Finally, after all of these years, we get to see what Star Wars might have been like, if it starred George Clooney, took place on Earth, and was fueled by loads and loads of LSD. Of course, the LSD thing could be true about the original Star Wars. From a production standpoint, that is.

Originally Posted By Dave Bartik

The Fourth Kind is a tale of two movies eliciting two wildly different reactions – all of it completely relying on what you believe. Or who you believe. The underlying skepticism that determines one’s joy or misery does not come from a trust in the supernatural and their nocturnal dealings – the main plot of the film – but whether or not to trust Milla Jovovich.

I really only have one question (which isn't true, because I have many. Too many to list here). Why does Roland Emmerich want the world to end so badly? Independence Day, aliens blow us up good. The Day After Tomorrow, global warming sends us into another ice age. And now, in 2012, the earth as we know it starts disappearing out from underneath us. If destruction and body count are what Emmerich is going for, he is truly succeeding. Now, let's say, for arguments sake, that Emmerich actually wants to make good films. Well, that's another story.

What a magical movie this is. Hardly a surprise, considering the pedigree of the people involved (the director of Being John Malkovich and Adaptation.), but it's a rare things when a literary masterpiece the likes of this is adapted in such a way that nothing is dumbed down or cut through corners. Going above and beyond its source material, Spike Jonze's Where the Wild Things Are is as fantastically entertaining as it is moody and emotionally draining, the results of the director's unrelenting vision of a boy dealing with his inner demons in the company of some bigger ones.

Seeing the previews for Couples Retreat and seeing the big name actors like Vince Vaughn, Jon Favreau, and Jason Bateman, it looked like comedy gold from first glance. In Olympic terms, I give it a bronze medal, close to silver however. While flaws were evident, the film did amuse.

Originally Posted by Spencer Diedrick

When attempting to categorize comedy, there are roughly three types that come to mind. One is the normal kind of comedy, full of ironic jokes and punch lines. Another is slapstick, overly dramatic falls to the ground and what-not. The third is black comedy, where the audience doesn't laugh so much as wince at the misfortune that befalls those in the film. Joel and Ethan Coen have become the masters of such a realm (primarily for Fargo, The Big Lebowski, and most recently, Burn After Reading). Their newest, A Serious Man, follows in this same vein, as a character undergoes an increasingly bizarre amount of changes to his mundane life. And yet, one gets the feeling that a good portion of their own background has been added to the mix, hammered home by the use of relatively unknown actors. Their most personal and refined story yet, A Serious Man is another of the Coen brothers' triumphs in filmmaking, this time in utilizing their black comedy talents in their native Minnesota soil for an original tale of intimate suburban misfortune unlike any other.