Look, I thought The Dark Knight had a lot of strong selling points: Combine a deft pace with thoughtful characterizations and a whopping IMAX design that turns the entire experience into a plot-driven theme park ride, and you've got one hefty dose of Batman adrenaline.

Still, comparisons to The Godfather Part II notwithstanding, The Dark Knight isn't foolproof -- in fact, no single movie in history is foolproof. The subjective experience of movie watching ensures that nothing can be universally liked by everyone, and rules of civility insist that humanity respect that truism. It's acceptable to feel passionately about a great work of art, and defend that perspective with rigorous argumentation, but much of the outrage over the minority perspective that The Dark Knight isn't any good has made such practical thinking impossible.

Deemed the first critic to pan the movie, New York's David Edelstein went out of his way to list the allegations against him sent along by various Batman fans. The House Next Door editor Keith Uhlich, meanwhile, fielded over a hundred rants in the comments section following his astute critique of director Christopher Nolan's questionable portrayals of violence. What's particularly shocking about this frightful deluge of negative responses is that many of these people began posting their disapproval before they even saw the movie.

I know Jim Carrey's track record has a few blemishes on it, but I have a good feeling about this one. Yes Man has a simple premise -- a no-fun, take-no-chances guy decides to say yes to everything for a year -- and the trailer feels like the ol' Jim we fell in love with back in the '90s.

Plus, the director is Peyton Reed, who will always hold a place in many people's hearts for Bring It On and the under-appreciated Down with Love. Maybe he can keep Carrey's more buffoonish tendencies in check?

We'll find out when the film is released on Dec. 19. In the meantime, watch the trailer and let us know what you think. Can the premise work? Will it wind up being overly wacky or too cartoonish? Do you agree that Zooey Deschanel should appear in more movies?

Whenever a good idea comes along, it doesn't take much time for people to claim they thought it up first. That seems to be the case with Dr. Horrible's Sing-A-Long Blog, the Joss Whedon-created miniseries that streamed online last weekend and is now available on iTunes. Spout reports that legions of commenters calling themselves the Army of Toy Soldiers have been pummeling the site with complaints that Dr. Horrible is a direct rip-off of Dr. Steel, an online show that's several years the senior of Whedon's program. Wired spoke to Dr. Horrible co-writer Mauria Tancharoen, who said they've never heard of Dr. Steel, but don't mind that it exists. The Toy Soldiers, however, appear to be gearing up for a confrontation, possibly one that will go down this week at Comic Con.

Whatever. Dr. Steel offers plenty of entertainment value in its own right, and it does feature a maniacal supervillain with a catchy singing voice (see above). But it also contains more razzle-dazzle weirdness than plot, and Dr. Horrible is pretty much a straightforward narrative. One Toy Soldier member has argued that if they don't speak out, their silence will imply that Dr. Steel stole its concept from Dr. Horrible. That logic holds up -- but either way, we're dealing with two very separate programs here. If anything, the immediate exposure of Dr. Horrible can only help Dr. Steel gain more attention. Once noticed, people should be able to tell the difference.

This is a pretty slow week for DVDs, but there are two more TV-themed releases just perfect for the movie world with slices of celebs and Star Wars content.

Spaced
Tim and Daisy are two strangers who meet while trying to find a new place to live. When they find the perfect apartment, one that requests a couple, they fake it and move in together. The pair try to keep this from the alcoholic landlady while dealing with their dysfunctional romantic lives and spending time with downstairs neighbor Brian, Tim's best friend Mike, and Daisy's best friend, Twist. It sounds fun enough, but add in a ton of geeky cultural references, and names like Jessica Hynes, Simon Pegg, and Nick Frost, and then the rabid fandom starts to make sense.

While it's a number of years old, Spaced has created a whirlwind in the last year -- one that has stretched well beyond its UK borders. And now, finally, we've got the saucy new DVD. You've probably heard about this release over the last few months, because it's not your everyday DVD release. It's a star-studded event.

