Crazy, Stupid, Love is a romantic comedy that hides behind its acclaimed star-studded cast and elements of marital drama in an attempt to disguise itself as classier fare than your average chick flick. But in the end, it's all just a ruse. Sure, it's sweet enough. Its characters likable enough. Take the films lead, Cal Weaver (Steve Carell), for instance: in the opening scene, his wife Emily (Julianne Moore) unexpectedly lays on the news that she cheated on him and wants a divorce. Cal, who retains that clueless, kind off goofy persona that always follows Carell, is devastated. This is a man who, in the midst of a crumbling relationship, realizes how much he still truly, deeply loves his wife. He tries to drink away his frustration and sadness, frequenting a local upscale pick-up bar where he drunkenly (and constantly) rambles to a crowd of no one about his wife's infidelity with co-worker David (Kevin Bacon) -- and in the process, attracts the attention of playboy Jacob (Ryan Gosling), who decides to take Cal under his wing.
In Gosling lies a real flair for comedy. He's got the swagger. He's got the timing. Not to mention a body that very well looks like it's been expertly photoshopped, as his love interest Hannah (Emma Stone) points out. This, the relationships between our many different pairs, is where the film simultaneously thrives and underwhelms. The high point of the film is the relationship between opposites Cal and Jacob; It's the only one that's ever given any real, solid attention, and is where most of the fun and effective comedy stems from. Since we first meet Cal and Emily when their marriage has hit rock-bottom, we never get much of a sense of what they used to be -- making the idea that these two are soul-mates who belong together something that we take as a given because the film tells us to, but not because we wholeheartedly believe it. 
The real winning ingredient the filmmakers missed out on though was Jacob and Hannah as a couple; they're the pair that had the most potential to win over moviegoers hearts, but for some reason are the most neglected, with around a measly three full scenes together, and only one scene to establish their compatibility and passion for one another. Mind you, it's a fantastic, hilarious, adorable scene, and anyone who has seen Dirty Dancing will be totally and completely charmed...but that one scene was not enough to bring the romance for a two hour long movie that labels itself as a romantic comedy.
Because the film tries to squeeze in so many different interconnecting story lines, some of which are unnecessary and expendable (namely one involving the Weaver's 17-year-old babysitter being smitten with Cal), we're never given enough time and focus to any one couple to truly fall in love with them. This mishmash of story lines exists presumably to get across the films overall message that you should fight with your all for the one you love -- a message that is constantly thrown at us, as if the audience is too dense to pick up on it. With some endearing scenes, and a climax so wonderful and chaotic that it almost tricked me into feeling differently about the film as a whole, the moments of excessive blandness, cheese and cliches leveled out Crazy, Stupid, Love to just a pleasant, easily forgettable movie to pass the time with.
Rating: B-
In a summer filled with wasted potential, remakes and unnecessary sequels galore, the Marvel films have swept in and saved the day. Having been blown away by the spectacular CGI and imagery in Thor, as well as a breakthrough performance by Chris Hemsworth, I thought no other comic book film could rival its reign as one of the summer's ultimate crowd-pleasers. Then came Captain America: The First Avenger.
Set in the 1940s amidst World War II, Chris Evans plays Steve Rogers (who will later transform into Captain America); most would call him a weakling. But what he lacks in physique he makes up for in substance of character. He's determined to enlist in the military and serve his country -- only thing is, no one's looking to take in a "90-pound asthmatic" to fight against the Nazis. Then as fate would have it, he catches the attention of scientist Abraham Erskine (Stanley Tucci), and is given the opportunity to undergo an experiment...one that will turn him into a super-soldier.
Captain America: The First Avenger really thrives in the first half, which chronicles the events that turned Rogers into the iconic superhero. Reminiscent of some of the effects used in The Curious Case of Benjamin Button, seeing Evans look tiny, scrawny and emaciated -- only to emerge out of that chamber looking like someone that can beat the crap out of Red Skull (his nemesis, played by Hugo Weaving), is truly a sight to see. Rogers is such a good-hearted, pure, underdog of a character that it's hard not to root for him right from the get-go. Chris Evans is Captain America. Not only does he more than look the part after his transformation, but he really encapsulates the humble, earnest quality and determination of Rogers that makes him such a special, endlessly likeable character.
Post-transformation, the film spends a bit too much time bobbing around with Rogers leading a cheesy War Bonds promotional stage show and his somewhat forced romance with SSR officer Peggy Carter (Hayley Atwell), leaving the scenes where Rogers is clad from head-to-toe in his Captain America garb and taking on the villains for the last 30 minutes, but with Roger's constant patriotism and do-gooder attitude, the authentic period feel, and an ending that will leave you counting down the seconds until next year's The Avengers, Captain America: The First Avenger proves itself to be a more-than-worthy superhero origin story.
Rating: B+
It's been 10 years since the brilliant mind and imagination of J.K Rowling was first brought to screen with Harry Potter and the Sorcerer's Stone. 10 years since we first stepped onto Platform 9 3/4. 10 years since we first met Dan, Emma and Rupert. And now, after 10 years, it's all coming to an end. No, I'm not just talking about a film franchise. The release of the 8th and final Potter film marks the end of something much more affecting: the end of a generation's childhood.
