This summer, moviegoers were treated to an eclectic mixture of films, both independent and studio-financed. Easily the finest “tent pole” movie of the summer, Batman Begins was an astonishingly well done film, capturing the never-before-touched-upon origins of the caped crusader. Christian Bale’s emotionally volatile turn as Bruce Wayne gave the audience a hero they could relate to. Also excellent was the superb supporting cast, including rising star (and Red Eye villain) Cilian Murphy as the reptilian Dr. Crane, a.k.a Scarecrow. The only person who managed to miss the mark was future Mrs. Cruise Katie Holmes, whose performance as Gotham’s district attorney showed no hint of believability. Many of the other hyped blockbuster films, however, proved to be rather disappointing. The much-touted Michael Bay film The Island arrived at the box office with a loud thud, and the marvelously bad Fantastic 4 landed face first. Interestingly enough, the Fox Corporation has decided to go ahead and green light sequel to F4, to which one can only reply “FLAME ON!”

America’s favorite nut bar Tom Cruise snatched his biggest box office hit ever with the mediocre War of the Worlds, while American hero Johnny Depp fared well in the Charlie and the Chocolate Factory remake. Making a very welcome comeback was the R-rated comedy, with the twin wonders Wedding Crashers and The Forty Year Old Virgin. Owen Wilson’s Texas drawl combined with Vince Vaughn’s feverish delivery combined to make the former one the biggest comedic orgasms in years. The same can be said for Virgin, which managed to be both raunchy and heartfelt at the same time. Steve Carrel’s role as the titular virgin whose friends try to help him get over the hump is terrific because he doesn’t make him some sort of bizarre guy, but a sweet and real man, who simply missed out on sex. Combined with the still-sexy Catherine Keener as his love interest, and a trio of awesome actors as his buddies (Paul Rudd, Romany Falco, and Seth Rogen), Virgin is an instant comedy classic.

The independent film scene flourished this summer, with a crop of touching films. Most recently Jim Jarmusch’s Bill Murray vehicle Broken Flowers showed Murray’s infinite talent in playing up subtleties. His cross-country trip to find his possible baby’s momma is at turns funny, melancholy, and moving. Precious few actors can make you feel moved by doing damn near nothing on screen. With each performance, Murray just seems to confirm his place among the best actors in the business. Although not subtle, Terrence Howard’s star maker role in Hustle and Flow showed electricity that was reminiscent of Brando and already had people throwing around Oscar buzz when the picture debuted at Sundance. You know a guy has some serious talent if he manages to make a pimp trying to break into the rap game a likable protagonist. Gus Van Sant’s loose take on Kurt Cobain’s demise, Last Days was a moving and original mixture of long wandering scenes and natural performances from the young ensemble cast, while Me and You and Everyone we Know, the debut feature from performance artist Miranda July, was a delightfully surreal and awkward love tale, unlike anything else to grace the silver screen this season.

If you made it to the box office this summer, you know what I’m talking about. Although by no means a complete success, corporate America has proved once again that there is still hope for Hollywood.