Shelley (Anna Faris) is proud of her status as a bubbly blond Bunny, that is, until she gets kicked out of the Playboy Mansion for reaching the ripe old age of 27. So Shelley is forced to be the new house mother for the Zeta Alpha Zeta sorority, where she uses her talents to transform the plain jane sisters into cute boy magnets. Colin Hanks, AMERICAN IDOL\'s Katharine McPhee, and Emma Stone costar in this giggle-filled comedy.

Roger Corman\'s cult classic film DEATH RACE 2000 gets a fast-moving follow-up with director Paul W.S. Anderson (AVP: ALIEN VS. PREDATOR) behind the wheel. Jason Statham (THE TRANSPORTER) plays Jensen Ames, a prisoner who is serving a sentence for a crime that he didn\'t commit. But in this futuristic society, Ames can compete for his freedom with a victory in a brutal three-day race.

Curtis Plummer -- a down-on-his-luck former high school football star -- turns his niece, Jasmine, into the quarterback of the local team, the Minden Browns, and gets his stride back when he becomes the team coach. With Curtis as their new leader and their pigtail-wearing star player, this team of misfits wins its way to the Pop Warner Super Bowl and the small city of Minden, Illinois, is ignited with team spirit, town pride and the glory it once knew.

When the box office champ Ben Stiller\'s comedic performances aren\'t a variation on a soft-spoken, put-upon everyman with an eventual fuse, he\'s usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he\'s directing, he\'s free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn\'s stars include Stiller as an action hero who\'s starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his "craft" he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film\'s basic premise has popped up several times since Hollywood\'s 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors--perhaps why they\'re celebrated--like the back of its hand.

STAR WARS: THE CLONE WARS showcases an entirely new look and feel to the galaxy far, far away - combining the expansive scope of the Star Wars Saga with state-of-the-art computer-generated animation. On the front lines of an intergalactic struggle between good and evil, fans young and old will join such favorite characters as Anakin Skywalker, Obi-Wan Kenobi and Padme Amidala, along with brand-new heroes like Anakin\'s padawan learner, Ahsoka. Sinister villains - led by Palpatine, Count Dooku and General Grievous - are poised to rule the galaxy. Stakes are high, and the fate of the Star Wars universe rests in the hands of the daring Jedi Knights. Their exploits lead to the action-packed battles and astonishing new revelations that fill STAR WARS: THE CLONE WARS.

French director Alexandre Aja adds to his growing canon of horror features with this remake of the Korean feature GEOUL SOKEURO (2003). Kiefer Sutherland stars as Ben Carson, a disgraced former New York City cop who attempts to put his checkered past behind him by taking a job as a security guard. Carson is required to take the night shift in a department store in the city. The store closed down after a fire put an end to its business, and Carson soon discovers that malevolent spirits are lurking behind its walls. The spirits connect with the human world through the mirrors in the store, and when they discover Carson\'s presence they go after his ex-wife, Amy (Paula Patton), and his kids (played by Erica Gluck and Cameron Boyce). Carson attempts to figure out the meaning of a cryptic message carved into one of the mirrors, hoping it will save his family and cut off contact with the malignant lurking presence.<br><br>Aja successfully replicates much of the tension and edge-of-your-seat moments that he managed so skillfully in HAUTE TENSION (2003). The film begins with an unnerving set piece in which Carson\'s predecessor takes a shard of mirror and slashes his own throat, and it\'s an indication of the gore-filled fun that awaits intrepid viewers. Aja creates a palpable sense of unease by shooting dim-lit set pieces in the department store. Sutherland makes for a convincing lead in a character that closely resembles his turn as Jack Bauer in 24. There are plenty of genuine scares in the film, and the director ultimately spins MIRRORS as a cross between a psychological thriller in the vein of the POLTERGEIST movies and a no-holds-barred splatter flick.

While it might sound outlandish to speak of THE PINEAPPLE EXPRESS in the same sentence as CITIZEN KANE, in its own little neck of the cinematic woods the Judd Apatow/Seth Rogen comedy is perhaps just as groundbreaking. In fact, it\'s nearly impossible to think of another film that blends so seamlessly pitch-perfect stoner babble with high-octane action sequences. <br><br>Dale Denton (Rogen), a process server with a weed fixation, witnesses a murder and turns to his dealer, Saul (James Franco), for support. The murderer is actually Saul\'s main drug supplier, and because of Saul\'s access to some extremely rare high-grade pot (called Pineapple Express) the two are quickly tracked down and put on the run. Like all Apatow/Rogen vehicles, the movie deals with the theme of men succumbing to adulthood and all the adjustments they are forced to make in the process. However, unlike KNOCKED UP and THE 40 YEAR OLD VIRGIN, PINEAPPLE EXPRESS is just too wacky to offer any lessons. Still, there\'s more going on here than giggles and the munchies. Indie director David Gordon Green (SNOW ANGELS) brings a subtle auteur\'s touch to the proceedings, approaching the smoking scenes with his distinctively loose feel and giving the action sequences a wonderfully dated sheen that makes them look more like a fight from KNIGHT RIDER than the empty flash of 21st-century blow-‘em-ups. It is Franco, however, who truly steals this movie--he hasn\'t been this charming since his days on FREAKS AND GEEKS. There\'s only so many ways to play a stoner, but Franco puts his own endearing, lovable spin on the type, portraying Saul as a kind-hearted, well-intentioned yet hardcore dope smoker. Rogen and Apatow have proven themselves a nearly unstoppable juggernaut; here\'s hoping they bring Franco along on the ride a little more often.

