Madagascar: Escape 2 AfricaMADAGASCAR: ESCAPE 2 AFRICA

Dreamworks' animated hit Madagascar concerned a group of Central Park Zoo denizens who, en route to Africa, find themselves stranded on the island of the film's title, and ended with the citified animals forcibly, though not unhappily, taking residence in their newfound environs. Not having seen Madagascar since its 2005 release, I'll admit that I had to look up this last bit of information before catching Madagascar: Escape 2 Africa. And if and when there's a Madagascar 3, I'll no doubt have to look up the details on its predecessor, because a mere two days after attending this sequel, I've already forgotten nearly everything about it.

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.

Adam Sandler and Liv Tyler in Reign Over MeREIGN OVER ME

Even though I have yet to enjoy Adam Sandler in, well, anything, I applaud the comic's attempts to stretch beyond the mumbling, hostile, stunted-adolescent shtick he's employed in such comedies as Click, 50 First Dates, and Mr. Deeds. I'd applaud them more if the films he chooses to stretch in - Punch-Drunk Love, Spanglish, and the current Reign Over Me - didn't wind up every bit as confused and unsatisfying as his comedies are.

Billy Bob Thornton and Lauren Graham in Bad SantaBAD SANTA

You might find yourself fearing the worst in the opening reel of Terry Zwigoff's Bad Santa.

Lucy Liu, Cameron Diaz, and Drew Barrymore in Charlie's Angels: Full ThrottleCHARLIE'S ANGELS: FULL THROTTLE

Everything I loathed about the original Charlie's Angels movie - the Matrix-as-shampoo-commercial direction of McG, the beyond-senseless plotting, the "Are we hot or what? " imperiousness of Cameron Diaz, Drew Barrymore, and Lucy Liu - is back in spades in the franchise's sequel Full Throttle, but this time, it worked for me.

Colin Farrell in Phone BoothPHONE BOOTH

Joel Schumacher's Phone Booth starts off so poorly that it's a major surprise - a shock, really - when the movie winds up being thrilling, even exhilarating; it proves that a great, meaty premise can overcome almost all obstacles.

George Clooney in Ocean's ElevenOCEAN'S ELEVEN

Danny Ocean has an idea. Just paroled from prison, this Las Vegas smoothie (played by George Clooney) decides to rip off three of the city's casinos, the profits from which are all stored in one underground safe. In order to successfully pull off the caper, Ocean assembles 10 of the smartest, shiftiest cons he knows to form a labyrinthine plot that'll net the crooks upwards of $160 million. The problem: The safe in question is more heavily guarded than Fort Knox, and getting in the vault is small potatoes compared to how difficult it will be to leave the area once they have.

Nicole Kidman and Ewan McGregor in Moulin RougeMOULIN ROUGE

I loved Baz Luhrmann's musical Moulin Rouge, but what I adore even more than the film itself are works like it - artistically divisive movies that give you no choice but to love or hate them.

D.L. Hughley, Cedric the Entertainer, Steve Harvey, and Bernie Mac in The Original Kings of ComedyTHE ORIGINAL KINGS OF COMEDY

If The Original Kings of Comedy, the filmed preservation of the wildly popular comedy revue, were merely as funny as it is, it would probably stand as the best American movie of the year so far. But director Spike Lee has done something incredibly savvy with the project. Aided by the terrific editor Barry Alexander Brown, Lee has given the material true cinematic fluidity. The editing rhythms are all right on, the camera is always right where it should be to give the performers their biggest laughs (and it seems that Lee has about a hundred different cameras at his disposal), and there are just enough segments with the performers joshing and relaxing off-stage to give the film true dimension; we're aware that their stand-up personas only hint at who they are.