The movie is a romantic comedy about Kutcher (Jack Fuller) and Diaz (Joy McNally) and their impromptu trips to Vegas to forget their troubles. However, the snag in the story forms when Kutcher and Diaz wake up married after a long night on the town.

Predictably, the judge in the movie (presiding over their divorce trial) forces the two to live together for six months in order to try to make the marriage work. Of course, the two are polar opposites and from there they leap into a series of quarrels ending with their inevitable confession of love.

While the film was better than expected - albeit with very low expectations - there won’t be any Oscars awarded for this performance. Sadly, at times the script seems like it was written by Kutcher. That, coupled with some unfortunate cameos like “Dr.” Queen Latifah and Dennis Miller, further harmed the movie. The one bright spot in the casting came in the form of Rob Corddry, Kutcher’s friend/lawyer. In a limited role, Corddry at least makes a dent on the poor humor that Kutcher inflicts on the film.

As a whole, “What Happens in Vegas” is one of those movies that should only be watched once its found its way to TBS and USA - in other words, you’ll probably regret it if you pay to see it. With all that said though, there were a couple humorous parts and Diaz is easy on the eyes, so it could be worse.

Miss Pettigrew is a penniless governess, looking for work after being fired by her drunken employer. Through a conniving and desperate act at the placement agency, she finds herself in the company of Delysia Lafosse (Amy Adams), an up-and-coming singer and actress with dreams of stardom. As Delysia’s social secretary, Miss Pettigrew finds herself fully immersed in the mixed-up world of show business, helping Delysia juggle relationships with three different men as she tries to make the connections she’ll need to make it to the top. Meanwhile, Europe is growing ever closer to an outbreak of hostilities as World War II looms on the horizon.

Can Miss Pettigrew help Delysia make the right decisions and get her own life back on track, all in the course of one day? That’s the question this film answers.

This is a wonderful movie; witty, perfectly timed, and covering the full range of emotion. Amy Adams is brilliant in the role of Delysia, a naïve young woman struggling to choose between relationships of convenience and actual love. Ciarán Hinds is excellent as Joe, a kind-hearted man hoping to return to the simpler pleasures of life. Frances McDormand brings Miss Pettigrew to life as no one else can and is nothing short of dazzling in the role.

This movie is well planned and executed on all fronts. In addition to a fine cast of actors, the art direction, photography and costuming are all amazing, transporting audiences back to prewar London, just as it was. The jazz soundtrack is mesmerizing, often ushering the action from one scene to the next. The script is beyond well written, reminiscent of the classic screwball comedies of the 1940s and 1950s. If you are looking for a truly entertaining movie, “Miss Pettigrew Lives For A Day” has what you’re looking for. 

Rainn Wilson simply regurgitates his character Dwight from “The Office” into the role of Fish, an ill-informed, well-intentioned buffoon who has fame and fortune stripped away during his prime as an ‘80s drummer. The film fast-forwards to the present where his old band has reached rock stardom on par with The Stones while Fish works as a low-level call technician. Rainn’s character never matures to the fact that life dealt him a bad hand, and a series of events compel him back to the drummer’s chair for his nephew’s band.

The second and third act follow a “School of Rock” formula with comedy that is simply brutal to endure. This is no surprise considering the writers, Maya Forbes and Wally Wolodarsky, previous credits include the HBO series, “The Larry Sanders Show” and “The Tracy Ullman Show.”

Though you have seen this movie countless times in different formats, “The Rocker” almost wins you over by centering the plot on the music and hiring a supporting cast with genuine talent. “Tomorrow Never Comes” and “Bitter,” the two Chad Fischer singles showcased throughout the film could easily find their way to Billboard’s Top Ten.

Ultimately, you almost forgive the film for lacking in originality because Rainn Wilson appears so well-suited for his occupation as a fool, and because those tunes are just so darn catchy.

Quaid plays Lawrence Wetherhold, a widowed college professor who is attempting to raise his teenage daughter and college-age son alone. He doesn’t seem to really care about anyone or anything. When he injures himself by jumping a fence to retrieve something in his car after being towed, he lands in the hospital. This is where his meets up with his former student, now an ER doctor, played by Parker.

Since Lawrence had a trauma-induced seizure while in the hospital, the doctor informs him that he can’t drive for six months. Lawrence’s adopted brother (played by Thomas Haden Church, who played Lowell Mather on “Wings”), who usually only comes around when he needs money, offers to drive Lawrence around so that he can have a place to stay after loosing his apartment.

All of that sets the setting for a movie that has potential, but falls flat.

