Conan the Barbarian

A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil.



Starring : Jason Momoa, Rachel Nichols, Stephen Lang, Rose McGowan, Said Taghmaoui, Leo Howard, Ron Perlman, Steven O Donnell, Raad Rawi, Nonso Anozie, Robert Sapp, Milton Welsh.

Directed by : Marcus Nispel

Release date : August 19th ,2011

Battleship

Peter Berg (Hancock) produces and directs Battleship, an epic action-adventure that unfolds across the seas, in the skies and over land as our planet fights for survival against a superior force. The movie is based on Hasbro's classic naval combat game.

Starring : Taylor Kitsch, Alexander Skarsgård & Rihanna

Directed by : Peter Berg

Captain America: The First Avenger

Steve Rogers volunteers to participate in an experimental program that turns him into the Super Soldier known as Captain America. As Captain America, Rogers joins forces with Bucky Barnes and Peggy Carter to wage war on the evil HYDRA organization, led by the villainous Red Skull.



Starring: Chris Evans, Hayley Atwell, Sebastian Stan, Tommy Lee Jones, Hugo Weaving

Directed by: Joe Johnston

Rise of the Planet of the Apes

A single act of both compassion and arrogance leads to a war unlike any other -- and to the rise of the Planet of the Apes.



Starring: James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton and Andy Serkis



Directed by: Rupert Wyatt

Friends with Benefits

Dylan and Jamie think it's going to be easy to add the simple act of sex to their friendship, despite what Hollywood romantic comedies would have them believe. They soon discover however that getting physical really does always lead to complications.



Starring: Justin Timberlake, Mila Kunis, Patricia Clarkson, Jenna Elfman, Bryan Greenberg, Richard Jenkins, Woody Harrelson & Andy Samberg



Directed by: Will Gluck

No Strings Attached (2011)

Emma and Adam are life-long friends who almost ruin everything by having sex one morning.



In order to protect their friendship, they make a pact to keep their relationship strictly "no strings attached." "No strings" means no jealousy, no expectations, no fighting, no flowers, no baby voices.



It means they can do whatever they want, whenever they want, in whatever public place they want, as long as they don't fall in love. The question becomes -- who's going to fall first? And can their friendship survive?

Starring: Natalie Portman, Ashton Kutcher, Greta Gerwig, Kevin Kline, Ophelia Lovibond

Directed by: Ivan Reitman

Final Destination 5

Though ostensibly successful, 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote, uninspired and humorless, it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later, Final Destination 5 arrives with a slightly tweaked formula, a beefed-up storyline, actors you might actually recognize, and genuine, honest-to-goodness 3D. It’s still schlock, mind you -- but artful schlock, and a marked improvement over the preceding entry.

The story begins in familiar fashion, with a cursory introduction to the characters, followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them, Sam (Nicholas D’Agosto, perpetually bug-eyed), dreams of a massive bridge collapse in which he and his co-workers are impaled, beheaded, bisected, crushed by cars, singed by tar -- however many ways a suspension bridge can kill a person, the film’s opening set-piece explores it gruesome detail. Sam awakens, duly horrified, and demands the bus be evacuated. Seconds later, the employees watch in horror from the sidelines as Sam’s vision comes to fruition.

You know what happens next. One-by-one, death stalks the survivors, who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films, in which death preyed exclusively on attractive, nubile teenagers, but the end result is invariably the same. (Not to give anything away, but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident, Sam, his lachrymose girlfriend, Molly (Emma Bell), and his increasingly unhinged buddy, Peter (Miles Fisher), become increasingly desperate. Enter the ever-ominous Tony Todd, returning to the franchise after (wisely) taking the previous film off, offering a potential way out. But is it genuine, or just another of death’s cruel tricks?

Director Steven Quale, a James Cameron protege hired principally for his 3D expertise, takes full advantage of the added dimension, delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination, which seemed little more than a amalgam of crude one-liners, Final Destination 5 feels like a real movie, one with a discernible plot, an element of suspense, and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent, save for Fisher, a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.

