The first 'Hangover' made Bradley Cooper, Ed Helms, and especially Zach Galifianakis stars, and it elevated Todd Phillips from middling Hollywood director to name-brand comic auteur. But in the film industry, success that surprising and enormous demands more success; the beast must be fed. But as 'The Hangover Part II' and especially the new 'Hangover Part III' prove, it is very hard to make a good sequel to a truly original idea. 'Part II' went the rehash route, recycling the plot of the first movie so brazenly you almost had to admire its chutzpah. 'Part III' finally breaks with the formula a little (SPOILER ALERT: there is no hangover), but still doesn't produce anything even remotely worthy of the first film.

'Fast and Furious 6' is like 'Fast Five' on nitrous - director Justin Lin hits that proverbial turbo boost to go bigger, faster, stronger - and at times, that is a great thing. But when the NOS runs out, the drag race just turns into a drag.

With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.

It's precisely that quality that 'Peeples' tries to play off of by casting him as Wade, a typically amiable Robinson character whose relationship with Grace (Kerry Washington) hits a snag when she refuses to introduce him to her family, out of fear of her stern father Virgil (David Alan Grier). But c'mon; he's Craig Robinson. How could anyone not like him?

Part of this process can be a search for an undeniable truth and part of it is self-discovery. That's at the heart of 'Stories We Tell,' a remarkable first-person documentary actor/director Sarah Polley made after she dug into some secrets about her own unorthodox upbringing.

After the events chronicled in 'The Avengers,' where Manhattan was nearly leveled by invading aliens and Tony himself was almost killed, he's become obsessed with upgrading his armor -- leaping all the way from the Mark VII to the Mark 42 in a matter of months. When anyone mentions New York or aliens, Tony gets panic attacks. There's a reason Daredevil, not Iron Man, is the Marvel hero known as "The Man Without Fear." Poor Tony is terrified.

It's the kind that is often called out by the 'Runway' judges when they tell the contestants (I'm paraphrasing), "This is too busy. You need to edit. That blue fuzzy hat that looks like a tribble distracts from the gorgeous, ornately sequined dress. The dress is enough. You don't need the tribble hat. Edit."

A Michael Bay movie -- particularly 'Pain & Gain' -- is a sequined dress with a blue tribble hat.

Almost 10 years later, 'Scary Movie 5' still suffers from this debilitating problem. There is absolutely nothing funny about going 'Inception'-style into Christian Grey's S&M room and having Mike Tyson show up. Yet, if you are somehow able to ignore the lowest common denominator pop culture appearances (I hesitate to even call them jokes) there are a great number of truly amusing gags and examples of rapid fire dialogue zings. Put bluntly: when the film is freed from the shackles of its referencing mandate, there's some good, dopey humor in here. Much to my surprise, I laughed out loud a good half-dozen times.

I thought about my grandmother a lot while watching '42,' the new biopic of Jackie Robinson and his quest to break the color barrier in baseball. On an intellectual level, I can tell you a dozen things wrong with the movie, from its excessively preachy dialogue to its bloated length. But on an emotional level, I have to admit that this movie bypassed my brain and grabbed my heart, pulling each and every string contained therein firmly and repeatedly. It's a pretty good tribute to a great man. And when Pee-Wee and Jackie embraced on that field in Cincinnati I cried.

Okay, that's a hyperbolic statement, but when you get in the mindset of the radical left of the 1960s and 1970s you tend to get a little grand in your rhetoric. The Weather Underground, if you don't know, was the anti-Vietnam youth movement so sickened by the US's foreign policy that they felt they had to “bring the war home” with acts of domestic terrorism. In real life, they called ahead to warn of bombs in government buildings – and the only blood they shed was their own during an explosives accident in a Greenwich Village apartment – but for the movies, even one by a bonafide liberal like Robert Redford, it is easy to paint them as people who let their ideals take them too far.

While there are chuckles to be had (I mean, that Cobra Commander helmet is just too incredible to dismiss) there isn't enough whiz-bang in this film to fully deflect the utter lack of a story or absence of intriguing characters. It is, surprisingly, the lesser of the two 'G.I. Joe' films, with Stephen Sommers' 2009 'The Rise of Cobra' featuring much more team spirit, pep and fun.

The Overlook Hotel does something to people. In Stanley Kubrick's 'The Shining,' it drives caretaker Jack Torrance (Jack Nicholson) mad -- turning his writer's block into full-fledged, kill-your-family insanity. In Rodney Ascher's 'Room 237,' six different critics, historians and fans of Kubrick's horror classic share their own theories about -- and obsessions with -- 'The Shining.' All tell much the same story: they saw the movie once. They couldn't get it out of their minds. They watched it again and again. They couldn't stop. They developed elaborate theories to explain the film's mysteries and to uncover its hidden meanings. They were trapped in the Overlook, lost in its hedge maze, searching for some elusive truth. They still can't get out.

The first 25 minutes or so are awful. The uninteresting, darn-near-ugly character designs, dumb jokes and frenetic, boisterous action in lieu of ingenuity or thrills in 'The Croods'' first act is a chore. I was stunned to check my watch and realize how much left I had in the movie. “Man,” I thought to myself, “it's amazing how wretched some of these kids' films can be compared to something like 'Rango.'”

Then the bottom fell out (in a surprisingly literal way) and 'The Croods' transformed. “Man,” I thought to myself, “this is the weirdest, most adventuresome and gorgeous kids' film I've seen since 'Rango.'”