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· IMAX THEATER: The Living Sea (NR) Humpback whales, golden jellyfish and giant clams star in this documentary about the diversity of undersea life, with music by Sting and narrated by Meryl Streep. Mystery of the Nile (NR) this IMAX adventure follows a small group of reporters and filmmakers as they travel 3,000 miles up the Nile river. Fernbank Museum of Natural History IMAX Theater, 767 Clifton Road. 404-929-6300. www.fernbank.edu.
· JUNEBUG 4 stars (R) This deeply charming, tender story about a Southern homecoming, bristles with honest observation and wit, much of it transmitted by Amy Adams as a pregnant Southern ball of fire. George (Alessandro Nivola) and his sophisticated new wife Madeleine (Embeth Davidtz) head from their Chicago home to visit his folks in North Carolina where they find a South defined by close, unspoken family ties and no small amount of heartbreak, as captured by first-time director Phil Morrison and screenwriter Angus MacLachlan. -- Feaster
· THE MAN 1 star (PG-13) Eugene Levy plays Andy Fidler, a Wisconsin dental product salesman in Detroit for a conference; Samuel L. Jackson plays Derrick Vann, a federal agent trying to nail the gun runners who murdered his partner. In a sequence of staggering stupidity, Andy is mistaken for Derrick, so the pair must team up in an attempt to set things right. But why go on? Even at 85 minutes, this is a tedious timewaster, featuring two -- count 'em, two -- scenes that milk Andy's flatulence like a Hershey cow. -- Brunson
· ME AND YOU AND EVERYONE WE KNOW 2 stars (R) Performance artist and filmmaker Miranda July's debut film has garnered awards at the Cannes and Sundance film festivals, though its mixture of saccharine sweetness and sordid sexual provocation makes for a very overspiced brew. In this quirky, deadpan love story, geeky video artist Christine (July) falls for recently separated geeky shoe salesman Richard (John Hawkes). Like a feel-good Todd Solondz, July interweaves into that spazzy romance countless poetic moments that range from the keenly observed to the self-consicously precious. -- Feaster
· MUST LOVE DOGS 3 stars Many of the elements that have made the contemporary romantic comedy such a grueling, formulaic experience are present in Must Love Dogs, and yet the movie nonetheless will work for those willing to surrender to its dreamy passion. Diane Lane, so beautiful that it almost hurts to look at her, plays a recent divorcee who takes a chance on meeting single men who contact her through an Internet dating service. John Cusack, so adorable that even heterosexual men might feel inclined to give him a big bear hug, portrays Jake Anderson, one of her prospective suitors. You either buy into this fantasy or you don't -- me, I happily wallowed in it. -- Matt Brunson
· PRETTY PERSUASION 1 star (R) Former music video director Marcos Siega thinks he has some penetrating, Election -- style satire on his hands in this nasty teen dramedy. In fact, his mean, slutty little film is an extended wallow in the director and writer Skander Halim blandly misanthropic Maxim sensibility, which sees fit to both loathe and lust after its Heathers-esque opportunistic teen hottie (Evan Rachel Wood) who accuses her drama teacher of molesting her. Everyone gets dragged through the mud in Siega's unfocused social commentary, until he cops an absurdly moral point of view in the film's final act. -- Feaster
· RED EYE 3 stars Red Eye qualifies as the best movie that director Wes Craven has ever made: Unlike his usual junk (The Last House on the Left, Scream), this at least feels like an A-list project rather than the masturbatory exercises in misogyny he tends to foist upon the public. Rachel McAdams delivers a strong performance as Lisa Reisert, whose flight home to Miami turns into a terror trip once she discovers that the charming guy (Cillian Murphy) sitting next to her will involve her in an attempted political assassination. Red Eye may not expand the parameters of the thriller genre but it certainly knows how to make its way inside its well-established conventions. Unfortunately, that can only take it so far, and even at 85 minutes, the movie begins to coast as it reaches its obvious climax. -- Brunson