Final Destination 5 ends with a twist that, while genuinely unexpected, feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance, despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades, however welcome, can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience, the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.

Gavin DeGraw hurt after NYC attack, cancels shows

Singer-songwriter Gavin DeGraw is still hospitalized after being attacked by a group of men on a New York City street.



A statement released Tuesday says the 34-year-old entertainer has a concussion, broken nose, black eyes, cuts and bruises.



The statement says, "Gavin and his family appreciate everyone's concern at this time."



Police say DeGraw was beaten up early Sunday in the East Village. He was taken to Bellevue Hospital in an ambulance. An investigation in ongoing.



DeGraw has since canceled a planned concert Tuesday in Saratoga Springs, New York. A Thursday concert in Long Island, New York, and a Saturday show in Mansfield, Massachusetts, have also been canceled.



DeGraw's new album, "Sweeter," due out in September. His top hits include "Chariot" and "I Don't Want to Be."

The Change-Up

The first five minutes of The Change-Up—a horrifying look into the world of late-night baby care, complete with one of the more grotesque poop-to-face shots ever captured on film—sums up the movie's bait-and-switch. In most comedies, this scene would be the first step towards a descent into hell that only Paul Blart: Mall Cop and Adam Sandler are capable of realizing. In The Change-Up, it's a sequence that sets the bar as low as artistically possible, so stars Jason Bateman and Ryan Reynolds can obliterate expectations with equally raunchy, shocking and hilarious comedic stylings. Simply put, The Change-Up is the funniest movie of the year.

Bateman plays Dave Lockwood, a run-of-the-mill lawyer who works too hard, juggles his parenting duties and struggles to find time to tell his wife he loves her. Dave's best friend Mitch (Reynolds) couldn't be more of the opposite—sleeping all day and spending his conscious hours wooing sexual partners while stoned out of his mind. The two are polar opposites, making them the perfect candidates for a little bit of switcheroo magic. One particularly devastating night of alcohol and lamenting life's woes ends with the duo taking a leak into a magical fountain (go with it). Fate, of course, intervenes and when Dave and Mitch wake up, they find themselves trapped in the one another's bodies.

There's no denying The Change-Up follows the Freaky Friday formula—but that's not a fault. The logic is already established, giving Bateman, Reynolds and director David Dobkin (Wedding Crashers) freedom to jump right into the crass humor hook. Bateman, who's becoming a go-to straight man in Hollywood, finds a refreshing opportunity in inhabiting Reynold's Mitch. The character's lack of self-censorship opens the floodgates for Bateman to poetically surface some of the English language's more horrendous sentences. A slang dictionary may be required to understand what bizarre body part synonyms are being dropped at rapid pace in this movie. Whether you comprehended them or not, when they come out of Bateman's mouth, they're priceless.

Same goes for Reynolds, who escapes the box of fast-talking womanizer to play the uncomfortable family man. Judging an actor's versatility on a scene in which he's unwillingly placed at the center of a "lorno" (read: low-budget soft core pornography) may seem twisted, but Reynolds sells it and makes it perfectly agonizing. Even obvious scenarios like, "uh oh, Dave's going to have to cheat on his wife in Mitch's body!" are twisted once, twice, three times over to pull the rug from under you.

The biggest surprise of The Change-Up is the movie's heart. Pummeling an audience with jokes is one thing, but to sell genuine relationships underneath it makes it satisfying. The wavering friendship between the two lead knuckleheads is tangible and keeps an impossible plot device grounded, while Leslie Mann (Knocked Up, Funny People), as Dave's wife Jamie, has her fair share of tender moments (as well as devilish laughs—there's a reason her husband Judd Apatow keeps casting her). In a movie that's constructed by textbook rules, to have an ending that resonates with any sort of emotion is as surprising as watching a grown man toss a baby down next to a set of steak knives. Which, coincidentally, also happens in the movie.

In today's world where anything goes, it's hard to whip up slapstick and one-liners that feel edgy and that leave your jaw on the floor. That's how The Change-Up hits—and it hits hard.