Bullock, McCarthy Mix Havoc with Hysterics in Buddy Cop Comedy 'The Heat'

Sandra Bullock and Melissa McCarthy are both cops, but complete opposites in "The Heat."

Sandra Bullock and Melissa McCarthy are no strangers to generating breakout comedic success stories over the summer months. Back in 2009, Bullock flexed her comedic wit as a stuffy exec who forces Ryan Reynolds into marrying her to avoid deportation in the romantic comedy, The Proposal. Likewise, audiences recall McCarthy from her notably raunchy, over-the-top performance in Bridesmaids.

Paul Feig, who helmed Bridesmaids back in 2011 is back in the directorial saddle for The Heat. In The Heat, Bullock and McCarthy clash as a by-the-books FBI agent and a local detective each assigned by their respective bureaus to bring down a mysterious drug lord in the heart of Boston. Taking few risks from the buddy cop formula that flashes rehash in bright lights, the success of The Heat solely hinges on the chemistry between the two lead actresses.

'Frances Ha' Explores a Clever Comedic Approach to Late Millennial Maturity

Best friends Frances (Greta Gerwig) and Sophie (Mickey Summer) have their ups and down in Frances Ha.

For any twenty-something millennial wavering between clinging to the freedoms of adolescence and assuming the duties of being a responsible adult, Noah Baumbach's (The Squid and the Whale) Frances Ha paves a modern-day odyssey that rides the fine line of being too close for comfort.

Frances (Greta Gerwig) is a 27-year-old dance apprentice, who like many her age haven't accomplished much in her life, let alone catapulted her career as a professional choreographer and dancer. Bouncing from one house to another, Frances is heavily dependent on her friends' charity, but still desires to prove her worth as an independent adult.

Retro 'Shadows' Thrills as a Jagged Supernatural Ride

Director Tim Burton tackles the soap opera drama of Collinswood Manor with his usual crew.

Tim Burton is one of those directors who can’t shake himself out of his comfort zone of being predictable. His past several films all seem to have the same recurring elements, namely the ever-quirky performances of Johnny Depp and Helena Bonham Carter as well as haunting scores from Danny Elfman, which serve as the ideal complement for the consistent dark cinematic themes. To some, the constant repetition of the same collaborators over and over may seem like taking the easy way out, yet we don’t criticize Martin Scorsese and Christopher Nolan for being equally guilty of reusing talent. 

Simply put, Tim Burton retaining his predictable state functions as the best outcome, not only because it has worked time and time again, but we go in knowing exactly what to expect from him as a filmmaker. With Dark Shadows, Burton takes the 1960s supernatural soap opera with the same name and revises years of canon to ultimately match his peculiar style and fit within a constrictive two-hour timeframe. Bogged down in gothic undertones and vengeful tendencies, Dark Shadows is right up Burton’s alley, who alongside Johnny Depp were both fans of the original show.

Babysitting Takes a Wild Ride in 'Sitter'

What started out as an ordinary night quickly became another adventure in babysitting.

I’m almost glad I was never expected to babysit. Kids are more than little handfuls when around their parents, but even greater terrors when grown-ups are nowhere to be seen. Of course, not all kids are like that, but just one little terror is more than enough. In his husky swan song, Jonah Hill deals with not double, but triple the trouble in David Gordon Green’s The Sitter. 

In his typical twenty-something slacker persona, Hill’s character, Noah, is coerced into babysitting his neighbor’s trio of “darling” for what should be a quiet evening. Expectedly, that is not the case when Noah’s girlfriend calls wanting him to pick up some drugs and come to a party and he accepts. With the three kids in tow, what started as a quiet night turns into chaos in New York City.

Reitman, Cody Reteam Again with More Adult Comedy

Some people grow up while are still the self-serving witches that you hated in high school.

It’s an unfortunate truth that growing up is simply just another part of life. Sure, you’d love to freeze time and stay in that 18-year-old body without a care in the world and idolized in high school or college for some shallow reason. Things change. 

And for author Mavis Gary, she still hasn’t grown up and she’s well into her mid thirties. Charlize Theron (Monster) plays Gary in Young Adult, directed by the quite talented Jason Reitman and written by Diablo Cody. After nearly twenty years since graduation, Mavis returns home with one thing on her mind – getting back together with her old high school flame (Patrick Wilson), even if that means being a downright home wrecker.

'Jack and Jill' Fails to Conjure Up Twin Magic

That's Adam Sandler...and Adam Sandler and that's more than one too many.

We all have relatives that get on our nerves, but there is a fine line between tolerating someone for their annoyances and having that sudden urge to lock oneself in the room when it’s time for that holiday get-together. Take Jack (Adam Sandler), a commercial director who knows that a peaceful Thanksgiving with his wife Katie Holmes and two children is out of the question.  

Dreading the arrival of his awkward, unattractive and needy twin sister, Jill (also played by Sandler), Jack manages every possible solution to ensure the holidays don’t go up in flames. But what was initially intended to be a quick Thanksgiving stay, extends longer than expected, through Hanukkah and New Years, aggravating Jack to no end.

Stiller, Murphy Recharge Careers in Comedic Heist

Comedy legends and newcomers devise a plan to steal from a Wall Street big wig.

If Ocean had his eleven and managed to steal from multiple Las Vegas casinos, Ben Stiller can certainly put a team together and wipe out one million dollar penthouse and its crooked resident.  

In Tower Heist, residents and employees of The Tower, a high-rise apartment complex in the heart of New York, put their financial faith in Wall Street big shot, Arthur Shaw, who lives in the top floor penthouse with a luxurious $100 bill-themed rooftop pool. When Shaw defrauds the other residents and workers, Ben Stiller, the building manager, organizes a multi-million dollar heist with payback in mind.