2 Days in Paris
See review. Fox Tower 10

Beach Party
1963's beach movie with Annette Funicello and Frankie Avalon—in other words, all the bluehairs will be giving Matlock a break while they kick their knickers and dance the Charleston at the Hotel deLuxe tonight! Hotel deLuxe

A Clockwork Orange
A bit of the old ultra-violence. ERIK HENRIKSEN Northwest Film Center's Whitsell Auditorium

Eye of the Dolphin
Thanks to this movie, I've learned that dolphins are the answer to all my problems. Seriously! See, there's this girl, OK? And she learns her father's not dead—he's alive and living in the Bahamas! Cool, no? But he turns out to be a deadbeat scientist who cares more about dolphins than snotty, sarcastic children. Bummer. But remember those dolphins? They end up bringing the family closer together. I, like, TOTALLY did not see that coming. THOMAS LUNDBY Various Theaters

Eyes Wide Shut
Eyes Wide Shut is better known as "Stanley Kubrick's final film" than it is as "one of Stanley Kubrick's good films," but still. There's enough interesting stuff going on here to make it worth watching (or rewatching, if you haven't seen it since 1999). ERIK HENRIKSEN Northwest Film Center's Whitsell Auditorium

Ghosts of Cité Soleil
See review. Living Room Theaters

Illegal Tender
Not screened for critics, IMDB.com summarizes Illegal Tender's plot thusly: "When the thugs who killed his father come looking for him, a young Latino man and his mother flee from their home." Thanks, IMDB! Thanks for nothing, studios who refuse to show their films in advance! Various Theaters

The King of Kong: A Fistful of Quarters
See review. Cinema 21

Something of a hypothetical biopic, Moliére tells the story of the theatrical French legend during his earlier years, when, strapped with debt, he apparently dropped out of historical record. This film playfully fills in the blank by positing him on an adventure in which he meets his iconic future characters, even going so far as to use dialogue snatched from the theatrical texts. As a patchwork portrait of historical recreation and famous quotes, Moliére serves as an all-in-one marketing brochure for one of France's proudest exports, at once exemplifying the style of his work and attributing a melancholy depth to his biography as an artist. With the eye candy deserving of any self-respecting period piece as backdrop, the result is charming, if somewhat less than thrilling. MARJORIE SKINNER Fox Tower 10

Mr. Bean's Holiday
See review. Various Theaters

The Nanny Diaries
See review. Various Theaters

R. Kelly Tribute Night
Check out R. Kelly's video for "Down Low," plus Chapters 1-22 of Trapped in the Closet. ERIK HENRIKSEN Video Verite

Resurrecting the Champ
See review. Various Theaters

Right at Your Door
See review. Fox Tower 10

Rocket Science
A sweet, dark film about a stuttering high school student—but be warned: You're going to hear inevitable and angry comparisons to Election, The Squid and the Whale, and every Wes Anderson film ever made. But don't let that bother you. Director Jeffrey Blitz knows how to make a good film, and while it resonates with quirky Andersonisms, it's still immensely fresh, likeable, and genuine. COURTNEY FERGUSON Fox Tower 10

Salt of the Earth
1954's film about "a Chicano mining union struggle in which women played a decisive and victory-winning role." Bread and Roses Center

September Dawn
See review. Various Theaters

Get your perv on with all sorts of sex-related cinema. Some of it sounds hot, and some of it sounds super-creepy: Friday-Sunday has "Vintage Nudie Shorts, Found Home Films, [and] Sexy Experimental Films"; Monday-Tuesday has "Behind the Scenes Outtakes from '70s Porn" and the "hardcore feature Moments of Love (1983)"; while Wednesday-Thursday has "'60s Nudie Cutie," made up of trailers, shorts, and the feature The Wild Wild World of Jayne Mansfield. More info: clintonsttheater.com. Clinton Street Theater

Just as he did a couple of years ago with his Flaming Lips documentary Fearless Freaks, Bradley Beesley again manages the seemingly impossible feat of sucking nearly every ounce of joy from subject matter that would otherwise be defined by it. Having drained most of the blood out of rock's most celebrated euphorists, Beesley sets his fangs on the seemingly unfuckwithable target of hyper preteens heading to summer camp—and guess what? Against all odds, everybody's dead in the water. Not that the kids didn't put up a fight, of course—just as with Fearless Freaks, there are golden bits of sunshine sprinkled liberally all throughout Summercamp!—it's just that Beesley has no fucking clue what to do with them. In addition to the 40 or so minutes of meandering, pointless (impressionistic?) footage laced throughout, the film floats tediously along with virtually no narrative focus—expecting the kids do the work that Beesley should have bestowed upon his editor. ZAC PENNINGTON Hollywood Theatre

Like Freaks and Geeks, Superbad smartly manages to capture all the excitable, desperate awkwardness of adolescence; like Arrested Development, it handily makes trivial events and throwaway dialogue into sidesplitting jokes. (Both accomplishments are helped by the awesome performances of Michael Cera and Jonah Hill.) But maybe most impressively, Superbad just feels a lot like high school. Except (barely) less awkward, and way, way funnier. ERIK HENRIKSEN Various Theaters

The Ten
The Ten—a star-studded parody of The Decalogue—isn't quite the unqualified success of director David Wain's tour-de-force debut Wet Hot American Summer: The direction is awkward at best, with each segment bumpered by totally superfluous (and largely unfunny), sound-staged narration by Paul Rudd—seemingly thrown in to pad out the film's run-time. Besides that, roughly half of the segments fall close to flat—not entirely unlike what you'd expect from a typical 90-minute sketch comedy show, but a bit of a bummer when you're paying $8. Still, for every lame musical number or prison rape bit, you've got one with Oliver Platt playing a terrible Arnold Schwarzenegger impersonator hired to act as surrogate father to two black teenagers—not all that bad a trade-off, as far as I'm concerned. ZAC PENNINGTON Hollywood Theatre

This is England
Set in the English summer of 1983, This Is England is a quiet, warm, and surprisingly authentic coming of age tale about Shaun (Thomas Turgoose), a preteen tough who falls in with a group of amiable, apolitical, and racially mixed skinheads. The film's poignantly glacial pace (aided in part by writer/director Shane Meadows' penchant for the decidedly British "cool-guys-walking-down-the-street-in-slow-mo" shot) picks up dramatically as the carcinogenic specter of the racist National Front party begins to seep into Shaun's small group of friends—at which point the narrative begins to achingly simmer to its inevitable boil. Strong performances from the entire cast, as well as Meadows' admirable refusal to entirely villainize even his most irredeemable characters, shore up the bulk of the film's occasionally melodramatic pratfalls for a largely rewarding product. ZAC PENNINGTON Hollywood Theatre

An action flick starring Jet Li and Jason Statham, War wasn't screened for critics, which means it's probably more Romeo Must Die than The 36th Chamber of Shaolin. Various Theaters

Weekend Warriors
1986's comedy about "the platoon that loves to party!" (Little known fact: That was the original tagline to another 1986 war film, the latter directed by Oliver Stone.) Clinton Street Theater