With Battle for Haditha, British documentarian Nick Broomfield brandishes his verité techniques for a fictional recreation of the November 2005 killing of 24 Iraqi civilians by U.S. Marines. Aspiring to be a modern Battle of Algiers, the film falls far short of that lofty goal, hawking standard-issue characterizations and leaden cause-effect analysis to humdrum effect.

To be sure, Broomfield generates palpable you-are-there immediacy, especially during the final act, when his camera's close proximity to its subjects (American and Iraqi alike) amplifies the mounting mania and fury that's been simmering for the prior hour. Such intensity, however, doesn't come equipped with matching insightfulness, as the depictions of its various players - marines, everyday citizens, and insurgents - are fashioned after now-familiar, simplistic psychological molds and action-reaction dynamics.

"I don't know how to begin, because the story's been told before," croons Nora Jones on the soundtrack during the opening of My Blueberry Nights, and it seems a similar problem afflicts Hong Kong auteur Wong Kar Wai, who makes his English language debut with this gorgeous if slight saga about aimless Elizabeth's (Jones) search for herself via a cross-country journey. It's not so much that Wong doesn't know how to commence this specific tale but, instead, that he doesn't know how to start anew, as his latest proves a minor stateside revisitation (or, perhaps more accurately, a rehash) of his favorite thematic and aesthetic preoccupations.

Despite being shot by Darius Khondji and not the director's longtime collaborator Christopher Doyle, the film offers up a handy compendium of his favorite visual signatures - the smeary slow-motion, the hyper-vibrant, sharp-and-soft color palette, framing and tracking shots that dreamily highlight the distance between individuals - while his narrative continues a career-long obsession with the intricacies of romance and the imperative role of memory (regarding both love and loss). It's as light, fluffy and attractive as the blueberry pies that Manhattan café owner Jeremy (Jude Law) serves Elizabeth late at night, but ultimately, also, far less satisfying.

With each picture since his 2000 debut George Washington, David Gordon Green has taken at least a small step backward. That gradual regression becomes a full-fledged precipitous decline with Snow Angels, a film in which the director (working from a novel by Stewart O'Nan) flails about in search of poetry, and comes up with only trivial stylistic flourishes that compound his story's overwrought faux-naturalism. Considering the lyrical grace of his heralded first feature, Green's devolution from one of American cinema's most promising talents to his current status as just another middling indie lightweight is tough to fathom. Yet with his latest, Green misses the mark in so many respects -- from a multi-strand plot devoid of insight, to performances that are generally overcooked, to a mise-en-scène that comes up largely empty in the department of inspired grace and beauty -- that it makes one wonder if his upcoming foray into director-for-hire work (with this summer's raunchy stoner comedy The Pineapple Express) isn't a shrewd attempt to escape his own increasingly faulty auteurist instincts.

Praying with Lior is, ostensibly, a documentary about one very special, very religious young man with Down syndrome. Yet despite its heavy focus on the role of faith in Philadelphia native Lior's Leibling's life, Ilana Trachtman's non-fiction portrait of the 12-year-old boy during the months leading up to his much-awaited Bar Mitzvah is far less interested in sermonizing or converting disbelievers as it is in showing organized religion and family to be similar social systems of inclusion. Which is not, however, to say that this heartfelt film is a one-note sunshiny tale, since director Trachtman has the good sense to observe Lior and those around him with equal measures of effusive empathy and journalistic inquisitiveness, capturing not only Lior's vociferous piousness but also the complex familial dynamics that surround him. Refusing to pigeonhole or preach, it touches upon numerous points of interest - the difficulties of raising special-needs children, the emotional support supplied by religious rites of passage and everyday customs, the selflessness of parents and siblings - and, in doing so, provides a complex, compelling depiction of the intrinsic relationship between love for God and one's kin.

