You need only see Get Low for absolute proof that there remain at least three reasons — Robert Duvall, Sissy Spacek and Bill Murray — to switch off your home theater and get out into a real one. Set in Depression-era backwoods Tennessee, Get Low begins and ends with a crotchety, shotgun-wielding misanthrope by the name of Felix Bush, who has erected a “No Damn Trespassers” sign on the edge of his forest-shrouded property.

Restrepo is an example of photojournalism at its finest. The film chronicles the grueling 15-month deployment in Afghanistan of about a dozen U.S. soldiers of the Second Platoon, Battle Company, 173rd Airborne Brigade.

Ajami , Israel’s nominee for the 2009 foreign-language film Oscar is an engrossing realistic thriller with convincing characters and a real background: the mixed Jewish, Arab-Muslim and Arab-Christian communities of Ajami, a neighborhood of Jaffa, near Tel Aviv.

Hollywood’s biological clock must be ticking something fierce. The Switch is the third artificial-insemination romantic comedy of the summer thus far, after The Back-up Plan and The Kids are All Right . Based on a short story by Pulitzer Prize-winner Jeffrey Eugenides, The Switch is amiable fluff that takes its time learning how to walk, talk and act like the kid-centric romantic comedy that it is.

Perhaps it’s no surprise that French designer Coco Chanel, with her penchant for a dominant black-and-white color palette, would be attracted to Igor Stravinsky, a compositional master of the piano’s black-and-white keyboard. Coco Chanel ‘ Igor Stravinsky is the second movie about Chanel to be released in the last couple of years, following Coco Before Chanel , and is, by far, the less besotted of the two films.

In The City of Your Final Destination — maybe the last of the lovably old-fashioned, classically constructed, deeply literate and beautifully wrought Merchant Ivory films, in the string that began back in 1963 with The Householder — we are in Uruguay, in a very-lived-in and sunnily attractive hacienda, a place called Ocho Rios.

When the script for Eat Pray Love landed in Richard Jenkins’ inbox, one can imagine he must have twinkled at the pages-long monologue his character delivers in the film’s midsection.

In Scott Pilgrim vs. the World , the visuals pop with jagged panel-break split-screens and straight-outta- Batman onscreen sound effects. Key lines of dialogue and every significant plot point are snatched precisely from the source material, Bryan Lee O’Malley’s graphic novel series.

Reeling himself back in from the career crash-zone territory of Land of the Lost , Will Ferrell returns to more familiar stomping grounds with The Other Guys , his fourth comedy pairing with director Adam McKay ( Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby and Step Brothers ). Again, Ferrell plays a big boob, although his Det. Allen Gamble in The Other Guys is not as clueless or as extreme a doofus as his characters in these previous movies.

The ridiculously prolific director Michael Winterbottom ( A Mighty Heart, 24 Hour Party People ) fouls out badly with his screen adaptation of Jim Thompson’s 1952 crime novel The Killer Inside Me . Nearly everything about the film is off, although the primary offenders are the casting of reedy-voiced Casey Affleck in the title role and the misinterpretation of the term “pulp fiction” to mean something on the order of beating all women to bloody pulps.