Page plays Vanessa, Lawrence’s teenage daughter who has taken over the motherly duties since her mother passed away. She has the same dry sense of humor as she did in “Juno,” but only cares about making good grades and getting accepted to the college of her choice.

Page’s character, along with Church’s, are really the only entertaining aspects of the movie.

In one scene, when Vanessa’s brother insults her by calling her the ‘perfect little housewife,’ her response is: “Oh yes, if by perfect you mean not retarded, slash suffering from insurmountable credit card debt, then yes, I am perfect.”

But those little comedic instances are rare.

Quaid’s character is depressing, and even Parker can’t save this one. Her character’s interest in Lawrence flip-flops, and there never seems to be an explination. There are a few moments, mostly between Page and Parker, when she shines, but Quaid mostly brings her down.

The movie starts on a high note. Lawrence is just plain mean, and it is entertaining at first. And the first few scenes with Page and Parker are entertaining, especially their first meeting over the phone in which they already have distain for one another. But Lawrence’s meaness just gets depressing and Page and Parker just kinda fizzle out with the rest of the movie.

By the end of the movie, I didn’t really care what happened to any of the characters, and was mostly bored. Even after Lawrence attempts to reconnect with his children, the attempt offers no emotion. In other words, avoid this one if possible.

Sardonic comedian, Lewis Black, is back with his seventh CD, the follow-up to last year’s Grammy winner, “The Carnegie Hall Performance.” “Anticipation” displays Black at his finest - griping about the state of the Union, but also reveling in a few of his awkward personal moments. Stretching a little over 50 minutes, the album is enjoyable from beginning to end and is bound to keep you laughing the entire time. Fans of Black’s other work will find the album less political than his normal shtick, but perhaps more enjoyable and far more timeless.

With his 25th studio album, creepy shock rocker Alice Cooper has crafted a concept album about a serial killer named Spider, a reoccurring character which some of his diehard fans may recognize from some of his earlier material. And while it’s more common to see Cooper on the golf links these days, Cooper still knows the recipe for the macabre. Many times the album feels forced, but the kitsch factor is pretty expected with a Cooper record, so it’s pretty easy to excuse. Listen for some guest performances by Slash and vocals by an aging Ozzy.

Although surprisingly violent, this movie does basically what it promises to do, and little else.  That assurance is what’s made so many Apatow fans in the last few years—you get what you pay for, and you get what you want. Those seeking any political commentary on the legalization of marijuana will find little to support their claim. Those seeking artistic satire of the buddy cop on the run genre will find the same. But those looking for maybe the strangest and funniest comedy of the summer are hardly going to be disappointed. 

The story of a presidential election that hinges on the vote of one guy does have its moments of hilarity. It works best when the two contenders are one-upping each other, contradicting themselves and their parties in saying whatever it takes to win over this one average Joe. Mixed signals make the Republican proclaim his rainbow flag-waving support for gay marriage; meanwhile, the Democrat finds himself opposing abortion in a truly twisted TV ad.

But by the end, it turns painfully serious - and it takes itself too seriously - with swelling music and heavy-handed preaching to drive home some pretty obvious points.

Kevin Costner produces and stars as Bud Johnson, a scruffy single dad who just got fired and is too drunk to remember to vote. His 12-year-old daughter, Molly (the tremendously poised Madeline Carroll), is wise beyond her years and keeps things functioning at the family trailer in dusty Texico, N.M. It’s “Paper Moon” all over again - or at least it’s trying to be.
Molly also tries to cast her father’s vote for president, but because of a machine malfunction, it doesn’t count. With a nod to Florida in 2000, the election is so tight, Bu’’s vote becomes the one that will decide the presidency. This turns him into an instant celebrity - and sets up some amusing satire of the insatiable 24-hour news cycle. (Larry King, Arianna Huffington, Bill Maher and James Carville are among the pundits who show up in cameos.)

Kelsey Grammer co-stars as the Republican incumbent, Andrew Boone; Stanley Tucci plays the slick, ruthless mastermind behind Boone’s campaign. Meanwhile, Dennis Hopper is an inspired choice to play the Democratic challenger, with Nathan Lane as his campaign manager, a guy who’s desperate to win after a career of losing.

Despite the movie’s obvious leanings to the left, director Joshua Michael Stern and co-writer Jason Richman deserve some credit for making the Republican president a decent, sympathetic figure and not a total buffoon. Grammer’s character is out of touch but well-intentioned, though some glimmers of his diabolical Sideshow Bob voice from “The Simpsons”” do peek through now and again.

“I’m just an ordinary man - the kind of guy you could sit down and have a beer with,” President Boone insists to Bud while wooing him on Air Force One. On the other side, Hopper’s limousine liberal, Donald Greenleaf, sips red wine at a hoe-down thrown in Bud’s honor and pretends to share his enthusiasm for fishing.

