Wesley Morris

In Bruges' featured two hit men on a chatty stroll in Belgium, and certain people's passion for it is fit for Valentine's Day. But it was Tupperware Tarantino to me.

No, I don't know why Bobby and Peter Farrelly bothered with a 'Three Stooges' movie, either. But if they're anything like some men I know, their love for Moe, Larry, and Curly (and an assortment of fourth bananas) is deep, abiding, and unembarrassable. In other words: How could the Farrellys not?

Robert Pattinson has the face of a film-noir dupe. It's a face that is searching and open and kind. It's a face that a certain type of woman might want to fool because, in its intensely old-fashioned kindness, the face says, I love you. Fool me.

In the Mac vs. PC ads, Apple bills itself as the antidote to Microsoft. To love Apple wasn't to sell out. It was to buy in. Most people use PCs, but Apple has the mindshare.

If Judge Steven T. O'Neill sent Mr. Cosby away for the rest of his life, that sentence couldn't undo what he's convicted of having done to Andrea Constand, his accuser in two trials. It also can't undo what he once did for me, which was to make me believe in myself.

The Huxtables laughed and bonded and debated and lip-synced. They were glamorous and simple and extraordinarily human. And affluent. And educated. And so many different kinds of black. You'd think that all of that would make them the Howard University of African-American family life. But white people wanted to matriculate, too.

There comes a point in your moviegoing life where you look at the screen and then you look at the world and you ask, 'What is going on?' You want the movies to show you the chaos and mess and risk and failure that are normal for a lot of us. Generally, the movies hide all of that.

Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.

Anyone who watches a lot of television, or listens to pop music, is familiar with a certain vision of America. If not exactly colorblind, this America is one in which different races easily interact, in which a white person might have an Asian boss, Hispanic stepson, or African-American frenemy.

Most Pixar films are better than most live action films.

I feel like I've always approached criticism with a degree of morality, right? Like, not as a moralizer, but just as somebody who wants to make sure that the culture we're getting is at least morally aware of how it's functioning.

The Dictator' lands somewhere between wan Mel Brooks and good Adam Sandler, whose 'You Don't Mess With the Zohan,' about an Israeli Special Forces soldier at a hair salon, manages to strike better contrasts with vaguely similar culture differences - it's a nuttier movie, too.