Joss Whedon has a bad case of cabin fever.

Five years after its release, Paul Thomas Anderson's There Will Be Blood is looking more and more like one of the few genuine masterpieces of the young century, a film of such remarkable formal discipline, graceful, intensely dramatic storytelling and rich thematic content that it reminds you what cinema is capable of as an art form, as opposed to merely an entertainment delivery service. It's difficult for a filmmaker -- no matter how talented he or she is -- to make a movie that scales those lofty heights more than once during the course of their careers, let alone on back-to-back productions. So when I say that Anderson's latest movie The Master isn't as good as There Will Be Blood, that's somewhat akin to rating Da Vinci's "The Last Supper" just behind the "Mona Lisa." If The Master doesn't resonate as deeply as Blood -- a movie that burrowed so deeply into my mind, I felt compelled to see it at least four or five times in theaters and could probably watch on a 24/7 loop at home if I didn't have to worry about little things like eating and sleeping -- it's still a remarkable film, one whose stature may only grow through the years and multiple re-watches.

The How I Met Your Mother star tries to sweet-talk his Liberal Arts leading lady, Elizabeth Olsen, into playing his love interest this season. Also, our reviews of Arbitrage, Solomon Kane and two documentaries.

It's been 15 years since Paul Thomas Anderson became a critical darling with the premiere of his sprawling '70s porn epic Boogie Nights. As widely liked as the movie was then, one couldn't have anticipated the quantum leap Anderson's already impressive skills would take over the next decade-and-a-half, as he crafted films as diverse and challenging as Magnolia, Punch-Drunk Love and his masterpiece, There Will Be Blood. Put alongside those titles, Boogie Nights stands out as his most conventional movie; it's a straightforward rise-and-fall-and-rise-again Hollywood narrative that just happens to take place in the adult film industry rather than bright lights of the studio world. Seen today, the film is still a lot of fun -- before it goes to some truly dark places in the second half -- packed with great performances (it's still a crime that Burt Reynolds didn't win that Best Supporting Actor statue he was nominated for) and lots of razzle-dazzle filmmaking, but it's also a reminder of how much richer and complex Anderson's pictures have gotten since.

The Evil Queen abides.

Following its premiere at the Sundance Film Festival way back in January -- where it barely attracted an iota of buzz, despite the presence of its extremely photogenic cast -- the indie-ish bookworm drama The Words is dumped into theaters on an exceptionally slow post-Labor Day weekend. You might think this indicates a lack of confidence on the studio's part... and you'd almost certainly be right. Although it's production values positively ooze class and a handful of scenes actually prove somewhat compelling, the overall experience of watching Brian Klugman and Lee Sternthal's directorial debut is the cinematic equivalent of staring at a blank page for roughly 90 minutes. Here are seven words that perhaps best encapsulate The Words.

The eternal battle of the sexes spills over into the multiplex this weekend, as two raunchy comedies -- one female-driven and one distinctly for the boys -- compete for moviegoers' attention. In one corner, you've got Bachelorette, the Bridesmaids-like ensemble piece about a trio of bridesmaids (triple threats Kirsten Dunst, Lizzy Caplan and Isla Fisher) who get up to a whole lot of trouble the night before their best friend's wedding. And in the other corner stands The Inbetweeners, the feature film version of the hit British sitcom about four horny high-school kids (Simon Bird, James Buckley, Joe Thomas and Blake Harrison, reprising their small-screen roles) who celebrate their graduation by going on an alcohol-fueled holiday to a sunny Mediterranean party town. So which movie does its gender proudest? Here's how they stack up in a few key areas.

After a fallow period dominated by increasingly tired torture porn antics, American horror movies are starting to bounce back in a big way, thanks to clever, fun and genuinely scary titles like Silent House (minus the last ten minutes), The Innkeepers and even Paranormal Activity 3. One thing the genre's fans have still been waiting for, though, is the return of those great horror anthologies that were churned out with regularity during the '70s, '80s and early '90s -- think films like Trilogy of Terror, Creepshow or my personal favorite, Tales From the Darkside: The Movie. Well, the wait is finally over. Last Thursday, the omnibus production V/H/S arrived on VOD (it opens in theaters on October 5) and instantly establishes itself as 2012's finest horror movie so far and one of the best of the past few years. With V/H/S literally at your fingertips, there's no reason to throw your money away on recent theatrical horror releases like The Apparition and The Possession.

"C'mon guys! Please guest star on How I Met Your Mother this season? I'm so sick of that show."