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Much like 1987's Broadcast News, there's actually a deeper debate that elevates the light and sunny romantic comedy of Morning Glory into something more substantial, namely the discussion of what's "real" news.

Much like its R-rated Planes, Trains & Automobiles predecessor that starred Steve Martin and the late John Candy back in 1987, Due Date is also the madcap tale of two guys who would never take a cross-country road trip together, if extenuating circumstances weren't involved.

Danny Boyle's 127 Hours takes you through the ringer, sure to elicit audible (and collective) gasps, groans and shrieks before concluding in one cathartic exhale of relief and redemption. It's not the kind of movie to engender multiple viewings, but one is enough to sear it into your mind forever.

Although it could have resulted in a unique hybrid of different styles, Monsters is unique more for its failure to generate any well-earned emotions—or thrills. Better to rent District 9, Cloverfield or The Host, which work much better on their own terms, than to try to make do with this.

It's déjà vu all over again with Megamind, yet another superhero story in which super-villains go to great lengths to undermine the good guys. Think The Incredibles, Despicable Me, Shrek Forever After or… well, we've seen a lot of this sort of story recently.

While celebrated director Clint Eastwood certainly has a knack for choosing compelling thematic hooks for his films, Hereafter, like last year's plodding, passion-starved Invictus, is simply too hollow, hokey and one-sided to make any sort of lasting impact.

Stone is about religion and Christianity on one level, but it's not entirely satisfying on those subjects, nor is it particularly revelatory. The best that can be said is that it raises some intriguing ideas about the nature of faith and our ability (or lack thereof) to do good in the world.

Based on a true story, Conviction delivers a life-affirming message about the pursuit of truth and the love of family. It's a powerful story wrapped in an unassuming package, but its adult language and content make it suitable only for more mature audiences.

Based on the book by acclaimed novelist Kazuo Ishiguro, Never Let Me Go is a genre-bending indie drama that blindsides with a shocking revelation about twenty minutes in.

Secretariat is a quintessential family film in this respect: there's nothing to complain about and nothing to rave about. It's safe, conventional, professional; an old-fashioned movie made up of warm fuzzies. In short, Secretariat is as inoffensive as it is ineffectual.

In Life As We Know It, the latest rom-com to hit theaters, the combined charms of Katherine Heigl and Josh Duhamel, plus a little help from an adorable baby, ultimately elevates what could've been a big-screen sitcom gone seriously wrong.

A film about depression that isn't depressing; how's that for a small miracle? Starring Keir Gilchrist and Zach Galifianakis, It's Kind of a Funny Story is a title perfectly suited to this appealing slice of despondent life, one that comes by its laughs in insightful ways.

Director Matt Reeves has taken the original Swedish film, Let the Right One In, moved the setting to 1983 New Mexico, and has crafted a beautifully realized film about the uncertainties and loneliness of adolescence. It also explicitly raises the idea that evil is quite real—although not always in the places we might think.

Whether or not viewers wholeheartedly agree with how documentarian Davis Guggenheim actually goes about proving his thesis, Waiting for "Superman" is still an important and compelling look at the current state of public education—unsightly warts and all.

Unlike many documentaries, Freakonomics is not dry or academic. The multiple directors, each of whom was assigned different segments of the film, often handle the material with humorous scripting and entertaining re-enactments of true-life events.

The Social Network asks a broader question of us about the Web site Mark Zuckerberg founded: does Facebook offer true connection or false validation? The answer lies, as with all things, not in the amoral device being used but rather in the souls that use it.