Of the three major releases this week, it appears the indie charmer has defeated the rote rom-com and the broad fun-fest as the most liked film of the week.

Away We Go, featuring John Krasinski from The Office and Maya Rudolph from Saturday Night Live as a couple looking for a place to raise their soon-to-be-born baby, scored highest of the three on Rotten Tomatoes at 60 percent. It edged The Proposal (scoring a 47) and Year One (a dismal 24).

However, on Metacritic, Away We Go (which only scored at 57 there) was beaten out by the romantic comedy The Proposal, which stars Sandra Bullock and Ryan Reynolds and netted a 65.

Back to Away We Go for now, though.

The film splits critics — some like its real yet offbeat feel, held nicely together by winning performances from Krasinski and Rudolph, while others slap at Away We Go‘s languid pace and too-quirky-for-its-own-good style:

• Christian Toto of What Would Toto Watch? calls it Juno lite: “Even the quirkiest of indies has to take a moment to breathe at some point, but Away We Go can’t be bothered with things like respiration.”

• Wesley Morris of Boston.com says the problem lies with the script by Dave Eggers and Vendela Vida: “Mendes can’t entirely surmount the smugness that pollutes Eggers and Vida’s picaresque script.”

• Chris Hewitt of TwinCities.com agrees with the script problems, but says that Krasinski and Rudolph win the day: “Away We Go is marred by the smugness that muddies novels, but its two appealing leads are more than enough to redeem it.”

• Chris Bumbray of JoBlo’s Movie Emporium was happy with the journey the characters take: “It’s a very good film, and a nice bit of counter-programming for folks that might be suffering from a bit of Blockbuster fatigue.”

The Proposal: Even the most positive reviewers were quick to point out that The Proposal is not the most original of films. As Roger Ebert noted, it was “already old when Tracy and Hepburn were trying it out.”

It goes something like this: Bullock is a Canadian hard-nose of a boss and Reynolds her long-suffering assistant. In order for her to stay in the country after an immigration snafu, Bullock decides she must marry Reynolds. He agrees, but with some stipulations, and they leave for Alaska to meet his family. A wedding is quickly arranged for them, as an immigration official is quick on their heels.

Those who didn’t enjoy the film pointed to The Proposal as another in a long line of romcoms whose plots are continually recycled.

Those who did said that while the plot may not be a new idea, it’s the performances of Bullock and Reynolds that save things here.

• Keith Phipps of The Onion AV Club says the fault here lies with the director, Anne Fletcher: “Following 27 Dresses, this is the second high-concept, low-impact, wedding-themed comedy in 18 months for … Fletcher. It might be time to move on.”

• Jules Brenner of Cinema Signals says the work by Bullock especially is worth the price of admission: “Fletcher doesn’t allow the progression to flag at any moment and puts in our theaters a delightful return of Ms. Bullock, a splendid showing of Ryan Reynolds’ exquisite balancing … and an overall very respectable variation in the genre.”

Year One: You’d think that the combination of the manic comic energy of Jack Black and the indie/slacker passiveness of Michael Cera combined with the veteran direction of Harold Ramis and the plot of cavemen discovering the world around them would lead to an incredible comedy.

And apparently, you’d be wrong.

Unfortunately, many critics took the time to look up Ramis’ most recent work on imdb.com and came to the conclusion that maybe his best stuff is really behind him. (Bedazzled? Stuart Saves His Family? Yikes.)

• Robert Levin of Critic’s Notebook says this kind of clunker is just what Ramis has come to: “The filmmaker imbues Year One with all the creative energy of a middling, time-filler “Saturday Night Live” skit.”

• And then there’s David Stratton, from Australia’s version of “At The Movies”, who basically cuts Year One straight to the quick: “Year One makes Will Ferrell’s Land of the Lost look like a masterpiece.” Yow.

Il Divo: First of all, this is NOT about the quartet of opera singers (who as it happens, will be playing the BankAtlantic Center on June 26). No this is a biopic of Italian politician Giulio Andreotti, whose possible Mafia ties and authorities pursuit of punishing him for those changed his nation.

Critics loved this movie, as it gained an RT score of 88 and a Metacritic score of 81.

Laura Clifford of Reeling Reviews says it’s remarkable even if you know nothing of Italian politics: “Should you go into this movie with no knowledge of this slice of history, you’ll not only learn something, but you’ll be so entertained you may find yourself laughing out loud (when you’re not shaking your head).”

Last week’s flicks:

I was taking some time off last week, but the movies never stop. Here’s a quick look at how last week’s movies fared:

• The Taking of Pelham 123: The remake of the 1974 thriller stars Denzel Washington as a subway dispatcher in New York and John Travolta as a man who takes an entire subway car hostage. It scored a 50 on RT and a 55 on Metacritic. Rob Gonsalves of eFilmCritic.com may have been a little over the top with this: “To watch the original Pelham and then to watch the new remake is to witness, irrefutably, the decline of mainstream Hollywood filmmaking.”

• Imagine That: Eddie Murphy’s latest family film has him playing a businessman who doesn’t spend enough time with his daughter until her imagination helps him in the business world. It scored a 44 on RT and a 54 on Metacritic. Boxoffice Magazine’s Wade Major gives it an unequivocal “meh”: “Amid the peaks and valleys of Eddie Murphy’s topsy-turvy career, Imagine That falls squarely in the unremarkable middle.”