Henry Cavill in Man of SteelMAN OF STEEL

During the final third of director Zack Snyder's Superman reboot Man of Steel, Henry Cavill's caped crusader and Michael Shannon's villainous General Zod take turns pummeling each other into Smallville storefronts and Metropolis skyscrapers, and the combined force of their Kryptonian blows routinely causes the edifices to tumble to the ground. For most of the length of this relentlessly noisy and dour superhero outing, it felt as though they were tumbling directly on my head.

Harrison Ford and Chadwick Boseman in 4242

42, writer/director Brian Helgeland's dramatization of three years in the life of baseball trailblazer Jackie Robsinson, is an earnest, deliberately old-fashioned entertainment, an inspirational bio-pic made with professionalism and care but little in the way of emotional or thematic nuance - it's the very definition of what-you-see-is-what-you-get filmmaking. In three specific scenes, though, this seemingly prototypical triumph-of-the-underdog sports flick also achieves a legitimate, rousing greatness, and it's the sort of expansive and lingering greatness that makes you leave the picture feeling, with few reservations, that the movie as a whole was truly great.

How strange that, of the two movies I recently caught as a double-feature - Jonathan Demme's The Manchurian Candidate and Harold & Kumar Go to White Castle, directed by Dude, Where's My Car? auteur Danny Leiner - not only is Harold & Kumar the better of the two, it's the only one really worth discussing in any detail.