You want a change-up? Here's a change-up: How about if Hollywood stops spoon-feeding us this uninspired pablum and comes up with a fresh idea or two?

Clever story? Pass. Originality? Nah. A smidgen of real humor to keep parents entertained along with the kiddies? Smurf you.

The engine that really makes Crazy Stupid Love go is the same one that has made Ficarra and Requa's films to this point so appealing: While they thrust their characters into outrageous situations, they always keep things grounded in real, relatable emotion.

A film that is neither great nor horrible. Favreau does enough things right in Cowboys & Aliens to churn out a mostly enjoyable bit of mindless summertime action, just not enough to come close to rivaling his 2008 crowd-pleaser "Iron Man."

The result isn't just the best new romantic comedy released so far this year, but one of the best comedies, period.

There's meaning, great meaning, in Susser's wonderfully oddball little film.

A story of hope amid the ruins -- one that everybody can appreciate, no matter their politics.

Best of all, Disney seems to understand the limits of a preschooler's attention span.

A dazzling, stirring capper to a once-in-a-generation movie franchise.

In the end, Carpenter offers a reasonably nice payoff to this whole misfire.

Seeing Brannaman work in the warm, sun-dappled documentary Buck makes it clear why he was such a perfect fit for Redford's film: Few people can handle horses the way Brannaman does.

Gets considerable gas from the fact that Bateman, Sudeikis and Day so convincingly play three idiotic pals. The real fun, though, is in the fantastic supporting cast.

Breezy but forgettable.

The Beaver also has a tendency to slip around as it finds its footing. But then the powerful third act comes and Foster, with Gibson's help, hits it home.

For the first time in its 25-year existence, Pixar has created an utterly ordinary film.

The fact that there are so many good comic bits here allowed Kasdan to assemble a great comic cast.

These women deserve to have their voices heard, and this film finally lets them have their say.

Right off the bat, things start falling apart for Wiesen's film. While Highmore is more than capable of playing smart and tender, he has yet to figure out how to believably portray so much as a shred of the danger or rebelliousness required for this role.

This film is undoubtedly a piece of art, as much so as a Picasso painting, one that invites viewers to immerse themselves, scratch their heads and consider it.

So what we have is a movie that will make at least two important groups happy. New Orleans boosters can cheer Green Lantern for its local roots and for the possibility that the inevitable future installments could return to town. And the purists can cheer, knowing that Campbell and crew have done Green Lantern justice.

McGlynn's film clocks in at just a shade under two hours, which normally would be a little long for a documentary. In this case, the length not only is warranted but welcomed.

A lovely jaunt that ends up becoming one of Allen's most enjoyable films, start-to-finish, in years.

A movie that offers exactly the kind of bittersweet drama you'd expect from something called White Irish Drinkers.

The world is a whole lot more complex than Shadyac seems to realize. If all we need is love, wouldn't we all still be wearing tie-dyed shirts and headbands?

Their story, as told by Pooley, also is a touching and quietly meaningful one, built around themes of tolerance, self-acceptance and unconditional love.

Spurlock banks on his charm and likability -- and it's that charm and likability that make The Greatest Movie Ever Sold so much fun to watch.

Best of all, here there be fun.

What it lacks in style, however, it more than makes up for in substance, as Shearer -- as smart as he is funny -- has assembled a vital and admirably accessible post-mortem on Hurricane Katrina.