Heath Ledger in The Dark KnightTHE DARK KNIGHT

The buzz on Heath Ledger's portrayal of the Joker in The Dark Knight may start to wane by the time the late actor is awarded the Oscar for it, but the effects of this performance are likely to be felt for years, if not decades.

Selma Blair and Ron Perlman in Hellboy II: The Golden Army[Yes, we're aware that this is the second week in a row in which the movie-review headline is some sort of "Superman" pun. Considering how many superhero movies have already been released this summer, we're impressed that we've kept the tally to merely two.]

HELLBOY II: THE GOLDEN ARMY

I found Guillermo del Toro's Hellboy II: The Golden Army considerably more entertaining than the writer/director's 2004 comic-book adaptation Hellboy, but let's keep in mind that I didn't really care for Hellboy much at all.

The Incredible HulkTHE INCREDIBLE HULK

Up until its final reel, when the movie lapses into a tiresome big-screen adaptation of Rock 'Em Sock 'Em Robots, The Incredible Hulk is a pretty entertaining superhero blockbuster, in large part because it doesn't much feel like a typical superhero blockbuster.

Robert Downey Jr. in Iron ManIRON MAN

I'd love to tell you about the numerous, big-budget action sequences in Iron Man, the first of the many, many special-effects-laden extravaganzas hitting multiplexes this summer. But a day-and-a-half after seeing the movie, I don't remember much about them. I know there was an early scene in which the Iron Man prototype attacked an Afghan army with flamethrowers before whooshing his way to safety, and a scene where the new-and-improved version evaded American fighter jets, and a climax featuring our metal-plated hero battling a hulking creature with the body of a tank and the voice of Jeff Bridges. Beyond that, though, they're mostly a blur.

Richard Burgi in Hostel: Part IIHOSTEL: PART II

(Spoiler Alert: If it matters, details of Hostel: Part II's plot will - sorry - spill out.)

Upon returning to the office after seeing Hostel: Part II, my editor asked me what I thought of Eli Roth's horror sequel, and my immediate reply was, "Oh, it's crap." There was no anger or disappointment in my tone; having intensely disliked the first Hostel, I expected its follow-up to be awful, and it was awful. Yet four days after viewing the movie, I still can't get it out of my head, and I'm forced to admit that while my initial, gut response may have been honest, it wasn't entirely fair.

Spider-Man 3SPIDER-MAN 3

Spider-Man 3 runs nearly 140 minutes, but it would be difficult to argue that it doesn't require that length. In Sam Raimi's third installment of the comic-book franchise, our crime-fighting web-slinger (Tobey Maguire) has not one, not two, but three über-villains to contend with: the hulking, misunderstood Sandman (Thomas Haden Church); the globular space infestation Venom (played, in human form, by Topher Grace); and former best friend Harry Osborn (James Franco), son of original Spider-Man nemesis the Green Goblin, who's now eager to take on the family business.

Gerard Butler in 300300

Whatever its problems, and they are myriad, you can't say that Zack Snyder's 300 doesn't give you plenty to look at. Adapted from Frank Miller's and Lynn Varley's graphic novel, the film - which follow s the ancient Spartan army in a wildly violent, self-sacrificing battle against Persian forces - is filled with memorably outré images: an enormous tree and a 20-foot-high wall, both composed entirely of corpses; a triad of elephants, backed over a cliff, that plunge to their deaths; the sky blackening with what appear to be locusts, instead proving to be the incoming trajectory of thousands of steel-tipped arrows. In 300, Snyder shows a remarkable gift for graphic-novel composition, and continually keeps your eye engaged. Too bad the same can't be said of your brain.

Brandon Routh in Superman ReturnsSUPERMAN RETURNS

It takes a while - nearly half an hour - to reach the first truly wonderful scene in Superman Returns. In it, a group of reporters (including Kate Bosworth's Lois Lane) are on an airborne jet's P.R. junket when the electronics suddenly fail, causing the plane to hurtle toward the earth. Thankfully, Superman (Brandon Routh), who has been M.I.A. for the past five years, is there to save the day, which he does by catching the jet and gently guiding it to the middle of a major-league ballpark (during game play, no less). He checks on the passengers, makes a comment (echoing a similar line in Richard Donner's 1978 Superman) about how air flight is "still the safest way to travel," and exits the plane to the deafening cheers of the baseball fans in the stands, and the rousing Americana of it all - baseball and Superman! - produces an extraordinary, joyful rush; you're hard-pressed not to cheer along.

Halle Berry, Patrick Stewart, Hugh Jackman, and Ian McKellen in X-Men: The Last StandX-MEN: THE LAST STAND

In his X-Men films of 2000 and 2003, Bryan Singer managed a marvelous blend of gravitas, insouciance, and pure ass-kicking spectacle, and the highest praise I can give X-Men: The Last Stand is that director Brett Ratner, nearly scene for scene, fools you into thinking that Singer helmed this one as well. For a director with an indistinct visual style, there are far worse ways to go than aping the visual style of others, and in the case of The Last Stand, Ratner's channeling of Singer's tone seems less unimaginative than duly reverent, and even inspiring; you can feel Ratner working diligently to not louse up Singer's vision. And he hasn't. This third, and purportedly final, entry in the mutant-superhero saga is a spectacular entertainment, and if you were worried that Ratner's participation would guarantee acceptable effects but little in the way of personality, your fears will prove unfounded - it's a more-than-satisfying wrap-up to the trilogy.

Hugo Weaving and Natalie Portman in V for VendettaV FOR VENDETTA

A day after seeing it, I'm still a bit shaken by John McTeague's graphic-novel adaptation V for Vendetta. Action blockbusters - not to mention action blockbusters based on comic books - have been so dour and pedestrian of late that I don't know if I've fully grasped the extent of Vendetta's greatness yet; it's the kind of explosive, overwhelming work that gets better and better the more you think of it. The film is a little 1984, a little Phantom of the Opera, and, with its screenplay by the Wachowski brothers, more than a little Matrix-y, but it casts an extraordinary, devastating spell. It may be the most fully realized film of a graphic novel the genre has yet seen, a movie you want to talk (and argue) about long after the closing credits.

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