Anne Hathaway and Steve Carell in Get SmartGET SMART

I can only imagine the business conversation that led to remaking TV's Get Smart as a big-budget summertime blockbuster. But I'm guessing it went something like this: "Let's remake TV's Get Smart as a big-budget summertime blockbuster!" "Okay! Let's!"

Gilbert Gottfried in The AristocratsTHE ARISTOCRATS

For those who don't yet know, The Aristocrats is a literal one-joke movie. In Paul Provenza's documentary, nearly a hundred comedians re-tell an old vaudeville gag about a group of performers whose act consists of them performing the filthiest, most repellant stage atrocities imaginable - some immoral, most illegal, all unimaginable (or so it would seem). The performers' stage moniker? The Aristocrats.

Leonardo DiCaprio in The AviatorTHE AVIATOR

Martin Scorsese's The Aviator, which covers two decades in the life of entrepreneur Howard Hughes, is a skillful, beautifully designed bio-pic, engaging and occasionally thrilling, and, despite a two-and-three-quarter-hour running time, it's remarkably easy to sit through.

Tom Cruise in CollateralCOLLATERAL

Collateral's plot is so High Concept you can barely believe it hasn't been filmed before: A cab driver (Jamie Foxx) unknowingly picks up a hired assassin (Tom Cruise) as a fare, and spends a long, strange evening chauffeuring him from one execution site to another, all the while trying to prevent the killer from performing his rounds without, of course, getting himself killed in the process.

Matthew Broderick and Nicole Kidman in The Stepford WivesTHE STEPFORD WIVES

As crummy movies go, Frank Oz's remake of The Stepford Wives is pretty darned terrific. The film has been plagued by rumors of trouble on the set and post-production nightmares and general confusion throughout, and you can practically see these turmoils on the screen; the movie is bizarrely assembled and terribly edited - characters' motivations change from scene to scene with little rhyme or reason - and it all falls apart before your eyes. Oz doesn't seem to have a clue how to treat the material, but one person does: screenwriter Paul Rudnick. He knows exactly what he's up to - a bitchy, campy tale involving a group of nerdy men who enact revenge on the successful women they feel inferior to - and individual scenes in this Stepford Wives are so hilarious and dead-on smart that you wind up enjoying the movie despite being aware of how awful much of it is. Like last summer's Rudnick-written Marci X, it's a perfect example of a comedy in which individual set pieces far exceed the whole, and it can be blissfully enjoyed on its own underwhelming terms.

Lucy Liu, Cameron Diaz, and Drew Barrymore in Charlie's Angels: Full ThrottleCHARLIE'S ANGELS: FULL THROTTLE

Everything I loathed about the original Charlie's Angels movie - the Matrix-as-shampoo-commercial direction of McG, the beyond-senseless plotting, the "Are we hot or what? " imperiousness of Cameron Diaz, Drew Barrymore, and Lucy Liu - is back in spades in the franchise's sequel Full Throttle, but this time, it worked for me.

Gosford ParkGOSFORD PARK

In Robert Altman's Gosford Park, set in 1932 England, a group of well-to-do guests is invited to a country estate for a shooting party, with their numerous servants in tow, and find their weekend disrupted by the murder of their host.

Nicole Kidman in The OthersTHE OTHERS

Alejandro Amenabar's ghostly The Others feels like the film version of some beautifully chilling short story by Lovecraft or Shirley Jackson, where "Boo!"-style thrills take a back seat to dread and psychological complexity; it's a savvy, entertaining piece.

David Duchovny, Julianne Moore, Seann William Scott, and Orlando Jones in EvolutionEVOLUTION

The sci-fi comedy Evolution is like Ghostbusters without Bill Murray, which isn't surprising since both films were directed by Ivan Reitman, but it also means that it's like Ghostbusters without the big laughs. In that 1984 blockbuster, Murray delivered his lines with an italicized innuendo that made even his throwaway quips hilarious; without his presence, the film (and its underrated 1989 follow-up) would just have been a moderately pleasant, cheesy, overscaled, haphazardly paced affair. That's Evolution.

Will Smith and Matt Damon in The Legend of Bagger VanceTHE LEGEND OF BAGGER VANCE

The Legend of Bagger Vance, Robert Redford's golfing fable, isn't a work of any depth, and there's precious little intelligence on display, but it sure looks pretty - so pretty, in fact, that audiences might not realize that the movie itself is a dud. From the golden-hued cinematography of the great Michael Ballhaus to the stunning, Depression-era costuming and production design, it's clear that the film has been made with the utmost care and a real attention to physical and aural beauty; if you didn't understand a word of English, you might find it a masterpiece.