NEIGHBORS Review

When their new neighbor moves in, the head of a rowdy fraternity played by Zac Efron, Seth Rogen's character says he looks like someone a gay man created in a lab. That's probably the most spot-on way Efron's sexual appeal has ever been described. Saying the young actor is the least funny thing on the screen is definitely no knock on him, due to the fact alone of him being surrounded by such comedic talent. He (and his body) get the job done just fine and actually adds a layer of curious energy to Nicholas Stoller's uproarious and raunchy "Neighbors."

Efron's best moments are with fraternity cohort played by Dave Franco, whose scenes together take the homoerotic undertones of fraternities to hilarious new heights. Seth Rogen finds his comedic match in Rose Byrne, who busts loose with her natural Aussie accent and delivers perfect deadpan timing. The cast of comedians that flow in and out of frame is dizzying, especially Ike Barinholtz of "The Mindy Project" and the welcome return of Lisa Kudrow, who basically reprises her guidance counselor from "Easy A."

When the fraternity moves in next door, Mac (Rogen) and Kelly (Byrne) at first try to make nice with the guys, offering them weed but also trying to squeak in the phrase "keep it down." It doesn't work, and they're left being kept up until 4 a.m. tending to their adorable newborn who they can't get to sleep. When they make the mistake of calling the cops on the frat, Teddy (Efron) calls for an all-out war. The movie is loosely structured, freewheeling in its design and takes great creative liberties for a standard studio comedy. The rest of the script is us sitting back to watch as the attacks back and forth from family to frat ramp up in extravagance and absurdity. The party set pieces do every other college party movie proud and rave and flow with visual and aural excitement.

Among the gross-out sight gags, astonishing physical humor and plethora of jokes dedicated to one very specific body part, "Neighbors" packs in its biggest surprise in coming out as nonchalantly insightful about its characters. Efron, most notably, brings a dark soul to his fraternity leader, so that when the final takedown between him and Rogen happens, it becomes funnier because the stakes feel real. As Mac and Kelly see their lives turn a corner, the script rings true about what it means to earn responsibility, grow older and how aging doesn't always come exclusively with acting your age. The film is a big win for newcomer screenwriters Andrew J. Cohen and Brendan O'Brien, and even with "Forgetting Sarah Marshall," "Get Him to the Greek" and "The Five-Year Engagement" under his belt, this is probably Stoller's funniest film to date.

THE PAPERBOY Review

Coming off the success of his Oscar-winning "Precious," writer-director Lee Daniels decided to get down and dirty for his next picture. This weird, reverse sexploitation, faux 70s-styled comedy-thriller, period piece, detective drama is exactly the schizophrenic jumble of words I just described. If "The Paperboy" has one thing going for it, it's that it's nearly impossible to properly describe. And it, most certainly, will be unlike anything you've seen recently. One could also say, however, that the movie is quite literally a hot mess.

I mentioned reverse sexploitation. Notice the way Lee Daniels doesn't shy away from letting the camera lovingly caress Zac Efron who for the most part is unclothed. Efron plays the peculiarly aloof Jack who becomes smitten with the lover, named Charlotte (Nicole Kidman), of a convicted man, Hillary Van Wetter (John Cusack). With campy cinematography full of jerky camera zooms, jumpy editing and smoldering lighting that blares the frame, this throwback style would ordinarily admire the female figure. And Kidman plays up for it, too, savoring her carnal energy in every lip bite and suppressed, suggestive moan -- but no. Though she's the focal point for Jack's desires, the camera always points to him. It's daring, and there's no denying the passion. These A-list actors give their all and lay themselves bare (most notably Matthew McConaughey in a scene of raw defeat and vulnerability), but the B-movie aesthetic and D-movie tone lay all efforts to waste.

Wild-haired and crazy-eyed, John Cusack plays Hillary with perverted conviction. Charged for the murder of a local officer in deep south Florida, circa 1969, the dripping humidity and clinging sweat is almost palpable. In the way he captured grimy naturalism in "Precious," there's no knock against Daniels for creating heaps of atmosphere here. A Miami Times reporter, Ward Jansen (McConaughey), comes to town to investigate the crime along with his black partner, Yardley (David Oyelowo). The case is narrated by Macy Gray playing Jack's family maid, Anita, to create a twisted version of "The Help." Mix that with a dash of Craig Brewer's artful trash "Black Snake Moan," and you get "The Paperboy." It loses all hope for artistic integrity, however, once the plot takes a dive bomb in its final act, which sends characters into a swampy conclusion that defies all logic.

It's lurid, sexually charged yet flaccid, disturbing and, worst of all, really dull considering its pulpy premise. Kudos to Daniels, however, by making the movie which will always (and only) be remembered for it getting booed at this year's Cannes and a scene where Nicole Kidman urinates on Zac Efron's face. Intrigued? Go see it, I dare you.