If you’ve never seen Kinji Fukasaku’s Japanese cult hit “Battle Royale,” then it’s something you should remedy as soon as possible, preferably before heading to theaters this weekend to check out “The Hunger Games.” Originally deemed too controversial to be released in the U.S. (partially due to the Columbine killings that occurred the same year), the movie is finally getting an official Blu-ray release through Anchor Bay in a blatant attempt at cashing in on the “Hunger Games” media frenzy. And why not? Suzanne Collins’ bestselling trilogy may not be a total rip-off, but there are still a number of similarities that can’t be ignored. Though the books aren’t nearly as brutal in their depiction of violence as it is in Fukasaku’s movie, that’s what makes “Battle Royale” so effective. It’s more twisted, more exploitative and much bloodier, but it’s also a great commentary on how desensitized society has become to violence. Plus, it features one of the most entertaining Beat Takishi roles of his career, and that alone makes it worth watching.

Blu-ray Highlight: Although all of the extras are incredibly dated (ported over from the numerous DVD editions), they’re still worth flipping through if you haven’t seen them before. The real highlight, though, is the four-disc box set itself, which includes two versions of “Battle Royale” (the theatrical cut and a director’s cut with additional scenes that were filmed after the movie’s initial release), a copy of the subpar sequel, and an entire disc of bonus material (albeit on DVD). Additionally, it comes housed in some killer packaging that resembles a hardcover book. In other words, it was worth the wait.

It’s hard to believe that it took this long for Kermit the Frog and Co. to make their return to the big screen, because although the Muppets property had been clearly suffering creatively by the time “Muppets from Space” was released, all it needed was someone from the outside to remind everyone why they fell in love with these characters in the first place. Kudos to Disney, then, for having the prudence to hire Jason Segel and Nicholas Stoller to write a movie that would introduce The Muppets to a whole other generation of fans while still preserving what makes them so timeless. The movie has just about everything you could want, including jokes that appeal to both kids and adults, some fantastic original music (courtesy of Flight of the Conchords member Bret McKenzie), and a brand new Muppet that fits right in with the rest of the colorful cast. The human cast isn’t too shabby either, but it’s called “The Muppets” for a reason: they’re the real stars, and let’s hope no one forgets it this time around.

Blu-ray Highlight: There are a number of great extras to choose from (including one of the funnier blooper reels and a cool feature called Disney Intermission where the Muppets perform short gags and tease other bonus material whenever you pause the movie), but the commentary with director James Bobin and co-writers Jason Segel and Nicholas Stoller is too much fun to ignore. Though they stray off topic a little too often, it’s a thoroughly entertaining commentary track that adult Muppet fans will really enjoy.

If I hadn’t already experienced two other renditions of “The Girl with the Dragon Tattoo” (Stieg Larsson’s bestselling novel and the original Swedish film) before seeing David Fincher’s U.S. adaptation, there’s a good chance it would have had more of a lasting effect on me. With that said, however, Fincher’s version is easily the best of the trio, smartly trimming the fat from Larsson’s overly detailed novel and making great use of his wintry locale to create a sense of dread and atmosphere. Though Daniel Craig isn’t quite as miscast as I originally feared, he doesn’t really do anything to stand out either. Then again, it’s probably for the best, because despite Noomi Rapace’s fantastic performance as cyberpunk hacker Lisbeth Salander in the Swedish adaptation, Rooney Mara outshines her in nearly every way, committing to the role so completely that you forget she’s acting at times. It’s far from Fincher’s finest work, but without him at the helm, it wouldn’t have been as good either.

Blu-ray Highlight: A review copy didn’t arrive in time, but David Fincher’s movies rarely disappoint when it comes to bonus material. Among the extras provided is an audio commentary with the director, featurettes on the film’s main characters and location shooting, and a behind-the-scenes look at the post-production process, including the making of that awesome opening title sequence that became such a big talking point.

