You know you are watching a movie when the sexy, sassy, smart, smoking hot redhead is complaining that no one pays attention to her. That redhead would be Emma Stone, the only woman who might be able to steal my heart from Blake Lively.

Stone stars as Olive, the girl who doesn’t get any attention. However, all of that changes when she fibs to her best pal, Rhiannon (Aly “Go Hellcats!” Mischalka). Instead of admitting she had a boring weekend doing nothing, Olive makes up a story that she had a date with a college dude, and they went all the way.
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Of all of the movies in 3D these days, 20th Century Fox couldn’t find a way to make the runaway trains screaming down the tracks to their inevitable, explosive doom jump off the screen in 3D?!!

Who cares about seeing the Smurfs of Avatar in 3D? This would have been a perfect use of it.
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If you want to see an enthralling movie about business in the 21st century, forget about that stinker Wall Street: Money Never Sleeps (I have been trying to since I saw the movie). Oliver Stone should have been paying attention to The Social Network to see how to deliver sizzle, intrigue and drama.
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With 2007′s Gone Baby Gone, Ben Affleck showed great promise as a director. With The Town, he solidifies his status as a filmmaker worth following. Once again returning to the streets of his native Boston, Affleck has fashioned another gritty, compelling crime thriller that offers equal parts excitement and substance.

Except for the tacked-on ending (which compromises about 60 seconds out of a 124-minute feature), he also shows a willingness to go against traditional Hollywood formula, to go where the story demands rather than to where the audience feels safest. That’s the mark of ambition, and also what makes The Town so totally engrossing.
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It is often said that half the job of directing is getting the casting right. Filmmaker Jay Roach has shown a stunning facility for putting the right actors into the right comedy vehicles, ingeniously throwing Ben Stiller’s wonderful awkwardness against Robert De Niro’s brusque bluster in Meet The Parents and Meet The Fockers, and working with Mike Myers on the seminal Austin Powers films. He gets the mix absolutely right once again with Dinner For Schmucks, a winning comedy which walks a fine line between wit and silliness, cruelty and warmth, and absurdity and humanism.
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