When you're dealing with a filmmaker who has had as lengthy and deliberately varied a career as Steven Soderbergh, singling out one movie to label his absolute best can be a tricky proposition. But a strong case could be made for The Limey, the 1999 thriller he made with screenwriter Lem Dobbs and star Terrence Stamp. Aside from being a terrific film, The Limey is perhaps -- out of all the entries in his filmography -- the most representative of Soderbergh's formal and narrative interests, from the way it fractures its narrative to its dry sense of humor to the morally compromised anti-hero at its center. Made right after the director's big studio breakthrough, Out of Sight, The Limey may be a less jazzy film, but it's far richer in terms of its story. One gives you a great ride, the other lingers in your memory.

It wouldn't be accurate to describe Mavis Gary, the central character of Diablo Cody and Jason Reitman's first post-Juno collaboration, as a grown-up version of Juno MacGuff. Rather, she's a grown-up version of the girl that probably made fun of Juno MacGuff. A former high school Queen Bee, Mavis (played by Charlize Theron) ditched her podunk Minnesota town Mercury immediately after graduation for the bright lights of Minneapolis, where she found fame and fortune as a writer of young adult fiction. Well okay, "fame and fortune" is probably overstating things a bit. Her writing gig brings in just enough to allow her to afford a modest one-bedroom apartment, plus amenities like cable television and a steady supply of Diet Coke (her own personal breakfast of champions). As for the fame part, although she's penned several installments in the popular YA franchise, Waverly Prep, her name doesn't actually appear anywhere on the cover of those books. Instead, she's relegated to one of the inside pages, while the series' original creator takes top-billing for novels she didn't write.

After a nearly six-year stint in the editing room, Kenneth Lonergan's long-delayed sophomore feature Margaret finally arrives in theaters still feeling somewhat unfinished. The version of the film that opens in (extremely) limited release today is rife with jarring tonal shifts, clunky dialogue, overly mannered performances and least a half-dozen subplots that lead nowhere. And yet despite -- or maybe, because of -- the movie's free-form messiness, it possesses a vitality that more carefully manicured studio movies, even one like last week's exceptionally well-crafted Moneyball, sometimes lack. Margaret is a movie that demands the viewer's attention and engagement throughout its sprawling two-and-a-half hour runtime, as Lonergan spins his tale without directing us as to how we should react to or feel about what's unfolding onscreen. It's only in the film's moving, but perhaps too-literal, final scene that his intentions become clear. Margaret is a music-less opera, complete with screaming matches that resemble arias and plenty of heightened emotion and melodrama played against the beautiful backdrop that is New York City.

Oh, Anna Faris. I think she's great, I really do. I root for her, so I hoped that What's Your Number? was going to be a fun combination of her raunchy humor mixed with silly rom-com clichés that I may or may not secretly enjoy when I do not have to critique it in a public forum. Unfortunately -- and I really use that word strongly -- this movie was pretty terrible. An identity crisis of a movie, What's Your Number? was so sloppy and relied so heavily on archetypes, it felt like watching an infomercial -- you know the extended one for The Magic Bullet, where there's the one cranky guy who hates broccoli and then the crazy old lady smoking the cigarette? Clearly, those writers have made it to the silver screen. There were so many problems with this film, in fact, I think it'd be fun to celebrate the premise and give you a seven-item list of what went wrong.

A poster child for First World Problems syndrome, I Don't Know How She Does It asks moviegoers to invest in the trials and tribulations of a well-off investment manager who shares a lovely Boston townhouse with her architect husband, their two young children (the eldest of whom attends private school) and a part-time nanny to boot. Considering the troubled state of the economy these days, the amount of privilege on display might be too big a hurdle for some viewers to get over. At the same time though, it's worth remembering that families like this one do still exist in America (in smaller numbers, to be sure) and some of the challenges this particular character faces -- including juggling work and family time, making her marriage work and being there for the kids when they need her -- cut across social and economic divides. Would a movie about an exhausted mom forced to work two jobs in order to support her malnourished kids and out-of-work husband whose unemployment benefits just expired be a more up-to-the-minute reflection of what's going on in the country right now? Of course, but good luck trying to get a major Hollywood studio to greenlight it. If you're in the market for that kind of movie, you're better off waiting until Sundance comes around in January.

Bad Teacher star Cameron Diaz is no stranger to bad behavior. The actress has either instigated or been the victim of plenty of despicable actions over her two decades in show business. Here's a look back at some of her many "bad" onscreen moments.

Nepotism in Hollywood is as old as the film industry itself, so it's never a surprise when the less-attractive, less-talented relative of a big-time movie star tries to become the town's next big thing. And sometimes these upstarts even equal or surpass their famous predecessors -- witness George Clooney (nephew of Rosemary Clooney), Angelina Jolie (daughter of Jon Voight) and Jeff Bridges (son of Lloyd Bridges). But more often there are folks like Emma Roberts, daughter of Eric and, more importantly, niece of Julia, who make multiple attempts at movie stardom only to be roundly rejected by audiences every time out. After bombing in Scream 4 earlier this year (her fifth box office underperformer) the younger Roberts returns to screens on Friday in the New York City-set teen romance The Art of Getting By, co-starring Freddie Highmore and Sasha Spielberg (yes, of those Spielbergs). The chances of this movie turning her career around seem slim though. Here are the reasons why she's never clicked with moviegoers.

It's rare that a movie about a wedding comes along that doesn't make me want to throw up. After all, for every The Proposal there's a Bride Wars, a Something Borrowed and a 27 Dresses. Kristen Wiig's idea to collaborate with Judd Apatow to make a wedding movie that anyone can enjoy could have been a disaster, but the end result really does have something for everybody: the typical-guy moviegoers most movies seem to cater to, the ladies who even go to see the clearly awful wedding movies, and anyone who simply likes good comedy. Here are just a few of the numerous moviegoing subgroups who might enjoy this movie.

Trust is, if nothing else, a well-made film. It has some great performances from a stellar cast, is ably directed by David Schwimmer, and has a coherent and believable story. In fact, the storyline is very believable. It's really, really, believable. Probably because it's a story we hear every other day, and are warned about the rest of the time. As such, there isn't really anything shocking about it, or even particularly informative. There have probably been three Lifetime movies about this exact subject, although I'm willing to bet none of them starred Clive Owen.

It's a veritable chick-flick apocalypse! Rom-com-aggedon! Estrogenocide!