Any time you bring together a group of actors like the ones featured in “Tinker Tailor Soldier Spy,” you can expect something really special. Comprised of some of the best British screen veterans and rising stars in the industry, the cast is so fantastic (no one more so than star Gary Oldman, who received his first Oscar nomination for playing iconic spy George Smiley) that they’d be entertaining to watch even if they just stood around and talked for two hours; which, as it happens, is basically “Tinker Tailor Soldier Spy” in a nutshell. Though the movie is admittedly a bit difficult to follow early on, it’s not because the story is particularly complex, but rather because it crams so much information into such a short period of time. Those who’ve seen the TV miniseries based on John le Carré’s novel will probably tell you that it makes for a stronger adaptation, but the movie version is still a smart and well-acted throwback to classic 1970s spy thrillers that grows on you with repeat viewings.

Blu-ray Highlight: Regrettably, there’s nothing here that demands your attention (the audio commentary by director Tomas Alfredson and star Gary Oldman is particularly disappointing), but Universal has included a series of junket-style interviews with the cast and crew that, although not great by any means, may be of interest to some fans.

Roman Polanski’s big screen adaptation of the stage play “God of Carnage” is one of the funniest movies that I saw last year, and yet it was completely ignored by every major award show except the Golden Globes. The story certainly has its share of problems – namely due to the ridiculous lengths that it goes to in order to keep its four characters in the same location – but the actors are so great that you’re willing to forgive some of its shortcomings. Polanski does a good job of making the film as cinematic as possible, but it’s clear from the start that this was tailor-made for the stage. As a result, the performances become that much more important, and though Jodie Foster and Kate Winslet are certainly deserving of the critical praise they received, it’s their male co-stars, John C. Reilly and Christoph Waltz, that make “Carnage” such a darkly comical delight.

Blu-ray Highlight: “Actors’ Notes” is a nice collection of interviews with the cast on a variety of topics, including the story’s key themes and working with Roman Polanski. It’s just a shame that the Q&A with John C. Reilly and Christoph Waltz is such a disaster, because it’s the one extra that a lot of fans were probably looking forward to the most.

1. “DRIVE”

Though I wasn’t that impressed by Nicolas Winding Refn’s previous films, they have an undeniable visual flair and originality that you don’t see very often. “Drive” took those qualities and applied them to a conventional Hollywood thriller, resulting in a movie that feels much more mainstream without abandoning Refn’s art house sensibilities. The film is as beautifully poetic as it is strikingly violent, while Ryan Gosling (who’s had a banner year between this, “The Ides of March” and “Crazy Stupid Love”) has never been better as the soft-spoken yet brutally intense protagonist. But for as much attention as the film’s graphic violence has received, it’s the opening sequence – an edge-of-your-seat car chase packed with tension so thick you could cut it with a knife – that is without a doubt the biggest highlight. And when a movie can start so brightly and continue to build on it like “Drive” does (thanks in part to fine supporting turns from Carey Mulligan, Bryan Cranston and Albert Brooks), it’s no wonder why so many people love this film.

2. “ATTACK THE BLOCK”

It’s not every day that you get to see a film before the rest of the world, so I’d be lying if I didn’t admit that being among the lucky few in attendance at the SXSW premiere of Joe Cornish’s “Attack the Block” played a part in my overall enjoyment of the movie. A genre hybrid film with influences ranging from “The Warriors” to “Critters,” Cornish’s directorial debut is a lean, mean sci-fi action thriller that, although it boasts a mostly unknown cast and was made for a fraction of the cost of the average Hollywood movie, is the most fun I’ve had at a theater all year. The young actors are great, the creature effects are even better, and the film is fueled by a relentless, infectious energy that keeps the action moving at a rapid clip. There might have been several alien invasion movies in theaters this year, but “Attack the Block” was the best of the bunch – a fun slice of nostalgic geek cinema that blended action, comedy, horror and sci-fi to create an instant cult classic.

3. “YOUNG ADULT”

It’s no secret that Diablo Cody has her share of critics, but “Young Adult” proves that she’s more than just a vending machine for the kind of quirky one-liners that initially earned her notice back in 2008 with “Juno.” Thematically darker and more mature than her first feature, the film also feels more personal in its examination of what it means to grow up, providing the perfect platform for Cody’s voice to shine. Blisteringly funny and surprisingly poignant at times, “Young Adult” is so daringly original that its somewhat contentious ending has even divided audiences. But while Cody deserves a lot of credit for taking these risks, it’s Charlize Theron’s performance that brings out the comedy and emotion of the situation, delivering some of her best work as the beautiful but bitchy Mavis. It’s not very easy to make a character like that sympathetic, but Theron pulls it off so effortlessly that it would be criminal to see her name absent from any award ballot.

