Nicole Kidman and Aaron Eckhart in Rabbit HoleRABBIT HOLE

John Cameron Mitchell's Rabbit Hole, which stars Nicole Kidman and Aaron Eckhart as a married couple coping with the loss of their four-year-old son, is based on the Pulitzer Prize-winning play by screenwriter David Lindsay-Abaire, and there's probably not much reason for the film to exist. Happily, though, it appears that nobody brought that to the director's or the author's attention, because as unnecessary movies go, Rabbit Hole is a mostly exemplary one - a stagey yet emotionally incisive, ultimately cathartic experience blessed with the sort of powerhouse cast that could never be assembled, in full, on a stage.

Elliot Spitzer in Inside JobINSIDE JOB

You might not think that director Charles Ferguson's Inside Job, the newly (and deservedly) Oscar-nominated documentary about 2008's global economic meltdown, would offer much in the way of participatory, audience-goosing entertainment. After all, this isn't exactly a Michael Moore doc we're dealing with here. Employing dozens of lucid, well-reasoned interviews with financial experts and reams of statistics and graphs, Ferguson's strong, angry, yet level-headed explanation of our current financial crisis is the polar opposite, in temperament and tone, of a Fahrenheit 9/11 or Capitalism: A Love Story. But while the experience of the impeccably photographed, sharply edited Inside Job is a mostly dead-serious one, damn but my audience appeared to have a good time at it - or, perhaps it's more appropriate to say, a cathartic time.

MegamindMEGAMIND

Since Universal Pictures' fizzy, funny animated hit Despicable Me was released a mere four months ago, it's hardly possible that DreamWorks' new Megamind could be considered an intentional ripoff, despite a plot that also finds an über-villain gradually morphing into an über-hero. And despite the film's haughty, antagonistic protagonist performing his evil deeds alongside a goofy, tag-along minion. And despite this blobby little homunculus being named Minion. (Seriously, are there no fresh ideas in Hollywood?)

Jesse Eisenberg and Justin Timberlake in The Social NetworkTHE SOCIAL NETWORK

You may have heard that a lot of critics, in their reviews of the film, have been comparing the Facebook saga The Social Network to Citizen Kane. So before this turns into one of those inaccurate, Al-Gore-says-he-invented-the-Internet sort of myths, let me clarify: They're saying that in terms of its storyline, themes, and protagonist, director David Fincher's and screenwriter Aaron Sorkin's movie is more than a bit reminiscent of Orson Welles' 1941 untouchable. No one, to my knowledge, is saying that The Social Network is as good as Citizen Kane.

Having said that, The Social Network is as good as Citizen Kane.

scene from RestrepoRestrepo would be supremely noteworthy even if it weren't a documentary on modern warfare in Afghanistan that somehow found its way to a Quad Cities cineplex.

Toy Story 3TOY STORY 3

Sitting in the packed auditorium for a matinée screening of Toy Story 3, I was unsurprised to find that one of my fellow audience members was an infant who cried almost throughout the entire film. I would've been more irritated by the distraction if, for hefty chunks of the movie's opening and closing reels, I wasn't such a weepy infant myself.

Gwyneth Paltrow and Robert Downey Jr. in Iron Man 2IRON MAN 2

As expected, the rocket-fueled title character flies across the screen pretty damned quickly in director Jon Favreau's Iron Man 2, but this might be the very first comic-book movie to boast dialogue that zips by even quicker. By now, summer-blockbuster crowds are so used to being wowed - or, for some of us, "wowed" - by pricey visuals and gargantuan action set pieces that the true thrill of Fevreau's and screenwriter Justin Theroux's sequel comes as both a relief and a shock; how on earth did Paramount (thankfully) agree to shell out some $200 million for what is, in essence, an updated take on a '30s screwball comedy? The climax in which our metal-plated superhero takes on more than a dozen artillery-laden robots is enjoyable enough, I guess, yet in terms of actual celluloid magic, it doesn't hold a candle to the sight of Iron Man 2's Robert Downey Jr. and Gwyneth Paltrow arguing over whether Latin is, or is not, a dead language.

Alex O'Loughlin and Jennifer Lopez in The Back-up PlanTHE BACK-UP PLAN

"All right. Let's hear your pitch."

Pierce Brosnan and Ewan McGregor in The Ghost WriterTHE GHOST WRITER

Calling Roman Polanski's The Ghost Writer "lighthearted" isn't entirely accurate, as the movie is a moody suspense thriller concerning high-level government conspiracies, and its color palette seems to shift only from gray to very dark gray. Then again, this is a Polanski film we're talking about - coming from the man who gave us Rosemary's Baby, Repulsion, Chinatown, and The Pianist, it's practically Gidget Goes Hawaiian.

Jeff Bridges and Maggie Gyllenhaal in Crazy HeartCRAZY HEART

Writer/director Scott Cooper's Crazy Heart is a character drama of gentle, lulling rhythms -- so lulling, in truth, that I momentarily dozed off halfway through the film. But I'm pretty sure that I was smiling as I slept, because the steady, deliberate pacing feels just right for the tale Cooper's telling, and because star Jeff Bridges is so masterfully assured as down-and-out country singer Bad Blake that he leaves you in a state of utter, unadulterated happiness and calm. (The actor might almost be saying, "Go ahead and nap. I'll be here when you wake up.") There may have been more exciting screen performances amidst 2009's releases, but possibly none as thoughtful, lived-in, and moving as Bridges'; in his hands, a role that easily could've been a one-note conceit is nothing short of symphonic.

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