Lewis Black: Red, White & Screwed(HBO) Like many other Daily Show success stories, Lewis Black is a comedian made for these times; his facial contortions and verbal tics are expressions of the Bush-era phrase “outrage overload.” But unlike other big names in political stand-up right now (David Cross, Bill Maher),…

The animated feature has become the most tiresome dish available in the googolplex buffet line — more so than even the mopey art-house offering in which bad things happen to good people while string sections and Elliott Smith sound-alikes douse the soundtrack with dollops of calamity and sorrow. You can’t…

One would never confuse the work of writer-director Todd Phillips with that of the late Robert Hamer, whose filmography includes the essential Kind Hearts and Coronets. Hamer’s movies had a gentlemanly quality, no matter the cruelty that skulked beneath their prim exteriors; one always felt the characters in his movies,…

The Proposition (First Look) There’s an old saying about Ginger Rogers, who did everything Fred Astaire did — but backwards and in heels. This Australian western seems to be saying something similar about gritty American westerns: You think that’s hard? Try living in the Outback. The Proposition mucks about in…

I Am a Sex Addict (IFC) Caveh Zahedi has made a movie of our times — a strange mix of self-absorption, shamelessness in the pursuit of fame, and sex. Most shocking of all is that it works. Part fiction and documentary, confessional and comedy, the film traces the history of…

United 93 (Universal) A suggestion to those who’ve put off watching the year’s most wrenching and essential film: Before rolling the feature, first watch the documentary in which the families of those who died on the plane give the filmmakers their blessing, without reservation. If the mother, father, and sister…

Arrested Development: Season Three (Fox) The final collection of Arrested Development discs feels sadly incomplete: only 13 episodes this time, the result of Fox’s inability to attract viewers to one of TV’s greatest comedies and the network’s unwillingness to give it a full farewell. But none of that diminishes the…

By the time Trust the Man opens this weekend, it will have been nearly a year since it debuted at the Toronto International Film Festival, where it was picked up for distribution by Fox Searchlight. Forget that it’s a year old; this thing tastes a good decade past its expiration…

Veronica Mars: The Complete Second Season (Warner Bros.) Any concept along the lines of “high school hottie solves crimes” is bound to make for watchable TV, but who would have expected this? Equal parts 90210 teen soap, murder mystery, and comedy, Veronica Mars pulls you in with its sharp writing,…

Low — which is to say no — expectations can be a wonderful thing: Expect nothing, and maybe you’ll get that little outta-nowhere sumpin-sumpin that turns an otherwise unfulfilling occurrence into a vaguely rewarding experience. It’s not like Invincible boasts the most promising of credentials: a first-time filmmaker (Ericson Core,…

Apocalypse Now: The Complete Dossier (Paramount) It’s all here, more or less: the 1979 theatrical cut of Francis Ford Coppola’s harrowing and still-hypnotic Joseph Conrad-in-Vietnam adaptation, the 49-minutes-longer-but-feels-24-minutes-shorter 2001 Redux edition, Marlon Brando’s entire 17-minute “The Hollow Men” monologue, even more “lost” and deleted scenes (including a spooky-shocking one, in…

Brick (Universal) Rian Johnson’s feature debut as writer-director will wind up as one of the year’s best films. A film noir set in a modern-day high school, it’s Sam Spade roaming Ridgemont High. Kids get doped up and knocked up and even rubbed out while speaking pulp-novel slang, but the…

World Trade Center is about just that — the attacks on, and the collapse of, the Twin Towers on September 11, 2001. But 45 minutes in, a viewer might easily forget the movie is set during that nightmarish day. There is little talk of terrorism, and scant suggestion that a…

V for Vendetta (Warner Bros.) Illustrator David Lloyd calls this adaptation of the comic he made with writer Alan Moore “very good” — so why did Moore beg to have his name removed? The intentions are noble, sure; name another big-studio blockbuster in which a government manufactures fear to keep…

There is no modern-day antecedent to the movies Will Ferrell makes with writer-director Adam McKay, with whom Ferrell collaborated during their tenure at Saturday Night Live only a few years ago. To compare their offerings (Anchorman: The Legend of Ron Burgundy and the new Talladega Nights: The Ballad of Ricky…

Feed (TLA) Remember the old jokes about “What’s grosser than gross”? The makers of Feed do, as they prove in the first 10 minutes — one-upping their opening scene featuring a voluntary victim of cannibalism by bringing in a guy who gets nekkid and shoves cheeseburgers down the throat of…

The Ant Bully is based upon a very short children’s book by John Nickle, who wrote and illustrated the 1999 work all by his lonesome after years of providing illustrations for the Wall Street Journal and Sports Illustrated, not to mention other works of kiddie lit. The book, as most…

Edison Force (Sony) Gritty cop stuff must write itself — just make sure everyone’s tough, corrupt, and talking like they stole Mickey Spillane’s thesaurus. Then cast Justin Timberlake. Screech! Employing the talented (at music) popster as a crusading journalist isn’t this lame flick’s worst flaw — merely the one you’ll…

Originally, Ward Serrill set out to make a documentary — and a short one, at that — about Bill Resler, an avuncular tax professor at the University of Washington who thought he knew enough about basketball to coach the girls’ team at Roosevelt High School in Seattle. Never mind that…

Two weeks ago, a colleague insisted that Superman Returns isn’t the remake of the 1978 original, as I wrote, but a reinterpretation — its melancholic flip side. Where the Christopher Reeve model was pop art and a cool breeze, the Brandon Routh version is heavy and solemn, weighed down by…

Grand Prix (Warner Bros.) John Frankenheimer, as underrated as he was brilliant, made a racing picture in 1966 that’s yet to be topped forty years later. James Garner suffered through the director’s churlish demands (which Frankenheimer reveals and owns up to, in archival footage on one of the documentaries here)…

The fact that 2003’s Pirates of the Caribbean: The Curse of the Black Pearl was such a hit had much to do with viewers’ pre-launch expectations, which were approximately none. Who could have been blamed for thinking a Gore Verbinski-directed, Jerry Bruckheimer-produced movie based on a theme-park ride would proffer…