From Best to Worst: Anne Hathaway

The Dark Knight Rises is an ambitious, thoughtful, and potent action film that concludes Christopher Nolan's franchise in spectacular fashion.

A beautiful, epic Western, Brokeback Mountain's love story is imbued with heartbreaking universality thanks to moving performances by Heath Ledger and Jake Gyllenhaal.

Rachel Getting Married is an engrossing tale of family angst, highlighted by Anne Hathaway's powerful performance and director Jonathan Demme's return to form.

Don Jon proves to be an amiable directing debut for Joseph Gordon-Levitt, and a vivacious showcase for his co-star, Scarlett Johansson.

Valentino: the Last Emperor utilizes its access to the fashion icon to the fullest, and the result is a glitzy, dishy, and insightful documentary.

Thanks to a strong cast of experienced actors and director Douglas McGrath's steady hand, Nicholas Nickleby is a worthy and respectful adaptation of the Dickens novel.

A rare film that surpasses the quality of its source novel, this Devil is a witty expose of New York's fashion scene, with Meryl Streep in top form and Anne Hathaway more than holding her own.

Interstellar represents more of the thrilling, thought-provoking, and visually resplendent filmmaking moviegoers have come to expect from writer-director Christopher Nolan, even if its intellectual reach somewhat exceeds its grasp.

This straightforward movie reaches great heights thanks to its colorful visual palette, catchy music, and funny vocal performances.

Impeccably mounted but occasionally bombastic, Les Misérables largely succeeds thanks to bravura performances from its distinguished cast.

Although Becoming Jane is a well-crafted period piece, it lacks fresh insight into the life and works of Jane Austen. The film focuses too much on wardrobe and not enough on Austen's achievements.

Get Smart rides Steve Carell's considerable charm for a few laughs, but in the end is a rather ordinary Summer comedy.

Tim Burton's Alice sacrifices the book's minimal narrative coherence -- and much of its heart -- but it's an undeniable visual treat.

Hathaway is a charming heroine, but the simple storyline gets overwhelmed by silly gimmickry.

It's a pleasure to see Hollywood produce a romance this refreshingly adult, but Love and Other Drugs struggles to find a balance between its disparate plot elements.

Like most sequels, Rio 2 takes its predecessor's basic template and tries to make it bigger -- which means it's even busier, more colorful, and ultimately more exhausting for viewers outside the youthful target demographic.

A charming, if familiar, makeover movie for young teenage girls.

This fractured fairytale doesn't have the wit or animation quality to compete with the likes of the Shrek franchise.

Despite some fresh narrative twists, One Day lacks the emotion, depth, or insight of its bestselling source material.

Song One has plenty of earnest charm, but that isn't enough to overcome its slight, familiar story.

The Other Side of Heaven preaches to the converted; others will likely consider it simplistic, even offensive, propaganda.

Anne Hathaway and Julie Andrews bring charm and elegance to the movie, but there's not enough material for them to work with in this sequel.

Eager to please and stuffed with stars, Valentine's Day squanders its promise with a frantic, episodic plot and an abundance of rom-com cliches.

Bride Wars takes the already wearisome concept of battling bridezillas, and makes it thoroughly insufferable via a lazy script and wholly detestable characters.