The last time I watched Steven Soderbergh’s Oscar-winning drama “Traffic” was when it was released in theaters, but the film is just as riveting today as it was back in 2000. Criterion’s Blu-ray release has everything that you’ve come to expect from the cinephile label – including a digitally restored high-definition transfer, hours of bonus material and an excellent essay by New York Times critic Manohla Dargis – but nothing outshines the movie itself. An expertly crafted examination of the illegal drug trade that effortlessly interweaves its many narratives into a searing commentary on the war on drugs, Soderbergh distinguishes each story with a unique color-coded treatment that adds style. And although the cast is overflowing with talent, Benicio del Toro and Michael Douglas are the real standouts. “Traffic” is without a doubt Soderbergh’s best film, and with the recent rumors of his impending retirement, there’s a pretty good chance it will stay that way.

Blu-ray Highlight: There’s some really good supplemental material on the disc – like audio commentaries with the movie’s producers, consultants and composer Cliff Martinez, as well as demonstrations on film processing, editing and dialogue editing – but Soderberg and writer Stephen Gaghan’s commentary track is jam-packed with so much great information about making the movie that you’ll definitely want to start there.

George Clooney will probably never be as successful behind the camera as he is in front of it, but his latest directorial effort is still a really solid political thriller that thrives thanks to its fantastic ensemble cast. Ryan Gosling continues to prove why he’s one of this generation’s finest actors with perhaps his most grown-up role to date, while veterans like Philip Seymour Hoffman, Paul Giamatti and Marisa Tomei also get in on the fun playing characters whose only real flaw is that they’re not in the movie enough. The scandal at the center of the story may seem a little trite (and as an interview with Clooney and producing partner Grant Heslov reveals, it’s probably the biggest difference between the film version and the Beau Williamson stage play that it’s based on), but you can hardly fault “The Ides of March” for relying on such a tried and trusted premise when real-life politics are just as dirty.

Blu-ray Highlight: Though Clooney and Heslov’s audio commentary is worth a listen, the aforementioned featurette where they discuss adapting “Farragut North” for the big screen will make anyone unfamiliar with the stage play interested in checking it out.

Taylor Lautner’s first starring vehicle didn’t perform as well as studio execs probably anticipated based on the star’s “Twilight” fame, but you have to wonder if any of them actually watched the movie. Not only is it a blatant rip-off of the Jason Bourne franchise, but it’s a pretty terrible one at that, with Lautner’s complete lack of acting talent even more noticeable than usual. There’s absolutely nothing redeeming about this film. Lautner’s history of martial arts (the one thing that he actually had going for him as an action star in training) is never exploited to its full potential, while veteran actors like Jason Isaacs, Maria Bello and Sigourney Weaver are smart enough to jump ship before the first act is even over. I could continue to list reasons why you shouldn’t waste your time, but what’s the point when you can read this much funnier, snark-fueled review by Dustin Rowles at Pajiba?

Blu-ray Highlight: The movie may be really bad, but the extras are actually quite good, especially when viewed in the Abduction Application, which integrates all three production featurettes (including a making-of) into a personalized in-movie experience.

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.

There were things I really liked, but my list of favorite movies is kind of a joke, really. They’re not bad movies (not in my mind, anyway), but there are few, if any, Best Picture candidates in the bunch. Compare that to last year, where six of my top 10 movies were nominated for Best Picture. This time around, that’s just not happening. Just want to lay that out up front.

Worse, there isn’t one movie that stands above the others. I liked my favorite movies equally, more or less. That might sound like a copout, but it’s true. Of the movies I’ve seen so far, this was the year where movies were just sort of…there. Maybe we’ll have better luck next year.

Margin Call
Selling one’s soul is a popular subject in movies, since no two people are willing to settle for the same amount. “Margin Call” explores the subject on a massive scale, since the ripple effect of the actions of a few will be felt around the world. It’s not a thriller in the traditional sense, but it’s absolutely gripping. Kevin Spacey shines here, as does the ever-reliable Stanley Tucci.

Super 8
It probably helped that I grew up in a small Ohio town not terribly unlike the one in “Super 8″ (though no one used the word ‘mint’ the way Riley Griffiths’ character does here), but “Super 8″ wasn’t merely an exercise in nostalgia; the movie delivered top-notch thrills, well-drawn characters, and the most spectacular sequence of the year with that jaw-dropping train crash. Elle Fanning, meanwhile, put on an acting clinic, and she’s only 13. Wow.