I feel sincere gratitude at having had the opportunity to grow up with these books and movies, and having witnessed them mature alongside me. If you watch the first film again, it's hard not to notice how different these final two films are from the one that started it all. Gone are the days of Quidditch, delectable meals at the Grand Hall, and correcting each other on spell pronunciation (it's levi-OH-sa, not leviosaa!). In fact, gone are the days of Hogwarts all together. The wonder, mystic, and magic that delighted readers and movie-goers alike has now been replaced by a darker, more urgent, violent quest for good to triumph over evil once and for all.
Splitting the final Potter book into two different films was a stroke of genius; Part 1, as accurate and effective as it was, couldn't help but feel like a prelude to something bigger and better..and that's because it is. Deathly Hallows- Part 1 succeeded in relaying all the loads of information that was necessary to understand Part 2, while managing to deliver a surprisingly entertaining and poignant movie at the same time. Part 2 is the movie everyone's been waiting for though. This is where the action is, where most of the great scenes lie, and where we get to experience one of the most epic battle sequences in years.
It's not possible to talk about this film without talking about its tremendous emotional impact. Every scene is dripping with the knowledge of what's to come, the knowledge that with war comes death and sacrifice, but also bravery, courage and perseverance. True fans won't be able to help but an feel irresistible swelling of pride when they see the Order show up at Hogwarts, when Professor McGonagall defends Harry against Snape, Neville's moment of glory, and when Mrs.Weasley says the famous line: "Not my daughter, you bitch!"...all moments that make you realize the immense power these characters have over you. Chills will overtake you as you watch Voldemort and his army of thousands of Death Eaters rush towards the castle that once represented everything that is warm and safe in the world -- only now to be the ground in which many beloved characters will meet their tragic and heroic end. The speedy 2 hours and 10 minutes running time mimics the non-stop commotion of war, giving the characters (and the audience) little to no time to grieve the deaths happening before them. With characters as cherished as these, I wish their deaths were rewarded with more honor and focus.
Bursting with technical wizardry, everything that is done in Deathly Hallow's Part 2 is done to make each and every scene as cinematic as possible. A few things are left out, as was to be expected (Kreacher leading the house elves in battle, to my dismay, was one of them) and small changes are made. In emotion and intensity, however, which is where it really counts, Deathly Hallows- Part 2 is as close to a carbon copy of its source material as possible. Composer Alexandre Desplat is an emotional puppeteer, his score constantly switching from foreboding to heart-wrenching, and then during the epilogue when we need it most, overwhelming nostalgic. Tear's (and lots of them) are an almost guarantee in these precious last few minutes. And as I heard the iconic "Leaving Hogwarts" score complimenting the sight of our trio (now seasoned, mature actors) saying goodbye to their children on Platform 9 3/4, It was with deep passion, sadness and unwavering fondness that I said my final goodbye to The Boy Who Lived.
Rating: A
Lots of people hate their bosses. I'm sure many even fantasize about how much better their lives would be if their bosses were out of the picture. But normal people just leave it at that...right? Enter Nick (Jason Bateman), Dale (Charlie Day), and Kurt (Jason Sudeikis). They plan to take it a step further: they decide they're actually going to kill each others bosses. And as the viewer, you'll be rooting for them from beginning to end. It's not just that the three leads are so likable (they are), but their respective bosses are so incredibly, well, horrible that it doesn't take too much to persuade us that the world would be a much better, brighter, more employee-friendly place without them in it.
Consistently amusing, the film owes much of its success to lively character interaction; our main trio, aka the most harmless men in the world, are undeniably funny on their own --- but put them together, and jokes that would have gotten little more than smile garner full on laughs. The real standout of the film is Day. Whether he's playing hitman with his two BFF's, being sexually harassed by his boss, or just rocking out to Fergie on the radio by himself, he's never anything short of hysterical. There's something about that incredibly high-pitched voice of his that makes every single word he says sound like comedic music to the ears -- and things only get better when he's on screen with his main target: his boss, Julia (Jennifer Aniston). 
Aniston throws her deeply-rooted typecast to the other end of the Earth with her role as Dale's nymphomaniac, black-mailing, kinky-to-the-max boss. They may say that blondes have more fun, but Aniston, sporting her new dark locks, looks like she's having the most fun of her career since Friends ended. Who knew such wrongfully-funny vulgarity could come out of her mouth?
Rounding out the all-star cast are Kevin Spacey, Colin Farrell, and Jamie Foxx, each further spicing up the not-too-original story with pizazz only they could bring to the table. The end feels a little rushed, like a quick conclusion to a movie that ran out of jokes to tell, but even so, I wasn't much fazed; the end, like much of the movie, made me feel like I was on the "in" with these characters, a part of a running, inside joke that helps brings a satisfying close to this fun summer comedy.
Rating: B+