Grade: B+ | Genre: Drama
Summary: What was at best a 'B-' episode was saved during the last 10 minutes with the passing of Denny. It was his time to go and for Issie to stand at her medical crossroads.

With a three-hour season finale that spanned two evenings, there is a lot of Grey's Anatomy to talk about so let's waste no time by giving you a quick synopsis of Sunday night's action. Finn (Chris O'Donnell) sheds some dark clouds over Meredith (Ellen Pompeo) and Derek (Patrick Dempsey) concerning their dog Doc. It seems he's developed bone cancer, and its not looking promising. Derek still looks like someone peed in his Cheerios after eyeballing Meredith in Finn's t-shirt the morning after. That ugliness is spilling over to cut into his conversation with Meredith. Callie hits George (T.R. Knight) with the L word, and this new level, their fledgling relationship has ratcheted up to, takes him aback. Burke (Isaiah Washington) is steaming under the collar after Christina decides to catch a few winks while he's busy hiding the salami. Christina (Sandra Oh) is protesting about marathon hours, but they fall on deaf ears. Denny's back in that familiar hospital bed as his condition worsens, pushing Izzie (Katherine Heigl) to the breaking point. Burke goes to get a donor heart, but it proves a cruel hoax. A second heart becomes a battleground as Burke faces off against his old med school chum. Izzie decides to take Denny's deteriorating condition into her own hands, bringing him to edge of death so he might pull ahead in the race for the heart. Burke's helicopter touches down at Seattle Grace and wham! Capped by a crazed fast food worker gone nut job.

Grade: A+ | Genre: Drama/Suspense
Summary: Munich is an important film that speaks as much about the world we live in as it does about the 1970s. It's a blast that is dehumanizing, leaves a litter of questions for every answer and opens up your mind to this senseless struggle that will outlive us all.

Its quite a chore to balance the books on Steven Spielberg's 2005. First, he revisited the sci-fi cornerstone Close Encounters of the Third Kind by importing War of the Worlds into the twenty-first century. It was a sorely lackluster experience, complete with a feel good, Hollywood ending and Tom Cruise battling aliens with his couch jumping skills in basements from sea to shining sea. It can only be described as silly Hollywood excess with Spielberg caught in the crossfire. Now he tries to make it all better, squeezing in his eleventh hour Oscar picture Munich. In doing so he's unveiling what is probably the most important film to come out this year. Munich is a tough film that looks to capture the eternal chaos fought between the Israelis and Palestines in the Gaza Strip, focusing on the impact wrought by one defining event -- Munich. These embattled peoples form one of modern times bloodiest struggles, and one that will never see a resolution as long as new generations of terrorists are born with every brother or father that is incinerated at the hands of a suicide bomber.

Grade: A- | Genre: Adventure/Drama
Summary: Another artistic feast by writer/director Terrance Malick, who delivers a visually lush, hypnotic film, that opens "new worlds" to John Smith, Pocahontas, and the audience (if they let it.) Why the warning light? This flick might not suit your taste.

Writer/director Terrence Malick has only released four films of note in his career, and while taking his sweet time in making each of them, he has created his own unmistakable style in the process. His films are almost meditations with plots, and The New World is no exception. Malick uses the same techniques and modes of operation for each of these movies, and this makes him one of the few directors around anymore whom not only have cult-like devotees, but you could recognize his movies even if the director's name was never in the credits. Do not count on a hard and fast plot for The New World, or intense dialogue between the characters, and the use of CGI to bombard you, but instead open yourself up for a different kind of film. Malick uses his take on the Pocahontas myth to create a movie about innocence, love and loss, and the miracle of experiencing new places and new ways of life.

Grade: A | Genre: Comedy/Mockumentary
Summary: This was grade-A choice comedy. The Dwight-Jim feud has never been funnier, and Michael's zany mediation suggestions almost toppled the entire office, showing just how incredibly daft he is.

When the Office first made the brave leap across the pond, making its big debut on ever struggling NBC, I was more than a bit skeptical. Other BBC imports have failed the transition miserably, trying to dampen English humor for American audiences (Coupling anyone?). How could the extremely politically incorrect Rick Gervais-inspired Office hope to retain its clever sting? NBC's season one struggled to find its footing, but season two has rocked tha' house, becoming the best comedy series on television. It has escaped the BBC's long shadow to the point where the series is on par, if not better, than the original. The characters are more full and wily, the interactions more electric and you can just see your droll cube farm existence unfold to comic delight. This week, we have an old fashion cage match, Michael Scott style. Michael (Steve Carell) puts every problem every person in the office has with one another on the table for review. Pass the popcorn.

Grade: A- | Genre: Action Adventure
Summary: M:i:III, in this writer's opinion, lived up to all the hype and seems to be bullet proof when going up against Cruise's current love lost with the media and public.

Tom Cruise's mission, should he choose to accept it, is to prove that he is still the world's biggest movie draw, and Mission: Impossible III is the vehicle that he will be riding all the way to the bank. The first Mission, directed by Brian De Palma, was more about substance wrapped around a story line too convoluted for us simple minded folk to follow. The John Woo sequel was an over done spectacle that showed that Cruise's ego is as big as his smile. Now, the third installment by J.J Abrams, finally brings it all together and does the franchise proud with a film loaded with action that makes the first two look like gymnastics on Oprah's couch. However, what fuels the film though is not the impossible action sequences, but rather the inner personal story that humanizes Ethan Hunt and engages you more in the man than the flash.

Grade: B- | Genre: Comedy/Satire
Summary: American Dreamz certainly provides you with a nice satire of American pop culture and our political entanglements around the globe, but it's a little too safe. It needed to go for the jugular more and not apologize for its sharp humor.

Mandy Moore has been a bit of a sleeper on the Hollywood scene. A couple years ago, she was little more than a syrupy sweet pop princess who was looking to milk her fame into a crossover career in fluff films. Suddenly, she veered off course, showing a keen taste in men, hooking up with American tennis sensation Andy Roddick then the quirky humor genius of Scrubs Zach Braff. Next, after narrowly avoiding being tangled up in teen movie hell (How to Deal, Chasing Liberty), she has aligned herself with savvy directors (John Turturro) and sharp roles (Saved) that make you eager to scrap any preconceived notions you're harboring about her. This time she teams up with the brain trust that gave us quality flicks like About a Boy and In Good Company for an American Idol spoof that tries to get at that shred of goodness that keeps this mind numbing television slapping the Nielson families like it was their bitch.