James Franco plays the unlikely candidate in the Naval Academy, fighting to make his way through. There is value in his general courage, dedication and kind-heartedness, but its presentation is rocky enough to lose any sense of it. A romantic storyline with a female officer is mildly played but still largely ridiculous and wholly unnecessary. And apparently there’s not enough in the Navel Academy to maintain interest, because Annapolis eventually transforms into an after school boxing movie.

Halestorm remakes Dodgeball but with a church basketball team. Full review.

A should-be-R gagfest of crude jokes and lame references. Like its Scary Movie predecessors, nearly every scene of Date Movie is a allusion to some other film, most of which are chick flicks, but also includes any random thing it can think of. The film’s plot focuses on a storyline most heavily mirroring Hitch, Meet the Parents and Meet the Fockers. But none of its constant references come close to constituting anything resembling actual parody or humor.

Like the first two, Final Destination 3 is a series of violent deaths. This time, a group of recent high school graduates manage to cheat death by getting off a roller coaster at the last second, only to have fate make its way back to them. A B-movie storyline, but oddly entertaining.

Harrison Ford is trapped in a by the numbers plot by Paul Bettany to take his family hostage until he helps Bettany electronically steal money from the bank. Yet another passionless, plotty thriller that has been cranked out by the generic Hollywood playbook. And Harrison Ford is too old to do the Fugitive thing.

Ice Age 2 comes right off the heels of the first with the same characters and a similar tone. The ice age itself, however, has actually come to an end and now our crew of snappy animals must migrate their way onto dry land. Light humor permeates the film, but the end product remains even less memorable than the first.

Albert Brooks writes and directs a warm, well-meaning comedy about himself as a man commissioned by the U.S. government to figure out what Muslims find humorous, with hopes that the information will create cultural bridges. After asking people on the streets of India what makes them laugh, he eventually sets up a comedy concert that inevitably bombs. While there’s light humor sprinkled throughout, including a great deal of self-deprecating humor, we are too often left looking for comedy in Finding Comedy in the Muslim World.

A brightly colored children’s fable about some misbehaved motherless children who eventually warm to a stern new nanny. It’s all creatively constructed, but the story offers little that will engage anyone other than children.

Since the popularization of the documentary as a form of film a few years ago, what used to be called a “concert video” is now a “documentary.” Heart of Gold offers little more than a concert in Nashville, but Young makes up for it with a great performance. The first half is tracks from his album Prairie Wind and the second half gives us some of his oldies but goodies. It sounds great – the soundtrack for this one may be even better than the studio version of Prairie Wind, and I almost always prefer the studio sound. It’s a heck of a good time.

Despite a barrage of excruciatingly unfunny slapstick gags, Steve Martin still manages to pull some good laughes in what amounts to both a homage and a reinvention of Peter Sellers’ Inspector Clouseau.

A conspiracy within the Secret Service instigates a showdown between Michael Douglass and Keifer Sutherland, but ultimately remains shallow, plot-holed. A messy, poorly constructed script keeps The Sentinel far from the 24-esque type of show it seeks to imitate.

A biting, hilarious satire of the smoking industry. Aaron Eckhart is right on target as a suave, shallow spokesman for smokers. Quirky, clever and thoroughly engaging.

A phenominal recreation of the last flight on Sept. 11, 2001. Full review.

The masked V recruits Natalie Portman and the two save England by bombing government properties. Scripted by the Brothers W, the entire film feels like an exposition. A few well-choreographed fight scenes remind us of the film’s graphic novel roots, but while V succeeds in jump starting his revolution, Vendetta remains short of revolutionary.