The subversive wit of Lynn Hershman Leeson’s documentary !Women Art Revolution is apparent very early on, when the film uses man-on-the-street interviews for a pop quiz on women in museums. As Hershman Leeson asks us all in her narration, “Can anyone name three women artists?”

X-Men is the franchise we have to thank for the last decade’s numbing proliferation of comic-book superhero movies. So we should hold it to a higher standard.

It’s not the worst, as group-of-dudes comedy sequels go. We’re not talking Ghostbusters II here. But of course, we weren’t talking Ghostbusters to begin with. We were talking The Hangover. So this is a little weird: It’s like expecting more and less at the same time.

Korean filmmaker Lee Chang-dong’s latest, a Cannes Film Festival screenplay prizewinner last year, opens on an effortlessly lyrical moment. Only after we determine that, yes, a dead teenage girl is indeed floating face-down in the river on this otherwise lovely day, does the title fade in: Poetry.

We know this about Thor: Thursday is named after him. The movie doesn’t get into that. Too banal? Also, he’s the god of thunder, which the movie does get into, quite vividly.

Not every movie must be driven by characters. Some may be shoved forward against their will by a Chemical Brothers soundtrack. Or so hopes director Joe Wright (The Soloist), who now brings us the steadily grooving but swiftly degenerating faux-fairy-tale revenge thriller or gangling music video known as Hanna.

Surely no offense to Anne Hathaway and James Franco was intended when some bloggers revived the idea that Kevin Spacey ought to host next year’s Oscars. It might not be a bad idea. After all, he’s pretty much gone to seed as an actor.

Steven Soderbergh’s new film does not ask: But who was Spalding Gray, really? That’s a nonstarter, if only because the act of asking is best left to Gray himself.

Sight unseen, there may be some misunderstandings about The Illusionist. This animated Oscar nominee should not be confused with the Edward Norton and Paul Giamatti 2006 period piece of the same name, although belief in magic is among both films’ essential thematic concerns.

Guy and Madeline on a Park Bench is a jazz-inflected song-and-dance musical about the minor-key vicissitudes of urban romance. What a good idea for a movie, we might think at first, as if it were just a matter of originality.