If nothing else, “Swing Vote” is equal opportunity in its skewering.

But it also glosses over some important issues - lack of adequate health care, illegal immigration, the plight of the working poor - in quick and treacly fashion. And a third-act appearance by Molly’s druggy, absent mom (Mare Winningham) comes out of nowhere and really tweaks the film’s tone.

Costner, meanwhile, is essentially the same guy he’s made a career of playing. He’s a rumpled, selfish, washed-up former athlete (this time, the sport is football), but you know a kind heart will emerge eventually.

It seems fitting that before he got fired, Bud worked as an inspector at an egg factory. He’s got a yolky, gooey center, too.

Bill is a middle-aged man who finds that life is falling apart around him and struggles frantically to set it on a different course. He is flanked by a witty and precocious youth (Logan Lerman) who intends to assist him in that effort. Lerman (“The Patriot,” “The Butterfly Effect”) is impressive as a major character in the film who’s mischief and ambition can only be matched by the likes of Ferris Bueller.

Jessica Alba, as Lucy, blesses the screen with her presence and beautiful smile as Lerman’s friend and love interest.
If we were to ignore the fact that Bill is middle-aged, “Meet Bill” would be fitting as a coming-age-story as Bill atempts to become more independent from his family. The insecurity the he faces implies more of a mid-life crisis. Thus, I would describe “Meet Bill” as a coming-of-middle-age tale of a regular guy trying to find his way.

On his journey, Directors Bernie Goldman and Melissa Wollack, entertain with sarcastic dialogue and sticky situations that can keep you chuckling even as you wonder what is going to happen next.

While you may not guffaw at any quirky exaggerated characters, the clever script and plot makes this film worthwhile.
If you are looking for a spicy, yet more refined, comedy I would suggest that you “Meet Bill.”

Standout Tracks: “1,000,000,” “Discipline,” “Echoplex”

Following the instrumental “Ghosts I-IV,” “The Slip” marks the second Nine Inch Nails release of 2008.

Initially released for free a month ago on the NIN Web site, “The Slip” is now available for sale in stores.

In the increasingly popular Blitzkrieg release style, Trent Reznor dropped this one on the masses with only two weeks notice, and urged his fans to share and remix the album. And while the album is vastly different from anything Reznor put out on Interscope, it remains a polished, 10-track meat-and-potatoes album that won’t bother die hard fans one bit.

As 40-year-olds who’ve never left home and are forced to share a bedroom when their parents get married, Ferrell and Reilly are stuck in the same state of arrested development. There’s no odd-couple tension, no witty banter, just a prolonged, painfully unfunny game of one-upmanship in which each actor is trying to outdo the other in one-note obnoxiousness. You wouldn’t want to spend two hours with one of these guys, much less both.

The humorously awkward chemistry these actors shared as teammates in “Talladega Nights: The Ballad of Ricky Bobby” is long gone, because the script makes no room for it. And that’s strange, because Ferrell co-wrote the screenplay with his old friend, director Adam McKay, with whom he collaborated on the NASCAR comedy.

Watching “Step Brothers,” though, it doesn’t take long to realize that their creative process consisted of sitting around, cracking each other up with adolescent gags, and then writing it all down. Whether the rest of the world will be doubled over with laughter seems irrelevant — and that insularity is ultimately alienating.

Many of the jokes are of the broad, physical variety and seemingly aimed at the lowest common denominator. It’s not that any of this stuff is offensive, it’s just hackneyed and flat.

Christina Ricci leads the movie playing its name sake, the stoic and self-assured aristocrat, who is plagued by a family curse. According to legend, her great great great grandfather snubbed the servant girl he loved and the girl’s mother, a witch, curses the daughters of the family. The first female child to be born would bear the face of a pig, and live out her life with this ghastly appearance until, and only until, she is accepted by one of her own kind.

What is obvious to the audience, and completely unknown to the characters, is that Christina Ricci makes the most adorable piggy you’ve ever seen. In fact, her nose is cute and symmetrical, complimenting Ricci’s round doll like face even more than her real nose.

The theme of the movie seems to be one of acceptance, but with a “monster” (as she’s referred to over and over again) that you’d rather like to cuddle, the message falls short.

The film is styled a lot like a Tim Burton film, spooky shadows and candy colors, but never goes far enough to get you immersed in that whimsical fantasy world. The same goes for the narration, direction, scenery, and script. It almost seems like its kids movie pot luck night, where a dash of this and a dab of that thrown in, all with the hope that it will come through as a charming parable about modern life.

But nothing sticks out too horribly, which precisely seems to be the problem.