This year has seen the release of two brilliant films, both of which happen to be animated. The better of the two is Pixar’s “Up,” which boldly plants its stake in the land of Character First. Everything is in service to the characters and never feels out of place, and it’s a testament to the artists at Pixar that I cried after I’d only known two characters for less than ten minutes. The action, the adventure, the excitement, the awe, and especially the sense of humor and fun are direct responses from the characters themselves. And let’s not even go into the animation on display. “Up” is a masterpiece.  (10 out of 10)

But all that aside, get ready for this week’s English-dubbed “Ponyo” (courtesy of the Walt Disney Company), which is the latest from Hayao Miyazaki, an artist who has had considerable influence on the Pixar ensemble. To say this is one of the weakest projects from Miyazaki’s Studio Ghibli is faint damning. The studio has released many, many classics, compelling some including myself to proclaim them the Disney of Japan. Each release has been a masterwork, often times focusing on the respect accorded to all things living and inanimate. And “Ponyo” continues Miyazaki’s fascination with the roles man and nature play in the grand scheme of things. Through his use of dream-like scenarios and drawings alongside casual social observations, “Ponyo” becomes a flow of moments, each crucial to the overall momentum forward. The film lingers on simple things from everyday life: slurping noodles, speeding home from work, exasperation over your family members, and combines them with the absurd: a fish with a little girl’s face and chicken legs sometimes and human legs other times, a man who rides around in a thrown-together submarine, and little fish-babies that can sometimes turn into giant, primordial fish that can sometimes turn into crashing waves. You have your usual human who renounces his own species to become the protector of nature and over time grows bitter toward the cityfolk, but you know he’s not that bad; he’s just a concerned parent looking out for his little girls. This push and pull between parent and child, humans and nature, Earth and moon, is central to the plot, and finding that balance, and respecting it, is where the film ultimately goes. Pretty basic stuff though, right? Indeed it’s the journey that makes the film so magical. Each inconsequential moment and each surreal, “out there” bong hit captures the heart and soul of the characters. And who can’t help but smile when little Ponyo first calls out, “Ponyo loves Sosuke!” (9 out of 10)

“Harry Potter and the Half-Blood Prince” sure knows its stuff visually. The scenes featuring the Weasley’s staircase and the “Lord of the Rings”-style Gandalf-gesticulations and Gollum-creatures are both grand in their own ways, and while the romantic escapades are enjoyable, the character development that really matters (Draco Malfoy) is completely nonexistent. He runs to the bathroom morally struggling and I feel like I’ve hardly met the guy. Fortunately this entry in the series is less SparkNotes and more like an actual movie (unlike the previous film) and the series seems to be in capable hands now that director David Yates has found firmer footing (probably thanks to the return of screenwriter Steve Kloves). (8.5 out of 10)

“Year One” isn’t boring, but it isn’t interesting either. The few jokes that actually elicit audible chuckles lack the punch or insight a really smart comedy might possess. And Lord knows a comedy so Biblically based requires keen observations at the least. I have no problem with the historical inaccuracies, which add to the fun part of the movie, but the unfinished set-ups are noticeable and distract from the film. (6.6 out of 10)

“Ghosts of Girlfriends Past” exists. That’s neither a good nor bad thing. It just exists. (6.5 out of 10)

I caught “The International” twice on my flights to and from China (by way of Japan Airlines), and all I can say is it’s better on silent with Japanese subtitles. But I also must add that the shootout is glorious and completely took me by surprise (and giddy delight). It’s a must-see and fortunately can be found on YouTube. (6 out of 10)

Unlike everyone on this planet I found “The Hangover” to be the least funniest movie I’ve seen in a long time. I rated it lower than “Year One!” Now that’s saying something. What’s so discouraging is I like a good drunken adventure comedy as much as the next person, but “The Hangover” felt as calculated as you can get. (5 out of 10)

I could not wait for “Public Enemies” to end. Until that sweet release came, which was actually pretty good. From the point Dillinger walks into the detectives’ office and on, it’s some really great stuff. Otherwise it’s boring as Hell and none of the characters have any… character, or are at all that easy to differentiate from all the others. (3 out of 10)