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After posting on Twitter under the name "The Tweet of God" for the last year, comedy writer and former Daily Show executive producer David Javerbaum is out with a new book this week called The Last Testament. But some big retailers aren't laughing. Names including Wal-Mart have refused to carry the book.

Which super-villain strikes terror into your heart? We review the top contenders, and invite your votes and suggestions.

Six years after their misadventures at Guantanamo Bay, an estranged Harold and Kumar reconnect — just in time for a rude seasonal farce that pokes fun at everything from its 3-D gimmick to the most wonderful time of the year.

In this spy thriller, a retired CIA operative (Richard Gere) teams up with a rookie FBI agent (Topher Grace) to investigate the brutal killing of a U.S. senator who had business ties to Russia.

What happens when aging punk rockers become fathers? They go all gooey inside, just like regular guys. A surprisingly charming documentary sheds light on the challenges of making a family while keeping a punk-scene presence alive.

Netflix is taking another beating over subscriber losses. They're still the big kid on the block, but they need to find their way back to the sweet spot that put them in the lead in the first place.

In Drake Doremus' drama Like Crazy, a young couple is forced to separate when one of them violates the terms of her student visa. Movie critic David Edelstein says the movie is painful and compelling — and reminds him of Richard Linklater's Before Sunrise.

The lives of writers drive two films opening this week: The Rum Diary, starring Johnny Depp, dramatizes a Hunter S. Thompson novel. Roland Emmerich's Anonymous, meanwhile, examines who wrote Shakespeare's plays. Critic David Edelstein says both films show how hard it is to write about writers.

Eddie Murphy has resigned as the host of the 2012 Oscars.

Lars von Trier's Melancholia stars Kirsten Dunst and Charlotte Gainsbourg as sisters who undergo a psychological transformation as disaster approaches. Critic David Edelstein says the film is a sublime fusion of form and content with a truly Wagnerian climax. (Recommended)