As home movies and excerpts from an article reveal, Lior's mother Devorah was his bedrock. Succumbing to breast cancer in 1997 when he was just six, her legacy is his enthusiastic davening (traditional Jewish prayer), which is so sincere and infectious that it leads many to label him a "spiritual genius," the type of overreaching label that Lior's protective rabbi father Mordecai is quick to shun. Whether Lior's godliness is born from a true link to the divine or, as his godmother suggests, is perhaps simply the result of having been brought up by a mom and dad who were rabbis, is a question the film neither confirms nor refutes because it's beside the point. In interviews, Lior refuses to expound upon his association with the Almighty, a reticence that may speak to the private nature of his communion or merely childish shyness, which also manifests itself when Lior is pressed to explain what a Bar Mitzvah is to a shoe salesman. Praying with Lior is admirably non-judgmental, and consequently offers a clear view of its subjects' world, from the beaming kindness that characterizes Lior himself, to the simultaneous affection and jealousy that Lior's younger sister Anna feels for her attention-grabbing brother.

The popularity and quality of DVDs, the rise of home theaters, the general unpleasantness of the modern cineplex experience -- when pinpointing blame for declining interest in going to the movies, all of these reasons (and a few more as well) likely play a part. Nonetheless, for studios and theater chains, the "why" isn't quite as important as the "how do we turn this awful trend around?" And if the past couple of years are any indication, their prime solution seems to involve trotting out a technology that's more than half a century old, slightly improving its quality, and touting it as some sort of revolutionary step forward. That's right, we're talking about 3D, which began its comeback in exclusive IMAX-only presentations of random major theatrical releases (like 2006's Open Season), and has now begun its full infiltration of the mainstream, most notably with last November's Beowulf, a CG spectacle that -- in nearly a third of all the theaters it was projected -- required the use of advanced red-and-blue glasses to get the full, eye-popping experience.

Now the next phase of the technique's attempted resurrection arrives in the form of U2 3D, the first live-action film to ever be shot completely in 3D. And as with Beowulf, the same inherent positives and negatives persist. Directed by Catherine Owens and Mark Pellington using a wide array of 3D cameras, this document of U2's 2006 stop in Argentina on their Vertigo tour -- including footage from seven different performances -- is a striking up-close-and-personal view of the iconic band running through a greatest hits set list to a raucous outdoor stadium audience. What Owens and Pellington's film provides is an immersive front row seat at a U2 show, which -- with its elongated stage platforms that stretch into the crowd, and an immense, multifaceted screen presenting all manner of graphics and text -- seems to have been custom-designed to be transposed into three dimensions. Attuned to the bass of Adam Clayton in "Where the Streets Have No Name" and the crooning of Bono during a fantastic rendition of "One," the spectators rock, sway and bounce with rhythmic exhilaration, feeding into the titanic ego of U2's frontman and washing over the band's calmly cool guitar god The Edge.

At the screening of Teeth that I attended, female journalists squealed with delight at the sight of scumbag men being castrated by Dawn (Jess Weixler), an abstinence-promoting high school girl saddled with a curious case of vagina dentata, that mythical condition in which a woman's nether regions are lined with sharp teeth. A legend obviously rooted in male fears of female sexuality, director Mitchell Lichtenstein depicts it as a tool for female empowerment, as Dawn's efforts to come to terms with her strange and terrifying gift inevitably lead to a realization that it grants her dominion over all the cretins who want to deflower her. Thus, the glee that greeted the multiple severed penises, while disconcerting on a basic level (my god, are women really this tickled by castration!?), makes some sort of sense as a response to years of horror films in which men have exerted violence (often sexual in nature) against women. Nonetheless, their reaction continues to be puzzling, given that Teeth is generally so crude and schematic that it seems the only proper reaction to these climactic images is unsurprised, eye roll-accompanied groans.

An opening message that "No Men Were Harmed During the Making of This Film" immediately reveals not just Lichtenstein's goal to blend horror with comedy but, specifically, the brand of corny-cute humor he plans to employ. Initial glimpses of a nuclear power plant towering over Dawn's neighborhood (seemingly ripped straight from The Simpsons) cast an amusingly eerie pall over the early going, but any promise of a uniquely bizarre atmosphere quickly dissipates as the director introduces us to Dawn, the leader of a Christian youth movement that counsels kids to keep it in their pants until marriage. Dawn is sunny, cheery and attractive, and it's clear from the outset that one of her male classmates also devoted to abstinence -- a recent transfer to the school named Tobey (Hale Appleman) -- fancies her. Lichtenstein thinks that by making Dawn a doggedly chaste individual, his premise is somehow funnier than if she were just an average, everyday teen. Yet the result is the exact opposite, as her transition from snow-white good girl to blood-red avenger is so broad that she feels like little more than a punchline to some dreary bar room joke.

