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2012 (PG-13) (158 min.; dir. Roland Emmerich; John Cusack, Amanda Peet, Danny Glover, Thandie Newton, Oliver Platt, Woody Harrelson, Chiwetel Ejiofor, Liam James, Morgan Lily, George Segal, Beatrice Rosen, Zlatko Buric, Tom McCarthy) action/drama: The tragedy in Roland Emmerich's "2012" isn't that the world as we know it comes to an end; it's that audiences came out in droves to see it. This means that we can expect another apocalyptic thriller from the director of "The Day After Tomorrow" sometime soon. In this tale, which amounts to two and a half hours of disaster porn, explosions on the sun cause the earth's crust to shift and collapse. The devastation occurs all over the globe, but Emmerich focuses on a limo driver (Cusack), who heroically attempts to save his two children, ex-wife and her new beau. Meanwhile, the president (Glover) decides whether to perish with the rest of his nation or escape via Air Force One. The effects are thrilling, but the cheesy dialogue and leaps of believability (how do their cell phones still work?) make this film into a CGI train wreck.

An Education (PG-13) (95 min.; dir. Lone Scherfig; Carey Mulligan, Peter Sarsgaard, Alfred Molina, Dominic Cooper, Rosamund Pike, Olivia Williams, Cara Seymour, Emma Thompson) drama: There is a lot to admire about director Lone Scherfig's "An Education." But the acting of Carey Mulligan and Peter Saarsgard turns the simple story of an English schoolgirl, Jenny, and her relationship with an older man, David, from potential ickfest into thoughtful Oscar contender. Novelist Nick Hornby adapted Lynn Barber's memoir about young womanhood in the early 1960s with careful attention to detail. Mulligan effortlessly transforms Jenny from bookish Oxford hopeful to cigarette-smoking socialite. Throughout the movie, she appears neither too naÔve or too mature. The subject matter is iffy, but Saarsgard somehow convinces the viewer that David loves Jenny. The film also wisely avoids becoming too enveloped in the time period. Jenny's Audrey Hepburn-inspired dresses and the occasional rock and roll song are fun, but the story is the main focus. Stellar supporting performances by Alfred Molina, Olivia Williams and Emma Thompson are bonuses in this quiet, beautiful picture.

Avatar (PG-13) (160 min.; dir. James Cameron; Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, CCH Pounder, Laz Alonso, Wes Studi) Sci-Fi/Action: Many critics shuddered at the $500 million final price tag attached to "Avatar." But James Cameron's futuristic epic just passed the $1 billion mark in worldwide box office. It's easy to see why. The movie is simply spectacular. The friction between a greedy corporation back by the military and the native Navi people is a simple good vs. evil that doesn't distract from killer 3D combat sequences and a gorgeous rain forest filled with phosphorescent plant life and fantastic creatures. The film is also being screened in a traditional format, but it's a must-see in 3D. Parts of the movie, including a romance between a Navi princess (Saldana) and the marine protagonist (Worthington), are achingly corny. The clichéd political rhetoric is hard to sit through as well. The plot definitely has a heavy-handed "Dances with Wolves" feel. But who needs good dialogue when you have giant ferns that glow in the moonlight and reptilian birds that breathe through their necks?

Crazy Heart (R) (111 min.; dir. Scott Cooper; Jeff Bridges, Maggie Gyllenhaal, Robert Duvall, Colin Farrell, James Keane, Jack Nation) drama: Somewhere between "Walk the Line" and "The Wrestler" lies "Crazy Heart." Director Scott Cooper's adaptation on Thomas Cobb's novel focuses on Bad Blake (Bridges), a once famous country star now relegated to dive bars and bowling alleys. As he scrapes together a living, whiskey and women chase his demons away. The only person with the power to save him is a young journalist (Gyllenhaal) with the ability to see through his rough exterior. The plot sounds sentimental, but Cooper treats the material with respect. Bridges' performance is undeniably Oscar-worthy and Gyllenhaal brings dignity to a part that could have been a pretty set piece. And the music feels genuine. Bad's big hits like "Fallin' & Flyin'" would easily fit into a Waylon Jennings greatest hits album. Even Farrell, cast as heartthrob Tommy Sweet, is up to the challenge. The pace is a little slow, but the characters suck the viewer in. In a world full of clichés, it's refreshing to see a movie that avoids them entirely.

Extraordinary Measures (PG) (105 min.; dir. Tom Vaughan; Brendan Fraser, Harrison Ford, Keri Russell, Meredith Droeger, Diego Velazquez, Jared Harris, Sam M. Hall, Alan Ruck) drama: "Extraordinary Measures" is the kind of movie worth watching on cable on a Sunday afternoon. The story provides a nice pick-me-up, but the sugary dialogue and predictable plot aren't worth the money to see it in theaters. It should have been a TV movie, anyway. Cursed with two children who suffer from the muscle-attacking Pompe disease, John Crowley (Fraser) desperately searches for a scientist who might have a cure. He discovers that Dr. Robert Stonehill (Ford) has some brilliant theories, but his stubbornness and self-destructive behavior get in the way of making his research a reality. Ford is in classic shape. He lashes out with the healthy dose of venom audiences expect to see. Fraser, on the other hand, is out of his league. He showed he can do drama in films like "Gods and Monsters." However, he clearly can't pull off the weeper. The script calls for him to cry — a lot. "Extraordinary Measures" is an inspiring movie; it just isn't a very good one.

