I may be in the minority here but I don’t find Sacha Baron Cohen all that funny. His previous films including Bruno and Borat, did little for me and seemed pretty one-note.

However, my feelings on the subject don’t seem to prevent Cohen from getting more work. He’s currently filming Quentin Taratntino’s Django Unchained as one of the cast and also has his latest writing/starring effort The Dictator hitting theaters soon.

To get you ready fo the film’s release, We’ve got the first scene from The Dictator to share with you today. In it we get a good look at just who Cohen’s character, the evil but misunderstood General Aladeen, is.

Check it out after the break. Look for The Dictator in theaters on May 16.

You already know the premise: A jilted/disillusioned–with-love-20/30-something revisits his/her past lovers to understand why he/she can’t find love, and finally realizes that her true love has been right there all along, in one form or another.

In this case, the Disillusionee is Ally Darling (Anna Faris), a recently-fired-then-slept-with-her-boss 20/30-something who reads a magazine article that says women who’ve slept with over 20 partners tend to not find true love. Ally is at number 19. Fearful of the consequences, she makes the decision that the next new guy she sleeps with will be the guy she marries. She also decides to seek out her former boyfriends/casual hookups, hoping to reignite some of the past’s embers and hence keep her number at 19.

There’s more than a passing similarity to High Fidelity in the premise and also in the choice to have several notable comedians—Andy Samberg, Parks and Rec’s (and Faris’s real-life husband) Chris Pratt, the BBCOffice’s Martin Freeman, Zachary Quinto (not so much a comedian, but hey)—and the perfect guy who’s been there all along is her next-door neighbor Colin (Captain America’s Chris Evans).

If Ferris Bueller’s Day Off got really drunk and fell into bed with Less Than Zero, their fetal-alcohol-syndrome-afflicted offspring might be Take Me Home Tonight, a movie that aims to be to the 80s what Dazed and Confused was to the 70s. And after all, it’s high time: Michael Douglas has already revisited Wall Street.

Take Me Home Tonight takes place in LA and Beverly Hills and hits all the era’s tags—RayBans, pastel popped-collar polos, pushed-up jacket sleeves, Preppie bow ties vs. New Wave skinny ties, frizzbomb perms for girls and spiked mullets or Gordon Gecko mousse-backs for guys, video stores, red sports cars, cocaine, wild house parties, evil bankers, and, of course, a sinister and sexually perverted fat German businessman in shoulder-padded black leather. Wouldn’t be an 80s movie without one of those.

The story, one of those “guy grows up in the course of one wild and crazy night” deals, hits all the plot buttons too. Our too-straight hero manages to finally bust loose and somehow to fulfill both his parents’ expectations and the anarchic instincts of the loser sociopathic guy who’s inexplicably his best friend. It goes without saying that he gets the girl too.

There are fibs and other deceptions, grand theft auto, cocaine abuse, dance-offs, police encounters, light sadomasochism, youthful irresponsibility and more. It’s all pretty silly and not to be taken seriously. There are absolutely no consequences for stealing the expensive sports car, bankers are prima facie arrogant and evil, and the moment of  moral triumph comes when Tori decides to quit her banking job, because, of course, she hates it. Believe me, I’m no fan of the banking industry (see last paragraphs), but most of these ideas are simply juvenile.

Let’s face it, there’s no good press coming out of the upcoming Warner Bros. live-action reboot of the classic Hannah Barbara cartoon Yogi Bear. Not even the Social Network-ing skills of Justin Timberlake or the comedic timing of Dan Aykroyd can help this film, as it was pretty much doomed from the get-go.

That was, however, until we saw a brand new alternate ending made by animator Edmund Earle and a few of his friends in their spare time. This is most definitely not made for the same audience that the film was made for, as it takes it’s cues from the ending of The Assassination of Jesse James by the Coward Robert Ford.

Earle and his cohorts want people to know that this has absolutely no association with Warner Brothers, the producers, or the talent involved in the Yogi Bear film. But that doesn’t mean it isn’t awesome.

Check out the full video after the jump and remember, no animated bears were harmed in the filming of this ending.

There’s a pretty fine line to walk when it comes to remaking a classic. Sometimes the studio gets it right and stays as true to the original as possible, and sometimes we get Cedric the Entertainer’s Honeymooners. Thankfully, the live action Yogi Bear film falls under the umbrella of the former.

If the film is nothing else, it deserves an award for voice directing. Both Dan Aykroyd and Justin Timberlake lend their voices for the film, and you really couldn’t tell unless you were told, which is exactly how it should be.

Joining the cast is Tom Cavanagh as Ranger Smith, Anna Faris, and after an astounding audition with a live bear, T.J Miller was worked into the script as Ranger Jones.

The trailer looks like it could do the franchise justice, or at the very least, do better than the upcoming Smurfs film. And yes, the film will be in 3D, as if there was any doubt.

Check out the trailer after the jump and catch Yogi Bear in theaters and in 3D on December 17.

Don’t be so quick to write this movie off as conventional kiddie-fare. Smart, beautiful and prescient, Cloudy With a Chance of Meatballs is bound to become an animated classic. It tackles the timely topic of obesity and our insatiable appetite for consumption with grace and wit. The story is adapted from the children’s book of the same title that was originally published in 1978.

Flint (Bill Hader)  has been an aspiring inventor his entire life. More often than not, his whimsical inventions go awry, irritating the put-upon inhabitants of Swallow Falls. They have plenty to be irritable about, as they subsist mainly on sardines,  the town’s only claim to fame. They understandingly don’t embrace his rat/bird hybrid or other misbegotten inventions. Flint’s father (James Caan), a fisherman, is disgusted that his son doesn’t fall in step and help run his tackle shop. He can’t express himself without using fishing metaphors, and his eyes are hidden behind a bushy unibrow.