Let me present Exhibit A in the case against granting talented young filmmakers extensive creative autonomy: Southland Tales, Richard Kelly's monumentally vapid, messy, aimless saga about the end of days in 2008 California. For his follow-up to 2001's cult hit Donnie Darko, Kelly has adopted a kitchen-sink approach, crafting a tale chockablock with characters, plotlines, and tonal shifts - is it philosophical drama? tongue-in-cheek fantasy? lame-brained sketch comedy? - whose sheer quantity of stuff is inversely proportional to its quality. There's barely a trace of substance to Kelly's fiasco, nor anything like a so-bad-it's-good vibe that might excuse the fact that it consistently falls flat on its face. Information is provided at a rapid clip but doesn't amount to anything; supposedly humorous bits promptly fizzle; and intricate mysteries regularly crop up, only to quickly prove themselves not worth deciphering. To be fair, Darko's elaborate, reality-bending enigmas were also something of a dog-chasing-its-tail ruse, yet at least that indie conveyed an authentic mood of angsty teenager-dom. Southland, on the flip side, merely imparts the feeling of being trapped in a meaningless pop culture blender - equal parts comic book and Philip K. Dick fictions - for 160 minutes.

After a stinging reception at its Cannes debut last year, Kelly trimmed approximately 17 minutes from his original version. It's hard to fathom how misbegotten that excised footage must be, but pondering an even worse Southland Tales is unnecessary given the nonsense left intact in this final cut. Introducing its first segment as Chapter IV - hey, just like George Lucas! - the phantasmagoric film, taking place over a three-day period, concerns Boxer Santaros (Dwayne "Don't Call Me The Rock" Johnson), a famous pugilist married to the daughter (Mandy Moore) of a Republican senator (Holmes Osborne) running for president. Boxer has lost his memory, and is now living with porn star/talk show host/recording artist Krysta Now (Sarah Michelle Gellar). Krysta has ties to revolutionaries known as the Neo-Marxists, who are intent on taking down USIDent, an Orwellian institution run by Miranda Richardson's Big Sister that was created in the aftermath of a July 4th, 2005 nuclear attack on U.S. soil. This assault led to retaliatory military campaigns in Iraq, Syria and other Middle East hotspots, as well as to Justin Timberlake's facially scarred Private Abilene returning home from war to deliver sub-Apocalypse Now narration from the Book of Revelations, and later on, to perform in an arcade-set music video for The Killers' "All These Things That I've Done."

What in the name of...? Anthony Hopkins goes way, way, way off the deep end with Slipstream, a straight-outta-crazyland film written and directed by the actor in some sort of feverish attempt to mimic the work of former The Elephant Man collaborator David Lynch. It's Hopkins' very own Inland Empire, minus the inspiration and double the stylistic wackiness, with so many flash cuts, insert shots, freeze frames, rewinds, fast-forwards, color changes, perspective switches, discordant soundtrack noises and repeated scenes (featuring cast members in various roles) that it takes only a few short minutes for one's brain to start hurting from madness overload. And that isn't even a full list of all the tricks and gimmicks employed throughout this awe-inspiringly loony evisceration of Hollywood, the filmmaking process and - given its own awfulness - maybe art-house cinema as well. Who knows? To say Hopkins is going for something a tad more avant-garde than the standard fare in which he usually participates is to say that black is slighter darker than white. Slipstream is straight-up bonkers, a deliberately unintelligible and aesthetically insane head-trip into the fractured mind of its protagonist, screenwriter Felix Bonhoeffer (Hopkins).

Reservation Road was shot, and takes place, in and around Stamford, Connecticut. I live in Stamford, Connecticut. Joaquin Phoenix plays a bearded husband and father of two. I'm a bearded husband and father of two. Phoenix's college professor Ethan Learner is married to Jennifer Connelly. Were it not for my beloved wife, I would like to be married to Jennifer Connelly. And yet despite such powerful similarities between this on-screen fiction and my own life, there's almost nothing identifiably realistic about Terry George's adaptation of John Burnham Schwartz's novel, which seems determined, whenever possible, to resort to preposterous plot twists at the expense of actually plumbing its grief-stricken characters' anguished psyches. As with his previous Hotel Rwanda, the director tackles a grave dramatic subject - here, a child's death and the ensuing desire for revenge - only to skirt around unpleasant truths, feigning interest in the personal cost of retribution for both victim and victimizer while gorging himself on portentous music and encouraging overcooked histrionics from his cast. The resultant nonsense is In the Bedroom redux, but squishier and stupider.

