This time around, Smith plays Alex “Hitch” Hitchens, matchmaker extraordinaire. He doesn’t advertise, and won’t even talk to you if your plan is just to get the girl for one night. For Hitch, it’s all about the long ball.

Enter Albert Brennaman (Kevin James). Albert is stuck in a mid-level, go-nowhere job, and he pines for one of his clients – the ultra-rich, and way-out-of-his-league Allegra Cole (played by the scarcely-seen Amber Valletta).

When he gets a hold of Hitch, he thinks that his problems are solved. Hitch thinks that his problems have just begun. Turning Albert into someone that Allegra Cole will fall for is no easy task, and before long, Albert turns up on the front page of the gossip rags, making his job even tougher. To make matters worse, the ever-cynical Hitch has started to fall for his own challenge – the charming and elusive Sara Melas. It looks like his moves, which work on everyone else, won’t work on Sara, and it could get ugly.

Before long, Allegra finds out that Hitch has been helping – or at least trying to help – Albert step up his game, and that means that Albert is sent packing. Luckily for him, his charming ineptitude gets him back in it. Hitch has to learn something from it to have a chance himself.

While this is another one of those movies that won’t win any awards, it’s a great date movie, and also a fun movie to watch, if for nothing else than the interaction between Smith and James. If there’s nothing else on the tube one weekend afternoon, don’t let it pass by. The actors are all well-cast in their roles, and the movie just flies by.

Rated PG-13 for language and some strong sexual references.

To make matters worse, she is a career woman, and he isn’t much for a career. She tries to get him to paint more, but he just doesn’t know what he wants to do yet. He does seem to love her though, at least that is genuine. But when it turns out that her therapist is his mother, maybe it would just be easier to find someone else.

The movie takes a look at the difficulties of the relationship from just about every angle possible. Rafi and her friends look at the fact that David loves her, so they are actually very supportive of her.

Meanwhile, her therapist (Meryl Streep) is the first among them to realize that her patient is dating her son, and she decides to keep her mouth shut just in case it is a short-term relationship, but naturally that would be too easy.

Some of the best lines come out when Rafi tells her about their relationship and she has to keep her mouth shut, because she isn’t supposed to know who it is – much less that it is her son!

Finally, David is doing a lot of growing up, and to his credit, he does seem to love Rafi in his way. But he’s probably not quite ready for what she needs, and when they break up towards the end, he spends the night with one of her coworkers, which is probably not a good choice.

David and Rafi do get back together near the end of the movie, and he offers her his love and even the opportunity to make a baby together, but she realizes that it would be a mistake, so they part ways, only seeing each other through a glass door a year later. This ending is a bit odd, but it’s a decent ending – anything else would have just felt too contrived.

Rated PG-13 for sexual content including dialogue, and for language.

Unfortunately, the magazine has just become the part of a larger company in a corporate takeover, and he’s been “demoted” (which has to be better than being “downsized”) in the shakeup. To make matters worse, his new boss Carter Duryea (Topher Grace) is half his age and thinks he knows everything. He is about to find out that he doesn’t.

Carter comes into the office and thinks that his business school theories will carry over to the magazine where Dan has been operating on handshakes for longer than he’s been alive. Unfortunately the cross-promotion ideals that Carter and the new organization hopes will make things work don’t seem to be taking off, and to make matters worse, Carter’s new wife dumps him just as he receives his promotion.

Dan isn’t immune either. As if losing his nice position to someone like Carter isn’t the worst news he could receive, his wife is pregnant with a new child (evoking echoes of Father of the Bride II) and Carter, fresh off his dumping, looks to Dan for insight, and when he comes home with him for dinner one night, meets Dan’s daughter Alex (Scarlett Johansson), which doesn’t make Dan any happier at all – especially when Dan finds out they’ve been secretly dating.

When the pressure gets on to get sales going or get fired, however, Dan and Carter team up and land a big account just in time, only to find out that the magazine has been sold again, and both Carter and the management team are out and Dan is back in charge, almost as if nothing happened.

There’s really no explanation of why Carter and Alex don’t see each other, except perhaps in respect to Dan’s wishes, which is the only downfall to the movie – other than that, it’s an enjoyable ride all around.

Rated PG-13 for some sexual content and drug references.

Ray Ferrier (Cruise) is a New Jersey mechanic who seems to be fighting with life. His wife has moved on and his kids aren’t too far from doing the same. But this weekend they are staying with him, so perhaps something will change. When Ray tries to get his son Robbie Justin Chatwin to play a game of catch, the ball goes through the window instead. I guess it won’t be this weekend after all.

Later, Ray wakes to find Robbie has taken the car and that’s just not allowed. What’s worse is his daughter Rachel (the fantastic Dakota Fanning) is in a panic because a wild storm that is brewing. As Ray and Rachel watch, lightning like they’ve never seen strikes not far from where they are. Ray calms Rachel by telling her that lightning never strikes twice, so they’ll be okay. Then lightning proceeds to strike the same spot dozens of times in a row. This might be a different kind of storm.

Before long, Robbie comes in, but without the car. It seems that everything has stopped working. Ray goes out to find out what’s happening, only to find that some sort of tripod comes up out of the ground and starts killing people and destroying everything. Somehow Ray manages to make it home, only to find the dust of buildings, cars and even people covers him. That’s when they decide to run.

Packing up whatever they can carry and stealing the only vehicle that seems to start, the family takes off, trying to find safety in the form of Ray’s ex-wife. But for miles, all they find is more destruction. Then they find haven in the house where they expect to at least find someone – but nothing. Still, it’s better than where they were, so they bunk down in the basement, only to be awakened by a violent screeching sound in the night, which leads them to hide even deeper in the hopes that they aren’t being attacked yet again.

In the morning when the come out, they find that they weren’t being attacked – a plane crashed nearly on top of them. A news van looking for food tells them that the tripods are all over, not just in New Jersey, and it looks like the planet is one big free-for-all. So Ray and the kids start off again, sticking to the back roads. But once they hit a small hamlet, the van gets stolen from them by a mob, and then it seems they will have to travel by foot.

The rest of the movie involves Ray, trying to connect with his kids, who just want their mom. It’s sad to watch because he has no clue. As the tripods continue to decimate the countryside, they pick up the people and use them as fertilizer, to grow bizarre alien plants, which will presumably function as nourishment for them to live on for a while.

When Robbie takes off over a hillside to join in the battle, it’s inspiring because he’s found what he is called to do – and you’d expect that you’d never see him again, but in typical Hollywood fashion, you see him at the end, as Ray and Rachel make it to Boston and the sanctuary of the in-law’s place there. That’s where the real sadness sets in. Also because the tripods weren’t defeated – they just sort of died off because of microbial infection. While Ray was able to take out one of them with grenades, the rest just died. A rather pathetic end. An excuse even.

At least the effects are pretty good.

Rated PG-13 for frightening sequences of sci-fi violence and disturbing images, but there’s a pretty good amount of language too. You may want to keep your younger ones away from this one, as compelling as it may be to them.