4. “WE NEED TO TALK ABOUT KEVIN”

Every once in a while, a movie comes along that knocks you completely on your ass, and Lynne Ramsey’s psychological thriller “We Need to Talk About Kevin” is such a film. A thoroughly engaging and disturbing look at the strained relationship between a mother and her sociopathic child, Ramsey has crafted a modern day “Rosemary’s Baby” of sorts that lingers in the back of your mind long after it’s over. Tilda Swinton delivers a powerhouse performance as a mother trying to adapt to life after her son commits a Columbine-esque massacre at his school, although a majority of the story takes place before the tragic event, with Ramsey exploring the idea of nature vs. nurture and how much Swinton’s parenting tactics are to blame for the subsequent actions of her malevolent son. Though the constant use of red imagery throughout the movie feels a bit forced at times, “We Need to Talk About Kevin” is so brilliant from top to bottom (especially the acting, the score and the masterful editing) that it’s simply mesmerizing.

5. “THE DESCENDANTS”

Alexander Payne and George Clooney make such a great pairing that it’s amazing the two of them haven’t worked together before. The actor is perfectly cast here as frumpy, Hawaiian-based lawyer Matt King, who suddenly finds himself taking care of his two daughters on his own after his wife is seriously injured in a boating accident. Like all of Payne’s male protagonists, Matt is likeable but flawed, and Clooney handles the Everyman role with poise, making you feel his emotion and pain every step of the way – from dealing with the news of his wife’s coma, to finding out about her affair, and finally coming to terms with her death. Though I know next to nothing about the 2008 novel by Kaui Hart Hemmings on which the film is based, it’s not surprising that Payne scooped up the rights as quickly as he did, because his adaptation is a funny and tender look at the responsibilities of family that’s bursting with excellent performances – not just by the always reliable Clooney, but also newcomers Shailene Woodley and Nick Krause.

6. “HARRY POTTER AND THE DEATHLY HALLOWS: PART TWO”

It’s not going to even come close to receiving the amount of Oscar love that “The Return of the King” earned back in 2004, but that shouldn’t take anything away from David Yates’ “Deathly Hallows: Part Two,” which delivered an unbelievably satisfying bookend to the Harry Potter series after moviegoers became so invested in the adventures of the titular boy wizard. Following Daniel Radcliffe’s journey from cute kid to serious thespian has been almost as enjoyable, and in the final installment, the actor gets to show just how much he’s grown over the years, displaying a maturity that was only hinted at in the previous two films. And if Radcliffe is the anchor of the movie, then Alan Rickman’s emotionally complex performance as Severus Snape is the scene-stealing cherry on top of the Harry Potter cake. They’re but only two examples of what makes “Deathly Hallows: Part Two” so incredibly entertaining, but between its fantastic cast, stunning visuals and great storytelling, it’s every bit the finale that J.K. Rowling’s books deserved.

7. “THE GIRL WITH THE DRAGON TATTOO”

Were it not for the fact that I had already experienced “The Girl with the Dragon Tattoo” on two different occasions (having previously read Stieg Larsson’s bestselling novel and watched the original Swedish film), there’s a good chance that David Fincher’s U.S. adaptation would have had more of a lasting effect on me. With that said, however, Fincher’s version of the popular crime thriller is hands-down the best of the trio, smartly trimming the fat from Larsson’s overly detailed novel and making excellent use of his wintry locale to create a natural sense of dread and atmosphere. Though Daniel Craig isn’t quite as miscast as disgraced journalist Mikael Blomkvist as I originally feared, he doesn’t really do anything to stand out either. But it’s probably better that way, because despite Noomi Rapace’s fantastic performance in the Swedish version, Rooney Mara outshines her in nearly every way as waifish hacker Lisbeth Salander, committing to the role so completely that you forget she’s even acting at times. It’s far from Fincher’s finest film, but without him at the helm, it certainly wouldn’t have been as good as it is.

