Todd Solondz
Comedy
Suburban Pictures
R
Seventh-grade is no fun. Especially for Dawn Weiner when everyone at school calls you 'Dog-Face' or 'Wiener-Dog.' Not to mention if your older brother is 'King of the Nerds' and your younger sister is a cutesy ballerina who gets you in trouble but is your parents' favorite. And that's just the beginning--her life seems to be falling apart when she faces rejection from the older guy in her brother's band that she has a crush on, her parents want to tear down her 'Special People's Club' clubhouse, and her sister is abducted....

Stanley Kubrick
Drama
Hobby Films
R
Sexual jolts disrupt Manhattan physician Bill Harford's equilibrium. At an elegant Christmas party, two "models" hit on him, he watches a Lothario try to pick up his tipsy wife, he aids a woman sprawled naked in a bathroom after an overdose. The next night, his wife reveals sexual fantasies with a stranger; a dead patient's daughter throws herself at him; as he walks, brooding, six teen boys hurl homophobic insults at him; a streetwalker takes him to her flat; he interrupts men having a sex party with a girl barely in her teens. His odyssey, which next takes him into a world of wealthy sex play at a masked ball of hedonism, threatens his life, his self-respect, and his marriage.

Chris Carter
Action & Adventure
20th Century Fox
PG-13
The feature film The X-Files: I Want to Believe is a satisfying if unspectacular installment in the X-Files series, taking place an unspecified time after the show's nine-year television run. Former agent Dana Scully (Gillian Anderson) is now a doctor, while Fox Mulder (David Duchovny) is being hunted by his former agency and living in seclusion. He and Scully are summoned back by a case involving a missing agent and a former priest (Billy Connolly) who claims to be able to see clues to the agent's whereabouts psychically, though his initial search turns up only a severed limb. Don't expect the usual cast of characters; the FBI has completely turned over (except for the George W. Bush portrait), and the only reason Scully and Mulder are back is because agent Dakota Whitney (Amanda Peet) remembers his success on similar cases involving the unexplainable. Don't expect the same rogues' gallery either; unlike the previous X-Files feature film, which was inextricably linked to the series' convoluted mythology arc (and served as a bridge between the fifth and sixth seasons), I Want to Believe is a stand-alone piece that makes use of the series' roots in horror/sci-fi and moody Vancouver, B.C., locales. Also unlike the previous film, which was almost self-consciously shot for the big screen, this film is on a smaller scale, like a double-length episode of the series. But it's still a good reminder of the creepy vibe that hooked fans for years. And the relationship between Mulder and Scully? It seems to have resumed pretty much where it left off, at least when you take into account the long period of separation. But stick around for the end-credit sequence to take in all the possibilities for the future. --David Horiuchi

Brad Anderson
Art House & International
FIRST LOOK PICTURES
R
In "Transsiberian", a train twisting across the white Siberian landscape becomes a trap for a well-meaning American couple, Roy (Woody Harrelson) and Jessie (Emily Mortimer), who find themselves pursued by a Russian policemen (Ben Kingsley) while on a trip to Moscow. On the train, they befriend a younger couple--but the charming pair hold secrets that draw Roy and Jessie into a frozen nightmare. "Transsiberian"'s snowy setting is both beautiful and eerie, providing an evocative atmosphere that helps carry the viewer through the sometimes bumpy plot. At its core, "Transsiberian" is about the anxiety of being in a new world--be it a new country or a new phase of your life--and not knowing the rules, the fear of taking the wrong step and falling. The thriller plot is little more than a delivery system for that sensation. But really, all director Brad Anderson ("The Machinist", "Next Stop Wonderland") needed was Mortimer's limpid face; every tremor that crosses her pale skin reverberates through the camera. Her essential vulnerability first came across in "Lovely and Amazing"; Anderson makes good use of this rare quality. "--Bret Fetzer"

Pat O'Connor
Art House & International
Sony Pictures
PG
This affecting, bittersweet tale--adapted from Brian Friel's semi-autobiographical Tony Award-winning play--examines the emotional lives of the five unmarried Mundy sisters in 1936 rural Ireland. In their mutual care is 8-year-old Michael (sweetly understated Darrell Johnston), the illegitimate son of youngest sister Christina ("Braveheart"'s Catherine McCormack). A voice-over from the adult Michael recalls that significant summer, in the month of August, during the feast of Lughnasa. The bolder townfolk dance around a fire to Lugh, an ancient god of light. Yes, this is fiercely Roman Catholic Ireland and Lugh a pagan god, but that irony is at the core of the film, the hypocrisy of tradition. The dramatic change in the richly metaphoric movie comes with the arrival of two men: eldest sibling--and only Mundy brother--Jack (Michael Gambon), a priest returning from many years in Africa, now addled, and Christine's long-absent lover and Michael's father, the charmingly flighty Gerry (Rhys Ifans). Beautiful music and excellent performances highlight the film, which also features gorgeous cinematography of the Irish countryside. Meryl Streep is stern eldest sister Kate; Kathy Burke is lively Maggie; Brid Brennan (who appeared in the stage play) is thoughtful caretaker Agnes; and Sophie Thompson is simple sweet Rose. It's a quiet film, but one filled with ironic and haunting meaning. Directed by Pat O'Connor ("Circle of Friends"). "--N.F. Mendoza"

