Stephanie Meyer's post-Twilight movie career begins today with the release of The Host, the Meyer-produced, Andrew Niccol-directed adaptation of the 2008 sci-fi novel she penned in between Twilight installments. We're sure you've got a... well, host of burning questions about the film and we're here with the answers.

I generally try not to be too persnickety when creative types take liberties with long-established mythologies. Vampires that sparkle in sunlight instead of burn to a crisp? Kinda stupid, but okay. Peter Parker gains his web-shooting abilities organically rather than through invention? Not ideal, but I'll run with it. So I went into the new zombie rom-com Warm Bodies with an open mind, not thrilled about the improbable idea of watching a member of walking dead fall in love with a living, breathing human, but willing to be persuaded that such a thing might be possible. Unfortunately, not only did Warm Bodies -- which writer/director Jonathan Levine adapted from a book by Isaac Marion that, full disclosure, I haven't read -- fail to convince me of its central conceit, but the movie's general depiction of zombie life is shoddy, inconsistent and often downright dumb. As silly as I felt muttering to myself "But a zombie couldn't/wouldn't do that!" at every turn, that's how much the movie got on my nerves and made it almost impossible to enjoy its few modest charms. Here are the most irritating changes Warm Bodies makes to zombie lore.

The only thing more clichéd than young ladies dressing ultra-sexy for Halloween are jokes about young ladies dressing ultra-sexy for Halloween -- and unfortunately for Fun Size, the latest PG-13 venture directed by The OC/Chuck/Gossip Girl mastermind Josh Schwartz, there's a new joke about how girls sure like wearing tight costumes every other scene. There is also a strange amount of gags about pedophiles, lots of horribly obvious product placement, several instances of 18-year-old girls existing only as sex objects and... Johnny Knoxville getting blown up by fireworks. You're not exactly going to see Seth and Summer 2.0 anytime soon, is what I'm trying to say. (Though there is a character dressed as Spiderman for 90 percent of the film.)

Much like adolescence itself, the new coming-of-age drama The Perks of Being a Wallflower contains moments of beauty and insight drifting in a sea of melodrama. Adapted by author Stephen Chbosky from his 1999 YA novel of the same name (a book I must confess I haven't read), this is the kind of movie that my 14-year-old self probably would have fallen head over heels for, as it effectively transplants the '80s John Hughes model of teenagers with more heart than good sense talking endlessly about their problems to my old stomping ground in the early '90s. Twenty years removed from that time period (not to mention that version of myself), it's still easy to be pulled into the movie by the tug of nostalgia, but I can also see through the story's cracks more clearly, in the same way that whenever I re-watch The Breakfast Club nowadays, I actually find myself sympathizing with Assistant Principal Vernon for having to waste a whole Saturday babysitting a bunch of naval-gazing, back-talking teenagers.