On the way home from a seaside orchestral concert featuring their cellist son Josh (Sean Curley), Ethan (Phoenix) and Grace (Connelly), along with older daughter Emma (Elle Fanning), stop to fill up the family SUV at a gas station. While everyone else is distracted, Josh follows mom's advice to release some captured fireflies from a jar, a decision that proves fatal when lawyer Dwight Arno (Mark Ruffalo) and his son Lucas (Eddie Alderson), returning home late from a Red Sox game, come speeding around the corner and, thanks to a distracting cell phone call, hit the boy. Dwight, already upset about his ex-wife Ruth's (Mira Sorvino) nagging, panics and drives away, leaving Ethan and Grace to pick up the pieces of a now-shattered life. This cataclysmic narrative catalyst is Reservation Road's finest scene, due largely to Phoenix and Connelly's horrified reactions to the tragedy at hand, which have a dumbstruck numbness that - when matched by their artless husband-wife rapport - captures not only agony but also the way in which people, in times of crisis, subtly attempt to protect fellow loved ones. Their authenticity is bracing, even more so given that George stages the scene with clunky crosscutting that diminishes, rather than heightens, the sudden, shocking impact of the catastrophe.

The kidnapping and trafficking of young woman for the sex trade is a serious issue. Trade, alas, is just a seriously awful film. Rarely has a message movie been as noxious as director Marco Kruezpaintner's, which manages to be not only contrived and culturally offensive, but also exploitative of the illicit practice it theoretically opposes. Its right hand wholly ignorant of what its left hand is doing, the film asks us to sympathize with young Mexican Jorge (Cesar Ramos) after his thirteen-year-old sister Adriana (Paulina Gaitan) is grabbed by Russians and sold into sexual slavery, even as it makes clear that Jorge is an unrepentant criminal hailing from a dangerous country defined by its legion of cretins and crooked cops. It then attempts to elicit empathetic horror at the treatment of Adriana and her fellow abductees by their captors, while simultaneously lavishing so much lurid attention on their abuse that titillation becomes the prime objective. And of course it indulges in grim postscript statistics about the extent of sex trafficking, this after having previously exhibited absolutely zero interest in realism, as evidenced by Jorge's magical knack for sticking to Adriana's lengthy trail from Mexico City to New Jersey.

After spotting the snatched Adriana on a bustling metropolitan Mexican street - a preposterously convenient development indicative of the film's laziness - Jorge eventually stumbles upon a nasty, ramshackle building where she was held. There, he surreptitiously spies American insurance fraud investigator Ray (Kevin Kline), a cowboy hat-adorned mystery man who also seems to be looking for someone in this out-of-the-way dump. In order to enter the States to rescue Adriana, Jorge stows away in the trunk of Ray's car. Apparently, border patrol doesn't check car trunks, because this goofy plan works to perfection - until, that is, Ray discovers his stowaway and...well, after a few contentious conversations characterized by Jorge calling Ray "gringo," grudgingly befriends him. Predictably, despite age and cultural differences, the two are more alike than initial impressions let on, as The Motorcycle Diaries scribe Jose Rivera's phony script (based on a 2004 New York Times article) soon reveals that Ray is gripped by an inescapable, fanatical desire to locate the young daughter who vanished into thin air years earlier.

A coming-of-age tale adapted from Michael Noonan's novel, December Boys is primarily notable for providing Daniel Radcliffe with his first big-screen opportunity to prove himself more than just Harry Potter. Otherwise, it's a cloying, unremarkable affair. Rife with clichés and corniness, Rod Hardy's film concerns four orphans in the late '60s whose lives are oh-so-forever-changed when they're given a summertime break from their arid Australian Outback home and sent to vacation with a couple that lives by the sea. There, the goal of being chosen by foster parents is complicated by profound life lessons and, in the case of Radcliffe's virginal orphan Maps, sexual awakening at the hands of a blonde (Teresa Palmer) with a thing for Creedence Clearwater Revival. "I can teach you if you want," coos the teenage seductress, and the terrified/excited look on Radcliffe's face as he awaits entry into manhood has a vibrancy otherwise sorely absent from the proximate action. Combining the dewiness of The Cider House Rules with a few fantastical interludes seemingly culled from outtakes of Big Fish, it's a film with overwritten plotting and underwritten characters, often too content to simply work its audience over with a familiar, trite brand of adolescent nostalgia.

