Emma Thompson and Tom Hanks in Saving Mr. BanksSAVING MR. BANKS

Saving Mr. Banks concerns the efforts of the crinkly-eyed Walt Disney (Tom Hanks) in getting the persnickety, Hollywood-averse British author P.L. Travers (Emma Thompson) to sign over the book rights to Mary Poppins. (Spoiler Alert: He does.) And as it's a Disney movie about a Disney movie with Disney products and Disney people - including Uncle Walt himself - popping up nearly every time you blink, the cynic in me resisted director John Lee Hancock's dramatic comedy for as long as humanly possible. Then Thompson's seemingly impenetrable Travers broke down while watching the Banks family sing "Let's Go Fly a Kite" at Mary Poppins' first public screening, and I was a goner. Aw crap, I thought while wiping away tears. Two more minutes and I would've been fine.

Leslie Bibb, Justin Long, and Jason Sudeikis in Movie 43MOVIE 43

Ordinarily, Movie 43 would be the sort of unsatisfying, throwaway release that I'd dispense with in a paragraph, or maybe just a sentence or two. And it's not as though its opening-weekend box-office intake - a meager $5 million, despite the presence of nearly every star in Hollywood - necessitates longer consideration of the film. But this anthology comedy in the style of those '70s cult classics Kentucky Fried Movie and The Groove Tube seems to me a special case. How often, after all, do you get the chance to write about what might be your all-time least-enjoyable experience at the cineplex - including that time during the early '90s when you had to leave a screening for emergency root-canal surgery?

Neve Campbell in Scream 4SCREAM 4

Directed, as all of the franchise's outings have been, by Wes Craven, and written by Kevin Williamson, Scream 4 is a sequel, a reboot, and a big middle finger to reboots, all in one bloody, meta, mostly tedious package. It opens beautifully and features a bunch of (mostly verbal) horror-comedy pleasures, yet its overall effect is wearying; Craven and Williamson are so focused on deconstructing the genre - the Scream series in particular - for a media-soaked, hipper-than-thou young audience that even its "surprises" are in quotation marks. Watching Scream 4 is like watching a movie with its commentary track running before you've had a chance to experience the film without it.

THE AMERICAN

There's so much that's impressive about The American that I feel somewhat guilty for briefly nodding off, twice, during the course of the film. But in my defense - and unlike the gentleman sitting in the row ahead of me - I'm at least reasonably sure I didn't snore.

Ethan Hawke in DaybreakersDAYBREAKERS

There are probably perfectly valid reasons that I'm unaware of, but for all the wonders that CGI effects have delivered over the years, why is it so hard to produce a decent fireball?

Fantastic Mr. FoxFANTASTIC MR. FOX

Film scholars widely agree that 1939 remains the strongest year ever for American movies. But I'm starting to think that, as the decades pass, 2009 might be seen as a comparable year for animated movies.

Up's Carl FredricksenDirected and co-written by Pete Docter, Pixar's Up -- the studio's 10th full-length animated feature -- is so funny, touching, and inventive that I felt like a bit of an ingrate, if not a complete jerk, for wishing it were just a little bit better.

Ginnifer Goodwin, Jennifer Aniston, and Jennifer Connelly in He's Just Not That Into YouHE'S JUST NOT THAT INTO YOU

With its nine central roles, dovetailing narratives, and 129-minute running length, He's Just Not That Into You is like a chick flick on steroids. Based on a jokey "self-help" book by Greg Behrendt and Liz Tuccillo, director Ken Kwapis' comedy concerns the romantic tribulations of a bunch of young (or young-ish) hotties in present-day Baltimore, and it's all pretty easy to pick apart; the characters are too archetypal, the plotting is too convenient, and none of the movie's frequent dating advice is as insightful as it clearly wants to be. Even that "present-day" aspect is problematic, as the film, completed in 2007, finds a character hooking up through MySpace, for Pete's sake.

Chris Klein in We Were SoldiersWE WERE SOLDIERS

We Were Soldiers is, in many ways, the oddest war movie I've ever seen. It's set during the Ia Drang battle of the Vietnam War, but it's performed and directed with such resolute patriotism and heroism that it feels like a product of World War II, or rather, movies about World War II.