Watching the trailer for Wanderlust – the new movie directed by Wet Hot American Summer director David Wain – makes me want to watch every episode of The State all over again. In short, I wanna dip my balls in it. Starring Paul Rudd and Jennifer Aniston as rat-racers in New York who have to leave the race and find themselves learning the communal life, the trailer looks knock-down, drag-out hilarious. Some great gags from some truly disturbed/gifted comic minds are on display here. Check it out for yourself, and see how many State alumni you can spot:

Horrible Bosses features some of the most inspired casting you’ll find in any big studio comedy this year, with three actors playing against type with exceptional success. Unfortunately, those three performers — Kevin Spacey, Colin Farrell and Jennifer Aniston — are the supporting acts here, the titular vile bosses of three of the most boring white guys imaginable. Sure, they’re played by Jason Bateman, Jason Sudeikis and Charlie Day, funny men all, but the stars lack the charisma, the comic energy and the overall appeal of the aforementioned A-listers, who go to some truly whacked-out places. It’s a fundamental miscalculation that filmmaker Seth Gordon can’t overcome.

This red-band trailer probably gives away too much. Unlike most red-band trailers, though, it doesn’t giveaway all the best gags. I’ve seen Horrible Bosses, and it’s awesome. What the fellow ensemble summer comedy The Hangover II got wrong, Seth Gordon’s (director behind the incredible The King of King: A Fistful of Quarters) comedy got right. The leads aren’t annoying morons, the jokes feel fresh, and there’s at least some sense of reality.

Seth Gordon’s new comedy Horrible Bosses has a trailer. If you don’t know who Seth Gordon is, he’s not only the guy who directed the amazing Donkey Kong documentary King of Kong, but he’s also directed episodes of pretty much every amazingly funny comedy that’s on TV right now. So, I imagine his movie is going to be pretty great, and while this trailer isn’t exactly revolutionary, it does its job of making this look like a barrel of laughs. Horrible Bosses tells the story of three guys, played by Jason Bateman, Charlie Day, and Jason Sudeikis, who have three exceptionally evil bosses, played by Jennifer Aniston, Colin Farrell, and Kevin Spacey, and who get together and decide to have them killed. Of course, they’re just a couple of working class dweebs, what do they know about killing people? Problem solved; just hire Jamie Foxx as your “murder consultant” Motherfucker Jones. Doesn’t sound like enough for you to check out this movie already? Just wait; there’s more. Aniston eats hotdogs, Popsicles, and bananas while wearing lingerie, Day seems to be just about as stupid as he is on Always Sunny, Colin Farrell is looking super creepy with a balding comb over and a finely manicured beard, Modern Family’s Julie Bowen is somewhere in this movie being pretty and funny, and when they guys get arrested for speeding who is their arresting officer but Bunk from The Wire. Plus there’s car crashes, discrimination against the handicapped, comedic cocaine use, and white [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Modern romance and the movies are arguably dependant on one another, as movies have a long history of affirming the idea(l) of the perfect relationship. Hollywood movies in particular have developed a mastery at the formula of bringing imperfect individuals together into perfect couplehood and framing marriage as the closure of all previous conflicts and difficulties. Many romance movies, thus, teach us what romance and couplehood are or, perhaps more dauntingly, what it should be. That romantic films are a staple in the box offices of commercial movie theaters to reparatory screenings or are marathon’d on television every Valentine’s Day is evidence of our ritual association of considering real-life romances in fictional terms. It is rare that movies, especially Hollywood, seem to do the opposite: reflect the distinction between ideal romance and the ostensible “reality” of relationships in all their complexity, grittiness, slow development, necessary problems, and (most of all) subtlety. Perhaps the most evident turns cinema makes in this direction is in the break-up movie, that rare narrative that situates itself as a disruption from the normal mode of portraying couplehood through representing its antithesis, the dissolution of a couple. The most recent example is Blue Valentine, the great Cassavetes-style, character-driven psychodrama about a couple who continue making the wrong turns and can’t make it work despite, or because, of themselves. Breakup movies from the light – (500) Days of Summer – to the heavy – Blue Valentine – often self-consciously (either by testament from the filmmaker like in [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

This week, Fat Guy Kevin Carr spent the night in jail after trying to sneak in and see Justin Bieber: Never Say Never 3D. The cops didn’t believe him that he was trying to watch the latest remake of Thunderball. Sadly, they just saw a pervy looking fat guy squealing and crying with a group of thirteen year old girls. Fortunately, he had a chance to catch the other movies of the week, including Gnomeo and Juliet, Just Go With It and The Eagle. He also gives a little bit of love (what’s left of it anyway after spending the night in lock-up) to the Oscar-Nominated Shorts.

