If “The Tree of Life” is a full-course dinner of philosophy and emotional reflection, the sci-fi snoozer “Another Earth” is a particularly chewy intellectual amuse-bouche. A plodding melodrama concerning the effects of loss and the potential for soulful rebirth, “Another Earth” doesn’t pursue its provocative ideas with any sort of narrative momentum. Instead, it’s all dreary navel-gazing and cinematographic posturing hoping to wade into a profound philosophical bath, using the mysteries of the universe as a way to hypnotize an audience more likely to be annoyed by this story than entranced.

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After five motion pictures, two television series, and a 2001 Tim Burton remake, it seems a prequel is the only logical place to go in the exhausted “Planet of the Apes” saga. The origin tale of apes and their early stages of domination is surprisingly fertile ground for the producers, who loosely rework 1972’s “Conquest of the Planet of the Apes” into “Rise of the Planet of the Apes,” a frequently thrilling, emotionally resonate reboot that takes advantage of today’s vibrant motion capture technology to help articulate the complexity burning within these damn dirty apes.

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Thanks to various works from Judd Apatow and the smash success of “The Hangover,” the summer of 2011 has played host to a resurgence of hard R-rated comedies, each sharing the same improvisational DNA while declining a cheery spirit of punchline imagination, more content to primitively shock than organize surprises. While the bar was set low by the intolerable June belch, “Bad Teacher,” the body-swap extravaganza “The Change-Up” stumbles into August to claim its prize as the worst feature of the new batch.

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It’s difficult to ascertain exactly what story director James Marsh is attempting to tell with his latest documentary, “Project Nim.” Part bio-pic, part animal cruelty call to arms, and part scientific study, the feature is an engaging, horrifying look at the life and times of a special chimpanzee, but doesn’t quite bundle the reveals and the revulsion in a tight cinematic package.

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“Snow Flower and the Secret Fan” features a sensitive story of bittersweet separation, reportedly altered quite a bit from author Lisa See’s original 2005 novel. A tale of patchy sisterhood and the circular patterns of betrayals and mistakes, director Wayne Wang has his hands full with melodrama and historical reflection, exploring China’s foot-binding past while returning to the intricacies of Asian culture, which served him well in the 1993 hit, “The Joy Luck Club.” Wang’s also made perhaps the most flavorless, outright boring picture of 2011, breaking down the plot into tiny, inert pieces of meaninglessness.

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Director Jon Favreau has quite a playground with “Cowboys & Aliens,” permitting the filmmaker a big-budget opportunity to stage classic western encounters while banging away with large-scale sci-fi elements. Although it lacks an extraordinary pace that would normally accompany the collision of two disparate genres, the picture is a comfortably entertaining slice of summer escapism, blasting away with a blissful discharge of six-guns and lasers.

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The best compliment I can pay the comedy “Crazy, Stupid, Love” is that it works extremely hard to maintain a vital oxygen blast of vulnerability to an otherwise stiflingly sitcom plot. Actually, there are numerous compliments I can pay this hilarious, poignant motion picture, which mounts a tremendous effort to keep the audience guessing, undermining as much formula as it can. It’s a sharp movie, layered with impressive performances and a generous heart, yet it’s the sensation of surprise that truly matters.

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“Good Neighbors” is suspenseful, but oddly unfulfilling. A distinctly Canadian production taking place during the 1995 Quebec referendum, this serial killer/psychological thriller relies on mood and stylistics to conjure a critical feeling of dread. However, writer/director Jacob Tierney is spun dizzy by the complex narrative of deceptions and confessions, laboring over moody particulars while the tension gradually dries up.

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