Considering Hollywood's current obsession with remaking every single movie released during the '80s, it's surprising that Adventures in Babysitting -- a nostalgic favorite for anyone that grew up in that decade -- hasn't already been updated into a star vehicle for some tween sensation like Selena Gomez or Miranda Cosgrove. (Word on the web is that Raven-Symoné was attached to a potential remake at one point, but that project is currently on hold.) Now those girls are going to have to find another Me Decade reboot to star in (the rights to Valley Girl and Flashdance may be available...) because the unlikely duo of director David Gordon Green and star Jonah Hill have gone ahead and made their version of Chris Columbus's 1987 after-hours comedy under the more generic title, The Sitter. Granted, this off-brand remake is a hard R-rated comedy whereas Adventures in Babysitting falls into kinder, gentler PG-13 territory, but otherwise the two movies have more in common than you might imagine, right down to the sequence in which the respective sitters drag the three tykes in their care to a potentially dangerous downtown nightclub where they're distinctly out of place.

Adam Sandler's Jack and Jill -- in which he plays both Jack Sadelstein and his frumpy twin sister, Jill -- is not a good movie. I don't think you needed me to tell you that. But it is funny, though, and not in a fart-joke kind of way. I mean, there are a lot of fart jokes -- scenes entirely made up of god-awful fart jokes! -- but there are also tiny moments packed into Jack and Jill that are laugh-out-loud funny. Should you be dragged to this film by a child (it's rated PG, after all), you will not grow to hate and resent said little one for the rest of your life... that is, if you follow our handy guide on suffering through the terribleness:

In just two short years, 3D has gone from being the perceived savior of the theatrical experience to the favorite whipping boy of critics (myself included) and Hollywood analysts. Blame the high surcharge that 3D places on the cost of a movie ticket, blame the glut of 3D movies in the marketplace, but most of all blame the studios for churning out such relentlessly unappealing 3D fare. Terrific examples of the format like Coraline and, of course, Avatar have largely given way to shoddy conversion jobs (Clash of the Titans, The Last Airbender), obvious cash-grabs (the upcoming 3D re-releases of the Star Wars movies) and films that don't actually seem to make use of the extra dimension (Harry Potter and the Deathly Hallows Part 2, Captain America: The First Avenger). Since James Cameron kick-started the new 3D boom, the only dimensionally-enhanced movies that didn't feel like complete rip-offs were Jackass 3D and Piranha 3D, neither of which could be accurately described as "artistic triumphs." For that matter, neither could A Very Harold & Kumar 3D Christmas, but that doesn't change the fact that the latest installment in one of the young century's most unlikely franchises is also the first post-Avatar production that needs... nay demands to be seen in 3D for maximum enjoyment.* Here are five reasons why:

If Tower Heist feels a lot like Ocean's Fourteen, that's not entirely accidental. After all, both this movie and the Ocean's pictures involve an all-star crew of crooks attempting to rip off a wealthy mark that has wronged them. Beyond that, the movies share a screenwriter (Ted Griffin, who wrote Ocean's Eleven, though not the sequels) and a co-star (Casey Affleck). But here's the way to tell them apart: the Ocean's adventures were directed by Steven Soderbergh, while Tower Heist is a Brett Ratner joint. That means that the jazzy, inventive visual palette that Soderbergh brought to his movies has been replaced by a workmanlike style that's professional without being particularly interesting. The heist at the center of Tower Heist also pales in comparison to the elaborate schemes that Danny Ocean and his accomplices pulled off. Their plans were ridiculous enough to be believable -- this one is just ridiculous. Still, thanks largely to the cast (some of them anyway), Tower Heist isn't the botch that Ratner's last comic thriller, After the Sunset, was. It's a serviceable bit of studio fluff that keeps your eyes, if not your brain, occupied for 100 minutes. (Too bad the studio didn't follow through on its initial plans to release the film on VOD three weeks into its theatrical run; the movie will likely play much better at home on your TV screen than in the theater.) Here's how the individual members of this crew rate:

On principle, when a movie ends I always stay 'til after the credits roll and the theater turns the lights back on. Honestly, I'm kind of surprised more people don't and that this is something I even need to address. More often than not, I've seen snippets of bonus features that give me some sense that I didn't totally waste my time -- the stinger at the end of Rise of the Planet of the Apes was well worth the wait.

