A critical digest of the week's latest U.S. theatrical releases. Where applicable, links to longer reviews have been provided.

The Internship
Distributor: 20th Century Fox
"Google Crashers" must have been the high-concept pitch for "The Internship," which reteams "Wedding Crashers" stars Vince Vaughn and Owen Wilson for a round of markedly less ribald shenanigans, this time as two washed-up Willy Lomans trying to reinvent themselves as tech-sector whiz kids. "The Social Network" it isn't -- nor does it try to be -- but this big-hearted underdog comedy from director Shawn Levy is, much like its two leads, exceedingly affable and good-natured despite being undeniably long in the tooth. Low-key pic faces its own generation-gap standoff at the summer box office, where it opens just five days ahead of the more buzzed-about hipster doomsday farce "This Is the End" -- a reminder that much has changed in American screen comedy in the eight years since "Crashers" racked up a $200-million-plus domestic total.
-- Scott Foundas
Read the full review

The Purge
That old horror-movie standard, a homestead besieged by psychos, gets remixed with a bit of Occupy-era class-conflict satire in the disappointing future-set thriller "The Purge." Ethan Hawke and Lena Headey are interestingly cast, slightly against type, as a smug couple defending their family against murderous intruders on the one night of the year when any crime, even murder, gets a free pass. But while writer-helmer James DeMonaco's scenario echoes the fiction of J.G. Ballard and even "The Hunger Games," the film's thudding shocks and predictability dull its edge. "Purge" took a not-so cathartic $1.5 million over the weekend in Blighty; it looks to do proportionally modest biz when it opens Stateside on Friday.
-- Leslie Felperin
Read the full review

Much Ado About Nothing
Lionsgate/Roadside Attractions
As improbable and charming a follow-up to "The Avengers" as could be imagined, Joss Whedon's "Much Ado About Nothing" is an inspired example of Shakespeare-on-a-shoestring. Updating the setting but, mercifully, not the language of the Bard's great love comedy, this nimble black-and-white rendition honors a classic text, adroitly performed by a game ensemble of Whedon TV alums, while teasing out all manner of anachronistic in-jokes and sight gags that enhance its merry spirit. More apt to please the writer-director's devotees than literary purists, this singular item will require skillful handling, but has sufficiently broad appeal to woo an indie following.
-- Justin Chang
Read the full review