Superheroes rule this week's releases with iron fist and bespandexed crotch.

The long-gestating sequel to Oliver Stone's 1986 classic Wall Street has arrived, and it's definitely its father's daughter, complete with motorcycles, Charlie Sheen (in cameo) and the Talking Heads on the soundtrack. But the picture it paints of corporate greed has shifted from the anything-goes attitude of the 1980s to the finger-pointing blame game of the 2008 financial crisis, and while it tries to show us how stock prices are just as sensitive to rumor-mongering now as they were then, it doesn't really explain to us what caused the collapse. (I think Josh Brolin did it? Maybe?) Mostly, the old money guys sit around long tables and yell at each other for creating bad debt and bad credit and nobody seems to know where "the bottom" is. There's a bit of a revenge story going on, but it's ultimately not very important, and for the most part the movie just isn't as good as The Other Guys, which managed to be funny, informative and action-packed.

In Wall Street: Money Never Sleeps Michael Douglas returns to the role of disgraced financial guru Gordon Gekko, but he's not the main character. No, our new Charlie Sheen in this scenario is Shia LaBeouf, who plays Gekko's protegé and future son-in-law. It's a role he's become pretty good at -- after all, he was basically Indiana Jones' intern in Kingdom of the Crystal Skull, and he scampered around after Keanu Reeves in Constantine and Will Smith in I, Robot like a little puppy dog. He could have a lucrative career just playing the hero-in-training, which is why we came up with a list of older leading men Shia should shadow in future films.

I love James Franco for balancing out his mainstream movies with smaller projects that are a bit off the beaten path. In Howl, he plays controversial poet Allen Ginsberg, and while the film deals with the famous obscenity trial that was sparked by his eponymous poem, it's not your traditional courtroom drama, and instead it approaches the poem from five very different directions. It's a kind of collage, and the result is a beautiful, artistic interpretation of the poem's popularity, and the life of the man who wrote it.

Taking a relatively simple concept like a movie about a guy in a coffin and turning it into something truly special is no easy feat. From the outside, it sounds tedious, boring and like something I've already seen a million times in Kill Bill 2, Bones, CSI, Alias and a whole host of other movies and shows. But somehow, through a combination of a great script, brilliant directing, tight editing and good acting, Buried is honestly one of the best thrillers I've ever seen.

Claustrophobia is a commonly used tool in a movie director's bag of tricks. Even when the plot doesn't specifically feature tight spaces, the walls of any room can be made to seem like they're pressing in on the film's characters. So when you actually have a plot that revolves around being locked in a wooden box six feet underground, things can get a little hairy, for both the character and the viewer. Buried has the guts to put Ryan Reynolds in a box for the majority of the film, and as such it may hold the claustrophobia crown, but here are some other movies we wouldn't recommend to those who prefer wide-open spaces.

This week, Russell Crowe robs from the fun and gives to the mope.

So Devil came out, and while it wasn't directed by M. Night Shyamalan (Quarantine's John Erick Dowdle had that honor), it was his story idea, and it's part of his "Night Chronicles" series of horror movies. And while, overall, it wasn't a bad little horror flick (really little, like 80 minutes little), it did have a lot of Shyamalan-specific details that really identified him as the driving force behind the film and threatened to derail the whole proceedings.

Sure, Easy A plays fast and loose with the concept of The Scarlet Letter, casting its own lying tween as a modern day Hester Prynne caught in a scandal based on text messages and vlogs, but the other thing this film pays a large homage to is '80s teen comedies, particularly those from the John Hughes canon. In fact, so much love is paid to the movies of that decade that Olive (played by Emma Stone) even wistfully wishes that her life were like Sixteen Candles, The Breakfast Club, Ferris Bueller's Day Off, Say Anything or Can't Buy Me Love. Who can blame a girl who has likely been introduced to Patrick Dempsey as a brain surgeon for crushing on the younger version of him on a riding lawnmower? Or for wanting a Lloyd Dobler instead of the gross boys at her school who willing ply her with Red Lobster gift cards in exchange for faux sexual favors? And really, who doesn't want to party on a parade float with Ferris? But referencing those movies and actually having Easy A be considered a worthy successor to them (like Clueless or Mean Girls, rare films that can hit a believable romantic note about high school without going the raunchier American Pie route) are two completely different things. And while Easy A follows the formula of those retro gems, as I've broken it down below, it doesn't quite reach the high bar it set.

Catfish is a movie that's gotten a lot of people talking over the past year. It had a big Sundance presence, and though it's being fiercely defended by its director and star as an honest documentary, many people who have seen the movie find that very hard to believe. Thus, the controversy. I am one of those doubters, and I really don't think I can review the movie without discussing the events in it, so I'm warning you now: Spoiler Alert. I'm going to talk about what happens in the movie. If you click through, you will read those words, and then you will know what happens before you see the movie. So don't do that and then yell at me in the comments. Do we understand each other? Good.