At this beachside idyll, Maps, Misty (Lee Cormie), Spit (James Fraser) and Spark (Christian Byers) find their friendship tested upon learning that the couple living next door to their cottage can't have children, and may want to adopt one of them. The possibility of being "saved" most fiercely consumes Misty, a devout kid who takes to sycophantically doting on the pair, a carnival motorcycle stuntman (Sullivan Stapleton) and his French wife (Victoria Hill). His yearning for family is the film's touchingly sentimental crux, complicated by the juxtaposition of the older Maps' angry disinterest in being adopted. Alas, December Boys can't leave well enough alone, tapping into genuine feelings of loneliness, acceptance and inclusion only to then embellish them with unneeded affectations. The off-putting directorial attempts to shamelessly tug at the heartstrings occur so frequently that empathy for these four comrades - dubbed the "December Boys" because of their shared birthday month - is muddied by indifference wrought from insistent emotional manipulation.

If it had a smaller budget and its theatrical prints were marred with scratches and debris, Illegal Tender might pass for the first half of a skuzzy, exploitative drive-in double feature. As it currently stands, however, Franc. Reyes' follow-up to Empire will have to make do delivering silly, shallow B-movie nonsense to fancy-schmancy multiplexes. A Hispanic crime saga unable to fully compensate for its amateurish performances, awkward dialogue, and hypocrisy regarding a criminal lifestyle that's supposedly condemned even as it's lustily glorified, Reyes' film is far more sizzle than substance. Nightclub grinding, champagne sipping, and guns cocking - these are a few of the director's favorite things, all of which receive the lion's share of attention throughout his tale of a family trying to fight back against a gangster who won't let them live in peace. Still, nothing in this goofy pic receives more TLC than star Wanda De Jesus, a brawny yet sexy badass Latina mama cast from a shoot-now, ask-questions-never Foxy Brown mold. Listen closely enough while she's commanding the screen, and you can almost hear Blaxploitation-loving Quentin Tarantino panting.

Decked out in tight shirts that reveal an equal amount of cleavage and bicep muscle, De Jesus plays Millie DeLeon, a Connecticut mother of 21-year-old collegian Wilson Jr. (Rick Gonzalez) and young Randy (Antonio Ortiz) whose drug dealer husband - as shown in a lengthy prologue set in 1986 Brooklyn - died at the hands of his duplicitous cohorts on the night Wilson Jr. was born. And by cohorts, I mean two voluptuous hitwomen in low-cut tops, mini skirts, and high heels -- a laughable pair who don't look remotely comfortable wielding firearms yet nonetheless work at the behest of kingpin Javier Cordero (Gary Perez). That Illegal Tender thinks it extremely clever to cross-cut between Wilson Sr.'s (Manny Perez) murder and Wilson Jr.'s birth - One life exits, another life enters! Whoa! - is emblematic of the film, which can't go five minutes without having a character articulate some obvious fact or simplistic theme. Grace is not the film's strong suit.

Dedication wants to be an endearingly quirky character study in which expressionistic aesthetics lend lyricism to the saga of weird individuals struggling to attain personal contentment and fulfillment. What it actually is, however, is an unoriginal romantic comedy that vainly attempts to mask its conventionality with all manner of eccentricities. For his directorial debut, actor Justin Theroux comes off as trying to channel former collaborator David Lynch with every drone, clank, and clang of his pushy soundtrack, while simultaneously employing as many needless flash-cuts as he can possibly muster in 93 minutes. Such superfluous stylistics don't have any inherent relationship to the narrative at hand, and as a result leave one with the impression that the director wishes he were making a different, perhaps more abstract and avant-garde, film. Then again, one can only partially blame Theroux for not seeking an audio-visual schema to match his story, since what his hackneyed content most clearly deserves is a form of the most milquetoast sort.

