MinionsMINIONS

The previews for the Despicable Me prequel-slash-spin-off Minions made me laugh out loud every single time I saw them ... the first dozen times I saw them. After the second dozen, though, I started to get a little nervous. By then, I had experienced roughly 72 collective minutes of these squat, yellow henchmen with their helium squawks and adorable bulging eyes (or, in some cases, eye), and my initially hearty laughter had been replaced by occasional grins and a smidge of irritation. Granted, I was only seeing three to five minutes of footage over and over, but would directors Kyle Balda's and Pierre Coffin's animated outing wind up feeling the same? Would a solid hour and a half of Minions, and Minions, be too much of a good thing? Answer: Not really. And also: Kind of.

Scott Eastwood and Britt Robertson in The Longest RideTHE LONGEST RIDE

I don't mean to alarm you, but this past Friday, a seismic event occurred at national cineplexes: A movie based on one of Nicholas Sparks' romantic melodramas opened, and not once - not once! - did its dewy young lovers wind up kissing in the rain.

Blake Rayne, Ashley Judd, and Ray Liotta in The IdenticalDirector Dustin Marcellino's The Identical is for anyone who ever wanted to see a fictionalized account of the birth of the Elvis-impersonator movement. Or anyone who'd enjoy Presley's songs more if their melodies weren't so complex and their lyrics weren't so depraved. Or anyone who's been yearning to see Ray Liotta play a devout evangelist who explains to his congregation why he just lit eight candles on a menorah, when, as we can see, he clearly lit nine.

Patrick Wilson, Lili Taylor, Vera Farmiga, and Ron Livingston in The ConjuringTHE CONJURING

I was about halfway through my screening of The Conjuring when I noticed that I was having a most unusual reaction to director James Wan's haunted-house opus: For the life of me, I couldn't stop smiling.

Selena Gomez, Rachel Korine, Vanessa Hudgens, and Ashley Benson in Spring BreakersSPRING BREAKERS

At the screening of Spring Breakers that I attended, I counted eight viewers who walked out of the movie, and stayed out, well before the end credits rolled. In all honesty, I'm amazed the tally wasn't higher than that. The movie being touted in print and in trailers promises a rowdy, randy romp in the sun with built-in audience-grabbers: Disney princesses acting nasty! James Franco with cornrows and grillz! But the movie that writer/director Harmony Korine has actually made - despite, indeed, its also being a rowdy, randy romp in the sun - bears so little relation to its cheeky, borderline-innocuous advertising campaign that patrons can be easily forgiven for feeling badly misled and deciding to bolt. It would be like going to see Dumbo and instead getting Gus Van Sant's Elephant.

Rachel McAdams and Channing Tatum in The VowTHE VOW

Even though I'm frequently annoyed, if not downright appalled, by them, I really don't ask a lot from traditional romantic weepies. If the actors involved share more-than-sufficient chemistry, and the film provides at least a decent amount of legitimate passion and pathos - with a few good jokes thrown in to keep the proceedings human - I'll generally feel that I've gotten my money's worth. And happily, I got my money's worth at The Vow. I'd hardly argue that director Michael Sucsy's love-among-the-mental-ruins effort is a good movie, but despite never being as interesting as it keeps threatening to be, this audience-friendly drama fulfills its basic requirements with the utmost sincerity and even something approaching wit.

Jason Bateman and Ryan Reynolds in The Change-UpTHE CHANGE-UP

The Change-Up, in which Jason Bateman's discontented husband and father magically swaps bodies with Ryan Reynolds' perfectly contented slacker dumb-ass, is an appallingly smutty and juvenile slapstick. In the segment that finds Reynolds (in Bateman's body) preparing a late-night feeding for his pal's infant twins - with one tot seen playing with butcher knives and the other reaching into the blender and sticking his tongue into an electrical socket - it features one of the most painfully unfunny scenes in cinema history, and I'm not excluding any given scene in Sophie's Choice or Schindler's List.

Blake Lively and Ryan Reynolds in Green LanternGREEN LANTERN

I won't bore you by trying, but I'm reasonably sure I could devote a few thousand words to what I didn't like about the (presumed) franchise-starter Green Lantern, an effects-heavy superhero adventure that might mark a new first for the on-screen-comic-book canon: Director Martin Campbell's movie is dully sardonic and dully sincere. I only need two words, however, to pinpoint everything I loved about the film: Peter Sarsgaard.

Sandra Bullock and Ryan Reynolds in The ProposalTHE PROPOSAL

"All right, you've got five minutes to sell me your pitch. Go."

"Well, it's a romantic comedy - I'm thinking about calling it The Proposal - and it's about this bitchy, selfish book editor in Manhattan who learns deeper values and becomes a better person after falling in love with her assistant."

"That doesn't sound very funny."

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.