In his musicals with Garland, Rooney was the sparkplug for prodigious entrepreneurship - that era's predecessor of the garage band, but with Gershwin tunes and an all-star cast.

Throughout the movies' golden age, the Western enriched Hollywood financially and artistically. But in the 1970s, the genre lost its audience appeal to fantasy films of the 'Star Wars' stripe, which told more or less the same story - elemental animosities leading to an armed showdown - but at a faster tempo, and in outer space.

In the movies, every crazy old fart needs a cool old car. Jack Nicholson drove a spiffy yellow 1970 Dodge Challenger two-door in 'The Bucket List.' In 'Gran Torino,' the cranky pensioner played by Clint Eastwood not only owned a 1972 GT Sport, he also used to build cars like that at the Ford plant.

Almost any football play, even an off-tackle slant by a running back, offers the balletic beauty of athletic skill and the punishing drama of physical collision.

The 1930s birthed two great agrarian novels: 'Gone with the Wind' from the viewpoint of the ruling class, 'The Grapes of Wrath' for the underclass. And both were turned into movies that dared to be true to the books' controversial themes.

'Blade Runner' was one of several dystopian science-fiction films to tank in the early and middle '80s. 'Tron,' 'The Dark Crystal,' 'The Keep,' 'Labyrinth': none found a large audience.

Texting has reduced the number of waste words, but it has also exposed a black hole of ignorance about traditional - what a cranky guy would call correct - grammar.

On the page, 'Gone Girl' was a literary game: a tennis match of alternating chapters from Nick and Amy, with the reader offering to take each character's side every few pages.

Fess up, 'Hunger Games' fans: Does anyone care about Peeta or find him attractive? He's the Ron Weasley of the series: he gets points for callow valor and sympathy for his run of bad luck, but he remains a pasty, earnest bore.

Hollywood has always seen Sondheim as a caviar brand unsuitable for a popcorn industry.

'TIME's spell-check always admonishes me whenever I compose a sentence in the passive voice, a warning that is often ignored by me.

After two terms as California's Governator, Schwarzenegger slipped comfortably back into pictures with 'The Last Stand,' a modern Western, then crammed into the wide screen, as if it were a service elevator, with fellow '80s muscle car Sylvester Stallone in 'Escape Plan.'

In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century.

If you were a kid in the 1950s, and you got nightmares from a story in a horror comic book, you have Al Feldstein to blame. If you were a kid in the '60s or '70s, giggling at 'MAD's prankster wit, you have Feldstein to thank.

'Chef' is a dish of arroz con pollo served with a smile but not much style. The critic in the film would give it a low grade, for agreeability without ambition.

The big gamble in 'Focus' - it's a Will Smith movie that dares to be small.

On 'American Top 40' the Kasem voice soared and swooped, like an expert aural acrobat, through promos, jingles and dedications, usually rising to a dramatic peak for the top-selling song of the week.

Lesley Gore's part-time field was pop singer, and in her brief but urgent prime, she was the Queen of Teen Angst. She endured heartbreak as a birthday girl betrayed by her beau in 'It's My Party,' savored revenge in the sequel 'Judy's Turn to Cry' and belted the proto-feminist anthem 'You Don't Own Me.'

Ask Bond-watchers of a certain age about the six actors who have slipped into Bond's Savile Row suits in the Broccoli franchise, and they might say it's really Connery and five other guys - since he, being first and being Sean, stamped the role with his sulfurous masculinity.

Hollywood was born schizophrenic. For 75 years it has been both a town and a state of mind, an industry and an art form.

The typical baseball play is a pitcher throwing a ball and the batter not swinging at it, while the other players watch. Even a home run, the sport's defining big blast, is only metaphorically exciting; a fly ball that leaves the yard changes the score but may offer no more compelling view than an outfielder staring up.

Mausoleum air and anguished pauses: If this production were a poem, it would be mostly white space.

'Interstellar' may never equal the blast of scientific speculation and cinematic revelation that was Stanley Kubrick's '2001: A Space Odyssey,' but its un-Earthly vistas are spectral and spectacular.

It is said that no star is a heroine to her makeup artist.

Although the Academy prefers their Best Pictures grounded in realism, not fantasy, Lee's 'Life of Pi' win proved that the voters understand and appreciate the qualities a visionary director needs to create an otherworldly adventure.

Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament. They blend U.S. and European styles of filmmaking; they bring novelistic devices to the movie mall.

From her first superheroine role in 'Lara Croft: Tomb Raider' - which earned $275 million globally in 2001, back when that was real money - Jolie has been the one actress who can stand up to any male star and stare him down.

There are movies whose feel-good sentiments and slick craft annoy me so deeply that I know they will become box-office successes or top prizewinners. I call this internal mechanism my Built-In Hit Detector.

Before sequels became the most reliable way to make a buck, Bond set the standard for lavish serial adventures. Before Hollywood found gold in multimillion-dollar adaptations of comic-book characters - in the Superman, Batman and Spider-Man blockbusters - Bond was the movies' first big-budget franchise superhero.

I had grown up thinking of movies as something to eat popcorn with. Bergman and the other European directors were the first ones to open my eyes to film as art.

In the movies, every crazy old fart needs a cool old car. Jack Nicholson drove a spiffy yellow 1970 Dodge Challenger two-door in 'The Bucket List.' In 'Gran Torino,' the cranky pensioner played by Clint Eastwood not only owned a 1972 GT Sport, he also used to build cars like that at the Ford plant.

To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart - this, you realize with a gasp of joy, is what movies can do.

'Blade Runner' was one of several dystopian science-fiction films to tank in the early and middle '80s. 'Tron,' 'The Dark Crystal,' 'The Keep,' 'Labyrinth': none found a large audience.

Icy and earthy, Helen Mirren is a rare, regal presence in a movie age that values the plebeian over the patrician and mass over class. Lauded with an Oscar and an Emmy for playing both Queen Elizabeths, Mirren has matched her cool aristocracy with a boldness of performance and display.

On the page, 'Gone Girl' was a literary game: a tennis match of alternating chapters from Nick and Amy, with the reader offering to take each character's side every few pages.

Bad movies: they can be tatty classics of crazed ineptitude, like Edward D. Wood's 'Glen or Glenda' and 'Plan 9 from Outer Space,' or big-budget misfires like the 1987 'Ishtar,' a would-be comedy that sent Warren Beatty and Dustin Hoffman on a Hope-Crosby Road to Dystopia.

'TIME's spell-check always admonishes me whenever I compose a sentence in the passive voice, a warning that is often ignored by me.

In 'Serena,' stuff happens, then nastier stuff, without ever engaging the viewer's rooting interest or sick fear. Sometimes it's a question of sloppiness on the set or in the editing room.

In their plush melodies and plummy platitudes, many Rodgers-and-Hammerstein songs were secular hymns, which so insinuated themselves into the ear of the Eisenhower-era listener that they became the liturgical music for the American mid-century.

In 'The Birth of a Nation,' Griffith made audiences see the Civil War through his eyes - the eyes of the son of a colonel in the Army of the Confederacy.

'Chef' is a dish of arroz con pollo served with a smile but not much style. The critic in the film would give it a low grade, for agreeability without ambition.

Musical chairs or Russian roulette? Sometimes there's as much tense drama in the casting of a Hollywood movie as there is in the finished product.

Lesley Gore's part-time field was pop singer, and in her brief but urgent prime, she was the Queen of Teen Angst. She endured heartbreak as a birthday girl betrayed by her beau in 'It's My Party,' savored revenge in the sequel 'Judy's Turn to Cry' and belted the proto-feminist anthem 'You Don't Own Me.'

The people who run Hollywood are supposed to be masters at creating drama, suspense, thrills - at putting on a great show. If we knew not only who the winners were but also by how much they won, the Oscar show could actually be the Super Bowl of movies.

Hollywood was born schizophrenic. For 75 years it has been both a town and a state of mind, an industry and an art form.

'Birdman' is basically 'All About Eve' - the 1950 comedy about rehearsal rivalries in a Broadway show, and another Best Picture laureate - reimagined as a Batman suicide mission. The movie couldn't be actor-ier.

Mausoleum air and anguished pauses: If this production were a poem, it would be mostly white space.

Soviet moviegoers gazed enviously on the jalopy that took the Joads from Oklahoma to California. The message Russians took from 'The Grapes of Wrath': even the poorest capitalists have cars!

It is said that no star is a heroine to her makeup artist.

A movie like 'Selma' should be a relic in a time capsule from 1965, a clue to how well we heeded King's words and how far we have advanced. Instead, it is a reminder that the 'American problem' has yet to be solved.