DECATUR FILM FESTIVAL Two-day festival May 23-24, 7-10 p.m., at the Holiday Inn Select, in downtown Decatur, features: Stephanie Keating and Al Samuels' documentary Desert Penguins, Todd Simpson's animation short "Time Ace," Adam Taylor's short "Play Ball," Amy Baratt's short "Flirting With Myself and David Lyman's music video "Tic Toc" on Wed. Ryan Prows' short "The Legend of George the Clown," Harold Connett's experimental short "Winterlight Sonata," Fred Dresch's travelogue "Around the World in Twenty Days," Jeremy Wilson's short "Smoke and Mirrors" and Jon Milavec's music video "Rock On". Screened as part of the Decatur Arts Festival and Garden Tour.
GEORGE WASHINGTON (NR) First-time, 25-year-old director David Gordon Green combines the lush, heartfelt perspective that befits his age and an often flowery, precious dialogue that betrays his age too, in this touching, awkward, clunky, lovely film about a group of Southern children dealing with heartbreak, longing and a search for meaning. May 25- 31 at GSU's cinéfest. --FELICIA FEASTER
IF ... A troubled British high school student revolts against the system, fighting intolerance, abuse and bad food. May 18-24 at GSU's cinéfest.
"THE MULLET" Previously aired on local cable access station MediaOne, episodes of "The Mullet" will be screened on the first Monday of the month at the Fountainhead Lounge. The TV show features short films like "The Uh-Huh Man," "The Real Life of Jimmy Mullet" and "The Fisherman and the Mullet." April 2-June 4 at 8 p.m. Fountainhead Lounge, East Atlanta.
THE ROCKY HORROR PICTURE SHOW (R) The cult classic of cult classics, the 1975 horror spoof follows an all-American couple (Susan Sarandon and Barry Bostwick) to the castle of Dr. Frank-N-Furter (Tim Curry), a drag-queen/mad scientist from another galaxy. It's all fun and games until Meatloaf gets killed. Dress as your favorite character and participate in this musical on acid. Fridays at midnight, Lefont Plaza Theatre, 1049 Ponce De Leon Ave.
SNATCH Novice boxing promoters Turkish and Tommy coerce Irish gypsy boxer Mickie O'Neill (Brad Pitt) into taking part in a fixed fight with one of local villain Brick Top's goons. When O'Neill doesn't take a dive, Turkish and Tommy must find a way to pay back the crook lest they be fed to his pigs. Meanwhile, thief Micky Four Fingers steals a mega diamond, which then makes the rounds between a host of wack-job cons before landing in the hands of its "rightful" owners. May 18-24 at GSU's cinéfest.
TRAFFIC (R) 1/2 A well-crafted, engrossing story of the drug war as it touches characters from Tijuana to Washington, D.C., from cops and politicians to teenagers and suburban wives, Steven Soderbergh's drama moves along at a ferocious clip. Even with its large cast of newcomers and Hollywood old-guarders, this psychological action film affirms Soderbergh's talent for making good, populist dramas that exceed the usual Hollywood standards. May 25-31 at GSU's cinéfest. -- FF
ALONG CAME A SPIDER (R) Morgan Freeman returns in fine form as world-weary forensic psychologist Alex Cross of Kiss the Girls, likewise recommended as entertainment, not art. When a senator's 12-year-old daughter is kidnapped Alex teams with Secret Service agent Jezzie Flannigan (Monica Potter), who was assigned to protect the girl, to find kidnapper Michael Wincott -- and the girl -- before it's too late. After an action-packed opening the film slows down until the final hour, which is packed with twists, some more surprising than others. What matters is the plot holds together while you're watching it, even if it falls apart in retrospect. -- STEVE WARREN
AMORES PERROS 1/2 (R) A trio of stories set in a dystopian Mexico City revolve around a life-altering car crash in Alejandro Gonzalez Inarritu's gripping first feature more indebted to the indie free-styling of Tarantino than the art film legacy of Bunuel. --FF
ANGEL EYES (R) Overexposed media diva Jennifer Lopez delivers an OK performance as Chicago police officer Sharon Pogue, who's saved from certain death by a soft-spoken stranger (Jim Caviezel) who's mysteriously drawn to her. The pair fall in love, but his secretiveness puts a strain on their relationship. There's actually a couple of elements to admire in Gerald DiPego's ambitious screenplay -- most notably a sobering subplot about the cycle of domestic violence that exists in Sharon's family -- but the central romance is so predictable (you can figure it out from the first scene) that, coupled with the stagnant direction by Luis Mandoki (Message In a Bottle), the film never comes close to making us reach for those tissues. -- MATT BRUNSON
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