"The Social Network" is a horror movie. It doesn't shed a drop of blood, yet it manages to conjure some of the dread we feel when faced with a scenario -- any scenario, petty or grave, fictional or real -- that we are powerless to stop. It's about the gleaming new stadiums that rise up in major cities every few years without fail, despite protests and lawsuits and complaints to the zoning board. It's about finding out that you owe more in taxes than you expected, thanks to code changes hammered out behind closed doors by parties with deep pockets and a vested interest. It's about revisiting a cherished stretch of public beach for the sixth or seventh year running, and finding it fenced-off and swarming with cement mixers and guys in hard hats. And it's about how the United States avenged an attack by invading a country that had nothing to do with it.

I've read that derivatives are so complex they're created by computers and not even the software authors really understand them.

Jeremy Piven might not seem the obvious choice to play the ringleader of this menagerie, but shows a side of himself I haven’t seen before: The pep-talking, super confident, ultra cynical salesman.

"Bedtime Stories" is not my cup of tea. Even the saucer.

Missing the e 
in epic...

In Synecdoche, Kaufman has been afforded a privilege he doesn’t deserve; his unimaginative imagery never comes close to the magnificence that visionary director John Moore creates in the turbulent tableaux of Max Payne.

It is, like Quantum [of Solace], edited like shattered glass, but here the shards have been choreographed so that a sense of spatial geography is maintained.