The packed disc offers not only commentary from people like Pegg, Hynes, and Frost, but also commentaries from Diablo Cody, Matt Stone, Quentin Tarantino, and Kevin Smith, plus Pegg teaming up with a few others -- Patton Oswalt and Bill Hader. There's also biographies, homage-o-meter, teasers, outtakes, featurettes, alternate endings... and even more.

Buy the DVD

Film critics are often criticized themselves for being the wrong audience for a movie they've panned. Whether it's old white guys who aren't the right audience for a Tyler Perry movie or old white guys who can't appreciate a "chick flick," the subjectivity of certain reviewers is sometimes even called out for being too racist, sexist or otherwise prejudiced. We saw a high level of apparent chauvinism going on recently with the release of Sex and the City, and now it's happening again with Mamma Mia! Last Friday, in her his review, New York Sun critic Grady Hendrix* noted that Mamma, "has been getting generally good reviews, but it's also been getting trashed by some critics who all have one thing in common: They're men." And the claim has now been escalated by Liz Smith, who quotes Hendrix in the Page Six section of today's New York Post.

Despite my half-belief that Hendrix has a point about some male critics, I didn't want her his claim to go unchecked. Especially because her his review went out on the same day that most newspaper reviews went out. Meaning, how could she have known the true demographics of all negative and positive reactions? Going through all the Mamma Mia! reviews sampled on Rotten Tomatoes, here is what I discovered:

First, he gets a mainstream comic actor to act in a contemplative art house narrative with Punch-Drunk Love. Now, he's putting two of them on a stage. According to cigarettes and red vines, Paul Thomas Anderson has written and directed a play in Los Angeles with Saturday Night Live stars Maya Rudolph (Anderson's partner) and Fred Armisen. It premieres at the Largo on August 5, but specific details about plot remain unrevealed. Still, the prospects of seeing Anderson's eerily detached style in a live performance are intriguing, to say the least. As Slashfilm points out, the production has a few logical attachments to the filmmaker's past: Anderson directed a short film for SNL back in 2000, and Rudolph starred in Robert Altman's A Prairie Home Companion, which Anderson may or may not have ghost-directed in parts.

Now that Anderson has proven he can craft epic period pieces of the raunchy (Boogie Nights) and morose (There Will Be Blood) kind, he's reached a point where audiences will basically allow him to take them wherever he wants to go. The dynamics of the stage, however, differ greatly from those of the cinema. Since the name and subject matter are a mystery, there's a lot left to the imagination. Will Anderson allow Rudolph and Armisen to unleash their comic potential? Or is that a milkshake I hear brewing?

Well, it is. Or so say the Internet Movie Database users, who have already rocketed the film to the #1 spot on IMDb's Top 250 list with a rating of 9.5 out of 10 and about 47,000 votes. It displaces The Godfather -- a film that doesn't even HAVE a pencil-wielding psycho-clown -- which had held the top spot for about a decade (according to our pal Peter at SlashFilm).

The rest of the top 10 on IMDb's list isn't as depressing as I thought it would be: Shawshank Redemption, The Godfather Part II, The Good, the Bad and the Ugly, Pulp Fiction, Schindler's List, One Flew over the Cuckoo's Nest, The Empire Strikes Back, and Casablanca. I was expecting to see nothing older than about 1990, and certainly nothing in black-and-white.

IMDb notes that for the Top 250 list, "only votes from regular voters are considered," but they fail to define "regular voters." Does that mean people who vote regularly? Or do they mean "regular voters" as opposed to "guest voters" or something? Either way, these apparently aren't people who, in a rush of enthusiasm for The Dark Knight, hurried home and gave it a 10 out of 10 despite never having rated anything else on IMDb before. Apparently they have exercised their right to vote before, and presumably they know what they're doing.

Now, I loved The Dark Knight and all, but come on: the best film ever made? Surely that is not an opinion held by very many people, if any.

Not to be a snake in everyone's boot, but the all-time opening weekend record is not in the bag for The Dark Knight just yet. The $155.3 million weekend estimate is just that -- a studio estimate -- and when the final numbers come out later this afternoon, Spider-Man 3's $151.1 million may still be on top of the heap. So everyone should chill for a few more hours.

