A.I. (PG-13) A film directed by Steven Spielberg based on a long-gestating idea by Stanley Kubrick, A.I. tells us of a little robot boy (Haley Joel Osment) who has troubles adjusting to the human world (and vice versa.) Individual moments in the movie are striking, but A.I. doesn't really hold together, and it never comes to grips with what it really is: a tragedy of epic proportions.

Amazing Journeys (PG) IMAX films are about scale, size — from the unfathomably huge (the oceans, the cosmos themselves) to the microscopically small — and this latest IMAX production gives us a little bit to look at from both ends of the spectrum. Amazing Journeys examines the migration habits of various creatures, beginning with the beautiful monarch butterflies whose continent-long journey southward always seems to end up on the date coinciding with the Mexican Day of the Dead (there's talk that the butterflies are really the returning spirits of loved ones). Other segments examine gray whales, Canadian geese and, most amusingly of all, masses of red crabs whose migration path runs right across a human community complete with fancy country clubs and elementary schools filled with squealing kiddies. Worth the proverbial price of admission all by itself is the hauntingly surreal image of an enormous tree completely covered with butterflies — that is, until the slightest breath from a small child starts a chain reaction of flight. Opens Aug. 31 at MOSI's IMAX Dome Theater.

American Outlaws (PG-13) A new comedic twist to an old classic tale of Jesse James and his gang, this time with a cast of young hotties. At least this one might have enough slapstick humor to get you through it.

—Sandra Jones

American Pie 2 (R) You can see the gags coming from Saginaw. The characters are as thin as rice paper, the acting is either terminally bland or hopelessly over the top, and — what's more — AP2 is stingy on the T&A shots. The gang of wacky dudes is back, this time spending summer break at a beach house. Guess what? There are all sorts of sexual hijinks. For real. Jim confuses the lube and the super glue and, y'know, cements his hand to his jimmy 'cause, like, he's strokin' it. Really. Why waste celluloid on this when they could be showing some ass?

—Eric Snider

America's Sweethearts (PG-13) America's Sweethearts, co-written by and co-starring Billy Crystal, collects an array of funny, sorta-funny and not-particularly-funny vignettes, but never quite congeals into a cohesive story. The laughs come in an ad hoc fashion (provided mostly by Crystal one-liners), not as the byproduct of a cohesive vision. John Cusack and Catherine Zeta-Jones play an estranged married couple whose teaming on hit movies is about to end with one last sci-fi flick. Also stars Julia Roberts.

—Eric Snider

Atlantis (PG) Disney's latest animated feature is a Jules Verne-ish looking adventure about a group of explorers who discover a civilization beneath the sea. Michael J. Fox, who seems to enjoy this sort of thing, supplies the hero's voice.

(Not Reviewed)

Baby Boy (R) Ten years after Boyz N the Hood, director John Singleton revisits his old South Central stomping grounds with less than satisfying results. Singleton's title character is Jody (Tyrese Gibson), a likable but aimless 20-year-old arrested adolescent with no job, commitment issues, two small children by different women, who still lives at home sponging off his mama.

Bubble Boy (PG-13) A boy who suffers from an immune-deficiency disorder and must live in a germ-free plastic bubble travels cross-country by hook or by crook to get the girl. What begins as a lighthearted comedy with a slightly subversive twist (Jesus-fish cookies and altars to Reagan?) quickly turns to the formula so prevalent in modern screwball comedy — offend everyone so no one can complain. Some real laughs come at the expense of a hit list that includes (but is not limited to) Christians, the physically handicapped, Jews, Hindus, Asian-Americans, Native Americans, senior citizens and rednecks, not to mention those people who actually suffer from juvenile immune deficiency (the parents of the real Bubble Boy, who died at age 12, are calling for a boycott of this movie). The lowbrow humor is nearly forgivable whenever the overly earnest Bubble Boy and his spunky girlfriend flash their baby blues at each other. In all, you're left feeling that, considering how cruel the genre can be, this flick's bark is worse than its bite. Also features several bizarre cameos, including Verne Troyer (Mini-Me from Austin Powers), Fabio and Aretha Franklin.

