I just spent the last half hour double-checking the MPAA ratings on my all-time favorite comedies, and I noticed the majority of them are rated R. There's been a real push over the last several years to get films down to a PG-13 rating. Two comedies that did really well this year with audiences, but not critics, were both rated PG-13 (Norbit, Wild Hogs). But let's take a look at the last several comedies that did well with both audiences and critics: Knocked Up, Wedding Crashers, Little Miss Sunshine, The 40 Year-Old Virgin -- all rated R. Around this same time last year, the teen comedy Accepted hit theaters. The film starred an up-and-coming Justin Long, and some new guy (who happened to steal the movie) named Jonah Hill. At the time, I thought it was a nice surprise for a PG-13 comedy -- although now that I know how good Superbad is (a film that stars the same Jonah Hill), I'm left wondering how much better Accepted would've been had it opted to go 'R.'

With Superbad, it's not even like the film carries a ton of nudity. In fact, Superbad is one of those extremely rare R-rated teen sex comedies that doesn't have an ounce of nudity anywhere in it. Instead, we have several references to sex, combined with more foul language than you know what to do with. But, like Jonah and Michael Cera told me during our interview, this is how kids talk. This is how real teenagers act around each other. And like with the majority of Judd Apatow's films (whether he's a producer or director), it's funny because it's relatable. I had a conversation with a friend of mine last night, and Apatow's name came up. In my opinion, Apatow and his crew have achieved in two years (on the big screen) what Kevin Smith should have 10 years ago (although when you factor in budgets versus box office, Smith's films have been very successful) -- writing raunchy, relatable material (sprinkled with pop culture references) that caters to a wide audience. It's not that Smith's stuff isn't funny (it totally is -- my friend and I talked Clerks for an hour last night), it's just that his films unfortunately never found a way to reach the mass audience Apatow has.**. But to get back on track ...

... what do you think: Is a comedy funnier when it's rated R? And, like Accepted, are there comedies that would've been funnier had they gone for the 'R' rating?

**Leave it to me to start a topic within a topic and not explain myself further. That's what happens when caffeine hasn't entered my system yet. But to further explain, what I meant to say is that Apatow and his crew stole a bit of Smith's thunder, and we should remember that Smith could probably be credited for starting this whole "relatable foul-mouthed humor" with little more than a bunch of credit cards and a unique sense of humor. Scott made some great points in his follow-up post, so head on over there to continue this discussion.

Put Seth Green behind the camera (as a writer and/or a voice actor), and I absolutely love him. However, when I have to look at him in front of the camera, part of me wants to punch a part of him (with the exception of Airborne -- I love that movie). Perhaps it's just me, but there's something about Green as a live-action actor that irritates the hell out of me. But maybe he's just choosing the wrong roles (Without a Paddle? Rat Race? Josie and the Pussycats?). That being said, The Hollywood Reporter tells us that Green has joined the cast of Old Dogs -- another comedy about a couple of guys whose "lives turn upside down" when they're put in charge of 7 year-old twins. Oh, the comic potential just oozes from this sucker.

John Travolta and Robin Williams have already signed on to play the male babysitters, while Green will play "an executive with the global marketing firm run by Travolta and Williams' characters as they are closing a big deal with a Japanese conglomerate." HR adds: "He is eager to prepare for his move to Tokyo and show off his Harvard MBA and Japanese cultural skills." Wild Hogs director Walt Becker will helm, with Matt Dillon, Travolta's wife Kelly Preston and daughter Ella Bleu Travolta also starring. (I believe part of Travolta's deal stated that his entire family would get roles too.) Disney will shovel this one out at some point next year (based on the success of Wild Hogs, I'd say we should expect it to be a summer release), while plans are already in the works for a Wild Hogs sequel. Aside from Mr. Mom (which is one of my all-time favorite Michael Keaton roles), I've never been a fan of this concept. I mean, how many diaper-changing gags are there? However, Williams always has the ability to shine when he's given room, and so this film should definitely appeal to the mass audience. But will the critics like it? Something tells me no one gives a crap about what they think.

