You don't often see a foreign film with a cast like this: Jude Law, Rachel Weisz, Natalie Portman, David Strathairn, Norah Jones. But there are at least a handful of trailers for this movie, and none of them gives the slightest indication as to what the movie is about. Apparently, then, star power was enough for this studio to feel that it didn't have to show how any of these characters are connected to each other, or to any sort of general theme of the movie, or if the movie even has any sort of general theme. So, unless you're completely blinded by the star power of Norah Jones (and if you are...well, I can't help you), you shouldn't trust a movie whose producers put together this many trailers and can't make a single one of them make sense.-- DeAnn Welker

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If you believe what Leatherheads is selling, the behemoth that is the NFL originated in a little tale of love triangles and fat and/or old (George Clooney) and/or young and handsome (Jon Krasinski) men beating each other with no rules (seriously; punch the referee and you're guaranteed a spot on the team). And don't forget the third part of that love triangle: the female sportswriter (Renee Zellwegger). How quaint. We are supposed to believe that Zellwegger's character is so ahead of her time, what with her man's job in a man's world, and her sarcasm. Take, for example, this exchange: Clooney says, "Certain jobs are always going to be done by men." Zellwegger replies, sarcastically, "Big, strapping men?" She's so revolutionary. Except for the part where she is in a love triangle with these two men instead of being, you know, above that. The female sportswriter obviously wants to end up with one football player or another. What else would be the point of that career choice? It's full of clichés (even the fistfights are everything we've seen before) and preciousness and romantic kisses and awkward silences. Thank you, Hollywood, for this not-at-all-refreshing take on the same-old story. You can cover it in mud, a leather helmet, and even George Clooney, but don't let it fool you: It's still just another silly romantic comedy.--DeAnn Welker

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When Martin Scorsese films the Rolling Stones in concert, you don't get just another concert film. You get a behind-the-scenes look at not just the concert, but also at the film about the concert. And it's not your typical concert, by any stretch. It's the Stones' stint at the Beacon Theater in New York in 2006, on a break from their road tour. Mick Jagger isn't sure about Marty's filming techniques. He doesn't want a big, swooping camera getting in the way of the show, but Marty insists it's necessary. Jack White shows up. So does Christina Aguilera. And Buddy Guy. Probably several other famous folks do, too. But the moral of the story will always be that these guys rock, even in their 60s. And Marty's smart enough to throw in some clips of young Mick saying he never thought they'd do this together for more than two years, making a concert--and a movie--like this one all the more poignant. When you put a legend like Scorsese with legends like the Stones, you're bound to wind up with something a little bit legendary, and this documentary is no exception.

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You know how it is: You're living your life perfectly peacefully on a desert island with your daughter (Abigail Breslin) and her crew of talking, CGI animals when, out of nowhere, Jodie Foster floats up on a raft. It's all of the worst stuff you remember from those early live-action Disney movies such as The Gnome-Mobile and Swiss Family Robinson, but without any of their charm. The studio pulls out all the stops (a talking lizard, but he's NOT named Lizard, protests Abigail when her dad calls him that) in an attempt to capitalize on the successes of Lost, 300 (Gerard Butler plays Breslin's dad, who gets stranded at sea eventually), Little Miss Sunshine and the recent spate of kid-friendly animal movies. The sad thing is that despite the embarrassment to Jodie Foster (she gets a wakeup kiss from a sea lion, runs smack into a tree and says emphatically, "I took a plane, I took a helicopter, I stole a boat"), the tired formula probably will bring kids and their parents out in droves.

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Meet Bill (Aaron Eckhart). He's sort of aging, and sort of overweight, so you know life can only get worse for him from here. He does have a lovely wife (Elizabeth Banks), but he hates her parents, and his job -- working for her parents, of course. Unfortunately, the wife starts cheating, and Bill is forced to do the only thing men can do in such a situation: Bring in Jessica Alba to make wifey jealous. Of course it works, and Bill will get handsome and the wife will want him back, and he'll probably get to choose between lovely Elizabeth and lovely Jessica. He also is a mentor to a young boy who really seems to be mentoring him more than the other way around. After all, how can this beer-bellied banker mentor anyone? I mean, the guy's wife is cheating on him with a Ken-doll-haircutted Timothy Olyphant. And Bill is enough of a screw-up to accidentally hit his wife in the face. (I know. That happens all the time. Tell it to the judge.) There are cutesy jokes about Bill's belly (when he hides behind a bush, you can still see him because his belly sticks out; it's hysterical), and an even cutesier joke about Bill hunting with his bosses (when the boss tells the dog to go get the bird, Bill jumps in the water to retrieve it, because he's that clueless). But the cast is strong enough to make those clunkers work, and the rest should be an enjoyable ride. -- DeAnn Welker

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What do you get if you pair a legendary Taiwanese director (Hou Hsiao Hsien) with an Oscar-winning French actress (Juliette Binoche)? Apparently, a red balloon that floats around touching everything -- and everyone -- in its path. It floats above a city, and near a train. And then Juliette finally shows up, blonde. She sits in a chair. She takes a loving photograph of a child (hers?). The balloon continues to float above the city. Juliette fights with a man and kicks him out, talks on the phone while the child stands there anxiously. The child eventually sees the balloon and suddenly steals the whole movie from our French film star. I'll go ahead and give away the ending: The balloon keeps floating. Juliette finds some peace, in the form of hugging the child. There's lovely, la-la-ing French music, but absolutely no dialogue. We're completely befuddled.

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An excuse for Simon Baker to have hot sex with a lot of hot young women, Sex and Death 101 has the following premise: Roderick Blank has the perfect life, until his secretary (Natalie from The Facts of Life) opens an email he receives containing the names of all of the women he's had sex with -- and all of the women he ever will have sex with. This sets up some sort of storyline where he can't focus on the woman he's about to marry because he's too busy trying to find the people who come after her on the list. And then there is some sort of freedom fighter all over the news, named Death Nell (no, really), played by Winona Ryder (no, really). And, can you believe it? She turns up on Simon's list. (Hence the "Death" portion of the movie's title.) What happens after that...honestly, does it really matter? It's all so ridiculous that it almost sounds terrific. I said almost.

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