8. “TYRANNOSAUR”

Though it doesn’t quite have the same shock factor as “We Need to Talk About Kevin,” Paddy Considine’s directorial debut is just as emotionally punishing – a brutal and bleak story about the unlikely friendship between an alcoholic widower and a religious charity worker abused by her seemingly nice husband. Eddie Marsan is a wrecking ball of cruelty as the twisted spouse who does a number of unthinkable things to his wife over the course of the film (like punching, raping and pissing on her), and yet we don’t even witness the worst of his transgressions. But while Marsan plays the domesticated monster well, it’s the film’s two leads that make “Tyrannosaur” so captivating. Peter Mullan makes an otherwise unredeemable character into someone the audience actually sympathizes for, while Olivia Colman (best known for her comedy work in films like “Hot Fuzz”) takes you completely by surprise with a stunning performance that will likely go down as one of the year’s best. “Tyrannosaur” isn’t just a coming out party for Colman as a dramatic actress, however, but also for Considine as a director to watch.

9. “WIN WIN”

Movies that open in the first half of the year tend to get the shaft when it comes to being remembered for awards season and other year-end festivities, but Tom McCarthy’s funny and heartwarming dramedy “Win Win” deserves better than that. The ensemble cast is amazing – from Paul Giamatti’s unlucky schlub, to Bobby Cannavale’s goofy best friend, to surprising newcomer Alex Schaffer – and the script never once feels false or panders to the audience. It earns every emotional beat along the way, making it the kind of feel-good crowd-pleaser that you don’t feel guilty about enjoying. Though there are certainly elements of the underdog sports genre on display here, “Win Win” is a film about family first and wrestling second, a theme that McCarthy has explored before in previous movies like “The Station Agent” and “The Visitor.” He would probably never be mentioned in a discussion about the best American filmmakers working today, but with “Win Win,” McCarthy has made a pretty convincing argument as to why he should be.

10. “SUPER 8”

In a year where Steven Spielberg released two new movies, it’s a little ironic that it was J.J. Abrams who ended up making the best Spielberg film. A throwback to the director’s Amblin years, “Super 8” is a cocktail of nostalgia that works beautifully alongside the more modern-day technology that Abrams has implemented in the film’s amazing set pieces. But for as much trouble as he went through to keep his big, bad alien a secret, it’s probably the least memorable part of the whole film. In fact, if it weren’t for such an irritating final act (where the movie seemed far more interested in showcasing its “Cloverfield”-esque alien than the kids), “Super 8” would have ended up a lot higher on my list. The action is cool, but the real highlight of the film is the young cast, which not only managed to carry a summer blockbuster almost entirely on its own, but featured some great performances from Elle Fanning and newcomers Joel Courtney and Riley Griffiths. I’d much rather watch them making a film than running from an alien any day.

“13 ASSASSINS”
“THE ARTIST”
“CARNAGE”
“HUGO”
“THE IDES OF MARCH”
“MARTHA MARCY MAY MARLENE”
“MIDNIGHT IN PARIS”
“MONEYBALL”
“THE MUPPETS”
“TINKER TAILOR SOLDIER SPY”

1. “ZOOKEEPER”

If you thought that “Paul Blart: Mall Cop” was terrible, then you obviously haven’t seen “Zookeeper,” the latest Kevin James disaster to come out of the Happy Madison Factory of Sadistically Unfunny Comedies. It’s never a good sign when you see multiple names credited to a script, and this movie has five, including James himself. But for as much of a fool as James makes of himself, “Zookeeper” lands the top spot for what is perhaps the single worst sequence ever committed to film: a guy’s night out of sorts between James’ titular character and a real-life gorilla named Bernie that consists of the duo singing along to Flo Rida’s “Low” and dining at T.G.I. Friday’s, all under the pretense that Bernie is just a guy in a costume. Some may be willing to forgive “Zookeeper” as a silly kid’s movie, but no parent in their right mind should let their child watch this crap.

2. “THE SMURFS”

Raja Gosnell is responsible for some of the worst films of the decade, so it shouldn’t surprise anyone that his latest movie is yet another cinematic abomination. Although it’s difficult to hate Neil Patrick Harris or Jayma Mays for starring in the film because they’re so darn likeable, they’re not doing their careers any favors either, no matter how much money it made at the box office. Hank Azaria, meanwhile, should consider hiring the services of Lacuna, Inc. to wipe this movie from his memory, because the veteran actor is beyond embarrassing as Gargamel, who seems to be stupid for stupid’s sake. The Smurfs themselves aren’t as annoying as they could have been, but the movie’s biggest problem is that it parades itself around as an homage to the original comics and cartoon when it has about as much respect for its source material as a prostitute.

