Click largely fails in its attempts to blend its trademark low-brow Adam Sandler humor with a high-concept morality tale. Its attempt at a Christmas Carol style change of heart fails because we begin with a faulty, but already good hearted man forced to see a life of choices he clearly doesn’t want to make. Unfortunately, the convoluted script seems to think we’ll ignore its problems because of a handful of Sandler laughs and an artificially touching ending.

As a pseudo non-fiction book, The Da Vinci Code is really unfilmable. Ron Howard, however, does about as good a job with the book as can be done, giving weight to the dramatic storyline while making token attempts at explaining the conspiracy. Performances and filmmaking is competent all around, but never quite enough to capture the mystique of Brown’s mystery.

The Devil Wears Prada offers an as to be expected strong performance from Meryl Streep, but doesn’t use it to accomplish much while Anne Hathaway plays a well meaning girl who falls into the clutches of Streep's devilish boss. While the film maintains an air of amusement, it remains a fundamentally dull film because we don’t get a character forming decision from our heroine until five minutes remain in the film.

I’m not a fan of horror, but The Descent is one of the better films of the genre. Six girls go into an uncharted cave and meet big albino Gollum creatures down in the dark depths. Offers a few good jumps, but the film is particularly successful in its perpetually ominous atmosphere. Genuinely claustrophobic.

A typical Disney underdog sports film, but not a bad one. Based on the true story, Mark Wahlberg, a struggling bar tender in a struggling 70’s Philadelphia, struggles to make the Philadelphia Eagles as a walk on. Conventionally uplifting, but uplifting nonetheless. And the soundtrack is great.

Similar to last year's Mean Girls, John Tucker Must Die is a teenage genre film that is surprisiningly smarter, funnier and more engaging than it appears to be at the outset. Betty Thomas’s direction, however, is sometimes a bit much, playing too hard to the younger audience and the film never matures to the level of Mean Girls. The dialogue between these high school kids is often so good it’s almost too good, a bit too clever for the credibility of average teenagers - but the wit and humor is worth it.

It's full of funny moments, but Little Miss Sunshine is an indie comedy by the numbers. A family of quirky characters go on a road trip and we alternate back and forth between odd events played up for laughs and introspective moments as each of the characters battle self. Each family member is failing in their particular way, but instead of actually addressing their inner conflicts, we are supposed to believe that all is assuaged by an artificially uplifting finale. It’s an amusing couple of hours, but I dislike the film the more I think about it.

Michael Mann’s Miami Vice is disappointing, particularly after Collateral and some very cool Miami Vice movie posters. But while Mann’s high shutter speed cameras worked in Collateral and on occasion throughout Miami Vice, it actually ends up hurting the film. It seems to give off amateur vibes more often than creating the atmosphere it’s shooting for. More significantly disapointing, however, is the script that feels like it was written for an 80’s TV show.

A TV show with stars and a big budget. The ultimate popcorn flick – we are never even asked to take seriously the increasingly impossible action sequences. Best of all is Hoffman as what has to be one best villains in years; the only problem is that we got far too little of him.

A rather Harry Potter-esque trio of youngsters investigate the haunted house across the street. Makes for a fun Halloween flick, but comes off rather bland in the midst of summer. The 3-D effects are well done and make for a passable experience.

A sweet, well intentioned comedy of a hapless Mexican friar who gets involved in wrestling on behalf of his orphanage. But Jack Black’s over the top comedic style clashes against Jared Hess’s style of subtle, unusual characters and circumstances. The vibe is just off. It ends up coming off like a watered down Black comedy.

Dreamworks’ latest animation cuts back on the adult and pop cultural inside humor, but doesn’t offer much in its place. Instead we get a tamer comedy, neither insulting nor soliciting the adult audience. It’s a generic children’s animation, full of cute animals, simplistic humor and occasional scenes of mild intensity. Creatively competent and appropriately engaging, it’s a pleasant kids cartoon, but nothing more.

Like X-Men 3, Pirates of the Caribbean: Dead Man's Chest is bigger and better at everything but the script itself, which is plot-soaked and dry of humor. The three heroes of the former are back on another adventure whose details I neither really recall nor care about. Even Jack Sparrow, the franchise character, gets less time and less development. But you’re never really given time to care about the fact that you don’t care, because swashbuckeling pirates are at it non-stop from the high-seas to deep within cannibal territories. It’s always a sight to be seen, but not much else.

The hype is real. Snakes on a Plane is a heck of fun ride. Everyone’s calling it a good ‘bad’ movie, but it’s really not that campy. Those films encourage you to laugh at them, but Snakes on a Plane provides us with genuine laughs – and in ample supply. The film is, of course, plot driven, sensational, and increasingly unrealistic, but like any good action-comedy, it just plain offers a good time at every turn. And Samuel L. Jackson freaken’ owns the house.

Superman’s return looks better than ever, with immaculately composed pictures in nearly every shot, giving us quality shots of the streets of Metropolis to stunning views of the Man of Steel as he flies about the earth. The plot offers us little new, as Kevin Spacey’s competent Lex Luther again tries to take over the world and ward off Superman with Kryptonite while he’s at it. The film’s greatest potential lies in the establishment of Superman as a Savior figure, but the thematic thread is not developed as fully as it could be and we are left with little more than a suggestion. But the good news is that Superman’s back, and I think he’ll be around for a while.

As usual with Will Farrell, Talladega Nights is a generally amusing film with a handful of downright hysterical moments. But the single note character and jokes begin to wear thin by the film’s end.

After a truly engaging and well filmed introduction, where we experience the fall of the Twin Towers from a first hand point of view, World Trade Center then dives into over an hour’s worth of melodramatic tears and anguish from the families of our two main characters who are trapped beneath the towers. Oliver Stone does redeem himself somewhat, however, with a rather powerfully uplifting finale of hope and humanity. But the film remains a very mixed experience.

X-Men 3 brings more good mutants, more bad mutants, more storylines, more action and more money to the big screen, but it all ends up feeling like a bit less. The plot is so large and chaotic that the characters we’ve grown attached to get a more superficial treatment. X-Men 3 finishes the story arc created by the first two, but fails to capture their spirit.