If you're going to polarize mainstream audiences by putting the word "orgy" in your film title, you damn well better deliver some serious raunch. Anyone who ventures out to see this Jason Sudeikis-starring end-of-summer flick (penned by veteran comedy writers Alex Gregory and Peter Huyck), can rest assured that there is plenty of it, complete with group sex and nudity. Phew, right? Sitting through this 98-minute indie flick about a group of longtime friends planning the most epic summer blowout of all time -- whose theme I'm sure you can guess by now -- begged the question: Can it really compete with the 30-minute Party Down "Nick DiCintio's Orgy Night" episode? Let's battle it out.

Do you ever get sick of films that obviously have a large amount of improv? I'm fine with a few riffs here or there, but sometimes I long for tighter editing and, you know, actual writing. A line that I loved in The AV Club's excellent "Michael Schur walks us through Parks And Recreation" article series was when showrunner Schur was discussing the use of improvisation on his series and noted, "[W]e have many, many times thrown away jokes that we thought were way funnier than the stuff we wrote because, completely unintentionally, in the moment, they alter the scene. They change the motivation of the character or they indicate that the character doesn't care about something that he or she cares about or something. And I will always cut those jokes out because it's never worth sacrificing the scene or the story or the character for one joke."

Eddie Murphy was already a successful stand-up comic and a breakout performer on the ensemble TV series Saturday Night Live when he co-starred in the 1982 action comedy 48 Hrs. opposite Nick Nolte. But it was his performance in that movie -- specifically that iconic scene when he humiliates a bar full of rednecks -- that turned him into a superstar. Almost thirty years later, the new action comedy 30 Minutes or Less is poised to do the same thing for another rising comic talent, Aziz Ansari, who also currently enjoys a strong stand-up career and a standout role on the ensemble NBC comedy Parks and Recreation. Now just to be clear, I'm not suggesting that Ansari will necessarily attain the same level of power that his predecessor enjoyed back in the day (contemporary Hollywood is a completely different animal than the '80s version, particularly for actors) or even that he's the 21st century version of Eddie Murphy (while there are some similarities between the two, Ansari would never be as raw as Murphy was in his famous concert film, Raw). But, much like 48 Hrs., 30 Minutes or Less is most certainly the vehicle that will firmly embed Ansari in mainstream moviedom. His live-wire energy is the thing keeps this funny, but often ramshackle film on track; whenever he's onscreen, your eyes are immediately drawn to him because you're never quite certain what he's going to do or say next.

Put Danny McBride and Aziz Ansari in a room together and you're guaranteed to have a good time. Add in Jesse Eisenberg, Nick Swardson and Zombieland director Ruben Fleischer and you've got a real party going on. All five guys shared the stage in a Manhattan hotel recently for a press conference about their new film 30 Minutes or Less, which casts Eisenberg as a pizza delivery guy who is forced to rob a bank with an assist from best bud Ansari. McBride and Swardson play the dangerous knuckleheads that force the pair to pull off this heist. Just as Zombieland referenced every zombie movie ever made from Night of the Living Dead to 28 Days Later, Fleischer builds riffs on vintage action movies like Beverly Hills Cop, Die Hard and Heat into his own buddy heist flick/comedy of errors. Here are some selected highlights from the conference for the film, which opens in theaters on August 12.

So far this summer at the movies, we've been treated to the hijinks of bad bridesmaids, bad groomsmen and bad teachers. Now here comes a trio of horrible bosses in the accurately titled Horrible Bosses, a ragtag R-rated comedy that ekes out just enough big laughs to make it worth your time.