Brendan Fraser in The Mummy: Tomb of the Dragon EmperorTHE MUMMY: TOMB OF THE DRAGON EMPEROR

Obviously we're not meant to take The Mummy: Tomb of the Dragon Emperor seriously, as it's a fantasy in which Brendan Fraser kicks the crap out of Jet Li. But honestly, even on this harmlessly dopey franchise's own lowbrow terms, could director Rob Cohen's installment be any more witless?

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.

Paul Giamatti and Vince Vaughn in Fred ClausFRED CLAUS

As crass, demeaning, insufferable holiday-themed comedies go, Fred Claus is a little bit better than The Santa Clause 3, Deck the Halls, Surviving Christmas, and Christmas with the Kranks. (This faint praise might also extend to examples released before 2004, but I've succeeded in blocking those titles from memory.) It's also a little bit worse than 80 percent of the movies I've seen this year.

Keanu Reeves in ConstantineCONSTANTINE

At one point in Bryan Singer's original X-Men film, Wolverine stares at the fetishistic black-leather duds he and his teammates are wearing and asks, incredulously, "You actually go outside in these things?" To which Cyclops, in-joking on the character's original Marvel-comic attire, replies, "What, would you prefer yellow Spandex?" God, yes.

Anna Faris and Drew Mikusa in Scary Movie 3SCARY MOVIE 3

With Scary Movie 3, the assignment of directing has been passed from Keenen Ivory Wayans to Airplane!'s David Zucker, which is a big step forward right there. (Zucker isn't much of a director, either, but at least he has ideas on how to shape a scene, and is actually pretty adept at making his film parodies look like the films they're parodying.) Plus, any time Zucker and company are satirizing the outrageous pomposity of M. Night Shymalan, whose Signs receives - and deserves - particularly harsh treatment here, Scary Movie 3 is everything you want a movie spoof to be: smart, funny, and more than a little mean. (And heartening - until now, I thought I was the only one who detested Shymalan's "Hitchcockian" appearance as the vet who accidentally kills Mel Gibson's wife in Signs.) The wide-eyed, appealing Anna Faris returns as the lead, ably satirizing Naomi Watts' reporter from The Ring, and comic actors such as Charlie Sheen, Jeremy Piven, Queen Latifah, Camryn Manheim, and legendary spoofster Leslie Nielsen all score some laughs. So why is Scary Movie 3 still so disappointing?

John Hawkes, Ray Liotta, Amanda Peet, and John Cusack in IdentityIDENTITY and CONFIDENCE

By some bizarre coincidence, this past weekend saw the arrival of two new films, Identity and Confidence, that share an almost frightening number of similarities.

Michael Pitt and Ryan Gosling in Murder by NumbersMURDER BY NUMBERS

In Barbet Schroeder's thriller Murder by Numbers, Sandra Bullock stars as Cassie Mayweather, a Southern California detective who, along with her nebbishy partner (Ben Chaplin), attempts to solve the murder of a local Jane Doe, killed in a seemingly haphazard fashion and left beside a creek.

Guy Pearce and Carrie-Anne Moss in MementoMEMENTO

It has taken quite a while, and an especially long while here in the Quad Cities, but the first unequivocally great movie of 2001 has finally appeared: writer-director Christopher Nolan's crime thriller Memento. And its greatness is of a very particular kind - you want all of your friends to see it immediately, so you can share your excitement with them and work out passages of the film that you're almost sure you understood. (Getting to review works like Memento is the absolute best thing about being a published film critic.) Like The Truman Show, Memento is so clever, so smart, so full-to-brimming with detail and wit and filmmaking passion that it feels miraculous, and within its genre, it just might be a new classic.