Javier Bardem and Penelope Cruz in Vicky Cristina BarcelonaVICKY CRISTINA BARCELONA

In 1992's Husbands & Wives, Juliette Lewis' neophyte reads an unpublished novel by Woody Allen's author, and responds to its romantic ennui with an exasperated "Are our choices really between chronic dissatisfaction and suburban drudgery?" Sixteen years later, with Vicky Cristina Barcelona, the writer/director's response appears to be: Yup. Yet while we Allen fans have been here before, we've never been here before.

Seth Rogen and James Franco in Pineapple ExpressPINEAPPLE EXPRESS

As the happily zonked, pot-dealing Saul in Pineapple Express - written by Superbad screenwriters Seth Rogen (who also stars) and Evan Goldberg - James Franco is wonderfully unpredictable. The actor has flashed the occasional grin in previous film roles, but his uncanny resemblance to James Dean finds him so often used for brooding melancholy, most notably in the Spider-Man films, that his emergence as an inventive and quick-witted comedian in this stoner-buddy action farce is cause for celebration. Or rather, it would be, if Franco had a better movie in which to display his gifts.

Brendan Fraser in The Mummy: Tomb of the Dragon EmperorTHE MUMMY: TOMB OF THE DRAGON EMPEROR

Obviously we're not meant to take The Mummy: Tomb of the Dragon Emperor seriously, as it's a fantasy in which Brendan Fraser kicks the crap out of Jet Li. But honestly, even on this harmlessly dopey franchise's own lowbrow terms, could director Rob Cohen's installment be any more witless?

Will Ferrell and John C. Reilly in Step BrothersSTEP BROTHERS

As I see it, the only way you can remotely enjoy director Adam McKay's Step Brothers is by accepting that all of the characters in it, even the seemingly levelheaded ones, are out of their minds. And even then you might not enjoy it.

Will Smith in HancockHANCOCK

It's been a couple of days now, and I find that my feelings toward the Will Smith blockbuster Hancock remain naggingly unresolved. And unfortunately, those feelings aren't going to be resolved through writing a review, because most of what I find troubling is troubling because of a mid-film plot development that I wouldn't dream of giving away. In the end, I found Hancock to be funny, smart, silly, exciting, preposterous, maddening, and unexpectedly haunting, but until it becomes safe to discuss the movie in full, it'll be tough to explain exactly why.

Anne Hathaway and Steve Carell in Get SmartGET SMART

I can only imagine the business conversation that led to remaking TV's Get Smart as a big-budget summertime blockbuster. But I'm guessing it went something like this: "Let's remake TV's Get Smart as a big-budget summertime blockbuster!" "Okay! Let's!"

Adam Sandler in You Don't Mess with the ZohanYOU DON'T MESS WITH THE ZOHAN

The latest Adam Sandler vehicle, You Don't Mess with the Zohan, is crass, infantile, moronic, and, on almost any level you can name, pretty damned offensive. I could kill myself for having so much fun at it.

Kristin Davis, Sarah Jessica Parker, Cynthia Nixon, and Kim Cattrall in Sex & the CitySEX & THE CITY

The experience of the Sex & the City movie was, for me, akin to pissing away a weekend afternoon watching two-and-a-half hours' worth of sitcom episodes, in succession, on DVD; by the time the closing credits rolled, I felt quite entertained, a little exhausted, and vaguely guilty for not doing something more productive with my time.

Tina Fey and Amy Poehler in Baby MamaBABY MAMA

Despite its sunny, friendly veneer, there's a rather scrappy little war being waged within writer/director Michael McCullers' Baby Mama - one between a lighthearted, pleasant sitcom and a sharper, smarter, more cynical sitcom. (Two and a Half Men versus 30 Rock, as it were.) The former wins, and we could have predicted as much, but the best parts of this engaging buddy flick suggest the truly sparkling comedy it might have been, if only it weren't so eager to be ... well, lighthearted and pleasant.

John Cho, Kal Penn, and Rob Corddry in Harold & Kumar Escape from Guantanamo BayHAROLD & KUMAR ESCAPE FROM GUANTANAMO BAY

We've thus far managed to survive without sequels to Citizen Kane and Battleship Potemkin and Intolerance, so I'm not sure the world really needed a follow-up to Harold & Kumar Go to White Castle, 2004's ne plus ultra of gross-out stoner comedies. Yet it's clear that we could've done a helluva lot worse than Harold & Kumar Escape from Guantanamo Bay, a take-a-hit-and-miss effort in which, compared to its forebear, the highs are no higher, the lows are a tad lower, and the intentional stupidity is again tempered with bursts of shockingly subversive wit. As sequels go, it's no Godfather Part II, but it ain't Godfather Part III, either.

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