Jason Bateman and Jennifer Aniston in The SwitchTHE SWITCH

Since it's a romantic comedy starring Jennifer Aniston that actually doesn't suck, it's temping to overrate The Switch, which opens with Aniston's Kassie preparing to be artificially inseminated, and BFF Wally (Jason Bateman) - who secretly loves her - swapping her sperm donor's donation for one of his own.

Russell Crowe in Robin HoodROBIN HOOD

With director Ridley Scott's heavy-spirited adventure Robin Hood, the audience waits nearly an hour for its first reprieve from the grimness and grime, and when it finally arrives, the moment consists of Max von Sydow's blind land baron getting a whiff of Russell Crowe's gamy Robin and growling, "You stink." As mood lighteners go, so does that gag. And so, for the most part, does the movie.

Alex O'Loughlin and Jennifer Lopez in The Back-up PlanTHE BACK-UP PLAN

"All right. Let's hear your pitch."

Pierce Brosnan and Ewan McGregor in The Ghost WriterTHE GHOST WRITER

Calling Roman Polanski's The Ghost Writer "lighthearted" isn't entirely accurate, as the movie is a moody suspense thriller concerning high-level government conspiracies, and its color palette seems to shift only from gray to very dark gray. Then again, this is a Polanski film we're talking about - coming from the man who gave us Rosemary's Baby, Repulsion, Chinatown, and The Pianist, it's practically Gidget Goes Hawaiian.

Matt Damon in Green ZoneGREEN ZONE

 

Set in Baghdad during the early months of 2002, director Paul Greengrass' action thriller Green Zone casts Matt Damon as a stalwart, driven military officer who gradually discovers that the American government lied about the proliferation - even the existence - of Iraqi weapons of mass destruction. This might strike you as old news, and it is. The disappointing surprise of Green Zone, though, is that the movie itself should feel like such old news, and in ways that have nothing to do with Greengrass and Damon re-teaming after the considerable artistic and popular successes of their Bourne Supermacy and Bourne Ultimatum films.

Channing Tatum and Amanda Seyfried in Dear JohnDEAR JOHN

Since no one's been pressing a gun to my head, I haven't read Nicholas Sparks' Dear John, which concerns a pair of star-crossed lovers whose romance is derailed by the young man's Army tenure. I have, however, seen director Lasse Hallström's screen version, which apparently follows the novel's blueprint faithfully (albeit with an altered ending), so permit me a question: Does Sparks have absolutely no shame?

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.

Sandra Bullock and Bradley Cooper in All About SteveALL ABOUT STEVE

It's one thing for a movie to present its audience with hateful characters. It's quite another when the movie itself appears to hate its characters, and in the depressingly, almost sadistically unamusing All About Steve, very little reads beyond the filmmakers' contempt for the "lovable" whack-job they're purportedly championing. I've seen stupider movies this year - at least two or three of them - but I don't think I've endured one that annoyed me more than this new Sandra Bullock vehicle by director Phil Traill, which humiliates its star at every turn, and humiliates you for spending 100 minutes trying to make sense of it.

Stanley Tucci and Meryl Streep in Julie & JuliaJULIE & JULIA

I'm not necessarily as confident about this prediction as I was when Heath Ledger's Joker arrived last summer, but if Meryl Streep doesn't win an Oscar for Julie & Julia, I'll eat my hat. God knows, after the seeing the movie, I was dying to eat something. A saliva-inducing comedy of gastronomic pleasures, writer/director Nora Ephron's latest is a buoyant and ceaselessly watchable celebration of food and the people who love it, and it offers an utterly sensational performance by Streep, who plays legendary chef Julia Child as a resplendently happy woman who would hungrily devour the entire world if she could.

Peter Sarsgaard, Isabelle Fuhrman, and Vera Farmiga in OrphanORPHAN

Director Jaume Collet-Serra's Orphan features that most indestructible and, oftentimes, luridly enjoyable of horror-flick staples - the psychopathic prepubescent - and would probably be a lot of fun if it wasn't so relentlessly unpleasant and stupid. Those of us who've been known to get a kick out of these Omen-esque outings will probably give the movie the benefit of the doubt for far longer than it deserves. But for all of its effective jolts and expert acting, Orphan is so frustratingly illogical that it trashes whatever goodwill you extend toward it, and the experience is too unremittingly dour and punishing to be any kind of not-so-guilty pleasure. (One of the friends I saw the film with left the auditorium saying, "I need a shower now." Get in line, pal.)

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