Filled with spectacular action and sharp banter, THE MUMMY: TOMB OF THE DRAGON EMPEROR finds the dashing Rick and Evelyn O\'Connell (Brendan Fraser and Maria Bello, who took over for Rachel Weisz) called upon for another world-saving adventure. The film opens in 50 B.C., when the ruthless Dragon Emperor (Jet Li) seeks to conquer one last enemy, death, and become an immortal ruler. But when the Emperor betrays an obliging sorceress (Michelle Yeoh), he and his army are cursed to spend an eternity in statuesque limbo. Fast forward to 1946, when Rick and Evelyn are struggling to adapt to their self-imposed retirement. But the fates have other plans, and soon the O\'Connells are crossing paths with their somewhat estranged son, Alex (Luke Ford). While enthusiastically carrying on the family\'s tomb-raiding traditions, Alex has unwittingly brought the Dragon Emperor back to life. With the world in peril, the O\'Connells must overcome their differences to prevent the Dragon Emperor from gaining immortality for himself and his army. Along the way they\'re joined by a mysterious young woman (Isabella Leong), a wily pilot, and a trio of Abominable Snowmen. Jumping from Shanghai to the Himalayas to the Chinese desert, director Rob Cohen (THE FAST AND THE FURIOUS) takes audiences on a breathless adventure that continues THE MUMMY\'s love of quick wits, close calls and big battles. The result is a spirited romp that proves evil is no match against a family united.

With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman has been making headway against local crime...until a rising criminal mastermind known as The Joker unleashes a fresh reign of chaos across Gotham City. To stop this devious new menace--Batman\'s most personal and vicious enemy yet--he will have to use every high-tech weapon in his arsenal and confront everything he believes.

MAMMA MIA became a Broadway smash when it hit Broadway back in 2001. With a story framed around the music of the Swedish pop band Abba, crowds loved its raucous, dance party vibe. Now it comes to the silver screen, with some truly delightful performances from the likes of Meryl Streep and Pierce Brosnan. It is the story of Sophie (Amanda Seyfried) a young woman living on a picturesque Greek island with her mother, Donna (Streep.) Together, Donna and Sophie run a ramshackle island inn, and they are in the midst of preparing for Sophie\'s wedding. As the wedding approaches, Sophie becomes troubled by the fact that she has never known her father. She was the result of one of her mother\'s summer flings, and her mother has never revealed her father\'s identity. When Sophie stumbles upon her mother\'s diary, she learns that there are three possible men who could be her dad. Without telling her mother, she invites all three to her wedding. When Harry (Colin Firth), Sam (Brosnan), and Bill (Stellan Skarsgard) all arrive at the same time, Donna is of course shocked and overwhelmed by seeing her old lovers again after such a long time. She turns to her two best friends, Tanya (Christine Baranaki) and Rosie (Julia Walters), for their support, and vows to just get through the wedding and weekend. Meanwhile, Sophie spends time with each man, determined to learn the truth.<br><br>Major hijinks and confusion ensues, all amidst the utterly romance scenery, and the rather irresistible, swelling love ballads. Streep has a lovely singing voice, and to watch her throw herself into this whimsical role is truly a delight. She looks like she is having a ball, and it is hard not to shimmy along with her. Baranski reliably delivers an over-the-top showstopper, and Brosnan\'s tender singing voice makes his character all the more touching. The film strives to be a jubilant celebration of mother/daughter relationships and the love between good friends, and no matter how cheesy some may find Abba, it is hard to resist its many charms.

After conquering New York and London, Woody Allen moves on to the Spanish city of the title for this romantic comedy. Allen favorite Scarlett Johansson, who appeared in the director\'s MATCH POINT and SCOOP, stars along with a pair of Spanish actors: Oscan nominee Penelope Cruz and Oscar winner Javier Bardem. In VICKY CRISTINA BARCELONA, two Americans (Johannsson and STARTER FOR TEN\'s Rebecca Hall) become involved with a pair of ex-lovers when they visit Barcelona.

