Jeff Bridges and Maggie Gyllenhaal in Crazy HeartCRAZY HEART

Writer/director Scott Cooper's Crazy Heart is a character drama of gentle, lulling rhythms -- so lulling, in truth, that I momentarily dozed off halfway through the film. But I'm pretty sure that I was smiling as I slept, because the steady, deliberate pacing feels just right for the tale Cooper's telling, and because star Jeff Bridges is so masterfully assured as down-and-out country singer Bad Blake that he leaves you in a state of utter, unadulterated happiness and calm. (The actor might almost be saying, "Go ahead and nap. I'll be here when you wake up.") There may have been more exciting screen performances amidst 2009's releases, but possibly none as thoughtful, lived-in, and moving as Bridges'; in his hands, a role that easily could've been a one-note conceit is nothing short of symphonic.

Mel Gibson in Edge of DarknessEDGE OF DARKNESS

For better and/or worse, Mel Gibson hasn't exactly vanished from the public eye since his last starring role on-screen, in 2002's Signs. Yet even if, like me, you've spent an inordinate amount of time bemoaning the Crazy Mel antics - both public and directorial - of recent years, you might find it hard to resist his turn in director Martin Campbell's Edge of Darkness: Gibson's back, and, happily, he's pissed. The movie is a frequently ludicrous and borderline incoherent revenge thriller, but its leading man, busting heads and blasting weaponry, is in excellent form, lending his bereaved-dad role considerable passion and emotional urgency. Between the mid-'80s and late-'90s, no one delivered anguished-and-wrathful acting better than Gibson. Ten-plus years later, there's still no one who does.

Dwayne Johnson in Tooth FairyTOOTH FAIRY

With his cartoonishly buff physique, his unwavering sincerity and geniality, and his happy willingness to play the goofball, it's easy to see why young audiences love Dwayne Johnson, aka The Artist Formerly Known as The Rock. What's less fathomable, especially considering Johnson's continually questionable taste in material, is why I still love the guy.

Saoirse Ronan in The Lovely BonesTHE LOVELY BONES

The Lovely Bones, director Peter Jackson's long-awaited take on Alice Sebold's beloved novel, is a stupefyingly bad movie, the kind of big-screen debacle that makes you wonder if its entire creative team wasn't suffering through some hideous, collective blockage of talent all throughout filming. You can feel it going wrong in the first minutes, when a car's quick swerve results in an unconvincing and inappropriately comedic loss of a hubcap, but the shock of Jackson's endeavor is that practically nothing in it goes right. Tonally, just about every scene here feels a little bit off, and the rest feel way, way off; it's almost as if Jackson, screenwriting collaborators Fran Walsh and Philippa Boyens, and a (usually) wildly gifted cast purposely set out to make the absolute worst Lovely Bones adaptation possible.

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?

Daniel Day-Lewis and Marion Cotillard in NineNINE

Despite its mostly lackluster reviews and rather lame box-office intake, director Rob Marshall's Nine is actually pretty entertaining. But seriously, shouldn't any movie starring Daniel Day-Lewis, Marion Cotillard, Nicole Kidman, Judi Dench, Penélope Cruz, Kate Hudson, and Sophia Loren be considerably better than "pretty entertaining"? (Collectively, these performers have amassed 18 Oscar nominations and eight statuettes, though it's doubtful that Nine will do much to increase those tallies.)

George Clooney and Vera Farmiga in Up in the AirUP IN THE AIR

Heading to Chicagoland on December 23, I spent the whole of my journey driving through a torrential and laughably unseasonable rainstorm, and the trek that normally takes two-and-three-quarter hours wound up taking close to four. Consequently, I missed out on dinner with my folks, arriving in town just in time to meet them for our planned evening screening of the new George Clooney movie.

AvatarAVATAR

There are visual wonders galore in James Cameron's science-fiction epic Avatar, but what's most amazing about the film's design is how offhandedly wondrous it is.

The Princess & the FrogTHE PRINCESS & THE FROG

Like many of you, I'm sure, I've grown somewhat nostalgic for the hand-drawn animated Disney musicals of a long-ago era -- by which I mean the early '90s. But I'll be honest: Almost nothing about the previews for the studio's The Princess & the Frog convinced me that the old Disney magic was, at last, about to be recaptured.

Natalie Portman, Tobey Maguire, Bailee Madison, and Taylor Geare in BrothersBROTHERS

In director Jim Sheridan's Brothers, adapted from a 2004 Danish film of the same title, a stalwart Marine captain (Tobey Maguire) is captured, tortured, and presumed dead during his fourth tour in Afghanistan. Miraculously, however, he survives the ordeal, only to return home convinced - and not entirely without reason - that his loving wife (Natalie Portman) is sleeping with his ex-con brother (Jake Gyllenhaal). Even if the movie weren't a remake, this wouldn't exactly be the most inventive of plotlines, but there's still enough about Brothers that's raw, painful, and touching to make it satisfying melodrama regardless of its contrived design. Or rather, there would be, if you weren't so frequently distracted by all the capital-A Acting that's going on.

Pages