Rachel Weisz and Ryan Reynolds in Definitely, MaybeDEFINITELY, MAYBE

If anyone's keeping track, writer-director Adam Brooks' Definitely, Maybe is the third romantic comedy of 2008 to climax with its protagonist taking a hasty cab ride to an inevitable romantic clinch and subsequent Happily Ever After. And that's about the only conventional element in it. I'm a little staggered by just how wonderful this movie is, as nothing about the film, from its cutesy setup to the presence of leading actor Ryan Reynolds, appeared to suggest anything more than the latest spin on a tireless (and, by now, tiresome) genre. Yet Definitely, Maybe is sensational, so smart and witty and refreshingly grown-up that, hours after seeing it, you may still find yourself in a great mood; the only times I stopped smiling at the movie were when I was laughing out loud.

Sylvester Stallone in RamboRAMBO and MEET THE SPARTANS

In recent articles, I've mentioned how thoroughly I'd been looking forward to There Will Be Blood, and some might wonder whether my anticipation had me predestined to love the film, regardless of what was actually on-screen. I'd like to think not, but it's hard to deny that expectations do play an enormous part in one's enjoyment - or lack thereof - of any movie.

Jonathan Rhys Meyers and Freddie Highmore in August RushAUGUST RUSH

There's a scene in the tear-jerker August Rush in which the titular musical prodigy (Freddie Highmore) and a friendly Irish rocker (Jonathan Rhys Meyers) - unaware that they're father and son - engage in a happy bit of dueling guitars in Central Park, their matching grins widening as the improvised strumming reaches its climax. It's a great moment, and I mention it because it's the only one in the film that I didn't find excruciating.

Charlize Theron and Tommy Lee Jones in In the Valley of ElahIN THE VALLEY OF ELAH

Paul Haggis' In the Valley of Elah continually approaches greatness without ever really getting there.

Paul Giamatti and Clive Owen in Shoot 'Em UpSHOOT 'EM UP

Frequently unpleasant and almost pathologically violent, Michael Davis' action thriller Shoot 'Em Up is a joke, and the film's biggest detriment is that is takes too long for it to be an intentional one.

Anne Hathaway and James McAvoy in Becoming JaneBECOMING JANE

I have friends, most of them equipped with a Y chromosome, who wouldn't be caught dead at an 18th century British period film studded with corsets and bucolic splendor and one of those "That man is so insolent and frustrating I must be in love with him!" storylines.

Matt Damon in The Bourne UltimatumTHE BOURNE ULTIMATUM

There's a lot of plot in The Bourne Ultimatum - all manner of clandestine meetings and hidden motivations and governmental conspiracies - but the story can be neatly summed up by the titular fugitive himself: "Someone started all this," Bourne tells the brother of his murdered lover, "and I'm gonna find him." Nothing else is really germane here, and the exhilaration of this third entry in the spy-thriller franchise is that, with as visceral a filmmaker as Paul Greengrass at the helm, nothing else needs to be.

Megan Fox and Shia LaBeouf in TransformersTRANSFORMERS

I laughed out loud a good half-dozen times at Transformers, and for the first time ever at a Michael Bay movie, not derisively. No one could have been less enthused than I at the prospect of a Bay-directed, live-action "adaptation" of the toys I was too old for in the mid-'80s. (I'll admit to a mildly derisive chuckle at the opening credit: "In association with Hasbro.") Yet all things considered, the resulting movie is great fun - 90 minutes of amusement and frequent exhilaration. The fact that the film actually runs 145 minutes proves to be only a slight detriment.

Michael Moore's SickoSICKO

It seems that the older I get, and the older Michael Moore gets, the more I'm conscious of his imperfections as a filmmaker - and the less I could give a damn about them.

Jon Heder and Will Ferrell in Blades of GloryBLADES OF GLORY

It's goofy, it's obvious, and several of its inspirations are only borderline successful, but with the exception of David Fincher's Zodiac, the figure-skating comedy Blades of Glory is the most thoroughly enjoyable movie I've yet seen in 2007. It's also, quite possibly, the best, most unexpectedly clever work of its type since The 40-Year-Old Virgin. How do I even begin to describe how surprising this is?

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