In this follow-up to THE SISTERHOOD OF THE TRAVELING PANTS, the four heroines find themselves drifting apart the summer after their first year of college. Quirky Tibby (Amber Tamblyn, JOAN OF ARCADIA) is stuck taking summer school classes at NYU, while the commitment-phobe in her struggles with her relationship with Brian (Leonardo Nam). Independent Bridget (Blake Lively, GOSSIP GIRL) takes a break from playing soccer at Brown University to work on an archaeological dig in Turkey. Quiet Lena (Alexis Bledel, GILMORE GIRLS) still misses her Greek love, Kostos (Michael Rady), but her drawing classes at the Rhode Island School of Design--and the man she meets there--keep her distracted. Meanwhile Carmen (America Ferrera, UGLY BETTY), who had hoped to spend her summer with her best friends, begins working at a Vermont theater festival with some surprising results. As each of them takes her turn wearing the magical pants of the first film, they realize that it isn\'t just distance that is separating them. <br><br>For fans of the Ann Brashares\'s novels on which this film and its predecessor are based, THE SISTERHOOD OF THE TRAVELING PANTS 2 presents a welcome reunion with beloved characters. These are four well-drawn (and well-cast) young women who experience real problems that add depth to the film\'s comedy. But even with the drama, this is more GILMORE GIRLS than GOSSIP GIRL. Though there\'s plenty of talk of love à la SEX AND THE CITY, Tibby, Bridget, Lena, and Carmen have issues and identities outside of the men in their lives. But that doesn\'t mean that there isn\'t space for squeals and sighs when things do go right for the girls romantically.

While nearly all Will Ferrell\'s films are enjoyable on some level, they tend to fire on all cylinders when Adam McKay is involved. McKay co-wrote and directed ANCHORMAN: THE LEGEND OF RON BURGUNDY and TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, two of Ferrell\'s most popular and consummately hilarious films. McKay reteamed with not only Ferrell for STEP BROTHERS, but also Ferrell\'s co-star in TALLADEGA NIGHTS, John C. Reilly (who has steadily proven himself to be one of Hollywood\'s most versatile actors); and though STEP BROTHERS may be the most threadbare of the three movies on which the duo have collaborated, it\'s arguably their best.<br><br>The plot is about as simple as they come: Brennan Huff (Ferrell) and Dale Doback (Reilly) are deadbeat man-children thrown together when the single parents with whom they live marry. The two initially despise one another, but become fast friends over a shared love of ninjas, COPS, porno mags, and the comforts of living in the fantasy world of a prolonged adolescence. What makes STEPBROTHERS so much fun, however, has nothing to do with story or script; rather, it\'s McKay\'s foresight to step back and let Ferrell and Reilly run wild. The duo kick and punch, fart and burp, laugh and cry, yet somehow elevate such banalities to a level of grotesque poetry, hitting upon what feels like an entirely new comedic language. When the pair act like children, they are not presenting themselves as immature adults, but are literally acting like children, meticulously duplicating everything from the fears and concerns to the speech patterns and awkward physicality of children. It sounds simple enough, but it requires a dexterity and sense of timing and delivery that is actually quite amazing. In the end, STEP BROTHERS is really nothing more than an absurd comedy; then again, isn\'t that what they called WAITING FOR GODOT?

Swing Vote

This 2008 movie update of Jules Verne\'s classic sci-fi/fantasy novel uses the 1864 tale as a template, with its hero, scientist Trevor Anderson (Brendan Fraser), referring to his missing brother\'s notes on the novel. His nephew Sean (Josh Hutcherson) in tow, Anderson travels to Iceland to investigate his sibling\'s theories, enlisting a fellow scientist\'s daughter, Hannah (Anita Briem), as a guide. Soon the trio\'s Icelandic mountain trek descends into a cave and, then deeper still to, naturally, the center of the earth, where dinosaurs and other strange prehistoric creatures still dwell. After many dangerous encounters with the native flora and fauna, Trevor, Sean, and Hannah must find a way back to the surface or face being stranded miles below the earth\'s crust.<br><br>Directed by Eric Brevig, a veteran Hollywood visual effects supervisor (MEN IN BLACK, THE DAY AFTER TOMORROW), JOURNEY TO THE CENTER OF THE EARTH clearly delights in unveiling eye-catching CGI creatures and landscapes. Presented in some theaters in 3D format, the film features lunging beasts and vertigo-inducing visions, which are effective even in 2D, while Fraser, working in the same amiable vein as the MUMMY movies, provides a human focus amidst the special effects. For fans of the ever-likable Fraser and/or the JOURNEY story, there is plenty to enjoy in this effects-heavy adventure film.

