Jaco Van Dormael’s Mr. Nobody is stunningly beautiful to look at, with postcard-perfect cinematography, but also Hellish to sit through
The Rebound an entirely effective and affectionate movie, and one of the best romantic comedies in recent memory
A Single Man immediately identifies director Tom Ford as an auteur with impeccable control over his craft
Shrek Forever After is being touted as the final installment in the Shrek franchise, which feels about right
Letters to Juliet is quite wonderful in that soapy, schmaltzy, teary-eyed Hollywood way
Predators is a ridiculously entertaining ride, a self-knowing but straight-faced throwback to the days of over-the-top 80s machismo and 70s grindhouse films
The Twilight Saga: Eclipse is all about sex and lust and teenage infatuation, a lot of it coming from a 109-year-old character that ought to know better
Solomon Kane is a good-enough sword-and-sorcery tale, brutal and moody and atmospheric
Killers stars Ashton Kutcher as a super-spy and Katharine Heigl as a frumpy computer technician
The Back-up Plan is a formula romantic comedy, more transparent than most and usually offensively so
From Paris with Love is all loud action and a louder John Travolta performance, and precious little of anything else
The ADD-inflected A-Team delivers intercuts the setup and payoff for almost all its big action sequences at the exactly same time,
Wildly imaginative, surprisingly dark and complex, Toy Story 3 ranks right up there with Pixar’s best films
Roman Polanski’s The Ghost Writer is one of the director’s best films in his post-1970s career
Geeen Zone is a dense and effective political thriller about the search for WMDs in newly-liberated 2003 Iraq
The characters in Sex and the City 2 are modern day variations of those from Caligula or Luchino Visconti’s The Damned
Precious is the most mainstream version of this story imaginable, with style to spare and darkly humorous fantasy sequences
Brooklyn’s Finest is a perfectly decent cop movie, the only problem being that we’ve seen it all before, usually cheaper and better on TV
Prince of Persia: The Sands of Time is probably the best video game adaptation to date, not that there’s been much competition
Steve Pink’s Hot Tub Time Machine has a title and some goofy charm, and little else
Whatever Works is Woody Allen’s best straight comedy in years – at least since 2000’s Small Time Crooks
Robin Hood is good-enough entertainment, made by capable filmmakers, tightly scripted by Brian Helgeland
Kick-Ass works on multiple levels, thanks to a loving, authentic feel for the genre and fluid direction by Vaughn
The Road is cold, miserable, relentlessly grim; there’s no joy and little hope in this post-apocalyptic tale