3. “DRIVE ANGRY”

When you’re dealing with a movie called “Drive Angry,” it’s pretty much a given that it will either really suck or relish in its awfulness to the point of being so bad it’s good, and unfortunately, Patrick Lussier’s ode to grindhouse cinema falls into the latter category. Unlike the wildly enjoyable Clive Owen action film, “Shoot ‘Em Up,” which managed to strike the right balance between silly and serious, “Drive Angry” is just plain silly, with Nicolas Cage acting surprisingly subdued in a role that would normally yield one of his trademark loopy performances. Even worse are co-stars Amber Heard and Billy Burke, who redefine bad acting, and the horrible use (or some might say misuse) of the 3D, despite the fact that it’s one of the few films in 2011 to actually be filmed in the format. In fact, if “Drive Angry” is good for anything, it’s as a lesson in how to make a bad movie.

4. “CONAN THE BARBARIAN”

Attempting to reboot the Conan the Barbarian movie franchise was always going to be a pretty hopeless endeavor. There’s just no demand for a character like that anymore, and Marcus Nispel’s dumb and loud origin story certainly won’t help the chances of any future installments. It’s a muddled mess of a film that’s bogged down by terrible acting, cheesy dialogue and a mostly incoherent plot, and although that’s somewhat to be expected from a movie like “Conan the Barbarian,” Nispel fails to even make the action sequences very exciting. Instead, they’re bland, paint-by-numbers affairs that are edited together so quickly that you can hardly tell what’s going on. Jason Momoa isn’t entirely ineffective as the title character, but when he plays the role so starkly serious while his co-stars ham it up as the villains, it makes you question what kind of movie Nispel was trying to make: gritty action film or trashy B-movie? As it turns out, it’s not much of either.

5. “HOP”

Though I probably sound like a disgruntled old man picking on all these kid’s movies like they’ve stomped across my lawn, “Hop” is everything that’s wrong with children’s entertainment today. There’s not a single original idea in this holiday cash grab, which steals most of its ideas from “The Santa Clause” and completely wastes its talented cast in the process. James Marsden has never looked more lost than he does here, while Russell Brand must be counting his blessings that he’s hiding behind a cartoon bunny. But apart from the uninspired story, massive gaps in logic and stupid Easter puns, “Hop” just doesn’t feel like it was made by the same team behind the refreshingly whimsical “Despicable Me.” That movie was clever and had some real emotional weight to it. “Hop,” on the other hand, is as dense as a week-old marshmallow Peep.

The end of every movie year can usually be summed up in a few words: blockbusters and Oscar bait. With all of the holiday-themed films already in theaters, Christmas time is reserved for some of the studio’s biggest movies and their final push before awards season. Though it’s always a bit hot-and-cold in terms of what you can expect, this year’s slate offers an enticing mix of popcorn and prestige films. (And in the case of “The Girl with the Dragon Tattoo,” both.) Though some of the more interesting award contenders won’t actually reach your hometown until January (if at all) due to a silly rule that only requires a movie open in a very limited engagement before December 31st, there’s enough good stuff here to keep you suitably entertained well into the new year.

Who: Gary Oldman, Colin Firth, Tom Hardy, John Hurt, Ciaran Hinds and Mark Strong
What: In the bleak days of the Cold War, veteran spy George Smiley is lured out of retirement to uncover a Soviet agent within MI6’s ranks.
When: December 9th
Why: I would pay to see just about anything starring Gary Oldman, but his new film from director Tomas Alfredson (who’s already proven himself as a master of suspense with the vampire cult hit, “Let the Right One In”) has gotten me particularly excited. Based on the bestselling novel by former spy turned author John le Carré, the movie looks like a throwback to those great, low-key political thrillers from the 1970s, and if that’s not enough to pique your interest, then a brief glance at the cast list – a veritable who’s who of the best British actors working today, including Colin Firth, Tom Hardy, Mark Strong and Benedict Cumberbatch of “Sherlock” fame – will almost certainly change your mind.