There are heroes... there are superheroes... and then there\'s Hancock. With great power comes great responsibility -- everyone knows that -- everyone, that is, but Hancock. Edgy, conflicted, sarcastic, and misunderstood, Hancock\'s well-intentioned heroics might get the job done and save countless lives, but always seem to leave jaw-dropping damage in their wake. The public has finally had enough -- as grateful as they are to have their local hero, the good citizens of Los Angeles are wondering what they ever did to deserve this guy. Hancock isn\'t the kind of man who cares what other people think -- until the day that he saves the life of PR executive Ray Embrey, and the sardonic superhero begins to realize that he may have a vulnerable side after all. Facing that will be Hancock\'s greatest challenge yet -- and a task that may prove impossible as Ray\'s wife, Mary, insists that he\'s a lost cause.

Even for Pixar, this might be a first: an animated film that contains not only a fully realized world as photorealistic as it is full of wonder, but also the Gargantuan themes and visuals of 2001: A SPACE ODYSSEY, the stripped-down sad-clown pathos found in classic Buster Keaton comedies, and one of the most moving and simply unique love stories in a long time. Director Andrew Stanton kicked up the visual acuity of an already-stellar Pixar Animation Studios in 2003 with a reflective, refractive, color-shimmery realization of the oceanic world of FINDING NEMO, which genuinely felt as though it spanned the entire earth. With WALL-E, Stanton replaces an apprehensively fishy estranged journeyer with a love-struck and curious robotic one, allowing the quest for eternal love to expand from a desolate, dust-covered, palpably polluted future Earth and into an even more mysterious abyss: the far reaches of outer space.<br><br>With virtually no dialogue, WALL-E\'s neatly contained vaudevillian first act eerily and tragically introduces the robot of the title as the last living thing on Earth (aside from a little cockroach friend) amidst dilapidated skyscrapers and equally tall compacted trash heaps. WALL-E has developed a tender and inquisitive personality doing what he was built to do day in and day out for the past 700 years--allocate and dispose of human waste--simply because no one turned him off when the human race left the hostile polluted planet. When the directive-oriented Eve robot comes crashing into his life from above, WALL-E immediately becomes infatuated with her, and is willing to follow her to back into dangerous outer space, where two robots gliding through the ether, dancing via fire-extinguisher propulsion, are among the many memorable and grandly romantic moments of an expansively beautiful, deceptively simple story.

In grand "X-Files" manner, the film\'s storyline is being kept under wraps. This much can be revealed: It is a stand-alone story in the tradition of some of the show\'s most acclaimed and beloved episodes, and takes the complicated relationship between Fox Mulder and Dana Scully in unexpected directions. Mulder continues his unshakable quest for the truth, and Scully, the passionate, ferociously intelligent physician, remains inextricably tied to Mulder\'s pursuits.

Circus monkey Ham III (voiced by Andy Samberg) works in a circus where he\'s regularly shot from a canon but he still lives in the shadow of his father\'s legacy (Ham I was the first chimp shot into space in 1961). A natural born rebel against authority, Ham the third is initially reluctant to go on a dangerous space mission to rescue a lost space probe, but away he goes, for lots of RIGHT STUFF-style astro-training alongside two highly prepared chimps, Luna and Titan (Cheryl Hines and Patrick Warburton). NASA\'s by-the-book methods jar with Ham\'s mischief-making of course, but once the space training ends, the mission begins, with myriad dangers along the way, including: a big-toothed monster and a run amok alien named Zartog (Jeff Daniels) whose harnessed the previous space probe for world-domination purposes, all good opportunities for Ham III to redeem himself. Despite all the fangs, parents shouldn\'t worry too much; not a hair on any chimp is seriously singed, and along the pratfall strewn way there\'s time for lessons about responsibility and realization of one\'s full potential. While the animation here is not quite up to Pixar level, it\'s still pretty and colorful, with a pleasing Candyland quality to the alien planet surface. Samberg brings a savvy zest to his vocal duties as the Ham, Stanley Tucci is a nefarious senator and--getting big laughs with flawlessly deadpan elan--Patrick Breen as one of the trio of egghead scientists. Kird De Micco directed; based on the computer video game.

After an ancient truce existing between humankind and the invisible realm of the fantastic is broken, hell on Earth is ready to erupt. A ruthless leader who treads the world above and the one below defies his bloodline and awakens an unstoppable army of creatures. Now, it\'s up to the planet\'s toughest, roughest superhero to battle the merciless dictator and his marauders. He may be red. He may be horned. He may be misunderstood. But when you need the job done right, it\'s time to call in Hellboy.