David Edelstein

I adore time-travel pictures like Looper no matter how idiotic, especially when they feature a Love That Transcends Time. I love Somewhere in Time with Christopher Reeve and Jane Seymour, The Time Traveler's Wife, even The Lake House with Keanu Reeves and Sandra Bullock in different years sending letters through a magic mailbox. So terrible. So good. See, everyone wants to correct mistakes in hindsight, and it's the one thing we cannot do. Except vicariously, in movies.

The hero of both the novel and the film The Perks of Being a Wallflower is a high school freshman loner named Charlie whose best friend committed suicide the previous spring. He's on psychiatric meds, lots of them, and still has blackouts and mysterious visions of a doting aunt who died when he was 7.

Paul Thomas Anderson's The Master is both feverish and glacial. The vibe is chilly, but the central character is an unholy mess — and his rage saturates every frame. He's a World War II South Pacific vet named Freddie Quell, played by Joaquin Phoenix to the hilt — the hilt above the hilt. We meet him at war's end on a tropical beach where he and other soldiers seek sexual relief atop the figure of a woman made out of sand.

Long before Bridesmaids convinced studio executives that a raunchy, female-centric comedy could find a huge audience, Leslye Headland was busy adapting her play Bachelorette into a movie. So this isn't a copycat rom-com, but the themes do overlap. Each film turns on a female rivalry: In Bridesmaids, it's between the maid of honor, Kristen Wiig, and the bride's rich friend, played by Rose Byrne. In Bachelorette, the rivalry is more complicated, more ... ugly. It's between the three, 30-ish, unmarried central characters and the bride.