Who: Charlize Theron, Patrick Wilson, Patton Oswalt and J.K. Simmons
What: A fiction writer returns to her hometown in Minnesota looking to rekindle a romance with her high school flame, who is now married with kids.
When: December 9th
Why: “Juno” was one of my favorite films of 2007. In addition to an excellent star-making performance by Ellen Page, the movie marked the arrival of writer Diablo Cody onto the scene and cemented Jason Reitman’s status as one of Hollywood’s most promising young directors. Fast-forward four years later and you can understand why Reitman and Cody’s latest collaboration, “Young Adult,” is already garnering awards buzz. Charlize Theron is perfect for the role of the former mean girl (she has the looks and attitude to pull it off without being completely unlikeable), while Patton Oswalt is an inspired choice to play her unlikely confidant. Cody’s snarky dark humor is also on full display here, so I wouldn’t be surprised if she nabs another Oscar nomination come February.

Who: Jonah Hill, Ari Graynor, Sam Rockwell, Max Records and J.B. Smoove
What: A slacker college student gets caught up in a night of crazy hijinks involving a pair of vindictive drug dealers after he takes a job babysitting his neighbor’s kids.
When: December 9th
Why: Though its generic title makes the film sound like another family comedy starring an out-of-work action star, “The Sitter” actually appears to be a raunchier, R-rated version of the 1987 classic, “Adventures in Babysitting.” While the concept may be teeming with potential, however, I’m not entirely sold by the trailer. Jonah Hill (in his final pre-weight loss role) can be really annoying when he’s not kept on a short leash, and director David Gordon Green is notorious for doing the complete opposite. Sam Rockwell and J.B. Smoove make for an intriguing comedic pair as the film’s “villains,” but I have a feeling that the movie’s success is going to depend on the child actors. And if Elizabeth Shue doesn’t pop in for a cameo, I’m going to be extremely disappointed.

Who: Robert Downey Jr., Jude Law, Noomi Rapace, Eddie Marsan and Jared Harris
What: Sherlock Holmes and his sidekick Dr. Watson join forces with a mysterious gypsy to outwit and bring down their fiercest adversary, Professor Moriarty.
When: December 16th
Why: He may not have been the most popular choice to helm a big screen reboot of the world’s most famous detective, but Guy Ritchie’s “Sherlock Holmes” was a really fun popcorn flick that thrived on the chemistry between its two stars. Though I never thought that Ritchie would stick around for a sequel, it makes me more confident knowing that “A Game of Shadows” has retained the same creative team. I’m not sure how big of a role Rachel McAdams is going to play in this one (she’s absent from the trailer, but there’s no way she won’t factor into the story somehow), but as long as Robert Downey Jr. and Jude Law still have a playful rapport, then audiences are in for another treat.

Who: Jodie Foster, Kate Winslet, John C. Reilly and Christoph Waltz
What: After two boys duke it out on a playground, the parents of the victim invite the parents of the bully over for a cordial meeting to work out their issues.
When: December 16th
Why: Based on Yasmina Reza’s Tony Award-winning play, “God of Carnage,” movies like this are every actor’s dream because it allows them to embrace the theatricality of the subject matter without the limitations of a stage. It’s no surprise, then, that director Roman Polanski has recruited four of the best actors in the business, including three Oscar winners and a former nominee. John C. Reilly may seem like the black sheep of the group, but he’s perhaps the most qualified due to his sharp improvisational skills. Though it’s a bit strange that Polanski would choose a project as stylistically simplistic as this, “Carnage” certainly has the goods to become a dark horse awards contender.

Who: Daniel Craig, Rooney Mara, Stellan Skarsgard and Christopher Plummer
What: Journalist Mikael Blomkvist enlists the aid of young computer hacker Lisbeth Salander to uncover the mystery behind the disappearance of a girl 40 years ago.
When: December 21st
Why: Remakes are rarely accepted with such open arms, but there’s a good reason for all the excitement surrounding the upcoming Hollywood adaptation of “The Girl with the Dragon Tattoo,” and his name is David Fincher. Don’t get me wrong: the original Swedish version was a solid thriller that did justice to Steig Larrson’s bestselling novel and featured a remarkable performance by Noomi Rapace. But just from that awesome teaser trailer alone, you can tell that Fincher’s movie is going to be even better. Though I’m still not entirely convinced that Daniel Craig is the right person to play Blomkvist, or that newcomer Rooney Mara has the range to match Rapace’s pitch-perfect portrayal of the emotionally scarred Salander, but if there’s one man that can pull it off, it’s Fincher.

