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.

'New Moon'The Box Office Power Rankings do not like the Twilight movies. We are not fooled by the excitement or ticket-buying power of teenage girls. We are on Team No One. (Did I do that right?)

Neither movie has ever finished better than third place in the Box Office Power Rankings. We are confident that this validates our methods.

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.

Fantastic Mr. FoxFANTASTIC MR. FOX

Film scholars widely agree that 1939 remains the strongest year ever for American movies. But I'm starting to think that, as the decades pass, 2009 might be seen as a comparable year for animated movies.

Taylor Lautner, Kristen Stewart, and Robert Pattinson in The Twilight Saga: New MoonTHE TWILIGHT SAGA: NEW MOON

Like last November's film version of Stephenie Meyer's Twilight, this November's follow-up, the helpfully titled The Twilight Saga: New Moon, is a mostly dour affair, a vampire tale less concerned with blood-letting than with the pain of teenage heartache, romantic longing, chastity, and maudlin acoustic ballads. That's why, despite some occasional levity, it's a shock to find director Chris Weitz's movie boasting not one but two absolutely outstanding jokes.

Morgan Lily and John Cusack in 20122012

After 2012 - the movie, not the year - it will be exceedingly difficult for Roland Emmerich to deliver yet another of his expensive, apocalyptic disaster cartoons. So, you know, I guess we should be grateful for small favors.

Disney's A Christmas CarolAs people tell us time and time again, box-office performance is in the eye of the beholder.

Box Office Mojo wrote that Michael Jackson's This Is It, in its debut weekend, did "exceptionally well for a concert picture or music documentary." On the other hand, Disney's A Christmas Carol "stumbled a bit out of the gate."

Guess which one made $30 million and which one pulled in $23 million in its opening weekend.

Yep. The stumbler made more.

Disney's A Christmas CarolDISNEY'S A CHRISTMAS CAROL

For the most part, Disney's A Christmas Carol - the third of director Robert Zemeckis' features to employ the process of performance-capture animation - is a strong, serious, stunningly well-designed piece of work, and an unexpectedly resonant take on Charles Dickens' holiday classic. But I do feel compelled to ask Mr. Zemeckis a question: Must everything be transformed into a Hollywood thrill ride?

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