The Girl with the Dragon Tattoo
Rooney Mara gives it all, and shows it all, too. Did she really get her nipples pierced for the part? That’s dedication, right there.

Tucker and Dale vs. Evil
Oh, is this movie fun. A pair of back woods regular guys are mistaken for serial killers by a group of college kids, who begin dying in horrific accidents that look like the work of, yep, a pair of serial killers. Tyler Labine and the great Alan Tudyk have terrific chemistry, and Katrina Bowden just might be the cutest thing on the planet.

Source Code
Despite the fact that the movie ends with one giant unanswered question, this is one hell of a time travel ride. Duncan Jones (yep, he’s David Bowie’s son) is proving himself to be quite the director, and getting Scott Bakula to play Jake Gyllenhaal’s father was a great in-joke.

The Adjustment Bureau
You just met the girl of your dreams. Now imagine a group of “agents” telling you that they’ll turn you into a vegetable if you pursue her, because that is not your fate. What a neat idea, merging a chase movie with the concept of divine intervention, and peppering it with some of the most realistic boy/girl dialogue the movies have seen in years. The scene between Matt Damon and Emily Blunt in the bathroom is one of the greatest meet cutes of all time.

Harry Potter and the Deathly Hallows, Part II
Not only was this a blast from start to finish, it contained the most emotional weight of any “Potter” movie, namely the moment where Severus Snape reveals to Harry why he’s been so hard on him all these years. Still, Harry really names his son Albus Severus Potter? It’s a heartfelt gesture, but that’s almost as bad a name as Renesmee. More on that later.

The Ides of March
Was the movie an exploration of how quickly idealism gives way to survivalism, or a subtle promotional film for George Clooney’s eventual transition into politics? Either way, it was a well crafted, if not wildly original, exploration of how everyone in politics eventually gets his hands dirty.

Kung Fu Panda 2
Rare is the animated sequel that ups the action ante while fleshing out the back story in such a fulfilling way. “Kung Fu Panda 2″ kicked ass, took names, and opened the door for a more grown-up “KFP3.” Also, Gary Oldman was awesome as the evil peacock.

The Artist
The scene of Berenice Bejo pretending to be felt up by Jean Dujardin by slipping her arm into one of his jacket sleeves is pure poetry.

Horrible Bosses
“The Hangover 2″ may have taken in twice as much money, but I’ll take Bateman, Sudeikis and Day over the wolf pack any day of the week and twice on Sunday. Likewise, people are still going nuts over “Bridesmaids,” and while it has its good points, it isn’t a tenth as clever as the writing here (both EW critics put “Bridesmaids” in their Top 10? Really?). And just try looking at a Prius on the highway without thinking to yourself, “I don’t win much.”

Movies I still need to see

Drive
Martha Marcy May Marlene
The Tree of Life (though I’d rather not)
Young Adult
Hugo
Melancholia

This list was much easier to assemble than the first one. Isn’t that always the way.

Transformers: Dark of the Moon
Ugly, mean and pointless, and they destroyed the beautiful Chicago skyline in the process. There was one cool shot, and that was Char the Beef getting thrown out of, and back into, Bumblebee. Everything else was masturbation.

New Year’s Eve
Did you like how they used one Warner Bros. movie to promote another Warner Bros. movie opening the following week (“Sherlock Holmes: A Game of Shadows“)? And to think, that was actually one of the least obnoxious things about this movie.

The Twilight Saga: Breaking Dawn, Part I
“Sleep with me.” “I really shouldn’t.” “Come on, we’re married now.” “Yeah, but I could, you know…” “What?” “Nothing.” “Cool. (*hot sex*) Hey, that was awesome, if a bit rough. Hey, why do I feel like I’m about to die?” “Oh, I guess I should have told you…” Are you fucking kidding me? And they named their daughter Renesmee? Like the world isn’t already overloaded with people who will saddle their kids with the worst, most idiotic names ever invented simply because they’re trendy? This is your cross to bear, Stephenie Meyer.

Cowboys and Aliens
This could have been so, so cool. Daniel Craig, Harrison Ford, Olivia Wilde and Jon Favreau together on a movie, and it isn’t awesome? Huge, huge disappointment.

Battle: Los Angeles
The cinematic equivalent of a migraine headache. I’m not one to be snarky, but this movie is painful, in the worst way.

