The Three Stooges and The Cabin in the Woods aren’t your only new options for the weekend – Guy Pearce is hitting the big screen with Lockout, a high-concept thriller about a convict who goes on a suicide mission into space to rescue the president’s daughter from a futuristic Alcatraz-style prison. (Whoa, that was a mouthful.) We’ve gathered a bunch of reactions/reviews from critics to help you decide if this sci-fi ride is right for you.

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Years ago, ScreenCrave contributor Jaime Lopez began tackling Roger Ebert’s “Greatest Films” list, an ever-expanding monolith of celluloid currently comprised of 354 films.   With 254 under his belt and 100 films left to go, Lopez has set himself to put these films’ “Greatness” to the test–reviewing both the movies themselves and Ebert’s response.  Our second film in the series, The Terrorist, explores terrorism through the eyes of a suicide bomber.

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After years of trying to get the project off the ground, the Farrelly Brothers finally bring us their big screen adaptation of the The Three Stooges. The guys responsible for such gross out classics like Dumb and Dumber and There’s Something About Mary attempt to update the classic Stooge act for a modern audience. After a few cringe-worthy, family friendly-trailers, the movie turns out better than previously expected, yet is nothing to brag about.

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Wow. I mean, seriously, WOW. The Cabin in the Woods is unlike any horror film you will ever see, bending not only the horror genre on its totally whacked ear but twisting all kinds of other cinematic techniques as well. From the minds of Joss Whedon and Drew Goddard, it is truly one of the most inventive and ingenious movies to come around in a long time.

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On this week’s ScreenCrave Movie Show Podcast, Michael Benedict and Kit Bowen discuss The Three Stooges–does the reboot of the classic slapstick comedy team work, or fall flat on its face?  Then, Bowen discussed the new horror film The Cabin in the Woods, while Amy and Nancy Harrington take on the Josh Hutcherson vehicle Detention, calling it a cross between Scream, The Breakfast Club, and about a dozen other ’80s and ’90s flicks. Finally, we interview Valerie Weiss, the director of the new indie film Losing Control, about a Harvard scientist searching for “Mr. Right.”

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From the promotional materials it looks like Detention is going to be the typical, scary-guy-in-a-mask horror movie. And in the first few minutes of the flick, the blood certainly spurts. But as the story of awkward teen Riley Jones unfolds, the movie becomes a multi-genre extravaganza. Part horror movie, part teen romance and all a giant nod to ‘90s pop culture. Detention is less gory, gross-out flick than one might expect and more an homage to everything retro from Patrick Swayze to Scream to Deepak Chopra.

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Years ago, ScreenCrave contributor Jaime Lopez privately began tackling Roger Ebert’s “Greatest Films” list, an ever-expanding monolith of celluloid currently comprised of 354 films.   With 254 under his belt and 100 films left to go, Lopez has set himself to put these remaining films’ “Greatness” to the test–reviewing both the movies themselves and Ebert’s response.

This week’s inaugural film essentially destroyed its director’s entire career.  How many movies are responsible for bringing down a director, especially one responsible for five of the greatest films in history of British Cinema?  Peeping Tom (check out Ebert’s original review) is such a film, and views a tormented character raised by a psychologist who pushed the limits of voyeurism for scientific purposes.  The results are dark, as you’ll see after the jump.

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American Pie was a game changer. American Reunion not so much, but it does try. After 13-years, two sequels and a four straight-to-DVD movies, the whole gang is back under the direction of Jon Hurwitz and Hayden Schlossberg, the guys who brought you the Harold & Kumar franchise.  Does it work?  Check out our review of American Reunion below.

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When a book becomes a phenomenon, its film adaptation is all but assured. And though The Hunger Games didn’t hit the ground running as a phenomenon, we’re now at a point where the books are everywhere, and the film is looking at opening to over a hundred million. Thank goodness then that Gary Ross‘s adaptation for the big screen is good – it’s one of the best blockbusters we’ve seen in quite some time. And it’s going to make Jennifer Lawrence into a movie star.

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