Russell Crowe is normally an actor who disappears so far into his characters you'd swear his DNA has been altered.

Ever since the Tim Burton Batman of 1989, it has been de rigueur in movies to focus on the freaky alienation aspect of the superhero's life: This is how talented people make movies for 14-year-olds while retaining their self-respect.

I'd put the most money on Robert Caro's biography of Lyndon Johnson - and not just because we'll probably still be waiting for the final volume in 2017.

Let me tell you, if your marriage is in trouble, skip the therapist and find a psycho. Nothing brings people together faster.

Every year, I'm depressed that so few of the documentaries I've loved break through.

Despite some standout events, 2012 was demoralizing. The Met felt adrift, and New York City Opera couldn't claw its way back to artistic health.

You won't be reading reviews of the dystopian sci-fi flick Aeon Flux in the papers today because it wasn't screened for the press-and, given that it cost the GDP of a small country and that Charlize Theron and the director, Karyn Kusama, are critics' darlings, this could mean but one thing: A stinker. A weapon of mass destruction. A planet-killer. Folks, I'll never understand studios. Aeon Flux is not that terrible.