The Dilemma
How did so much talent make a movie so aggressively mediocre? At least we had the Fratellis and “Chelsea Dagger” to pick us up at the end.

Hop
I was about to say that you have to think that James Marsden and Russell Brand gave each other a knowing look before every scene, the “Yeah, this sucks, but we’ll be able to buy vacation houses with the money” look. And then I think, “Wait, Russell was just doing voice work, meaning Marsden was on his own.” Tsk tsk.

Puss in Boots
My kids love this movie. They’re also 4 and 2. They like everything.

The Eagle
I feel bad ripping on something that clearly has noble intentions, but who wants to see this movie? Judging by the box office, no one.

Movies I didn’t see (nor could you make me)

Jack and Jill
I Don’t Know How She Does It
Drive Angry
Season of the Witch
Big Momma: Like Mother, Like Son
I Am Number Four
Johnny English Reborn
Alvin and the Chipmunks: Chipwrecked

Who: Hugh Jackman, Dakota Goyo, Evangeline Lilly and Anthony Mackie
What: Set in the near future where robots have replaced humans in the ring, a former boxer and his estranged son discover a junkyard bot that could become champion.
When: October 7th
Why: It’s easy to see how someone might be a little skeptical about a film that looks like “Rock ‘Em Sock ‘Em Robots: The Movie,” but after visiting the set last summer, any concerns I might have had were quickly laid to rest following a chat with director Shawn Levy and star Hugh Jackman. I’ve also had the opportunity to see the finished product since then, and while the movie certainly isn’t going to earn a spot alongside “Rocky” and “Raging Bull” as a boxing classic, it’s still a really enjoyable underdog sports drama with strong central performances and plenty of awesome robot-on-robot action.

Who: Ryan Gosling, George Clooney, Philip Seymour Hoffman and Paul Giamatti
What: An idealistic staff member for a Democratic presidential candidate gets a crash course on dirty politics during his latest stint on the campaign trail.
When: October 7th
Why: With a big name like George Clooney attached to a movie come big expectations, especially when he’s the one calling the shots. Thankfully, his latest directorial effort appears to be more “Good Night, and Good Luck” than “Leatherheads,” and it doesn’t hurt that he’s surrounded himself with such an incredible ensemble cast. In addition to the film’s multi-hyphenate star, “The Ides of March” features two other Oscar winners and two nominees. It might not be considered the year’s strongest awards contender, but the Academy always loves a good political thriller, and this definitely looks the part.

Who: Mary Elizabeth Winstead, Joel Edgerton and Adewale Akinnuoye-Agbaje
What: When an alien life form begins wreaking havoc at an Antarctic research site, a graduate student teams up with a helicopter pilot to prevent it from escaping.
When: October 14th
Why: There’s been a lot of debate over whether Universal’s “The Thing” is a remake or a prequel to the 1982 John Carpenter classic (the fact that it shares the same title certainly hasn’t helped matters), but it’s now been confirmed that it takes place prior to R.J. MacReady’s trip to the Antarctic and will detail what happened at the Norwegian camp featured in the original film. I’m not sure if that makes this prequel any less unnecessary, but at least it’s got a couple of good actors in Mary Elizabeth Winstead and Joel Edgerton. That’s definitely a start, but it still has a ways to go to winning back the fanboys after Ronald D. Moore’s script was reportedly scrapped back in late 2009.

Who: Kenny Wormald, Julianne Hough, Dennis Quaid and Andie MacDowell
What: City boy Ren McCormack moves to a small town where rock ‘n’ roll and dancing have been banned, and his rebellious spirit begins to shake up the populace.
When: October 14th
Why: I know what you’re thinking: who in their right mind wants to see a remake of “Footloose” when they can just watch the 1984 original starring Kevin Bacon? But while it might sound like a terrible idea in theory – a thought supported by the numerous young actors (including Zac Efron and Chase Crawford) who passed on the potentially star-making lead role – early word is that the movie is actually a surprisingly enjoyable reimagining that manages to maintain the spirit of the original while injecting it with some necessary modern updates. Go ahead and file this one under “Wait and see.”

Who: Steve Martin, Jack Black, Owen Wilson, Rashida Jones and Anjelica Huston
What: Three avid bird watchers compete to spot the rarest birds at an annual event.
When: October 14th
Why: Based on the book of the same name by Mark Obmasick, “The Big Year” has the kind of cast that, up until a few years ago, would have sounded like a comedy dream team. But that’s how quickly the careers of Owen Wilson and (especially) Jack Black have plummeted since then, and while that may seem like a bad thing, it actually works in the film’s favor. Expectations are incredibly low, and between its quirky plot and the who’s who of supporting talent (including Jim Parsons, Joel McHale and Kevin Pollock), there’s a pretty good chance that this won’t be nearly as bad as the trailer suggests.

