WALL-E The animators at Pixar have again pushed the boundaries of animation a monumental leap forward, making it hard, if not impossible, for animation departments at rival studios to keep up. And yes, the story overall is very satisfying, which is expected coming from filmmakers who spend years crafting and refining the narrative before going ahead with production.
	The Strangers Ultimately, a film purporting itself to be in the horror genre must scare, and thankfully The Strangers succeeds. The scares are built up as a series of stops and starts, a crescendo of paranoia, fear and unease that never lets up until the final minutes of the film.
	The Incredible Hulk Unlike Ang Lee’s previous attempt at the franchise (2003’s Hulk), which was plodding and solemn, Leterrier and his screenwriters keep the film constantly moving, alternating between exposition and action so quickly that sometimes the film un-spools at maddening speeds, with scene blurring into one another.
	The Happening Shyamalan’s characters this time around not only pale in comparison to those he’s created in previous films but they manage to become more wooden than the scenery. Mark Wahlberg plays science teacher Elliott Moore so badly it is hard not to think that it was done on purpose as some weird homage to B-movie campiness.
	Sex and the City Strange that the number one movie in the cinemas this week is one that is wholly un-cinematic. As Anthony Lane wrote in The New Yorker last week, Sex and the City the movie is a “TV show on steroids.” The movie is episodic and formless, with no discernable plot or storyline to carry this moviegoer through its absurd running time.
	Indiana Jones and the Kingdom of the Crystal Skull Have Steven Spielberg and George Lucas learned nothing about burdening their franchise with wall-to-wall CG hokum like the bloated Pirates of the Caribbean? Even the silly National Treasure movies avoided this to a certain extent. I had liked to think the Indiana Jones brandname was different, but I was wrong.
	Sweeney Todd At once violent and darkly satirical, Sweeney Todd is the sixth collaboration between Burton and Depp, and yet, it is surprisingly monotonous and unremarkable, thanks in large part to the strangely forgettable songs that litter the film.
	Poultrygeist There is a thin line between satire and stupidity. If there is one film proving that old adage, it is Lloyd Kaufman’s scatological farce, Poultrygeist: Night of the Chicken Dead, a film so vile and ill begotten it feels like an endless, punishing trip into the mind of a sex-obsessed 16-year-old boy, despite the 90-minute running time.
	Superbad In a summer of threequels, special effects dominate. Whether they are CGI spider men, pirates, ogres, or transforming machines, special effects wizardry has come to define summer thrills. How refreshing it is, then, that Superbad’s most impressive special effect is also its cheapest and most rewarding: dialogue.
	Disturbia Stop me if you’ve heard this one before: a young man confined to his apartment spends his days spying on his neighbours and uncovering a teeming carnal underbelly of disreputable social affairs, including sexual improprieties and murder.