BEFORE MIDNIGHT

Richard Linklater's Before Midnight - the third and possibly final installment in the director's ongoing screen romance that began with 1995's Before Sunrise and continued with 2004's Before Sunset - climaxes with a half-hour-long fight. You could, of course, say the same about most every superhero or Transformers picture released nowadays. The big difference, however, is that this particular battle royale takes place in the confines of one room and involves all of two characters. The bigger difference, speaking personally, is that this is one 30-minute screen fight that I actually wished would go on forever - though an eternal loop of the movie's first 70 minutes wouldn't have been unwelcome, either.

NOW YOU SEE ME

Given its premise, its cast, and the fact that it's a summertime release without a superhero or a number (or both) in the title, it was easy to feel jazzed about the prospect of Now You See Me, director Louis Leterrier's effects-driven caper about larcenous Las Vegas magicians scoring the heist of the century. Unfortunately, it took all of three minutes for that anticipatory excitement to turn, for me, into irritation, which then turned into active aggravation, which then turned into a disengaged torpor that lasted until the end credits rolled. Ta da.

STAR TREK INTO DARKNESS

Star Trek Into Darkness opens on a note of frenzied, almost satiric busyness. For reasons initially left unexplained, and in a set piece suggesting a futuristic Raiders of the Lost Ark, Captain Kirk and "Bones" McCoy are first seen racing through a jungle of crimson foliage on a foreign planet, attempting to escape the clutches of dozens of yowling savages with black eyeballs and papier-mâché skin. The chase eventually leads the pair to the edge of a cliff where they leap into the water below, just as Mr. Spock - much to the concern of his unusually panicked fellow crew members - beams into the belly of an active, ready-to-burst volcano. Director J.J. Abrams' franchise extender isn't even five minutes old, and between the shouting, the manically staged mayhem, the whiplash editing, and composer Michael Giacchino's pummeling score, it already feels like a typically overstuffed blockbuster sequel, yet one without any of the wit that Abrams brought to 2009's terrifically witty Star Trek reboot. But then something wonderful happens.

IRON MAN 3

Iron Man 3 begins with narration by Tony Stark, the superheroic multi-billionaire voiced and eventually embodied, as always, by Robert Downey Jr. His tone is steady and somber as he makes ominous pronouncements about the uncertain state of the world and how we each create our own demons and such, but before long, Stark's more expectedly breezy, wise-ass nature takes over - he stumbles over his words and realizes his blathering isn't really going anywhere, and quickly puts a kibosh on the opening address. The whole routine is reminiscent of Woody Allen's hilariously neurotic "Chapter one ... " intro at the start of Manhattan, and immediately suggests that this second sequel to 2008's effects-laden blockbuster will be both deathly serious and happily insouciant. And it is. I'm just not completely convinced, in the case of Iron Man 3, that that's a good thing.