Much Ado About Nothing is Joss Whedon and William Shakespeare at their finest, and is certainly one of the most delightful films I have seen this year. Evoking the very best of a 40s screwball comedy, the entirely black-and-white picture has a superb mix of elegance and entertainment that will please all moviegoers, not just Elizabethan (and Whedon) fans. The film crackles with a palpable energy that draws you in to its hijinks and effortlessly makes you feel a part of the romance and drama.

From the start it is clear that this is not a typical modernization of Shakespeare. Whedon uses silence and body language to great effect so that we know the disappointing and hurtful past that lingers over the sharp-tongued Beatrice (Amy Acker) and smug Benedict (Alexis Denisof) before either even speaks. In truth the pair is too stubborn and snarky to admit any fondness for each other and so their friends conspire to bring them into “a mountain of affection.”

This witty, simmering love is contrasted by the young, innocent love shared by Hero (Jillian Morgese) and Claudio (Fran Kranz). Their impending nuptials are threatened by the villainous Don John (Sean Maher), who is played with the perfect blend of treachery and sexiness by Maher. Don John wants to wound the lovers but also destroy Hero’s father Leonato (Clark Gregg), who is hosting everyone at his manor home.

Friends with Kids is one of those high concept romantic comedies that posits a Big Life Question—in this case: can a couple have a baby together and keep the romance?—and then spends the next 90 minutes trying to answer it. Think of it as the No Strings Attached—can friends sleep together without emotional complications?—of the ticking biological clock set.

Julie (Jennifer Westfeldt, best known for 2002’s Kissing Jessica Stein) and Jason (Adam Scott) are good college friends who live on different floors of the same apartment building on Riverside Drive. They watch in alarm as their coupled friends Leslie and Alex (Maya Rudolph and Chris O’Dowd) and Missy and Ben (Kristen Wiig and Jon Hamm, Westerfeldt’s real-life partner) conceive and bear children, and proceed to ruin their lives and relationships. At every point the parents are haggard, distraught and argumentative. Fathers are irresponsible and immature. Mothers depressed and resentful. Their looks are sunk. So are their libidos and marriages.

Julie and Jason vow the same will not happen to them, whenever they should each happen to find the mate of their dreams. Problem is: Julie’s not getting younger. There’s no man in sight and she wants a baby. So Jason, a commitment-phobe who’s known for never sleeping with the same woman for longer than a week, hatches a plan, the kind of conceit they come up with in movies and then build the next two acts on, even though it wouldn’t fly for five seconds in real life: he and Julie will have a baby together, totally without ties. Just as parenting partners. Call it Parents Without Benefits.

The latest release from WWE Studios, Legendary stars WWE star and corporate mascot John Cena alongside Patricia Clarkson, Devon Graye and Danny Glover in the most heartfelt film the company has been a part of. Devon plays the role of Cal Chetley, a target for bullies in his small Oklahoma town, who lives with his mother Sharon (Clarkson).

Against his mother’s wishes, Cal decides to join the high school wrestling team despite his small stature as a way to reconnect with the father he barely knew and the brother Mike (Cena) he has rarely seen in the past ten years. Down on his luck and filled with self-loathing, Mike reluctantly begins to train his brother in the ways that made him a championship wrestler which ultimately helps bridge the gap between the two.

It’s hard to hear the premise of Legendary and not begin to see correlations to Rudy. An undersized kid trying to make it in a sport based on physical superiority and muscle mass that only has his heart helping push him forward. Thankfully, WWE Studios pushed past a story just about high school wrestling and added a layer to Cal Chetley and his new obsession.

As a result, there is a lot of emotion behind everything happening that doesn’t feel like a Rudy ripoff. This young man didn’t always dream of being a high school championship wrestler. He just sees it as a way to connect to a past and a family that is so far away from him.

The relationship between older brother Mike and mother Sharon is also incredibly well done. The few times they are on screen together is incredibly uncomfortable as Sharon appears to be in physical pain from being in front of a son that has chosen to stay out of her life for so many years that she never forgave for something that wasn’t even his fault. The deeply conflicted Mike also has some great scenes when he is apart from his family that show just how much his grief has consumed his life.