I have a special rule when it comes to Tim Allen: unless it's a sequel to Galaxy Quest, I will not see any movie starring the former Home Improvement star. I know I'm not alone in having such a rule. Nobody I know likes Allen or the majority of his movies (Quest is the exception for most, it seems). But a lot of people apparently love his work and so Disney will continue to employ his comedic "talent". Obviously, he was partially the draw for this year's shockingly huge Wild Hogs, which was big enough to get Disney going on a sequel.

The latest picture the studio has attached Allen to is called Yosemite Three, which was greenlit based on a pitch from writers Michael Carnes and Josh Gilbert (The Wayne Brady Show). The idea has Allen and two others playing AWOL corporate employees who hide out in a bar while their co-workers head off on a mandated hike through Yosemite National Park. These lazy guys are eventually reported missing by the hikers and become the subjects of a popular news story. Whether or not the trio has access to a television and knows about their status is not reported. In case you want further confirmation that this movie will suck, though, it is being produced by David Hoberman and Todd Lieberman, who together gave us the remake The Shaggy Dog.

Carnes and Gilbert are a hot duo in Hollywood right now, despite the fact that they haven't yet had success on the big screen. Of course, this is only because none of the movies they've written have been released. The first will be Mr. Woodcock, which we told you about in October), arriving in the fall. Then there is the "Untitled Man vs. Nature" film that used to be called Furry Vengeance, starring Samuel L. Jackson and Jeremy Piven. They've also got two projects that are not yet in production: Stalker, A Love Story, which will star Owen Wilson, and The Worst Man. I nominate Allen to be the titular star of the latter.

Remember that incident a few months back involving the city of Boston and a marketing idea gone wrong? In case you're totally oblivious or have a bad memory, it consisted of a silly stunt to promote Aqua Teen Hunger Force that accidentally caused a terror alert. In the end, the mistake resulted in two men facing felony hoax charges, the head of Cartoon Network resigning, Turner Broadcasting paying out $2 million in restitution and Boston Mayor Thomas M. Menino hating the surreal animated series forever. Unfortunately for Menino, the cinematic spin-off of the series, Aqua Teen Hunger Force Colon Movie Film for Theaters, opens this Friday around the country, including in two theaters in his city. Menino has made attempts to convince these locations to boycott the film, "out of respect to the people of Boston," but obviously the theaters are not willing to meet his demands. The thing Menino doesn't appear to realize, which doesn't take an expert in marketing communication to point out (though the Boston Herald quotes one, just to go with an official perspective), that any negative attention he can give the movie will help in its appeal.

In unrelated news, Menino has also attacked the marketing of another film this week. He has ordered the removal of advertisements for Fracture, which contain written in big letters the phrase "I Shot My Wife" superimposed over Anthony Hopkins' face. The fifty posters, which are part of a reported $52,000 ad campaign, have been on display in bus shelters for nearly a month, and apparently they have caused a lot of complaints. A statement from the mayor's office claimed the ads promoted a negative and violent message, which makes me wonder what Menino would have thought if Boston had been included in the controversial campaign for Captivity. He might have gone and banned all movie marketing within city limits for good. Well, except for maybe those promoting seemingly harmless Tim Allen comedies. After all, in case anyone thinks that the mayor has a thing against Hollywood in general, recall how much love he showed to Wild Hogs last month.

The blood-soaked Greek war epic 300 once again left the competition bruised and battered this weekend, taking in a cool $31.2 million to hold its No. 1 position at the box office.

Here's what Patricia predicted for the weekend box office on Friday:

1. 300
2. Premonition
3. Wild Hogs
4. Dead Silence
5. I Think I Love My Wife

And here's the actual top five:

1. 300 - $31.2 million
2. Wild Hogs - $18.8 million
3. Premonition - $18.0 million
4. Dead Silence - $6.8 million
5. I Think I Love My Wife - $6.8 million

Get the full box-office report here.

