2007 / Brad Bird & Jan Pinkava > Is Brad Bird the West’s answer to Miyazaki? For a while, I thought that was the case. Both Iron Giant as well as The Incredibles showed off an intense originality that had been missing under the shadows of Japanese animation. Now, I’m not so certain: Ratatouille is a fine film, enjoyable from beginning to end and very warming to the heart. But I just can’t get over the fact that it feels to me as if Bird’s vision has regressed, that he’s fit his story into a sort of a mainstream mold that caters to preconceived notions of what Pixar should do. This feeling of the gut is what keeps this tale from being a classic—or you could just argue that the cynic in me has won this battle.

2007 / Akiva Schaffer > The Lonely Island boys may have made quite a name for themselves with SNL’s “Lazy Sunday” and “Dick in a Box,” but Hot Rod, while a project of love, falls flat soon after take-off. The jokes constantly overstay their welcome and feel like they’re targeted for an elementary school demographic. By the end, though, there’re some heart-tugging moments, no matter how manufactured, that make you think, “Alright, so not an absolute total waste of time. Just mostly.”

2007 / Franck Khalfoun > The pre-eminent display of Rachel Nichols’ cleavage throughout P2 is undoubtedly the highlight of what is otherwise an instantly forgettable psychopath/horror attachment to popcorn written by the director of the much-acclaimed High Tension. But aside from all that, one has to wonder about Wes Bentley. Is this where all the fame and glory of American Beauty leads? There’s no way he could have found something beautiful in this.

2007 / Scott Hicks > Due to its bleaker foundation, No Reservations is calmer and more contemplative than most romantic comedies. It tries for poignancy without ever being able to achieve the emotions it wishes for. Thankfully, the cast and music (done aptly by Philip Glass) carries it past its testing and often predictable story. I doubt memories of the film will linger for long, but the feeling is nice while it lasts.

2007 / Chris Miller & Raman Hui > Almost every negative thing I can think of about Hollywood is somehow summed up in this film. Not only does Shrek the Third lack the freshness of the original and the tongue-in-cheek nature of the sequel, but it tries to justify its amalgamation of refuse with a lesson in being yourself. Unfortunately, $800 million in worldwide box office receipts will do little to dissuade the studios from such idiocy. Instead, here comes Shrek Goes Fourth!

2007 / James Mangold > This retelling of 3:10 to Yuma is neither fresh nor does it take any risks. Using a conservative approach, the centerpieces effectively become Crowe and Bale, who, for a couple of foreigners, sure play the role of tough, Western men quite well. In my experience, there’s just something about Mangold’s style that cheapens the emotional plight of his characters. This, though, is not nearly as bad as Walk the Line, partially because the film pacing’s keeps our attention on the action. By the end, 3:10 to Yuma turns out to be a solid effort, even if it comes nowhere near the potential of its foundation.

2007 / Robert Rodriguez > Planet Terror dangerously treads the middle ground between being a genre film and a mainstream movie. In doing so, it fails to gain proper traction to exploit either end of the spectrum and fully realize its potential. While Tarantino’s Death Proof has higher highs and lower lows, Rodriguez’s constant barrage of zombie action never really gathers enough steam to hold one’s attention. Without many surprises—unless you count Rose McGowan’s M41A assault rifle for a leg, the highlight of the show that comes arguably too late—Planet Terror is ultimately too indulgent to be successful.