The Disappearance of Alice Creed is a twisty, provocative British thriller featuring a breakout performance from Gemma Arterton. You may have caught her in the recent popcorn flicks Prince of Persia or Clash of the Titans, two movies in which she is largely relegated to arm candy for the leading men.

It is refreshing to see the sultry actress show us the  range of her acting prowess. As Alice Creed, she gives a gritty, brave performance  that you won’t soon forget.

The film begins with two men meticulously preparing a room to serve as a temporary housing for a kidnapping victim.  It seems that every tiny detail has been addressed.  The room is soundproofed and padded, the bed is bolted to the floor, and the room has been stripped bare of anything that could be used as weaponry.

The two men don masks and drive an outfitted van to their victim, a one Alice Creed.  Soon, she is shackled to the bed and stripped naked.  It’s a difficult scene to watch, and horribly degrading.

It would be very easy to write off the movie at this early juncture as being yet another torture-porn genre film, but don’t be so quick to judge.  That graphic and frightening scene sets up some interesting plot points for later, and makes better sense after you have the context  of the whole movie behind it.

Fortunately, it is quickly apparent that the men have no interest in Alice sexually.  They cloth her in a jogging suit they provide, and don’t seem to have much interest in actually harming her.  Instead, they want to extort some money from her wealthy father, by making him pay a kidnap ransom.

Given the current spate of advances in genetic engineering, Splice seems eerily prescient. After all, we have already seen the rapid evolution of cloning. Supermarkets now carry cloned produce, and mammals are routinely and successfully cloned as well. Is it really unreasonable to assume we will see a human-animal hybrid in our lifetime? Who’s to say one doesn’t already exist?

It is hard to believe that director Vincenzo Natali (Cube) first conceived the idea for Splice almost 15 years ago, all because he was intrigued by the shocking image of the Vacanti mouse, that little white mouse that had a human ear growing out of its back. The result is this chilling sci-fi/horror hybrid that is teeming with the ethical and moral implications of genetic research.

Elsa (Sarah Polley, The Sweet Hereafter) and Clive (Adrien Brody, The Pianist) are gifted young genetic bio-engineers, who have successfully spliced the genetic material of different animals into a hybrid. A pharmaceutical company has sponsored them, in the hopes of developing new medications.

Frustrated, Elsa chomps at the bit to add a little human DNA to the next experiment, but the company shoots her down, deeming it too risky, not to mention illegal.

For director Noah Baumbach, polarizing audiences is nothing new. While many find his films (Margot at the Wedding, The Squid and the Whale) well constructed, a common complaint is that they are depressing, and the characters are too unlikable. The fact that Baumbach’s movies elicit such strong reactions from audience members means he is doing something right. The guy is damn good at peeling back the layers and exposing the not-so- pretty underbelly of human nature.

If you go expecting a light-hearted comedy, you will undoubtedly be disappointed, but Greenberg is one of the finest character studies I’ve witnessed. Ben Stiller plays Roger Greenberg, a caustic, neurotic, insecure, and bitter 40-something who has just gotten out of a stint in a mental hospital. He travels to California to house-sit for his wealthy brother, and is given instructions as well as the phone number of his brother’s personal assistant, Florence (Greta Gerwig).

Far lost are the “classic” horror movies where you actually cheer for the protagonist. These days, with films like A Haunting in Connecticut or the Uninvited, not only do you not root for the main character being tormented, in some cases, you’re rooting for their death. We don’t get the typical strong hero like Nancy from Nightmare on Elm Street. These days its all about killing nameless teens, which is fine, but something fresh is always welcome. That’s exactly what Sam Raimi brings to the table with Drag me to Hell.

From the moment the last trailer hits, you get treated to a classic horror movie experience, starting with the classic Universal Pictures animation, going all the way through this thrill ride of horror and comedy. This is the type of film that begs to be seen in a drive in theater, or in my case, at midnight showing full of other fanboys. Many critics are calling this film the fourth film in the Evil Dead series, and they are all 100% correct. If you replace “spooky cabin in the woods” with “evil gypsy”, this could very easily be in the same universe, if not the same timeline.