Who: Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton and Ving Rhames
What: The IMF is shut down when it’s implicated in the bombing of the Kremlin, forcing Ethan Hunt and his new team to go rogue to clear their organization’s name.
When: December 21st
Why: There are a lot of people who didn’t like the last “Mission: Impossible” film, but quite frankly, I think it was the best installment in the series. It might not hold that title for much longer, however, based on what I’ve seen of “Ghost Protocol,” which replaces Maggie Q and Jonathan Rhys Meyers on the IMF team with Jeremy Renner and Paula Patton. Those aren’t the only personnel changes, either, as director Brad Bird (best known for “The Incredibles” and “Ratatouille” ) is stepping in for J.J. Abrams behind the camera. But while this might be Bird’s first live-action movie, between his ensemble cast, the guiding hand of Abrams as producer, and the decision to shoot some of the film on IMAX, you would be crazy to expect anything less than non-stop entertainment.

Who: Jamie Bell, Daniel Craig, Andy Serkis, Simon Pegg and Nick Frost
What: Tintin and Captain Haddock set off on a quest to find the sunken remains of the Unicorn ship and notorious pirate Red Rackham’s treasure.
When: December 21st
Why: As someone who isn’t a particularly big fan of Steven Spielberg or the art of motion-capture movies, it might seem strange to admit that I’m actually looking forward to “The Adventures of Tintin.” I’ve never even read any of the popular Hergé comics that the film is based on, but just seeing who’s involved in the movie is enough to get me excited. In addition to its great cast (which includes mo-cap maestro Andy Serkis as Captain Haddock and Simon Pegg and Nick Frost as the bumbling Thompson Twins), the script was written by Edgar Wright (“Shaun of the Dead,” “Hot Fuzz”) and Joe Cornish (“Attack the Block”), and Peter Jackson even had a hand in the project. It’s safe to say that if there’s one Spielberg film to rush out and see this December, it’s “Tintin.”

Who: Thomas Horn, Tom Hanks, Sandra Bullock, Viola Davis and Max von Sydow
What: A young boy searches New York for the lock that matches a mysterious key left by his father after he’s killed in the September 11th attacks.
When: December 23rd
Why: Out of all the tear-jerker Oscar bait being released this season (here’s looking at you, “War Horse”), director Stephen Daldry’s latest drama looks to be the most tolerable of the bunch. That’s not to say that it won’t make the waterworks flow, but as long as it’s done sparingly, then you should be able to bring your mom along without being too embarrassed. The big question mark, however, is whether newcomer Thomas Horn, whose only previous experience is as a contestant on “Jeopardy!,” has what it takes to carry a movie. This isn’t the first time that Daldry has taken such a risk (although it paid off for him with Jamie Bell in “Billy Elliot”), but he was still smart to surround Horn with a cast of screen veterans, all of whom will be angling for a Supporting Actor nomination.

Who: Emile Hirsh, Olivia Thirlby, Rachel Taylor, Max Minghella and Joel Kinnaman
What: While stranded in Moscow, a group of college students lead the charge against an alien race that has attacked Earth using the planet’s power supply.
When: December 23rd
Why: I’m not entirely sure why Chris Gorak’s sci-fi thriller has been tossed to the wolves, so to speak, by being released during a time of year where it stands no chance of succeeding, but it’s a real shame, because The Darkest Hour” had the potential to be a sleeper hit. Best described as “Red Dawn” meets “Independence Day” and featuring a cast of young up-and-comers, what makes the film so unique from every other alien invasion movie are the aggressors themselves: seemingly invisible entities powered by electricity that can incinerate anything with a single touch. The special effects alone look really good for a movie that only cost a reported $40 million to make, although with the always resourceful Timur Bekmambetov attached as a producer, it isn’t that surprising.