"Consequences. In real life, these ramifications emanate from every action like ripples from a stone thrown into a pond. Often in movies, especially those that feature characters who don't play by the rules, such penalties are suspended. However, in Christopher Nolan's Batman universe, decisions and actions have consequences. The Dark Knight, arguably the moodiest and most adult superhero motion picture ever to reach the screen, illustrates this lesson in ways that are startling and painful. This is a tough, uncompromising motion picture — one that defies the common notions of what is expected from a "superhero" film. While there are plenty of action sequences and instances of derring-do, The Dark Knight's subtext has a tragic underpinning that would intrigue Shakespeare or the Greeks. It's about power and impotence, sanity and madness, image and reality, selfishness and sacrifice, and — yes — consequences."

“The Phantom Menace is not a masterpiece, but it's an example of how imagination, craftsmanship, and technological bravura can fashion superior entertainment out of something that is far from flawless.”

“On those rare occasions when a great motion picture reaches multiplexes, the film critic must add another aspect to his or her job description: that of cheerleader. It is incumbent upon those of us who routinely dissect movies to applaud the arrival of something like Minority Report. Writing a review isn't enough — we have to get out there and actively stump for the movie. The underlying reason is sound: if Minority Report makes a lot of money, the studios will be encouraged to fashion more films of this sort. And that is a good thing — not just for science fiction lovers but for fans of intelligent, thought-provoking pictures of all genres.”

“Aside from a couple of signature flourishes, there's nothing to mark Paycheck as the product of acclaimed action director John Woo. In fact, there's little about this movie that makes it worth anyone's time and money. With a script that waffles between being hilariously absurd and insultingly stupid, and action scenes that won't cause anyone's pulse to skip a beat, Paycheck is less appealing than a lump of coal in a Christmas stocking.”

“Perhaps a better title for The Da Vinci Code might be Much Ado About Nothing. When you boil away the hype and hysteria, all that remains is a pedestrian murder mystery that isn't sufficiently challenging or scandalous to raise anyone's hackles. It's preposterous, overlong, and saddled with a sloppy denouement that defines the term "anti-climax." The film's two big "surprises" are telegraphed early, and the ease with which they can be guessed leeches the movie of a large measure of its suspense. Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.”

“The first star vehicle of the summer of 1996 is also the first major disappointment of the season. Mission: Impossible, the big-screen resurrection of the popular late-'60s/early-'70s series, fails to generate much in the way of excitement or intrigue. This globetrotting adventure looks like an opportunity for Tom Cruise to play James Bond — a role he is totally unsuited for. The writing for last year's 007 return, GoldenEye, isn't a lot better than that for Mission: Impossible, but, as an action hero, Pierce Brosnan is considerably more debonair and charismatic than Cruise.”

“When a movie is this bad, it's hard to adequately describe its awfulness in words. The temptation exists to write something along the lines of: "Something this horrible has to be seen to be believed." Of course, that kind of advice would lead to e-mail death threats and other assorted nasty comments from those who spend money on The Devil's Rejects. … Aside from its poor production values, horrendous acting, and ignoble morality, The Devil's Rejects isn't engaging cinema. Even if the simple act of sitting in a movie theater watching people get hacked up for 90 minutes doesn't bother you, the dullness and repetition is likely to.”