:p It's a tough feat to top with Pixar's cabinent of blockbusting classics, but Cars does belong, yet it lacks a little finese that the others have.

In basic terms, it lacks a general conflict. The movie is about a car trying to get to a race in time so he can remain the idol he thinks he is. There is no life or death situation or life-changing event that could or does take place.

It does not stop it from having fun, even though it is the slowest, mellowest in the Pixar closet.

:confused: I don't know what the writers were thinking when they created this idea. Wilson must have been in mind for the lead, because if anyone else was even considered, it would have failed miserably. It almost does, but his Dupree's saving grace and charm help it from reaching the lowest of the low.

Nothing happens. If Dupree just got a job and did not spend one night with Dillon and Hudson's characters, there would be no conflict. There basically isn't a conflict to begin with and the Dillon character loses his mind towards to brink of murder and you lose all respect for him and pretty much do not want him to suceed in th end.

There are insignificant subplots involving Michael Douglas and his hatred toward Dillon's character, but it is distracting from why anyone would go to see the movie anyway and that's Wilson's slacker genius that he can pull off in any movie with any role. It's just a matter of time until it doesn't work and it just starts getting annoying.

In this follow-up to the 1981 sequal, Superman Returns manages to reach the sky but without much awe and excitement one wants to see. It does have its moments, like when he saves a tumbling aircraft from crashing into a baseball field, or when he retrieves a sinking cruise ship from submerging.

There is no joy or overall sense of "this is a fun superhero movie, the kind where you can go for a thrill, a laugh and and good ol' time." It takes itself too seriously and people like Kevin Spacey overdue their roles to the point of absurdity. He is obviously having fun with the role, but there is no chemistry with his nemesis. Luther's idea of creating a new continent is not very satisfying, and the overall climax is not built up so you can cheer for the hero the way you would for Batman. Bosworth was also noticablly unimaginative as Lois.

Pirates of the Caribbean: Dead Man's Chest is overloaded with a billion subplots, contains borderline shocking action around corners Disney-raised kids should not stray and is overlong by about a half an hour... This is the least of the films' worries because it accomplishes what any swashbuckling summer blockbuster sets to do and that is to entertain.

Depp manages to stay ahead of the weight of the heavy special effects and two dozen supporting players in reviving his signiture performance. What is so genius about it is that Jack Sparrow is a nasty, shallow pirate who does not deserve to get what he wants, yet we want him to because he is so likeable.