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License to Wed, much like the recent Jennifer Lopez comedy Monster-in-Law, initially establishes itself as a cute (if entirely predictable) romcom and quickly devolves into a grating, nigh unwatchable piece of work. And while stars John Krasinski and Mandy Moore are affable and cute together, screenwriters Kim Barker, Tim Rasmussen, and Vince Di Meglio prove to be entirely incapable of placing the pair into a single situation that feels even remotely authentic. Instead, the scripters offer up a relentless series of distinctly unfunny vignettes revolving primarily around Robin Williams' expectedly over-the-top shenanigans. The inherently flawed premise casts Williams as a deranged reverend who subjects Krasinski's Ben and Moore's Sadie to an intrusive and flat-out absurd marriage preparation course, in which the couple is forced to participate in one eye-rollingly ludicrous exercise after another. That the entire film is essentially predicated on Sadie's insistence on going through with the course - despite the fact that no rational person would ever agree to do so - is certainly License to Wed's most overt failing, and there's consequently never the feeling that these characters could exist anywhere but in an idiotic romantic comedy such as this. That the third act is devoted primarily to the anticipated fake break-up is the least of the movie's problems, as License to Wed ultimately has the dubious distinction of actually being a far more interminable romcom than Moore's previous effort (the intolerable yet comparatively accomplished Because I Said So).

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As lightweight and inoffensive as its premise might've indicated, Night at the Museum is a breezy piece of work that's occasionally weighed down by needless instances of heavy-handed sentimentality. Ben Stiller stars as Larry Daley, a down-on-his-luck single father who's forced to take a job as a museum night watchman to support his son. Problems emerge as it becomes clear that every inanimate item within the museum - including tiny model soldiers and a Stonehenge statue - comes alive at night, and it's up to Larry to ensure that that nothing/nobody escapes the confines of the building. Directed by Shawn Levy, Night at the Museum moves at a relatively brisk pace and features a number of genuinely entertaining set pieces - with Larry's frantic, chaotic first night on the job undoubtedly a highlight. Stiller's expectedly personable performance certainly goes a long way towards keeping things interesting, while it's hard not to find some value in the exceedingly quirky supporting cast (which includes, among others, Ricky Gervais, Owen Wilson, and Steve Coogan). It's a shame, then, that screenwriters Ben Garant and Thomas Lennon have opted to throw in a series of increasingly dramatic interludes, as there's just no denying that such moments come off as entirely needless and flat-out forced (ie unlike certain similarly-themed efforts, the film's more schmaltzy attributes stand out like a sore thumb). Still, Night at the Museum is generally entertaining and it's ultimately difficult not to be drawn into the admittedly out-there storyline.

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Based on John Waters' campy '80s comedy, Hairspray follows a festively plump '60s teen (Nikki Blonsky's Tracy Turnblad) as she successfully tries out for a local TV dance show and consequently takes up the fight for integration. John Travolta co-stars as Tracy's fussy shut-in of a mother, while folks like Amanda Bynes, Christopher Walken, and Michelle Pfeiffer pop up in supporting roles. Stylelessly directed by Adam Shankman, Hairspray is admittedly a lot of fun for a while; the various musical numbers are poppy and energetic, while cinematic newcomer Blonsky delivers a charismatic performance that's occasionally more compelling than the film itself (that Travolta manages to turn his character into a surprisingly sympathetic figure doesn't hurt, either). Screenwriter Leslie Dixon's reliance on individual musical numbers to propel forward the wafer-thin storyline becomes increasingly problematic, however, as there reaches a point at which such sequences start to take on repetitive and superfluous qualities (ie the film's climactic show-stopper just seems to go on forever). And despite the inclusion of a genuinely moving, late-in-the-game cry for racial equality (led by Queen Latifah's Motormouth Maybelle), the relentlessly uneven vibe ultimately ensures that Hairspray is unlikely to win over neophytes (fans of the Broadway musical should be pleased, though).

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Though infused with a number of personable performances and a few genuinely funny bits of comedy, Gray Matters is ultimately unable to sustain the energy and effectiveness of its opening half hour - with the end result a romantic comedy that generally feels like a prolonged episode of a forgettable sitcom. Heather Graham and Thomas Cavanagh star as Gray and Sam, a pair of exceedingly close siblings whose relationship is put to the test after Sam meets (and proposes to) a beautiful zoologist (Bridget Moynahan's Charlie). Complications ensue after Gray realizes that she is also attracted to Charlie, despite the fact that she is not - to the best of her knowledge - a homosexual. First-time filmmaker Sue Kramer initially does a nice job of peppering the proceedings with appropriately light-hearted elements, ensuring that - for a while, anyway - the film's thinly-drawn characters are placed into relatively intriguing situations. Graham's open, likeable performance certainly goes a long way towards allaying some of the more overt deficiencies within Kramer's script, though there does come a point at which the film's increasingly predictable and flat-out silly shenanigans become impossible to overlook. The inclusion of one or two genuinely poignant moments towards the finale - ie a scene that finds Gray slowly realizing the consequences of her newfound sexuality - temporarily elevates things, yet it's ultimately impossible to view Gray Matters as anything other than an amiable misfire.

