Parodies are hard to do well, as is shown by the mediocrity of so many recent attempts. No matter how ripe a genre is for satirizing, unless you know how to do it, there are no guarantees.

Since 1977, there have been many science fiction movies, but none has managed to equal [A New Hope's] blend of adventure, likable characters, and epic storytelling.

Parodies are hard to do well, as is shown by the mediocrity of so many recent attempts. No matter how ripe a genre is for satirizing, unless you know how to do it, there are no guarantees.

Although The Terminator is arguably the more visionary of the first two films, [Terminator 2] is the more visually and viscerally satisfying. It's an exhausting experience and, even 18 years after its release (as I write this review), few films have matched it within the science fiction genre for sheer white-knuckle exhilaration.

The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.

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.

Norbit operates on the principle that vulgarity is automatically funny. Crassness doesn't need a joke attached because it is (in and of itself) the height of hilarity.