Martin Lawrence is teaming with ex-Cosby gal Raven-Symone for Walt Disney Pictures' College Road Trip. Have a feeling the critics won't be Raven about this one! The story centers on "a young woman with ambitious public-defender dreams who goes on a road trip to visit potential universities with her father, an overprotective cop." Sigh. The movie is set to start shooting in late June or early July in the northeast. Cinco Paul and Ken Daurio wrote the most recent draft (I mentioned them last week as writers on the new CGI Horton Hears A Who movie), Roger Kumble is directing. Kumble has a pretty spotty record, he did the trash classic Cruel Intentions, the horrible "girls can be dirty too" comedy The Sweetest Thing, and the moderately amusing Just Friends with Ryan Reynolds. Lawrence is hot right now, currently in theaters with Wild Hogs, and as we told you last week, he is also in production on The Better Man.

Though it hasn't started filming and I know nothing more about the project than you do, let me tell you what the trailer will consist of: Funky bass line begins. We see Martin Lawrence in a police uniform busting a perp. Narration: Jack Doogan is the toughest cop in Manhattan. He's dealt with some of the most devious criminal minds around. But none of them compare... Sound of needle scraping across a record. ...With his daughter! We see Raven leaving the house in a revealing outfit. Martin spits out his coffee, and asks her where she's going. She says "Work." He says "Where you workin,' Scores?" Road trip begins. Lots of scenes of Martin and Raven arguing in the car. Maybe they hit an animal in a comical fashion. At the colleges, lots of guys whistle and make catcalls at Raven. This makes Martin angry. His anger makes Raven embarassed. Music changes and we realize these two really love each other. Close on big joke involving Martin getting hit in the testicles. Box office gross: $100 million.

On a side note, according to imdb Raven-Symone is now going simply by "Raven." So if she shows up gently rapping at your chamber door, you'll know why.

The divide between critics and audiences has been growing stronger and stronger. This very site has done several reports of late about how studios and directors think critics are snooty, snobby, and out of touch with what the public wants. It seems more and more movies are not even being shown to critics prior to release. That practice used to be reserved solely for the worst of the worst, but now big-budget movies with big stars aren't being submitted for review. In light of recent evidence, critics' opinions don't really seem to have any effect on business at all. These past few months have made for some shocking revelations come Monday morning box office report time, with such critically panned movies as 300, Norbit, Ghost Rider, and Wild Hogs all doing huge business.

Now Peter Bart at Variety has chimed in with a new article on the subject. He says that critics "may be shopping around for a new line of work," and states that they "should consider a sabbatical until September, when movies aimed at their quadrant magically reappear." Huh? Bart suggests, "if the established media wants to stay relevant, should their critics make a passing attempt to tune in to pop culture?" Well, what does that mean exactly? Does that mean hiring a quote whore to just write about how he or she adores every steaming pile that comes down the chute? Why should critics' tastes have to sync up with what makes money? To me, reading a great film review is like having a conversation after the movie. It's a kick to read an in-depth analysis of something I just saw, whether the reviewer agrees with me or not.

This whole debate has gotten out of hand. Audience poller Cinemascore reports that all four of the aforementioned movies were not just successful financially, but at least reasonably enjoyed by audiences. Is anyone who laughs at Wild Hogs an uneducated hillbilly idiot? Of course not. Does Norbit's success mean that all critics are dumb and should quit their jobs because they personally didn't like it? No way. The old "If you don't have anything nice to say, don't say anything at all" rule doesn't, shouldn't, and can't apply to film criticism.

Following in the footsteps of folks from Disney and Fox -- who recently called out critics for panning films like Norbit and Wild Hogs, even though audiences are eating them up at the box office -- Brian Robbins has popped in to add more fuel to the fire. After all, if there's one man at the center of all this rubbish, it's Robbins; not only did he direct Norbit, but he also produced Wild Hogs -- combined, both films have taken in upwards of $120 million so far. According to Robbins, he cannot -- for the life of him -- understand how a film like Norbit could score so well with audiences, yet be universally panned by critics. He says, "How do you figure that? Is the audience that stupid? Is America's taste that bad? I don't think so."

