If you ever want to see a group of jaded movie journalists get truly starstruck, stick them in a room with a filmmaking legend like New York's own Woody Allen. The writer/director/actor/nerd icon was front and center at a recent press conference for his latest film To Rome With Love, and despite being flanked by some of the movie's big-name stars (among them Alec Baldwin, Penélope Cruz and Ellen Page) all of our eyes -- and most of our questions -- were directed at him. Here's what Allen had to say about working in Italy's lovely capital, acting on camera and why he rarely makes movies in his native city anymore:

Paul Rudd and Jennifer Aniston have a lust for wandering.

A musical scored to the head-banging, power-chord wailing hair rock tunes of the '70s and '80s may sound like the final nail in the coffin of Western civilization, but from most eyewitness accounts, the Broadway musical Rock of Ages is a silly, enjoyable lark -- a show that has a lot of love for its specific brand of rock 'n' roll but doesn't take it particularly seriously. It's easy to see how this material would play well onstage, where the audience can feed off the energy of the performers and unapologetically rock out to these cheesy classics like they're in an actual nightclub as opposed to a theater. But I'm sorry to report that the new movie version of Rock of Ages has all the energy and electricity of a lite-FM radio station's noontime "Smooth Jazz" hour. With the exception of a few musical numbers, the film curiously finds little joy in songs that are nothing if not pleasures to listen to. Guilty pleasures to be sure, but pleasures all the same.

Adam Sandler's latest film That's My Boy centers around Donny Berger, whose illicit after-school affair with his totally hot teacher lands his paramour in prison and leaves Donny with their baby. Of course, because Adam Sandler is incapable of playing a not-terrible parent in everything (except for the pretty forgettable film Spanglish), his son "Han Solo" moves out as soon as he turns 18 (at which point he's grown up to look like Andy Samberg), changes his name to Todd and becomes a big shot in the financial world. And because Todd had to deal with 18 whole years of what we in the real world refer to as "child neglect and endangerment" (Todd develops diabetes after ballooning up from a diet of lollipops and cake and has to drive his drunk Dad home from nightly benders before he reaches fifth grade), he's developed an anxiety disorder and major attachment issues. He's also totally ditched dear old Dad and keeps his real identity a secret from everyone, including his fiancée Jamie (Leighton Meester).

Emily Blunt and Rosemarie DeWitt get their sister act on.

Just in time for summer, here's a healthy dose of Meatballs.

Based on the avalanche of reviews, insightful theories, barely disguised apologias, and raging message board debates that have flooded the web since Prometheus finally opened in the U.S. this weekend, there's not much that the film's admirers and detractors can agree upon -- except perhaps this: the film is gorgeous to behold. So much so that even the most underwhelmed Alien fan may enjoy poring over the lushly illustrated Prometheus: The Art of the Film from Titan Books. Here's why it's a worthy addition to any geek's overburdened bookshelf. [Major Movie Spoilers Below]

With Rock of Ages bum-rushing theaters on Friday and the recent news that Jon Favreau may bring Jersey Boys to the big screen (and don't forget that the Mamma Mia! movie grossed $600 million worldwide four years ago) movie versions of jukebox Broadway musicals could become Hollywood's next big trend. Considering how many of these pop-song fueled shows have come and gone from the Great White Way (particularly in the past few years), the studios certainly have plenty of fodder to choose from. And sure, most are terrible (Lennon, anyone? How about that Bob Dylan show, The Times They Are A-Changin'?), but we peered back into musical theater lore and came up with five jukebox musicals we'd actually pay to see in movie theaters.

Their movies may disappoint, but spending time in the presence of indie film beauties Greta Gerwig and Aubrey Plaza isn't too much of a hardship.

Few collaborators have seemed better matched than the minds behind Prometheus, writer Damon Lindelof and director Ridley Scott. After all, both men are big picture guys who enjoy building worlds that viewers can lose themselves in for two hours or six seasons. In movies like Blade Runner, Legend and even the otherwise lackluster Robin Hood, Scott paints on a giant canvas, transporting audiences to the past, the future or a fantasy realm. Meanwhile, throughout the run of Lost (particularly in its early seasons), Lindelof and his co-executive producer Carlton Cuse successfully created an environment where mysteries and secrets seemed lurked around every corner and down every hatch. So unleashing these two on a tentpole sci-fi blockbuster, with an apparently limitless amount of resources and money at their disposal, sounds like a recipe for an enormous spectacle of epic proportions -- one of those films that's simply bigger than life. [Warning: Spoilers Ahead]