Ed Asner

In an attempt to rebound after “The Debate,” The Good Wife overcorrects with an overfamiliar outing.

“El Dorado” is a refreshing genre classic, at once suggesting topical concerns while conserving an enduring arena for its Hollywood icons to do what they do best. It incorporates much of what distinguished Howard Hawks’ cinema: his uniform themes, style, and tone.

Mention Up to someone, and it is almost inconceivable that their response will not immediately mention the montage. The sequence which opens the film has come to overshadow all that follows so completely, it almost feels like a short film appended to the beginning of the wild, raucous action-adventure that follows. The “Married Life” sequence …