Who: Luke Evans, Ray Stevenson, Matthew Macfayden and Orlando Bloom
What: D’Artagnan and his musketeer comrades Athos, Porthos and Aramis thwart the plans of Royal Prime Minister Richelieu to usurp the King of France’s power.
When: October 21st
Why: It’s gotten to the point where making fun of director Paul W.S. Anderson has grown so tiresome that I wish he would just churn out a good movie for once in order to silence his critics. Unfortunately, it doesn’t look like that’s going to happen any time soon, because “The Three Musketeers” has been made into a movie so many times that it’s hard to find a reason why another one needs to exist. Anderson is clearly trying to distinguish his version from the many others that came before it by instilling a steampunk-like aesthetic to the film, but while he deserves some credit for at least trying something new, the trailer is so laughably bad that it seems to be all for naught.

Who: Michael Angarano, Kyle Gallner, Nicholas Braun, Melissa Leo and Michael Parks
What: After a group of teens accept an online invitation for group sex, they soon encounter Pastor Abin Cooper, his followers, and their sinister agenda.
When: October 21st (limited)
Why: Although it’s technically been available on Video On Demand for a few weeks now, Kevin Smith’s low-budget attempt at making a horror movie is getting a limited theatrical run towards the end of October in conjunction with its home video release. Some might say that it’s a good excuse to see the film on the big screen, but considering the way that Smith has been marketing “Red State” (taking the show on the road and charging big bucks to see it), the whole thing stinks of a last-ditch effort to bleed more money from his fans. Though reviews of the film haven’t been very positive, I’m still curious to see Smith explore a different genre for once, especially with veterans like Michael Parks, Melissa Leo and John Goodman spouting his trademark dialogue.

Who: Justin Timberlake, Amanda Seyfried, Cillian Murphy and Olivia Wilde
What: Set in a world where people stop aging at 25 and time is literally money, a young man accused of murder goes on the run in order to fight back against the system.
When: October 28th
Why: Justin Timberlake isn’t the first person you’d think of to play a Jason Bourne-like action hero, but after watching the sizzle reel for “Gattacta” director Andrew Niccol’s return to the sci-fi genre that premiered at this year’s San Diego Comic-Con, I’m certainly willing to give him a chance. “In Time” is one of those high-concept sci-fi movies that are too complex to explain in a single paragraph – the easiest way to describe it is as a less crazy version of “Logan’s Run” – but it’s a pretty cool concept that, if executed correctly, could make for a really fun piece of escapism entertainment.

Who: Johnny Depp, Amber Heard, Aaron Eckhart, Giovanni Ribisi and Richard Jenkins
What: American journalist Paul Kemp takes a freelance job in Puerto Rico and struggles to find a balance between island culture and the ex-patriots who live there.
When: October 28th
Why: A big screen adaptation of Hunter S. Thompson’s “lost novel” has been in the works for over a decade now, but it wasn’t until two years ago when the project finally went into production, only to be shelved long enough for Thompson’s death to prevent him from seeing the final product. But while the film’s behind-the-scenes drama doesn’t exactly inspire much confidence, Thompson’s semi-autobiographical work always seems to bring out the kooky best in Johnny Depp, who’s been too busy playing the part of a Hollywood A-lister to take many offbeat roles these days. The chance to see Depp embrace his oddball side once again is worth the price of admission alone.

Who: Rhys Ifans, Vanessa Redgrave, Rafe Spall and David Thewlis
What: Set during the succession of Queen Elizabeth I, the film proposes the theory that it was Edward De Vere, Earl of Oxford, who penned William Shakespeare’s plays.
When: October 28th
Why: Because if it does well, we may never have to endure another end-of-the-world disaster movie from Roland Emmerich again. Seriously, though, it’ll be interesting to see what Emmerich can do without the crutch of special effects for once, because while he’s proven on numerous occasions that he can blow shit up, the jury’s still out on his skills as a director. The plot may be a bit preposterous, but it’s an interesting theory nonetheless, and I love the idea of staging it as a political thriller instead of a more generic historical drama. The Radiohead song in the trailer, however, still baffles me.