Ben Stiller in Night at the Museum: Battle of the SmithsonianNIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN

Night at the Museum: Battle of the Smithsonian is to its precursor what Ghostbusters II is to Ghostbusters: the less-novel offering, sure, but a follow-up of surprising wit and great throwaway touches, and one that, in many ways, improves on source material that was pretty terrific to begin with. Despite its titular locale, no one is going to mistake director Shawn Levy's adventure comedy for a work of art, yet when this follow-up is really working - which is surprisingly often - it provides a giddy, giggly rush, and it's filled with comic bits that you could probably watch three or four times in succession and laugh at every single time. The movie is scrappy, silly, and a load of fun.

Jesse Eisenberg and Kristin Stewart in AdventurelandADVENTURELAND

My first awareness of writer/director Greg Mottola's Adventureland came at Christmastime, when some family members and I saw a trailer for the comedy before, of all things, a screening of Doubt. The movie's my-summer-at-an-amusement-park setup looked kind of promising, but given the preview's one-liners and visual gags, the supporting cast (Bill Hader, Ryan Reynolds, Kristen Wiig), and Mottola's credit as the director of Superbad, it seemed like an incredibly inappropriate teaser to run before John Patrick Shanley's nonsecular drama. When the trailer ended, my brother and I shared an incredulous look and a chuckle at the apparent incongruity. "Know your audience," he said with a laugh.

Meryl Streep in DoubtDOUBT

Based on his Pulitzer Prize-winning play, writer/director John Patrick Shanley's period drama Doubt - set in 1964, and concerning a nun who suspects a priest of sexual misconduct with an altar boy - isn't much of a movie. Shanley's previous directorial effort was 1990's Joe Versus the Volcano, and it's a shame he wasn't able to get in more practice over the last 18 years; in an attempt to gussy up the visual blandness that accompanies most theatrical adaptations, Shanley opts for a series of high- and low-angle shots and symbolic thunder, lightning, and wind effects that oftentimes make Doubt resemble a satire of a low-budget horror flick. And it's still visually bland.

Amy Adams and Frances McDormand in Miss Pettigrew Lives for a DayMISS PETTIGREW LIVES FOR A DAY

Miss Pettigrew Lives for a Day, in which an unemployed British governess becomes the accidental social secretary to a ditzy American chanteuse, is the sort of movie that's likely to be (agreeably) written off as "lighthearted." But that description doesn't suggest just how exhilarating this "lighthearted" outing actually is, or just how remarkable Frances McDormand and Amy Adams are in it. I'm the type of person who instinctively rolls his eyes at the "you'll laugh, you'll cry" plaudit, but at director Bharat Nalluri's Miss Pettigrew, I laughed, I cried, and I don't think a minute passed in its hour-and-a-half running length in which I didn't grin from ear to ear.

In discussing this year's Oscar races in the picture, director, and the acting categories, we may as well begin with the nominee area audiences had the least chance of catching, as it was the only major contender yet to get an area release: Duncan Tucker's Transamerica.

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