a more basic shooting style. For instance, the quaint local restaurants and shopping malls of small town America fit comfortably into the 16:9 aspect ratio. Yup, this is as basic as it gets; no flashy stuff. This restraint shows Reitman's growth as a filmmaker; it allows room for the actors to breathe.

I couldn't really connect with the J. Edgar and Clyde relationship, and seeing as how it's the central driving force of the film I was left to ponder the film's less revealing underlying implications. These I enjoyed very much, such as the surely intentional comparisons similar security issues the US faces today. The AUMF, the Patriot Act... Hoover probably would have advocated these himself.

Some standout performances from Nolte and Hardy. A good movie, but overall a little generic, especially on the heels of The Fighter.

I feel like I'm one of the few who really loved this movie. Based on The Social Network and now this, it's clear to me that David Fincher has become fascinated by Generation Y. I see Blomkvist as an avatar for Fincher in this way--almost addicted to the creature that is Lisbeth Salander, but at the same time never truly connecting with her. Fincher is speaking for a generation he isn't even close to being a part of.

It's basically an 80 minute music video. It brought me no new appreciation of snowboarding or the mountainous beauties of our planet, but it looked damn cool.

I'm curious whether or not Clooney actually believes in any of the policies his character advocates. Mandatory public service after high school? That's pretty fucked up. Anyway, I liked this movie. It reminded me of what is often very easy to forget: that politicians and the people who work for them are just human beings and are no better than any one else at making decisions.

Hands down the best post converted 3-D yet.

This movie had some awesome colors. Lots of super saturated purples and greens. Digital cameras just can't replicate this kind of thing. The story, like the visuals, is idealized--this is a civil rights era in which there are only the black and white oppositions and no areas of grey. So, pretty soap-operatic in execution, but it works really well.

I thought this was better than Fear and Loathing in some ways. The fact that it was more, you know, sane results in a candidness that Gilliam's film lacks. Truth be told, I found The Rum Diary's low point to be the hallucination scene--way too derivative of F&L. But let's not be pretentious here: Johnny Depp flamethrowing alcohol out of his mouth onto an unsuspecting police officer is pretty great.

Brad Pitt and Jonah Hill have good chemistry and produce quite a few great laughs. Also, this movie has some beautiful slow motion.

It's hard to take this film as the serious historical epic it tries to so hard to be when it's not even in Spanish. It comes across as schmaltzy more often than not. Charlie Cox gives a great performance as Josemaria Escriva, but overall I agree with Ebert here: the flashback structure muddles a lot of the poignancy. Still, though, it's got a lot of stunning images and is full of great history.