48-Hour Film Project
The best Portland entries from the 48-Hour Film Project, in which teams of local filmmakers had a scant two days to create a film. More info: 48hourfilm.com. Hollywood Theatre.

Daddy Day Camp
Cuba Gooding Jr. has won an Oscar, yet he's been reduced to the guy you call when Eddie Murphy isn't available. In this sequel to 2003's Daddy Day Care, Gooding takes over for Murphy as babysitting entrepreneur Charlie Hinton, who acquires a summer camp after learning that a hated childhood rival runs a hugely successful camp down the road. We're supposed to root for Hinton against the eeeeevil Camp Canola, but I can't sympathize with anyone who's stupid enough to buy a rundown POS because he got second in a foot race. However, I do pity Gooding for attempting to imitate Murphy's previous performance with neither Murphy's comic timing nor expressiveness. I also pity director Fred Savage, who probably wonders how he went from "childhood superstar of The Wonder Years to "hack director of mediocre fart joke movie." THOMAS LUNDBY Various Theaters.

Dr. Strangelove
The NWFC's Kubrick love-in continues, and this might be the best of the lot. ERIK HENRIKSEN Northwest Film Center's Whitsell Auditorium.

Goya's Ghosts
Francisco Goya was one of the greatest painters of all time—no hyperbole. Best known for his nightmarish paintings of drowning dogs and Saturn eating his young, Goya was an absolute visionary—but by no means does this predicate an interesting biopic. Director Milos Forman apparently agrees, and instead, uses the backdrop of the Spanish Inquisition to craft a dark and gripping film about the painter (Stellan Skarsgård), his teenage harlot muse Inés (Natalie Portman), and Brother Lorenzo (Javier Bardem), a duplicitous member of the Inquisition's torture committee. Early in, it becomes clear that Goya's Ghosts has a lot to say about what's going on in the world today: Debates are waged over the credence of confessions induced by torture, and when Napoleon's army invades Spain, the soldiers are told they will be greeted as liberators. But it's not all ham-fisted political parable—the plot moves along briskly, and never wallows in Girl with a Pearl Earring cheesy indulgence. CHAS BOWIE Fox Tower 10.

I Don't Want to Sleep Alone
Director Ming-liang Tsai's reputation for slow films (as in makes-Lost in Translation-look-like-an-action-film slow) is certainly played out, but a large screen and a dark room might help you get through the first half hour of I Don't Want to Sleep Alone. Set in the wrong part of Kuala Lumpur, Tsai focuses on a construction worker who cares for a beaten homeless man and a paralyzed man cared for by his mother and a young woman—acted out with almost no dialogue. Some weird sex, hypnotizing, uncomfortable moments, and a thick blanket of polluted air inhabit these two hours spent in humid squalor. Recommended only for the very patient. MARJORIE SKINNER Living Room Theaters.

Killer's Kiss
Old-school Kubrick from 1955. ERIK HENRIKSEN Northwest Film Center's Whitsell Auditorium.

Kubrick, Nabokov, and pedophilia? Everybody wins! ERIK HENRIKSEN Northwest Film Center's Whitsell Auditorium.

The Losers
See My, What a Busy Week! on pg. 17. Clinton Street Theater.

The Method
Seven applicants for a high-profile corporate job are isolated in a room and subjected to a divisive series of tests designed to wean out the weakest candidates. The shifting matrix of alliances and betrayals recalls a reality TV show, only with a better script and more compelling characters, and the film is made all the more interesting by the juxtaposition of these backroom corporate machinations with a massive street protest taking place outside the building. ALISON HALLETT Living Room Theaters.

My Grandmother's House
A documentary that depicts "the changing ways in suburban Spain." Northwest Film Center's Whitsell Auditorium.

National Home Movie Day
Do you have 8 mm, Super 8, or 16 mm home movies you want to show everybody? Or are you a voyeuristic creep who wants to watch other people's 8 mm, Super 8, or 16 mm home movies? Today's your day. More info: homemovieday.com. Hollywood Theatre.

No End in Sight
See review this issue. Cinema 21.

The Real Dirt on Farmer John
The last in his line, "Farmer John" Peterson works the Illinois land that's been family-owned since the Depression. But he's not your average farmer: After his father died in the '60s, Farmer John came back from college with his hippie friends and turned the place into a commune. Now middle-aged, he's a real-deal, hardworking farmer, but still a freak, doing whatever the fuck he wants. Of course, his intolerant neighbors in the farm community want him GONE. And The Real Dirt on Farmer John details this epic struggle, and the fight when his business tanked in the '80s, but it also tells the story of American farming's slow death, and of determination, and how old values can actually jibe well with weirdness. Beautifully shot. Heartbreakingly sad. Funny as shit. A+. ADAM GNADE Hollywood Theatre.

Rush Hour 3
See review this issue. Various Theaters.

She-Devils on Wheels
See My, What a Busy Week! on pg. 17. Clinton Street Theater.

This PG-13 horror flick wasn't screened for critics, which means we're stuck with IMDB.com's not-so-impressive plot synopsis: "A 12-year-old boy and his mother become the targets of two warring werewolf packs." Various Theaters.

See review this issue. Various Theaters.

Sullivan's Travels
Two words: Veronica Lake. In Preston Sturges' hilariously heartwarming take on class and poverty, the dreamy, diminutive starlet is at her peak, playing sidekick to John McCrea's "Sully" Sullivan. Years before she got screwed over by her studio and spiraled into an alcoholic resembling a used teabag, Lake epitomized the glamorous Hollywood leading lady. The film, too, is a gem. Sullivan fakes being a tramp in order to learn what it's like to be poor, so he can make his masterpiece Depression-era film, Oh Brother, Where Art Thou. Things go awry, and he learns some lessons he didn't plan on. Laughs ensue, comeuppances are delivered, and everyone learns something about life and love. The End. Beautiful. SCOTT MOORE Northwest Film Center's Whitsell Auditorium.

In Time, the latest U.S. release by the prolific Korean director Ki-duk Kim, the paranoid She-hee (Ji-Yeon Park) transforms herself through plastic surgery because she is convinced her boyfriend is bored with her appearance. As she hides, waiting for her new physical self to heal and emerge from the bandages, her boyfriend, Ji-woo (the utterly unmemorable Jung-woo Ha), fights off several other hot women while secretly pining away for her. The cinematography in Time has an appealingly austere beauty, but it can't save dialogue that is unrelentingly flat and tedious. Plot twists ensue involving shocking forays into self-disfigurement, but they feel like exercises designed to make us think about something, not the compelling actions of textured, motivated characters. JUSTIN WESCOAT SANDERS Hollywood Theatre.

It's strange that the American film machine's seemingly limitless capacity to digest and destroy all that which nostalgia holds dear has yet to entirely tear through the upper echelons of our collective animated history. Okay, so they live-actioned (and typically CGI-ed) Garfield, Scooby-Doo, Transformers, Fat Albert, and The Flintstones into oblivion, but just think of all of your favorite cartoons they've yet to gut—suddenly you've got a wealth of blessings to count, don't you? So why on god's green earth would anyone make a movie based on a fumbling, terribly animated rhyming dog with ill-defined superpowers? If the product is any indication, my guess is the producers simply couldn't afford the rights to the Huckleberry Hound script. ZAC PENNINGTON Various Theaters.