Each Thursday we are going to talk about 2 of the latest movies so please don't hesitate to rate the movie on a scale from 1 to 5
This Week's Movies are :

Paula (Sarah Jessica Parker, SEX AND THE CITY) has a highly unusual job in this at times cartoonish romantic comedy: she’s an interventionist. What this means is that parents of young men who are still living at home well into adulthood can hire her to date their sons, which lends the often troubled men the fortitude to strike out on their own. Trip (Matthew McConaughey) seemingly fits this description perfectly; a 35-year-old extreme sports enthusiast and boat salesman, he uses his living situation to quickly end any relationship that becomes too serious. Trip’s doting mother (Kathy Bates) and quirky father (former quarterbackTerry Bradshaw) hire Paula at their friends’ adamant recommendation, and she sets about her tried-and-true method of winning Trip over. A few obstacles emerge, however, as Trip’s buddy Ace (Justin Bartha) finds out the truth, and must be bribed by a date with Paula’s hilariously hostile roommate Kit (Zooey Deschanel). Paula also discovers a few things about Trip’s past that make her realize how different he is from the rest of her clients, but just as she begins to develop real feelings for him, disaster strikes.

In the annals of modern fear, few films have had as deep an impact as Wes Craven's 1977 cult classic THE HILLS HAVE EYES. With its gritty, ferocious and relentlessly suspenseful tale of a vacationing family who suddenly face a desperate battle for survival, the low-low-budget but no-holds-barred film was resonant with both intriguing themes and outrageous shocks to the nervous system.
Now, inspired by the wild imagination of suspense-master Craven – who serves as producer along with Marianne Maddalena and Peter Locke – comes a contemporary reinterpretation of THE HILL HAVE EYES from the cutting-edge young filmmakers, Alexandre Aja and Gregory Levasseur, whose recent hit HighTension won acclaim and controversy for raising the bar on horror films again with its graphic, white-knuckle take on psychological terror.