The Wild Hogs of the title aren’t exactly a biker gang. They just pretend to be one on weekends and for the occasional ride during the week. But Doug (Tim Allen) and his crew have all hit something of a milestone. Actually, it’s a mid-life crisis. Just don’t tell them that.

So one day on their ride they decide that they are ready to take a real ride. A cross-country ride. And what a ride it will be, with the wind in their hair (or what hair they have left, at any rate) and a real chance at freedom. Or at least as close as they are probably going to get at any point in the near future.

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I can’t say if I’m a Harry Potter fan or not. At least one of the kids is, as he’s read the books (even if he’s not supposed to have read all of them yet). The other one is, because his brother is, but he’s actually getting at the age where he’s starting to be contrary about it, so I’m not even sure how to classify him.

Whatever the case, I think the movies in the series are starting to fall into a bit of a rut. Either that, or I am. I can certainly admit to enjoying the first, second, and probably even the third in the series. But by the time the four came along, it was getting to be a bit much. I think it had to do with the size of the stories. The Sorcerer’s Stone was three-hundred something pages. The Order of the Phoenix was nearly 900! At some point, it’s just too much for my brain to handle.

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I’m really a bit of a sucker for any apocalyptic tale. Perhaps the fact is that I just know we’re done for one of these days anyway, or maybe I’d like to hear the tale of the underdog who manages to scrape through in such circumstances. Then again, maybe I feel like I’ll never have the chance to experience the Old West, and it’s about as close as I might get – though it would be at the expense of a great deal of our society to get there. Not saying that I’m the one who’d be able to save the world or anything. I just find the stories more interesting than a Utopian future is all.

Nonetheless, this one focuses mostly on a generally reluctant hero – Theo Faron (the typically under-rated Clive Owen), thrust into the role of bringing the world back from the brink of destruction when he becomes the protector of a pregnant woman. This is significant because she is the first such instance in years, and while a single pregnancy may not save the world, it does offer some amount of hope.

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Casino Royale is interesting in a number of ways.  It is the twenty-first film in the James Bond series.  It is the third time that the novel by the same name has been adapted into a film (though the first as a “real” Bond film).  It is the first time Daniel Craig took on the mantle of the superspy.  But it’s also important for one other reason.  It’s a significant restart of the franchise.

In the movie, we get to go back to the beginning – the very beginning – where Bond first earns his stripes (and his legendary “double o” status).  The movie is much grittier in style than the others in the series, to be sure – no sign of any of the previous Bonds to be found, and that’s not an entirely bad thing.

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When Ferris Bueller (Matthew Broderick) wakes up, he knows that he doesn’t want to go to school. He’s ready to take a day off and stop to take a look around. If you don’t, life just might pass you by. But in order to do that, he has to convince his parents that he’s sick enough to stay home, but not sick enough to go to the doctor.

In order to do that, Ferris gives us his plan. He’s going for the clammy hands. While he’s bent over from coughing, he licks the palms, which gives them the wet feeling. He also gives us a point-by-point on-screen blow of why not to go for a fever (you might end up at the doctor’s office). Which is a little odd, really, because the on-screen thing isn’t used elsewhere. But it works, and his parents head to work and he has the day off. Now he just has to get through it.

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A seemingly never-ending line of dirt-encrusted men, women and at least one child prepare to be hanged in the gallows, all to appease Lord Beckett (Tom Hollander) and his war on the pirates. As they march endlessly towards their doom, a cryer announces that item after item is suspended. No longer can people gather, demonstrate or even have lawyers. Instead, they can just die.

Then, a young lad, clutching a piece of eight, begins to softly sing. The song is gradually picked up by each of the others in line behind him, until it seems that everyone is singing the haunting song. This seems to do nothing more than infuriate Beckett.

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That cuddly green ogre Shrek (Mike Myers) has returned for the third go-round, and this time the stakes are a bit higher. King Harold (John Cleese) has croaked (he’s a frog, get it, he croaked?) and with one of his last breaths (he had several) he has left the reins of Far Far Away in the hands of Shrek and Fiona (Cameron Diaz).

Naturally, Shrek is thinking mostly of himself, and he isn’t really interested. He just wants to go back to the swamp. So before the king dies, he asks if there is another option. Luckily, there is one. His name is Arthur. That’s all that Shrek needs to hear. There is someone else who can handle running things and get dressed up, and he and Fiona can get out of there. So he and Donkey (Eddie Murphy) and Puss (Antonio Banderas) board a ship and head out to find Arthur.

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Hapless Larry Daley (Ben Stiller) is in danger of losing his son, Nick (Jake Cherry). He’s not really concerned about his ex-wife, but Nick? That worries him. Especially when Nick mentions that he’s ready to hang up his hockey skates and start practicing to be a stockbroker, like his new dad, Don (Paul Rudd).

Spurred on by the thought of losing his son’s hockey career to the over-achieving Don – or at least to his utility belt of cell phones, Larry decides that he needs to get on with his life and do something. So begging for a job at the unemployment office, he begs for just about anything. What he gets is something that no one would have expected.

You see, Larry gets a job as a night watchman and the Museum of Natural History. And as they say, history has a way of coming to life. It’s never been more true than it is at this place after they lock the doors for the night.

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The rumor says that if Elektra (Jennifer Garner) is going to kill you, she will whisper in your ear before you even know that she is there.

As the movie opens, we see that Elektra can indeed defeat an entire army of people who have been assigned the task of defending a single person. Naturally she gets past them without so much as breaking a sweat or even making it seem like a difficult task. But that is what she does.

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As Dr. Rae Crane (Lorraine Bracco) arrives in the Amazon jungle, she is met by a number of natives, and the focus of her trip – Dr. Robert Campbell (Sean Connery).

It seems that Dr. Campbell has for some time been operating on his own, without following typical company procedure, such as filing progress reports, and now that his contact has retired, the duty of figuring out just what he is up to down here has fallen to her. She isn’t exactly pleased. But then, neither is he.

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