—Diana Peterfreund

Bully (NR) Teetering right on the brink of softcore exploitation, this latest piece of graphic cine-provocation from legendary photographer-turned-filmmaker Larry Clark is even more problematic than his infamous Kids. Based on Jim Schutze's book about the real-life 1993 killing of a Florida teen by a group of his friends, Bully frequently comes off as a more titillating, deliberately offensive version of River's Edge. Everything about the new kids in Clark's movie is casual — the sex, the drugs, even murder — and everyone's so clueless there's not even a possibility of loyalty, permanence or morality creeping in anywhere. The parents aren't quite as invisible as the adults were in Kids, but they're certainly ineffectual. As for their nice middle-class children, they ride around aimlessly in fast cars, having rough, meaningless sex, dropping acid and gluing their faces up against a variety of video games where all the characters are blown to messy bits or revert into huge, howling infants. There's no real message here but lots to think about — not the least of which is why a middle-aged filmmaker like Clark can't seem to stop ogling all this naked young flesh. Stars Brad Renfro, Rachel Miner, Nick Stahl and Bijou Phillips Opens Aug. 31 at Channelside Cinemas. Call theater to confirm.

Captain Corelli's Mandolin (R) Romance blooms on a ridiculously beautiful Greek island during World War II when a ridiculously sensitive Italian soldier (Nicolas Cage) and a ridiculously strong-willed Greek woman (Penelope Cruz) are forced to share the same home. The two predictably lock horns and then, even more predictably, fall in love (Cruz practically melts the first time Cage's Corelli strums a few notes on his trusty mandolin). The movie boasts some appealing production values but its emotional dynamics are completely phony-baloney; it's sometimes fun to look at, but we never for a moment believe we're watching anything other than highly paid movie stars putting on a show.

Cats and Dogs (PG) More talking animals than you can shake a talking animal at. Stars Jeff Goldblum and a whole lot of digitally manipulated furballs. (Not Reviewed)

Curse of the Jade Scorpion (PG-13) Woody Allen's latest is a minimalist caper flick set in New York (where else?) in 1940, a world where all the men wear hats, the women all talk tough and everybody smokes, drinks and wears trench coats. Allen stars as an insurance investigator looking into a series of heists it turns out that he himself has committed while under the influence of hypnotic suggestion. That's about all there is to the film, other than the combative, bantering relationship Allen's character enjoys with an efficiency expert played by Helen Hunt. Also stars Dan Aykroyd, Charlize Theron and David Ogden Stiers.

Dr. Dolittle 2 (PG) Eddie Murphy reprises the role of the infamous animal love doctor, and this time he has a message. After being lured into the woods by a raccoon with Mafia connections, Dolittle hears from the Godbeaver himself that the forest is about to be destroyed. In order to save the pristine wilderness from evil loggers, Dr. Dolittle attempts to get two endangered and completely incompatible Pacific Western bears to mate.

—Dustin Dwyer

Fast Food, Fast Women (NR) This rambling, self-consciously quirky, Manhattan-set romantic comedy from Israeli-born director Amos Kollek wants desperately to charm us but just doesn't have the chops. Anna Thompson stars as Bella, a 30-ish waitress too sweet to assert herself and too unlucky to find a guy who'll treat her right. Kollek throws in a lot of eccentric New Yorkers of various backgrounds and ages and, in the absence of anything resembling a plot, simply lets them shoot off their mouths and bounce off one another. There are some funny moments, but lots more that feels strained and annoying. At Channelside Cinemas. Call theater to confirm.

Island of the Sharks (PG) Another intriguing, typically beautiful IMAX underwater feature, this one taking us eyeball to eyeball with the denizens of the waters around the Cocos Islands off the coast of Costa Rica. Island of the Sharks is not all grim, fish-eat-fish stuff — there are also some fascinating glimpses of a symbiotic environment in which barberfish groom other, larger fish (including sharks); warm and fuzzy moments with creatures and their young; and amusing time-lapse sequences of starfish wobbling along the ocean floor like an army of underwater Charlie Chaplins. At Channelside IMAX.

Jay and Silent Bob Strike Back (R) In which the New Jersey anti-auteur conjures up all the ghosts of his past, living and dead, and then bids adieu. Jay and Silent Bob Strike Back is billed as Kevin Smith's farewell to the so-called mythology he's been evolving (or, some might suggest, de-evolving) since Clerks, and it's quite probably one of the most self-referential movies ever made, loaded with nods to all of Smith's other flicks and stocked with characters and catch phrases from those movies. The movie's plot, such as it is, is simply a cross-country road trip taken by the drug-addled title characters (Smith and Jason Mewes) in order to stop a movie from being made that's based on comic book characters based on them (with me so far?). Some of it's really wonderful, most of it's a lot of fun, but, all in all, the movie's not quite as fresh or as effortlessly rude as Clerks was way back when. Also stars Ben Affleck, Will Ferrell, Jason Lee, Chris Rock and a cast of zillions.