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Featuring a trio of admittedly impressive performances, Gone nevertheless suffers from an egregiously laid-back pace that ultimately negates its few positive attributes - as one can't help but wish that director Ringan Ledwidge would just get on with it already. The story follows British couple Alex (Shaun Evans) and Sophie (Amelia Warner) as they encounter a mysterious American (Scott Mechlowicz's Taylor) while vacationing in Australia, though it's not long before Taylor's friendly demeanor is replaced by something far more sinister. One of the more overt failings within Andrew Upton and James Watkins' screenplay is their reluctance to genuinely spell out Taylor's malevolent modus operandi, as the character seems to do this sort of thing quite often (judging from his weird and extensive collection of Polaroid photos) - yet, by the time the credits roll, the viewer hasn't the slightest clue as to why he's done the things he's done. That Alex seems uneasy with Taylor right from the get-go certainly doesn't help matters (ie why doesn't he ditch the guy right away), and there's little doubt that the film's various problems are exacerbated by an excessively meandering opening hour. And while the violent third act is undeniably quite thrilling, there's simply no overlooking the painfully deliberate build-up (Mechlowicz does a superb job of stepping into the shoes of a flat-out evil character, though).

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Starring John Cusack and Morgan Freeman, The Contract is a sporadically intriguing yet thoroughly mediocre thriller that never quite manages to shed its straight-to-video status (despite the fact that, presumably, it was shot with an eye towards a theatrical release). Though better acted and more impressive visually than its DTV brethren, the film does suffer from many of the same problems that tend to plague movies of this ilk - including conspicuous gaps in logic, subpar supporting performances, and an overridingly rushed atmosphere. The seemingly foolproof premise revolves around a father and son (Cusack's Ray and Jamie Anderson's Chris) who encounter a handcuffed assassin (Freeman's Frank) while on a fishing trip, and their subsequent efforts to avoid Frank's heavily-armed minions and safely bring him to the authorities. It goes without saying that The Contract works best during scenes in which Freeman and Cusack share the screen, as both actors step into the shoes of their respective characters with expected ease (Freeman is particularly effective as the charming yet strangely pragmatic villain). Problems emerge as screenwriters Stephen Katz and John Darrouzet pepper the proceedings with an inordinate amount of needless subplots and supporting characters, with the Cusack and Freeman storyline increasingly relegated to the sidelines (honestly, who cares about the dirty FBI agent hot on Frank's tail?) The rough-around-the-edges becomes impossible to overlook as the film progresses, and although there are a few admittedly thrilling sequences (ie Cusack's Ray beats a baddie to death with his bare hands), The Contract is ultimately an ineffective and entirely forgettable piece of work.

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Based on the 2001 German film Mostly Martha, No Reservations casts Catherine Zeta-Jones as Kate - a fussy chef whose orderly life is turned upside down after she's forced to take in her dead sister's young daughter (Abigail Breslin's Zoe). Aaron Eckhart co-stars as Kate's rival/love interest, while Patricia Clarkson and Bob Balaban play, respectively, Kate's boss and therapist. There are few surprises to be had within No Reservations - ie if you've seen the trailer, you've pretty much seen the entire film - and yet the movie remains entertaining enough to warrant a mild recommendation. The lack of expected cliches - aside from the dreaded and entirely needless third-act break-up - proves to be refreshing, with Carol Fuchs' screenplay generally eschewing the sort of elements viewers have come to associate with such a premise (ie Zoe isn't portrayed as an obnoxious, resentful brat). The film's episodic structure initially lends the proceedings a light-hearted, breezy vibe, although there does come a point at which the free-wheeling shenanigans take on oppressive qualities - as the viewer starts to long for anything even resembling dramatic conflict. And while it's clear that the movie would've been better off with a more charismatic star in the central role (Zeta-Jones is as stiff and unconvincing as one might've expected), No Reservations is ultimately an amiable piece of work that benefits substantially from Scott Hicks' fluid direction and Eckhart's thoroughly engaging performance.

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Though the quality of The Simpsons has been declining steadily for the past decade or so, The Simpsons Movie generally manages to capture the energy and charm of the show's best moments - ensuring that even the series' most rabid detractors will find something worth embracing here. The film - which revolves around a calamatous event that occurs within Springfield after Dan Castellaneta's Homer pulls an expectedly massive blunder - kicks off with a series of short-but-sweet vignettes in which the various characters engage in enjoyably silly bits of business, including Bart's naked skateboard ride around town and Homer's newfound friendship with an adorable pig. Such antics eventually give way to the film's frenetic central storyline, and while it does possess a number of genuinely compelling moments (including one of the most unabashedly sentimental sequences in the show's history), there's ultimately no denying that the movie fares best in its earlier, more freewheeling scenes. Still, it's impossible not to be won over by the film - it's Simpsons, after all - and the film does a surprisingly effective job of essentially living up to almost two decades worth of expectations (even if it does, at times, just feel like a feature-length episode of the show).

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