Despicable Me was touted as Universal’s answer to Pixar’s steady stream of successful, adorable, and quirky animated films including Up, Ratatouille, and The Incredibles. While the style of Despicable Me may resemble that of Pixar, and the characters are of the same eccentric variety, Despicable Me offers a new and interesting story for children and adults with a villain whose sole desire in life is to make others as miserable as he is.

Reclining in my IMAX chair and slipping on my 3-D glasses, I was totally prepared for Shrek 4 to suck. Instead, I partook a fun, genuine, and hilarious ride through the fairy tale world in absolutely gorgeous IMAX 3-D. The movie gets off to a bit of a slow start, with Shrek trapped in a “Groundhog-Day-esque” scene of mundane family life.

Just when you thought that Pixar couldn’t perfect another timeless movie, they’ve done it again. Although I’ve always been pretty skeptical about sequels within the animated genre-need I mention Little Mermaid 2, Lion King 1.5- this third instalment of Toy Story has truly proven that sequels can rank up to par with their original.

Picking up immediately from the intriguing cliff-hanger of season two, season three begins with Sookie Stackhouse enlisting the help of the (very sexy) vampire Eric in order to look for Bill, who has just been abducted by a mysterious source. As the season unfolds, it turns out that it is Russell Edgington-the vampire king of Mississippi- who, along with a brigade of werewolves, has taken Bill as a prisoner.

It would not be presumptuous to call Inception the movie event of the year. Certainly no other film this year has generated nearly the same amount of buzz as Christopher Nolan’s most recent blockbuster. Dom Cobb (Leonardo DiCaprio) is an extractor, a thief who steals thoughts from the minds of his targets through their dreams.

Despite wavering in popularity, The Real World is to reality TV what Columbus is to accidentally finding continents. Call it an innovator, call it an institution-either way, the franchise has produced 23 seasons, not including their latest, The Real World: New Orleans.

The Festival du Nouveau Cinema is the oldest of its kind in Montreal, celebrating its 35th birthday this October. The festival opens tomorrow with Philippe Falardeau’s Congorama and closes Oct. 26 with a spotlight on the Spanish cinema screening of Pedro Almodovar’s Volver.

Dear Journal, what can I say? He drove a cool car, remarks a certain 13-year-old boy by the name of Augusten Burroughs in the new movie adaptation of the memoir Running With Scissors. Having read Burroughs’ reminiscences of a homosexual boy with a 35-year-old boyfriend growing up in western Massachusetts in the late 70s, I was readily expecting golden phrases such as the former in the film’s adaptation.

Audiences have been eagerly awaiting Sofia Coppola’s new film since her last offering, the critically acclaimed Lost in Translation debuted. Unexpectedly, Coppola brings us from the neon lights of the streets of Tokyo to the glittering hallways of Versailles.

All things considered, Martin Scorsese hasn’t made a decent feature film in over a decade. Gangs of New York seemed excessively brutal and utterly pointless, Bringing out the Dead sank like a stone and The Aviator, for all the accolades draped over it, hardly served its biographical purposes adequately and was a remarkably boring film.