Invictus (R) (109 min.; dir. Clint Eastwood; Morgan Freeman, Matt Damon, Adjoa Andoh, Patrick Mofokeng, Matt Stern, Julian Lewis Jones, Marguerite Wheatley, Patrick Lyster) sports/drama: After the low budget "Million Dollar Baby" and "Gran Torino," Clint Eastwood makes the leap to big budget blockbuster with "Invictus." The story, detailing Nelson Mandela's pushing the South African rugby team to win the 1995 World Cup, is ripe with Hollywood moments. Despite the large scope, Eastwood treats the subject matter with respect. Mandela's political life, not the team's ascent, is the main focus. The decision pays off, as Freeman gives a quiet, compelling performance. Damon, as team captain, is adequate but forgettable. Eastwood also downplays the racial strife in post-apartheid South Africa. The result is an even-handed film that lacks the stand-up-and-cheer moments audiences may be looking forward to. The film is closer to "Breaking Away" than "Remember the Titans." Even with its shortcomings, it is an enjoyable escape.

The Lovely Bones (PG-13) (135 min.; dir. Peter Jackson; Saoirse Ronan, Mark Wahlberg, Rachel Weisz, Stanley Tucci, Susan Sarandon, Amanda Michalka, Jake Abel, Michael Imperioli, Rose McIver) drama: Alice Sebold's novel is unsettling enough. After 14-year-old Susie is raped and murdered, her father embarks on a tireless mission to find the killer. Even with the pleasant heaven Susie travels to, only a miracle would make a big screen version watchable. Director Jackson fails on nearly every level. The special effects in Susie's "in-between" are bright and gaudy, like a Lisa Frank folder. And although Tucci excels as the guilty Mr. Harvey, his comb-over and glasses turn him into a grim cartoon character. Wahlberg, as Susie's father Jack, doesn't have the composure to pull off the role. The film's only saving grace is Ronan as Susie, as she exhibits a perfect balance of innocence and wisdom. "The Lovely Bones" should have stayed on the bookshelf. As it stands, this adaptation is an icky mess of film.

Nine (PG-13) (118 min.; dir. Rob Marshall; Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Kate Hudson, Fergie, Sophia Loren) musical/drama: Moviegoers expecting "Nine" to be as good as Marshall's Oscar-winning "Chicago" will be disappointed. From a production standpoint, the film is stunning. The musical numbers are spectacular and every performer (including a surprisingly capable Kate Hudson) is up to the challenge. But the story, about the Italian filmmaker Guido Contini (Lewis) and the women who tear his life apart, isn't compelling. Contini is a scoundrel that draws zero empathy and his various muses come across as little more than pretty playthings. Day-Lewis is excellent, showing once again that he is his generation's Brando. And the parade of women who shimmy across the screen is perhaps the most impressive collection of female talent ever assembled. But there is only so much that can be done with a dog of script. Simply put, "Nine" should have never been made into a movie. There is a reason the musical isn't as popular as "Chicago" or "Cabaret." Those classics succeed on many different levels. "Nine" is just a series of lavish music videos.

Where the Wild Things Are (PG) (101 min.; dir., Spike Jonze; Max Records, James Gandolfini, Catherine Keener, Paul Dano, Catherine O'Hara, Forest Whitaker, Mark Ruffalo, Chris Cooper, Lauren Ambrose, Michael Berry, Jr.) Maurice Sendak's book serves only as a skeleton for Jonze's adaptation. Along with co-screenwriter Dave Eggers, Jonze concocts a world both utterly real and full of fantasy. The source material rings in at less than 400 words. So Max (Records) is given a thorough backstory. He hates his mother's boyfriend and drifts off into a land of moody monsters. The Wild Things are a combination of classic puppetry and modern CGI, and Jonze gives all of them their own set of traits. The film is completely polarizing. Some critics have remarked that it is too dark for young audiences. Others counter with the fact that childhood is often cloudy, and that Jonze was brave to explore the gloom inside Max's head. Together with Wes Anderson's upcoming stop motion "Fantastic Mr. Fox," the film may signal a movement toward more organic family entertainment. As brightly as the Pixar universe shines, it's time for a change.

Up in the Air (R) (109 min.; dir. Jason Reitman; George Clooney, Vera Farmiga, Anna Kendrick, Jason Bateman, Danny McBride, Melanie, Lynskey, Amy Morton, Sam Elliott, J.K. Simmons, Zach Galifianakis) comedy/romance: No industry thrives in a down economy like consulting. And no one is better at cleaning house than Ryan Bingham (Clooney). He's empathetic and enjoys criss-crossing the country. But this is the 21st century. To cut costs, his Omaha-based company decides to start firing people via webcam. Ryan then takes wiz kid Natalie (Kendrick) on the road to prove that the human element should not be lost. Director Reitman delivers a perfect mix of comedy and heartfelt (but not cheesy) drama. Clooney finally gives a nuanced performance that justifies the "new Cary Grant" tag many critics have hung on him. The supporting players soar as well. As Ryan's love interest Alex, Farmiga proves she can hang with the Kate Hudsons and Sandra Bullocks of the world. The acting is great, but it wouldn't matter if Reitman weren't in complete control of his universe. "Up in the Air" pulls off the ultimate cinematic trick: a simple story that never gets dull. You might actually wish this film were longer.