TRANSFORMERS: REVENGE OF THE FALLEN (PG-13) See review.
BIG MAN JAPAN 3 stars (PG-13) See review.
CHÉRI 2 stars (R) Michelle Pfeiffer reunites with her Dangerous Liaisons screenwriter Christopher Hampton and director Stephen Frears (who found renewed acclaim with The Queen for another period piece that sets love at odds with sex. Pfeiffer plays Lea, a wealthy, retired French courtesan who falls unexpectedly in love with Chéri (Rupert Friend), the callow son of Lea’s frenemy (Kathy Bates). In this adaptation of two short stories by Colette, Pfeiffer looks great and finds the humor as well as the pathos in her role, but Chéri the character comes across as so spoiled and one-dimensional that he seems unworthy of her attention, let alone having the movie named after him. — Curt Holman
DEPARTURES 3 stars (PG-13) See review.
O’HORTEN (NR) See review.
MY SISTER’S KEEPER (PG) A young girl (Little Miss Sunshine’s Abigail Breslin), brought into the world as a genetic match for her ailing older sister, sues her parents for medical emancipation. Cameron Diaz plays the no-doubt conflicted mom and Alec Baldwin plays the younger sister’s lawyer. It’s hard to imagine any summer movie being a bigger, more overt tear-jerker than this one.
FILM LOVE: PEACEABLY TO ASSEMBLE (Not rated) Featuring four unarmed protesters against a mountain of police, Martyn See's Speakers Cornered shows the almost farcical lengths to which authorities went to prevent a four-person march in 2006 Singapore. The police can neither arrest the protesters, nor let them proceed, creating a stalemate. The resulting images of protesters surrounded by a human wall of police and unable to move are a classic glimpse into the politics of the absurd. Circulated worldwide via YouTube long before it could be screened in its country of origin, Speakers Cornered is an example of 21st-century tactics in protest and media. $10. 8 p.m. Fri., June 26. Museum of Design Atlanta, 285 Peachtree Center Ave., Marquis II Tower. 404-979-6455. www.museumofdesign.org.
GHOSTBUSTERS (1984) 4 stars (PG-13) Online voters picked this classic supernatural spoof over rival 1980s films Big and The Princess Bride. Bill Murray, Dan Aykroyd and Year One director Harold Ramis play parapsychology professors who turn into bumbling spirit hunters. Sigourney Weaver plays a young musician who could be the gatekeeper to Armageddon, including “dogs and cats living together!” Free. Dusk. Thurs., June 25. Screen on the Green. The Great Lawn at Centennial Park. www.peachtreetv.com.
THE HIDEOUS SUN DEMON (1959) "The Blaze of the Sun Made Him a Monster!" Radiation exposure causes a scientist to transform into a scaly monster when hit by sunlight, suggesting he needs sunblock with an SPF of, like, 10,000. Also titled, intriguingly, Blood on His Lips.
$8-$12. 1 and 9:30 p.m. Sat., June 27. Plaza Theatre, 1049 Ponce de Leon Ave. 404-873-1939.www.plazaatlanta.com.
ANGELS & DEMONS 2 stars (PG-13) In Rome, a Harvard symbologist (Tom Hanks) and a young physicist (Israeli actress Ayelet Zurer) race the clock during a papal election, a hostage crisis and the countdown until a stolen speck of antimatter could wipe out Vatican City. This follow-up to The Da Vinci Code features a faster pace yet a less compelling historical conspiracy. It’s hard to get the sense that Hanks, director Ron Howard or anyone else involved in the production felt passionately about the material, except maybe for the set designers and art directors. Who would guess that Angels & Demons would have more corpses than
AWAY WE GO 3 stars (R) "The Offfice's" John Krasinski and Saturday Night Live's Maya Rudolph played an unmarried bohemian couple who travel across the continent to pick out a place where they can raise their unborn child. Written by the husband-and-wife novelist team of Dave Eggers and Vendela Vida, the comedyís structure emulates the Ben Stiller comedy Flirting with Disaster as the couple encounter broadly comedic bad parents in other cities, most memorably Maggie Gyllenhaal as a feminist who takes attachment parenting to a kooky new level. Director Sam Mendes takes a change of pace from Revolutionary Road's portrait of a hellish marriage, but the filmís scruffy charms barely conceal its lack of substance. —Holman
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