Still -- $150 million! In one weekend! For a movie that's dark and scary and complicated and dead serious! That's pretty amazing, though my hopes for this wonderful film's box office staying power were dampened somewhat when I saw it a second time yesterday and heard the banter of the couple next to me, which consisted of statements like "Do you know what's going on? I don't know what's going on," and "I don't even understand who the bad guy is." (?!??) I guess you can't please everyone.

Anyway. $150 million +. First person to call it a disappointment because it's not the world's first $200 million opening weekend gets a kick in the crotch.

The weekend's counterprogramming saw mixed results. Mamma Mia!'s $27.6 million is an undeniable victory, though I think the market was begging for something not action- or family-oriented. I'm not sure what to say about Space Chimps' $7.4 million, seventh-place bow. I don't think anyone could have expected much more from a movie called Space Chimps.

The Dark Knight did a number on the superhero-themed holdovers, kicking Hellboy II down to the tune of 71%, and Hancock a somewhat gentler 57%. Hancock should see $200 million by the end of the week; Hellboy II probably won't get to $70 million domestic, though it should beat its predecessor's $60 million take.

The full top 10 estimates after the jump.

Death is the ultimate dramatic device, but great art doesn't emerge from strong devices alone. In Take, the directorial debut of Charles Oliver, the impact of a single, startling tragic death immediately conveys the sense of watching a gravely serious movie, which is definitely the case. However, having immediately provided a tone, Oliver fails to follow up with a story powerful enough to justify it. That's not to say that the experience Ana (Minnie Driver) goes through after her son dies in a freak accident before the start of the film isn't relentlessly bleak, but there's hardly anything distinctive about the circumstances to make viewers care any more than they would if they were glancing at it in the morning headlines.

Still, Olilver has made a quietly observant work solely driven by the specific needs of two downtrodden protagonists with completely believable motives. In flashback, we learn that Ana struggled with her son's elementary school, which wants to put him in a special needs program. Meanwhile, she has a hard time communicating with her husband and finding decent work to get by. Elsewhere, reckless gambling addict Saul (Jeremy Renner) destroys his life in a whirlwind of debt. His misfortune, as it's shown in early scenes at a prison where Saul awaits execution, will lead him to accidentally murder Ana's innocent child, Jesse (Bobby Coleman).

I concede that it's possible you might already have a film in mind to see this weekend. I understand that there's a highly anticipated major release hitting theaters today that's expected to draw huge crowds. But enough about Space Chimps. This is the Indie Spotlight, a weekly round-up of films opening in limited release that you can see now (if you live in the right city) or put on your list of Movies to Watch Out For.

So what's opening beyond the multiplexes today? These nine films: Before I Forget, The Doorman, Felon, Lou Reed's Berlin, Mad Detective, A Man Named Pearl, Take, Transsiberian, and A Very British Gangster. Here's the lowdown:

Transsiberian
What it is: A thriller about an American couple (Woody Harrelson and Emily Mortimer) who gets tangled up in murder, drugs, and intrigue while on a train from China to Moscow. Directed and co-writer by Brad Anderson (The Machinist).
What they're saying: Cinematical's Jeffrey M. Anderson raves about it here, and also interviewed the director and Mortimer. The consensus is pretty positive at Rotten Tomatoes, too. Looks like Brad Anderson has another winner.
Where it's playing: New York City's Angelika Film Center and Paris Theatre.
Official site: None.

Lou Reed's Berlin
What it is: A concert film, directed by Julian Schnabel (The Diving Bell and the Butterfly), in which Lou Reed re-performs his 1973 album Berlin. Shot over five nights in 2006.
What they're saying: Cinematical's Christopher Campbell liked it overall, which just a few qualms about Schnabel's methods. At Rotten Tomatoes, about two-thirds of the reviews are positive. One suspects that, as usual with concert films, those with no interest in the music itself probably won't be converted by the movie.
Where it's playing: NYC's Film Forum; L.A.'s Nuart Theatre.
Official site: Berlin the Film.