The Day After TomorrowTHE DAY AFTER TOMORROW

Despite all the hullabaloo about the film re-opening vociferous debate about global warming and its possible effects, Roland Emmerich's disaster saga The Day After Tomorrow winds up begging exactly one question: Just how much stupidity are mass audiences willing to accept in their summer blockbusters? In any disaster movie, rolling your eyes at the ridiculous onscreen events comes with the territory, but the enjoyable ones temper that reaction with speed and laughs; Emmerich's cheeky, entertaining Independence Day managed the feat of making the end of the world look like an absolute hoot, and that film, within its sci-fi format, is probably the most sheerly pleasurable disaster flick of the past 20 years.

Shrek 2SHREK 2

If a sequel manages to make any improvements on the original, it's usually cause for at least minor celebration, so I was pleased to see a few changes for the better in Dreamworks' computer-animated Shrek 2.

Brad Pitt in TroyTROY

About 100 minutes into Troy - director Wolfgang Petersen's and screenwriter David Benioff's very loose adaptation of Homer's The Iliad, which details the events leading up to and during The Trojan War - there's a battle sequence that gives the audience a true rush.

Hugh Jackman in Van HelsingVAN HELSING

Stephen Sommers' action thriller Van Helsing, the first of 2004's torrent of summer blockbusters, is big, loud, frenetic, and almost no fun at all. For those who've missed the omnipresent previews, the film is a special-effects bonanza featuring Hugh Jackman as the titular character, a taciturn growler who spends 130 minutes attempting to rid his corner of Europe from a series of CGI-created monsters, and it's all treated with such solemnity that I wouldn't have been surprised to see Henrik Ibsen listed as a screenwriter.

Lindsay Lohan, Amanda Seyfried, Lacey Chabert, and Rachel McAdams in Mean GirlsMEAN GIRLS

Recently, some friends introduced me to the considerable pleasures of Freaks & Geeks on DVD, and I understood why the show barely lasted a season; it was a nearly pitch-perfect rendering of high school's everyday horrors and comic humiliations, and what mass audience, hoping for mindless entertainment, wants to subject themselves to that? And just like that sublime TV series, Mean Girls, the new teen comedy directed by Mark Waters and written by Tina Fey, is so wickedly sharp and achingly funny that its target audience probably won't know what to make of it.(At the screening I attended, everyone laughed like hell at the overt physical comedy, but the movie's most hilarious dialogue fell on deaf ears.)

Mark Ruffalo and Jennifer Garner in 13 Going on 3013 GOING ON 30

When you watch a body-switching comedy such as Big or Freaky Friday, you know immediately that the movie is going to require a huge suspension of disbelief; these are comedy fantasies, after all, and bitching about logic and realistic plotting is the surest way to kill your good time.

David Carradine and Uma Thurman in Kill Bill: Volume 2KILL BILL: VOLUME 2

Quentin Tarantino's Kill Bill: Volume 2 is everything I hoped last autumn's predecessor would be (and, for me, wasn't): thrilling, surprising, deeply emotional, and very, very funny.

The AlamoTHE ALAMO

The Alamo is surprisingly not-bad. John Lee Hancock's long-delayed drama is by no means a great movie, but it's a pretty darned good audience movie, a middlebrow weeper like A Beautiful Mind or Titanic that, despite its flaws (and against your better judgment), you can find yourself really falling for.

Ben Affleck and Liv Tyler in Jersey GirlJERSEY GIRL

Theoretically, there's nothing wrong with Kevin Smith momentarily eschewing his predilection for what he terms "dick and fart jokes" in favor of more honest, heartwarming fare, but good God, don't we Smith fans deserve better than Jersey Girl? In previous films, Smith presented us with a woman who screws a dead man, the Almighty in the personage of Alanis Morissette, and a lesbian who switches teams for Ben Affleck, yet I found his latest work the least believable in his oeuvre, a movie so brazenly phony and audience-pandering that I wanted to hide my face.

Irma P. Hall and Tom Hanks in The LadykillersTHE LADYKILLERS

Just about every Coen brothers comedy is more enjoyable on a second or third (or fourth or fifth) viewing than it is on a first; once you adjust to Joel's and Ethan's Byzantine plotting, affected wordplay, and in-your-face staging - culminating in a style that can make their works seem, initially, show-offy and too quirky by half - the brothers' filmmaking exuberance eventually wears down your resistance, and their scripts feature some of the funniest non sequiturs you'll ever hear. (Nearly every movie fan I know can recite reams of dialogue from Raising Arizona and Fargo and O Brother, Where Art Thou?.) The Ladykillers, the Coens' adaptation of a 1955 Alec Guinness comedy, is mostly on the hit side of hit-or-miss, and I'm guessing that it, too, will eventually become a beloved treasure trove of quotable quotes, mostly because, on a first go-around, it takes diligence to decipher exactly what Tom Hanks is saying in it.

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