I don't think so either. It's not that all of America is stupid; I believe it has more to do with what feels familiar. Wild Hogs and Norbit are both "familiar" films; from the actors to the stories being told, audiences have watched and enjoyed similar films, therefore it's easier for them to sit there with a smile because they've already been pre-trained to do so. Robbins continues: "The only films that get good reviews are the ones that nobody sees. I just don't think you can make movies for critics." Well, this is a stupid argument, because plenty of great films simply get butchered when it comes to marketing; studios would much rather spend their money on Eddie Murphy in a fat suit than Clive Owen in a film about the end of the world. And, regardless, a number of big blockbuster films get good reviews ... but those same reviews are conveniently forgotten about when someone like Brian Robbins is trying (but failing) to make a point.

This shouting match is a tired one because, in the end, no one really wins. Hollywood will continue to churn out movies for the masses, and critics will continue to trash the shoddy acting, regurgitated plotlines and lack of originality. Just like an audience is programmed to enjoy what's familiar, a critic is programmed to be, well, critical. And neither party should be blamed for doing their job.

Just as you might expect, many of the recently released, universally-panned movies are bringing in big box-office numbers, while praised films like Zodiac are falling short. Using the Rotten Tomatoes scale, which is usually quite forgiving when it comes to negative reviews: Wild Hogs, which was the number 1 film of last weekend, rests at 18%, Norbit rests at 10%, Ghost Rider came in with 27% and Night at the Museum had the highest with 45%, which is still low for a multi-week #1 hit.

With the box-office squarely on their side, the big honchos of mainstream movies are now, unsurprisingly, picking a fight with critics. An exec at Disney recently went on record saying that "critics are out of touch with their readership," while Tom Rothman of Fox proudly says that his feature wasn't embraced by "highfalutin snooty snoot critics." At least he was creative with his distaste. But when has big money ever equalled big quality? McDonald's rakes in the bucks, but no one calls the Big Mac gourmet. So, why are execs getting ticked off when critics, who are paid to evaluate how well something is done, see a film as a limp fast food burger and not a juicy taste of Kobe beef? You might like the limp burger, but that doesn't mean that it was made just as well as the gourmet one.

There's no winner or loser to this debate because the sides aren't arguing about the same thing. Just because a film does well does not mean that it is good. Can anyone attached to any of those films say that they are as good as some of their highly-regarded, highly-praised films? Would William H. Macy describe Wild Hogs as comparable to Pleasantville or Boogie Nights? No. It's time for these execs to stop getting ticked at critics when their crappy, or questionable big-box-office movie gets panned, and start seeing their mainstream schlock for what it is.

Following his better-than-expected success this past weekend with Wild Hogs, writer-director Walt Becker is the "it" man in Hollywood. And he's got plenty of projects in the pipeline to show for it, including a re-team with John Travolta called Old Dogs, which we told you about last week, and now the twin-rivalry comedy Runts, which he just set up at Dimension. The movie, being co-written by David Drew Gallagher, is about twin brothers who are complete opposites. As in one is a tall, muscular goody-goody with an Austrian accent and the other is a short, balding crook with a Jersey accent? Sounds original.

Sure, I'm being hard on the idea without hearing the entire pitch, but it's hard to take Becker seriously. He claims that he sees things in trailers, meaning his ideas are solely about what can be sold to an audience in a few minutes. On the other hand, Becker and Gallagher came up with the idea for Schooled, a project set to happen at Touchstone that the two pitched in 2005 (probably shocked that nobody had already thought of it.) Schooled sounds like your basic John Hughes comedy, yet it is seen through the eyes of and concentrates on the lives of the teachers. Here's hoping Ben Stein plays a nerdy teacher who tries to woo the popular hot teacher.