Jeepers Creepers (R) A Grade A guilty pleasure. Taking the long way home down an endless country road, brother and sister Trish and Darry (Gina Philips and Justin Long) find themselves being terrorized by some sort of demonic entity with a penchant for human flesh. It's not Blair Witch Project (thank God), but this Florida-lensed production conveys a raw, vaguely homegrown feel that enhances the film's uniquely creepy reality and general suspense level. The movie contains it share of cheap and borderline cheesy scares, but there are also quite a few genuinely horrifying moments, as well as a number of odd and very unsettling images. Horror genre buffs should feel free to add another half-planet to the rating given here. Also stars Jonathan Breck as The Creeper. Opens Aug. 31 at local theaters.

Jump Tomorrow (PG) This indie romantic comedy comes fresh from Sundance, featuring an ensemble of eccentric international characters looking for that elusive love connection in the sky. Starring Tunde Adebimpe, Natalia Verbeke, Hippolyte Giradot and Patricia Mauceri. (Not Reviewed)

Jurassic Park 3 (R) Sam Neill, William H. Macy, Tea Leoni and a couple of other unlucky customers crash land on the island of the you-know-whats. The least plot-and-character-oriented of the Jurassic franchise, JP3 cuts right to the chase. That said, this is a much better and more exciting movie than we might have expected, with some expertly handled action sequences, almost no padding, and the best special effects of the series.

Kiss of the Dragon (R) A nasty little piece of work highlighted by some gloriously over-the-top action sequences, lots of blood and guts, firepower, flying fists and, of course, Jet Li. He plays a Chinese cop on the lam from an army of corrupt cops in Paris. Kiss of the Dragon is thoroughly satisfying summer fare, at least if you're open to having your action tempered by more intense violence and borderline nihilism than you'll see this side of a vintage spaghetti western.

Lara Croft Tomb Raider (PG-13) Yet another reason why movies should not be based on video games. Angelina Jolie stars as Lara Croft, a busty, butt-kickin adventurer with a serious daddy complex. The movie is essentially just an excuse to fetishize Jolie and showcase some exotic locations and annoying digital effects.

Legally Blonde (PG-13) Reese Witherspoon's sheer adorability carries Legally Blonde. She plays Elle Woods, a privileged graduate of a sunny California campus who not only possesses naturally luxuriant blond locks and copious perkiness but is whip-smart and has a heart of gold. After she's dumped by her Eastern blue-blood boyfriend, for not fitting his future politico image, she wrangles her way into Harvard law, where Plan A is to win the guy back. She strikes many blows for would-be dumb blondes everywhere.

—Eric Snider

Made (R) Swingers co-stars Vince Vaughn and Jon Favreau team up again for this amusing project, written and directed by Favreau, about a pair of bumblers in way over their heads on a mysterious cross-country heist. Vaughn is wonderfully obnoxious as the motor mouth, would-be hipster Ricky, playing nicely off straight man Favreau as his reluctant and relatively silent sidekick Bobby. There's a slightly surreal, After Hours-like nightmare feel to the whole thing, a little like a Kafka story played for laughs. Also stars Peter Falk and a whole slew of folks from The Sopranos.

Original Sin (R) A tale set in Cuba a hundred years ago, with Antonio Banderas as a wealthy merchant smitten by a woman who may or may not be what she seems. Also stars Angelina Jolie.

(Not Reviewed)

Osmosis Jones (PG-13) The Farrelly Brothers' latest is a mostly animated rehash of that old Fantastic Voyage territory in which the majority of the action takes place inside a guy's body — only this time the good guys are the germs. Unfortunately, Osmosis Jones is surprisingly bland stuff from the notorious Farrellys, a watered-down bid for the hearts of the Disney crowd that feels unconvincing and ultimately insincere.

The Others (PG-13) A good old fashioned spook story, creepy and quietly menacing in an elegant, understated way that hardly ever finds its way into horror movies any more. Nicole Kidman stars as a high-strung widow with two small, sunlight-allergic children, and, possibly, a ghost or two hanging about the house. All the right elements are here — weeping and wailing from invisible entities in the night, inanimate objects that take on ominous life, creepy children, withered crones with weird eyes, inscrutable servants with terrible secrets. The real strength of The Others, though, is its successful creation of a sense of unreality that encourages us to share the mounting disorientation of its characters and to doubt their very perceptions.

Pearl Harbor (PG-13) Almost everything about Michael Bay's movie is epic. Balancing human drama and unabashedly cornball romance with balls-to-the-wall action — and told in big, stirring, simple (occasionally simplistic) strokes — Pearl Harbor is nothing if not a clear attempt to out-Titanic Titanic.

Planet of the Apes (PG-13) The most massively hyped and eagerly awaited movie of the season, the remake of the beloved 1967 sci-fi classic turns out to be one of the bigger letdowns of an already disappointing summer. The action is flatly directed (by Tim Burton); the story is dull and the movie's self-conscious attempts at humor mix uneasily with the darker tone of the rest of the material. Stars Mark Wahlberg, Tim Roth and Michael Duncan Clarke.