The Invasion's troubled path to theaters - in which German director Oliver Hirschbiegel (Downfall) apparently submitted an unacceptable cut of the film to the studio, leading to covert additional script-work and shooting by the Wachowski Brothers and V for Vendetta's James McTeigue - have at this point been well documented. Yet while it's easy to pinpoint such issues as the explanation for the mess that is this latest version of Jack Finney's classic sci-fi novel The Body Snatchers, it's much tougher to see how Dave Kajganich's screenplay could have ever been turned into something great, what with its near-total lack of character development and downright embarrassing stabs at injecting its tale with modern political subtext. Hirschbiegel's film is simultaneously cursory and heavy-handed, a lethal combination compounded by a pervasive disjointedness seemingly brought about by endless post-production re-configurations of the material. Labeling it a mess would be to understate the case; a more apt description would be that it's chaotic to the point of being anarchic, a handsomely photographed pulp fiasco that squanders its strong cast as well as any modestly intriguing ideas rumbling around in its head.

In a set-up so quick it's liable to give one whiplash, The Invasion outlines the origins of its alien incursion: a space shuttle explodes upon reentering Earth's atmosphere, and its debris is contaminated by an extraterrestrial organism that enters human hosts' bloodstream and then, when people fall asleep and enter the REM cycle, combines with night sweat to do something or other to their DNA to make them act like stiff, detached robots. Self-serious scientific mumbo jumbo spreads throughout the film like a contagion, corrupting any fun that might be had from the patently supernatural proceedings - or, at least, any intended fun, as there are a few mean-spirited pleasures to be had at watching a project flail about in such patently absurd and incompetent ways. Such as watching Nicole Kidman and Daniel Craig (as a psychologist and doctor, respectively) pretend to be infected by showing no emotion, a state that seems no different from their normal comportment. Or trying to figure out why Craig's doctor, who works at a hospital, is close friends with upper-crust foreign diplomats. Or how, with one laughable cut, Kidman goes from fleeing a group of pursuers on a quiet suburban street to running - still at full speed - through downtown D.C.

Laurent Tirard's Molière belongs to the subgenre of fictionalized biopics, which is considerably better than belonging to the traditional biopic genre, now a classification that denotes little more than phony, moldy clichés. Taking its cue from Shakespeare in Love, Tirard's film uses the titular French playwright's life as a jumping-off point for a fanciful tale of romance, duplicity, and acting, Acting, ACTING, imagining the adventure had by the 22-year-old Jean-Baptiste Poquelin, aka Molière (The Beat That My Heart Skipped's Romain Duris), during a period of months in 1644 when he mysteriously vanished. It's speculation of the playful sort, as screenwriters Tirard and Grégoire Vigneron cook up a wild saga to serve as the eventual inspiration for the writer's Tartuffe and The Bourgeois Gentleman, both of which are born from his unlikely stay at the opulent estate of arrogant fat cat Monsieur Jourdain (Fabrice Luchini), where he finds himself in the middle of various romantic entanglements. Ruses, double-crosses, and covert kisses ensue, all while Tirard casts his legendary protagonist as a kindred spirit of Preston Sturges' Sullivan, convinced that comedy - his natural calling - is merely the ugly, inferior stepchild to tragedy.

It's a belief anyone with passing knowledge of Molière's work knows will inevitably be torn asunder, and one that's firmly opposed by Molière itself, which fervently embraces the author's brand of frothy farce tinged with melancholy. After a brief framing intro (set in 1658) in which Molière and his troupe return to Paris after a 13-year tour of the countryside, the film flashes back to the artist's early days when he was struggling to make ends meet as a two-bit performer. Those lean times come to an end after an accidental bit of Chaplin-esque stage buffoonery gets him hired by Jourdain, who wants acting lessons so that he might perform a ridiculously bad, self-penned one-act play (about Greek mythology) for the gorgeous marquise Celimene (Ludivine Sagnier). This must all be done in secret, however, since Jourdain is married to the sharp-eyed Elmire (Laura Morante), a beauty with whom Molière - posing as a priest named Tartuffe who's been commissioned to tutor the younger Jourdain daughter - soon comes to find himself enraptured, and with whom he begins a clandestine affair that proves one of many tricky situations the young playwright is charged with resolving.