Justin Chadwick
Drama
Sony Pictures
PG-13
A tale of two sisters competing for the same king, "The Other Boleyn Girl" uses historical facts as window dressing for this work of fiction that is entertaining, if not wholly believable. Anne Boleyn (Natalie Portman) is the doe-eyed vixen ordered by her power-hungry uncle to bewitch King Henry VIII (Eric Bana). Her shy sister Mary (Scarlett Johansson) has always been in Anne's shadow; Anne is prettier, more accomplished, and desired by many men. So when the King picks Mary--the "other Boleyn girl"--as his mistress, Anne turns on her sister and schemes to become not only the King's consort, but his new queen. With a pair of American actresses in the lead roles and an Aussie portraying their hunky object of desire, the English accents are all over the place in this period piece with a modern feel. Though the Boleyn girls' mother points out that her "daughters are being traded like cattle for the advancement of men," it is Anne who ultimately throws her slight weight around to bully Henry into doing her bidding. When he begs her to give herself to him, Anne--wearing a Carrie Bradshaw-esque "B" pendant on her neck--counters, "Make me your Queen." Is the audience really supposed to believe that Henry the VIII--the most powerful man in the land--would divorce Catherine of Aragon, separate from the Catholic church, and put England in upheaval simply because Anne refused to sleep with him until he jumped through all her hoops? "I have torn this country apart for you," he hisses at her before finally getting his way. Based on Philippa Gregory's bestselling novel of the same name, "The Other Boleyn Girl" features an attractive cast and a familiar plot with some icky twists. Kieran McGuigan's cinematography is breathtaking and is as crucial to setting the film's tone as the dialogue. Actually, it fares better: Lines such as "Well? Did he have you?!" sound almost comical. But the sweeping shots of Henry's kingdom and the carefully framed close-ups of Portman and Johansson are breathtaking in their beauty and say what words simply cannot. "--Jae-Ha Kim"

Lasse Hallstrom
Comedy
David Brown Productions
PG-13
When a single mother and her six-year-old daughter move to rural France and open a chocolate shop - with Sunday hours - across the street from the local church, they are met with some skepticism. But as soon as they coax the townspeople into enjoying their delicious products, they are warmly welcomed.

Andrew Stanton
Animation
WALT DISNEY VIDEO
G
Pixar genius reigns in this funny romantic comedy, which stars a robot who says absolutely nothing for a full 25 minutes yet somehow completely transfixes and endears himself to the audience within the first few minutes of the film. As the last robot left on earth, Wall-E (voiced by Ben Burtt) is one small robot--with a big, big heart--who holds the future of earth and mankind squarely in the palm of his metal hand. He's outlasted all the "Waste Allocation Load Lifter Earth-Class" robots that were assigned some 700 years ago to clean up the environmental mess that man made of earth while man vacationed aboard the luxury spaceship Axiom. Wall-E has dutifully gone about his job compacting trash, the extreme solitude broken only by his pet cockroach, but he's developed some oddly human habits and ideas. When the Axiom sends its regularly scheduled robotic EVE probe (Elissa Knight) to earth, Wall-E is instantly smitten and proceeds to try to impress EVE with his collection of human memorabilia. EVE's directive compels her to bring Wall-E's newly collected plant sprout to the captain of the Axiom and Wall-E follows in hot pursuit. Suddenly, the human world is turned upside down and the Captain (Jeff Garlin) joins forces with Wall-E and a cast of other misfit robots to lead the now lethargic people back home to earth. Wall-E is a great family film with the most impressive aspect being the depth of emotion conveyed by a simple robot--a machine typically considered devoid of emotion, but made so absolutely touching by the magic of Pixar animation. Also well-worth admiring are the sweeping views from space, the creative yet disturbing vision of what strange luxuries a future space vacation might offer, and the innovative use of trash in a future cityscape. Underneath the slapstick comedy and touching love story is a poignant message about the folly of human greed and its potential effects on earth and the entire human race. Wall-E is preceded in theaters by the comical short Presto in which a magician's rabbit, unfed one too many times takes his revenge against the egotistical magician. (Ages 3 and older) --Tami Horiuchi

Francois Ozon
Drama
Fidélité Productions
R
Sarah Morton is a famous British mystery author. Tired of London and seeking inspiration for her new novel, she accepts an offer from her publisher John Bosload to stay at his home in Luberon, in the South of France. It is the off-season, and Sarah finds that the beautiful country locale and unhurried pace is just the tonic for her--until late one night, when John's indolent and insouciant French daughter Julie unexpectedly arrives. Sarah's prim and steely English reserve is jarred by Julie's reckless, sexually charged lifestyle. Their interactions set off an increasingly unsettling series of events, as Sarah's creative process and a possible real-life murder begin to blend dangerously together.

Barbara Kopple, Cecilia Peck
Documentary
Weinstein Company
R
"Shut Up & Sing" finds two-time Academy Award winner Barbara Kopple ("American Dream") and co-director Cecilia Peck following the lives and career developments of the Dixie Chicks in the wake of singer Natalie Maines’ denunciation of the Iraq war and President Bush in 2003. The film returns to the pivotal moment in which Maines, speaking to a London audience, raised opposition to America's invasion of Iraq, resulting in a backlash in America. The Chicks, as one sees, have had little peace of mind since then, banned from country music stations, picketed at concerts, and targeted by death threats. Maines, Martie Maguire, and Emily Robison respond to the extensive and sometimes scary criticism they've faced, though their latest music, including a song called "Not Ready to Make Nice," also speaks for itself. Kopple and Peck spend a lot of time with the band on a human level as well, in homes and dressing rooms and recording studios. The collective--and quite touching--portrait is of three women who wish only the best for one another and back each other's decisions all the way. This is essential viewing for fans of the gifted Kopple as well as the always-against-the-odds Dixie Chicks. "--Tom Keogh"