The Princess Diaries (PG) The unlikely premise here concerns an average American teen, Mia (Anne Hathaway), who discovers her late father was actually the crown prince of a small European country, and she's now the sole heir to the throne.

Rat Race (PG) One long madcap chase that basically looks to be an uncredited remake of Stanley Kramer's 1963 It's a Mad, Mad, Mad, Mad World (or maybe even (ulp!) Cannonball Run). As much as it's about anything, Rat Race is about a wacky ensemble of mismatched characters frantically racing against time and against each other to get their hands on a huge stash of cash. The one-damn-thing-after-another scenario is performed by a gaggle of mostly past-their-prime celebrity-comedians while. Rat Race isn't exactly a good movie, but it is surprisingly funny, in fits and starts, if you're able to just take it for what it is and turn off pretty much all portions of your brain but the reptilian core. Also stars Rowan Atkinson, John Cleese, Whoopi Goldberg, Cuba Gooding Jr., Seth Green and Jon Lovitz.

The Road Home (NR) A sweet, unaffected and unabashedly emotional ode to first love, last love, and all the love in between. The film begins with the death of a man's father and then unfolds as an extended flashback in which we're presented with the courtship of the grieving man's parents. The centerpiece in all this is the face of Zhang Ziyi, the young actress now known widely to western audiences for her high-flying turn in Crouching Tiger, Hidden Dragon. Here she's all dimpled, pigtailed, uncomplicated girlishness and a seemingly boundless affection for the handsome young schoolteacher with whom she's fallen instantly in puppy-love. A film of great charm and delicacy, the bulk of The Road Home simply details the gentle and thoroughly innocent courtship of Zhang's character and the young teacher.

Rush Hour 2 (PG-13) Pretty much everything that happens in this Jackie Chan/Chris Tucker rematch is according to formula, but it's a workable and, for the most part, highly enjoyable formula. Chan and Tucker's characters travel from Hong Kong to L.A. to Las Vegas trying to break up a big counterfeiting ring. The movie's a modest success, but, in a dreary summer like this one, sure to rank as one of the highlights (and box office champs) of the season.

Scary Movie 2 (R) Despite a handful of solid moments, Scary Movie 2 is considerably less fresh and less fun than the original, and even at under 90 minutes, the movie frequently drags.

Sexy Beast (R) Gal Dove (Ray Winstone), a retired professional thief, recently relocated from gray, drizzly London to the sunny south of Spain, finds his good life disrupted in a major way when an awful face from the past shows up at his door with an offer he can't refuse. The face belongs to the volatile, barely human gangster Don Logan (Ben Kingsley in a career-topping performance), a London East End equivalent to Joe Pesci's loose cannon in GoodFellas, only scarier.

Shrek (PG) Dreamworks' animated fantasy is a deliciously irreverent bit of make-believe. Mike Myers, who supplies the voice (and personality) for the titular lime-green ogre, is great, as is all the voice talent here. The 3-D-like digital animation is also a treat, but the real star here, for once, is the writing.

Summer Catch (PG-13) Freddie Prinze Jr. plays a hotheaded blue-collar kid whose dreams of playing major league ball are complicated by his dysfunctional family and his growing involvement with a wealthy society girl (Jessica Biel). The movie is unremittingly hokey and filled with all manner of uplifting cliches, but it's up front about it all, which makes the film, at least in brief bursts, a weirdly appealing sort of experience.

Swordfish (R) Form blows away content in this extremely stylish, fast-paced but (although you'll hardly have a chance to notice) fairly ordinary thriller about a high-tech heist. John Travolta stars as master cyber-criminal Gabriel Shear. Hugh Jackman (Wolverine from X-Men) supplies the human interest as the hacker, and Halle Berry shows plenty of skin as an enigmatic gang member. Good fun while we're watching it, but a day or two later it's hard to remember much about Swordfish.

Under the Sand (NR) Charlotte Rampling delivers one of the most quietly astonishing performances you will ever see in this subtle, enigmatic but thoroughly devastating new film from French director Francois Ozon. Rampling plays Marie, an Englishwoman married to a Frenchman and living in France. While on vacation, Rampling's hubby goes out for a swim one day and simply never comes back. The rest of Ozon's film is a delicately nuanced but often powerfully emotional examination of how Rampling's character reacts to the disappearance and presumed death of her husband (the film sets us up so that it's never quite clear what actually happened, causing us to share Marie's confusion, distress and agitation). Any way you slice it, Under the Sand is a great film. Also stars Bruno Cremer and Jacques Nolot.