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Talk about "transforming." Michael Bay tested the patience of even one with the most devoted Transformers fan using the second installment with the franchise, Transformers: Revenge from the Fallen, however the hyperactive director bounces last energetic form with number three, Transformers: Dark in the Moon. From the long opening sequence (a zany alternate-history reading from the NASA moon program, complete with cameos by John F. Kennedy and Richard Nixon) from the predictably extended action climax, Bay is actually on his best behavior. Sure, his taste can be as vulgar as always (is introducing your leading lady with a lingering butt shot part from the director's personal signature?), though the story lines are streamlined as well as the action is coherent: the constant chop-chop in the fighting sequences in Revenge is gone, replaced by the long-take approach that really shows us who's fighting who. Plus, it's tough to resist a tilting skyscraper that allows the protagonists to slide down its glassy exterior. I know, right?
Shia LaBeouf returns, armed having a new and improbably bodacious girlfriend (Rosie Huntington-Whiteley); although initially unemployed, he's drawn back to protecting the planet from giant outer-space robots, as the Decepticons menace the Earth once again. John Turturro and Josh Duhamel come back to help, and Frances McDormand and John Malkovich join the club. Let's reduce critical expectations and state that if you're going to produce a dumb movie about mass destruction, that is the strategies by which to perform it (and if it sounds like faint praise, compare the film to the abysmal predecessor). Throw in Hangover funnyman Ken Jeong, computer nerd Alan Tudyk carrying out a German accent, as well as the voice of Leonard Nimoy as Sentinel Prime, plus you've got who you're a three-ring circus of extremely spirited nonsense. Just how Michael Bay wants it. --Robert Horton
A mysterious event from Earth's past threatens to ignite a war so big that the Transformers alone will not be able to avoid wasting the planet. Sam Witwicky (Shia LaBeouf) along with the Autobot must fight contrary to the darkness to defend the world from the Decepticons' all-consuming evil inside the smash hit from director Michael Bay and executive producer Steven Spielberg.

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Denmark's Nicolas Winding Refn bakes an electrifying return to Hollywood filmmaking with this particular 1980s-style noir, right down for the synth score and neon-pink credits (he released his American debut, Fear X, in 2003). Ryan Gosling puts his implacable quality to great use as a possible L.A. stunt driver whose world crumbles when he falls for the wrong woman (Carey Mulligan). Irene is hardly a femme fatale, but her incarcerated husband, Standard (Oscar Isaac), is yet another story. When her car breaks down, Driver recommends the car shop where he works together with Shannon (Breaking Bad's Bryan Cranston). The two start hanging out together, however Standard returns from prison. Driver keeps his distance until he discovers that Standard owes protection money. If he doesn't pay up, Irene as well as their son will suffer, so Driver offers to take care of the wheel during a heist, work with which he has over somewhat experience, since the riveting opening sequence proves. When they plan their score with Blanche (Mad Men's Christina Hendricks), Shannon is really a deal having a few gangsters (Albert Brooks and Ron Perlman), but when the plans collide: all hell breaks loose. In adapting James Sallis's novel, Refn builds to your bittersweet denouement, although bursts of bloodshed will test the hardiest of viewers. At its best, though, Drive is just as gripping as Reagan-era crime dramas like To Call Home and Die in L.A. and Thief. --Kathleen C. Fennessy

Ryan Gosling stars being a Hollywood stunt driver for movies by day and moonlights like a wheelman for criminals by night. Though a loner by nature, “Driver” can’t help falling in love together with his beautiful neighbor Irene (Carey Mulligan), a young mother dragged in to a dangerous underworld with the return of her ex-convict husband. After a heist goes wrong, Driver finds himself driving defense for the woman he loves, tailgated by a syndicate of deadly serious criminals (Albert Brooks and Ron Perlman). Soon he realizes the gangsters are after over the bag of cash and is expected to shift gears and go on the offense.

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A murder mystery rife with suspense, scandal, sexual abuse, and several supremely intriguing characters, The Woman with the Dragon Tattoo is definitely an excellently crafted film adaptation of Stieg Larsson's equally fascinating book from the same name. Larsson's book was also the cornerstone of the 2009 Swedish film (also with all the same title), even though the Swedish film was good, this American version is way superior, thanks to fantastic cinematography and livelier pacing that results in a very constant, electric tension that drives every second in the movie. The breathtaking footage of the snowy, remote island in Sweden thoroughly exudes bitter cold, along with the attention towards the smallest details, just like the whistling from the wind through a door left ajar, makes all the hairs about the back of viewers' necks absolutely prickle. Like the book, the film is long (158 minutes), there's an abundance of dialogue that is never awkward and try to efficient, and there are lots of false endings. The suspense along with the intricacy from the mystery are stellar, as well as viewers who know the story well will quickly realize themselves sucked into the riddle being investigated by journalist Mikael Blomkvist (Daniel Craig). The casting is great, as include the performances coming from all the real key actors, but undoubtedly the smartest thing about it film is Rooney Mara, that is utterly believable as the incredibly strong, extremely disturbed Lisbeth Salander, Blomkvist's unlikely assistant. Mara's performance is chillingly real and completely riveting. Yorick van Wageningen is perfectly despicable as Nils Bjurman (though his scene with Salander is guaranteed to prove highly disturbing to many viewers), Christopher Plummer is definitely an effective Henrik Vanger, and Stellen Skarsgård is eerily frightening as Martin Vanger. Viewers can only hope that director David Fincher, screenplay writer Steven Zaillian, and actors Craig and Mara continue their collaboration to produce films based around the final two books of Larsson's Millennium trilogy. --Tami Horiuchi

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In resourceful orphan Hugo Cabret (Asa Butterfield, an Oliver Twist-like charmer), Martin Scorsese finds the perfect vessel for his silver-screen passion: this can be a movie about movies (fittingly, the 3-D effects are spectacular). After his clockmaker father (Jude Law) perishes in a very museum fire, Hugo goes to call home regarding his Uncle Claude (Ray Winstone), a drunkard who maintains the clocks with a Paris train station. When Claude disappears, Hugo carries on his work and fends for himself by stealing food from area merchants. In his free time, he attempts to repair an automaton his father rescued from your museum, while attempting to evade the station inspector (Sacha Baron Cohen), a World War I veteran without having sympathy for lawbreakers. When Georges (Ben Kingsley), a toymaker, catches Hugo stealing parts for his mechanical man, he recruits him being an assistant to repay his debt. If Georges is guarded, his open-hearted ward, Isabelle (Chloë Moretz), introduces Hugo with a kindly bookseller (Christopher Lee), who directs them to a motion-picture museum, where they meet film scholar René (Boardwalk Empire's Michael Stuhlbarg). In helping unlock the key of the automaton, they learn regarding the roots of cinema, starting using the Lumière brothers, and offer a forgotten movie pioneer his due, thus illustrating the value of film preservation, a cause to that the director has dedicated his life. If Scorsese's adaptation of The Invention of Hugo Cabret isn't his most autobiographical work, it just could be his most personal. --Kathleen C. Fennessy

Welcome with a magical realm of spectacular adventure! When wily and resourceful Hugo discovers a secret left by his father, he unlocks a mystery and embarks over a quest which will transform those around him and lead to a safe and loving place he is actually able to call home. Academy Award®-winning filmmaker Martin Scorsese invites one to experience a thrilling journey that critics are calling “the stuff that dreams are manufactured of.” *Peter Travers, Rolling Stone