Nicolas Cage and Diane Kruger in National Treasure: Book of SecretsNATIONAL TREASURE: BOOK OF SECRETS

National Treasure: Book of Secrets, the follow-up to 2004's globe-trotting-archaeologist adventure, could generously be termed "perfunctory"; it gives (family) audiences exactly the formulaic, Indiana Jones-lite action, romance, and humor they adored in the original. It could also, less generously, be described as "crummy," as returning director Jon Turteltaub ensures that every remedially staged sequence has the same bland, going-through-the-motions tone as the one that came before. (At least its predecessor provided a few jokes.)

Ben Stiller and Malin Akerman in The Heartbreak KidTHE HEARTBREAK KID

Outside of a few pornos, I don't think I've ever seen a beautiful actress being treated quite so offensively on-screen as Malin Akerman is in The Heartbreak Kid.

Lisa Kudrow and Bobby Cannavale in Happy EndingsHAPPY ENDINGS

This summer, I was fortunate enough to catch a special screening of writer/director Don Roos' Happy Endings at the University of Iowa, but decided to hold off on a review until the film made it to our area.

Kevin Costner and Robert Duvall in Open RangeOPEN RANGE

What will it take for Kevin Costner to give a performance again? His new movie, the western Open Range, which he also directed, has a lot going for it - beautiful camerawork, impressive editing, a strong, simple storyline, a marvelously cantankerous Robert Duvall - yet smack at the center is sweet, dear, painfully inadequate Kevin Costner, looking and sounding so uninvolved with his surroundings and his fellow actors that he weakens his entire film. (It took great restraint to laugh at him only once, at his hysterically unmotivated reading of the cowpoke classic "Let's rustle up some grub.") Some will argue that Costner is actually deeply in character, playing an uncivilized man for whom conversation and companionship offer little comfort, but look at him onscreen: His Zen blankness is indistinguishable from a coma, and his "concentration" resembles nothing so much as a somnambulist struggling to stay awake. As usual, Costner is fine with rare moments of fringe comedy - reminding us why we once liked him in movies like Bull Durham and Field of Dreams and Tin Cup - but he's positively deadly in Open Range, and not because of his character's prowess with a gun.

Billy Crystal and Robert De Niro in Analyze ThatANALYZE THAT and EMPIRE

It's enough to make a grown movie-critic weep: You rave about Solaris, a science-fiction work that's psychologically rich, challenging, and incredibly unusual, and you read in the paper that the audience-tracking firm Cinemascore has ranked it the most universally loathed major release in 20 years. You check out the top-10 list from the National Board of Review, the first organization to hand out year-end kudos, and realize that only one of those 10 films has (as yet) made it to the Quad Cities, and that one only stayed for a week at Moline's Nova 6 Cinemas. And you eagerly look forward to a December weekend of new releases - surely some of those terrific-looking titles will finally appear? - and your only options are Analyze That and Empire.

Kim Director and Erica Leerhsen in Book of Shadows: Blair Witch 2BOOK OF SHADOWS: BLAIR WITCH 2

Let's face it: There was plenty of built-in expectation with the arrival of Book of Shadows: Blair Witch 2, and the expectation was that the film would suck. Those who loved The Blair Witch Project, as I did, would miss that film's cinéma vérité style and simplicity, and rail on about how Book of Shadows was exactly the kind of dumbed-down splatter flick that Blair Witch rebelled against. Those who hated the original, which seems the more common response (at least among my acquaintances), would have their beliefs confirmed that the whole Blair Witch "mythology" is lame, and that we've been hoodwinked by marketing and Internet paranoia into making these movies hits. Wouldn't it be great to report that this sequel had defied its skeptics and emerged as smashing entertainment?