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[jwplayer config=”Default-Post-Player” mediaid=”6210″] Zoe Saldana, Michael Vartan, Callum Blue; directed [...]

Coming off of The Social Network, Jesse Eisenberg slides way down the food chain. He plays a pizza driver caught up in a murder plot hatched by the nincompoop son of a lottery winner (Danny McBride) who wants to live the American dream of opening a tanning store that doubles as a brothel. To pay for a professional hit, his accomplice locks a bomb vest on the pizza boy's body to force him to rob a bank, which drags in a friendly teacher

Buck, about whom Cindy Meehl has made the eponymous documentary, is the original horse whisperer, the one on whom the book was based and the Robert Redford film made. Redford himself makes an appearance in the film describing how his first reaction on seeing the lanky man with the ten-gallon hat and the fringed outfit was “Oh,boy!” and how he soon realized what an impressive human being he was dealing with. That’s Buck.

You know someone is bad when news of their death, no matter how early or how gory, causes you to, if not actually rejoice (we’re too civilized for that) at least breathe lighter as if some evil force had finally been vanquished. Does this sound too melodramatic? Then it applies perfectly to Uday Hussein, son of infamous Iraqi dictator Saddam Hussein who was killed along with his brother Qusay at the beginning of the U.S.-led invasion, to most people’s relief.

We’ve reached a crisis point in the American comedy: why can’t Jason Bateman get promoted or laid?

This summer's comedies are stocked with middle-aged men who dream of having sex but never do. That’s a healthy sign for marriage, I suppose. But if you’re a married dad who secretly wishes he could spread the seed again, do you want to spend $10 to go watch a movie about another guy who can’t, either?

The Caller is a very cool indie film coming out on August 26 which should assuredly scare the pants off you. Finally a thriller which borders on the horror genre but with a plot which you can sink your teeth in (and almost nothing in the way of gore or blood). Mary, a recently divorced young woman (Rachelle Lefevre) moves into an apartment which still seems inhabited by its former