(31) I can’t fathom how a simple “versus” plot could have so convoluted a start but AVN is just that kind of mess. Its finest moments are essentially Kitamura meets Power Rangers.

(90) American audience reception of Tinker, Tailor is as indicative of how Hollywood pictures have conditioned our viewing habits as it is of Alfredson’s efforts to create a cloud of uncertainty around a fairly straightforward storyline. Without a “Watson” to ask the questions some were having – and no explanatory recap in the film’s final moments – many left the theater confused. Others of us couldn’t understand the hang-up, despite having little prior knowledge of the source text. What bridged the divide is a pleasant consensus on the performances of a gifted cast.

(82) Fincher’s remake is quite accurate to the source novel but also to the Swedish picture that prompted it. The glaring difference is the amount of product placement in the Americanization. I buy Blomkvist being an Apple user; Lisbeth Salander, not so much. Many of the omissions and alterations made by the original adaptation were intentional. This screenplay creates new fluidity issues by reordering scenes. Of all the fresh material, the epilogue is most appreciated. Those few minutes save “Tat2011” from complete redundancy.

(80) When did Simon Pegg become the star of Mission: Impossible? This reprisal is surely proof of Cruise’s indispensability and yet – amidst the explosions, gadgets, and nonsensical action – it’s comedy that keeps the engine running. Imagine Woo’s M:I-2 without all the overbearing, love-sludge drama. Bird (Iron Giant, Incredibles) brings some swagger to the Abrams formula and I’ll wager J.J. and crew might even top the De Palma original if they’d substitute only an ounce of intrigue for a few car crashes.

(79) The major flaw in Ritchie’s first Sherlock was the fact that, for all the wit and excitement, there wasn’t much mystery to said Mystery. Its sequel, Game of Shadows, drops the pretense altogether, resulting in an action-thriller that just so happens to star our eccentric genius detective and his counterpart. By and large, Game builds admirably on its predecessor. The “well-conceived” fistfights make a clever return and Harris’ Moriarty makes up for lingering slow-motion that escaped the cutting room.

(86) Henson’s creations are back and zany as ever. It’s comforting to see those felt faces again at a time when even Dark Crystal is getting a CG makeover. Only a true curmudgeon could hide a smile from The Muppets and the lone complaint gracing massage boards is that it’s overly contrived. Lucky for we who have a funny bone, Muppets acknowledges – and then exaggerates – its tongue-in-cheek schmaltziness. It’s as self-referential as any Mel Brooks picture and a reminder of why we love Muppets to begin with.