There’s an unspoken agreement between Adam Sandler and American audiences… basically he guarantees to make (at least) one terrible movie per year, and they guarantee to make it a hit. Sandler’s reaped large sums of money from the arrangement, but it’s unclear what viewers get out of the exchange. If one was to hazard a guess though it’s probably the gamble that his next comedy may be his last a truly fun and well made movie. Well guess what… Just Go With It comes pretty damn close to being okay! Other surprises contained within this latest gem from the Happy Madison sausage factory include: Jennifer Aniston is the best part of the movie, and not just through the process of elimination! The child actors are talented and only slightly annoying! The funny sidekick (Nick Swardson) is less funny than the lead! Rob Schneider is nowhere to be seen!

Romantic comedy makers, here’s some advice: When you’re pinpointing a male lead to star opposite a genre stalwart such as Jennifer Aniston, skew more toward the Jason Batemans of the world than the Matthew McConaugheys. The Arrested Development veteran’s appearance in The Switch, a top-notch valentine to New York City and parenthood being released during the summer doldrums, epitomizes the wisdom of this approach. As neurotic, repressed financial analyst Wally Mars, Bateman turns the standard leading male archetype on its head. Out of a morass of clichés, from the When Harry Met Sally components of the narrative to the big climactic reveal, he makes stability sexy, offering an appealing regular-guy counterpart in the cold war with Patrick Wilson’s dreamboat Roland for the heart of Kassie (Aniston). Beneath the bundle of obsessions and fears is a smart, lonely man fighting for self-respect and the right to feel happy.

Kevin Carr sits his chubbiness down weighs in on The Bounty Hunter, Repo Men and Diary of a Wimpy Kid.

While Neil is hitting on indie rock chicks during the second half of the SXSW film festival, Kevin is left at home finding a guest host. So, he calls on Kelly Gingery from FlickChick.tv to help him out. They lament the problems with The Bounty Hunter and take wild guesses about Diary of a Wimpy Kid and Repo Men.

The Bounty Hunter stars Gerard Butler as Milo Boyd as a bounty hunter (surprise!) who was kicked off the police force and now makes his living rounding up people who skip bail. Jennifer Aniston plays his ex-wife Nicole Hurly, a reporter on the trail of a story that just doesn’t seem quite right. Oh yeah, and she has a court date for assaulting a police officer. Predictable plots being the way they are, she misses the court date, which causes the judge to issue a bench warrant, and Milo jumps at the chance to take his ex-wife to jail and collect on the bounty.

The Switch is the newly renamed comedy starring Jennifer Aniston and Jason Bateman about artificial insemination, mistaken identity, and the perils of sticking kitchen utensils up your bajango. It was originally called The Baster… a title that’s simultaneously better and worse then the new one.

This week, Forbes released a rather bitch-ily worded article naming the top ten actresses that provided the best return on investment (ROI) for studios…

Shockingly, Love Happens is a cliche-ridden, tepid romantic comedy featuring not-at-all convincing characters.

The Fat Guys take a look at Jennifer’s Body even though Fox (that’d be the studio, not the actress) didn’t screen it for them. They also chew on Cloudy with a Chance of Meatballs, help Matt Damon squeal in The Informant! and avoid Love Happens like the plague.

Are Pumas the new cougars? Is Jennifer Aniston old? Is Wayne McClammy anyone you’ve ever heard of?

When a self-help author arrives in Seattle to teach a sold-out seminar, he unexpectedly meets the one person who might finally be able to help him help himself.

Jason Sudeikis can be seen weekly on SNL and “30 Rock,” and now he’ll be trying his hand at moving pictures with his first co-starring role. Can he make the jump or will his performances in The Rocker and What Happens in Vegas weigh him down?

‘Management’ gives Steve Zahn the lead role he deserves, but it’s otherwise a standard coming of age dramedy.

So there I was, watching Isla Fisher’s new film Confessions of a Shopaholic and being a little surprised as how likeable she is on screen in a leading role when it occurred to me… I’m probably never going to see her boobs again