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Movie picks 

Films recommended by our reviewers are indicated by an *.

30 Minutes or Less (R)

Director Ruben Fleischer, a former reality-show writer, is hardly the only culpable party in this wreck, in which Nick (Jesse Eisenberg), an overgrown pizza boy, is mugged and forced to wear a vest full of dynamite until he successfully robs a bank. — Justin Strout

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

*Bridesmaids (R)

In plenty of ways, the film sticks to a successful Apatow formula. The story structure is never so rigid that it won't allow room for freelancing a randomly (and hilariously) off-color conversation. The dialogue snaps with intelligence, and while belly laughs are the meat on the menu, there's a sentimental side. — Scott Renshaw

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Captain America: The First Avenger (PG-13)

This is a WWII-set comic book adventure about a once-meek U.S. soldier turned hero thanks to an experimental super serum that grants strength and agility far beyond that of a normal human being. — Not reviewed

Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

The Change-Up (R)

Here's the ugly truth about genre formulas (this one a "body-swap" comedy): They generally exist for good reason. While adhering to the formula is no guarantee of success, turning it sideways isn't inevitably a step in the right direction. — Scott Renshaw

Chapel Hills 15, Cinemark 16, Tinseltown

Conan the Barbarian (R)

Conan's exploits in the Hyborian Age now come alive like never before. A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds. — Not reviewed

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

Cowboys & Aliens (PG-13)

It's 1873 in Arizona Territory when a spaceship arrives. Neither homage nor satire, it's more like a brainstormed shorthand checklist of plot points and payoffs. — Not reviewed

Cinemark 16, Hollywood Interquest, Tinseltown

Crazy, Stupid, Love. (PG-13)

The film offers up a terrific cast and some genuinely funny moments, but its inability to find real greatness can be encapsulated by one scene. — Scott Renshaw

Cinemark 16, Tinseltown

Final Destination 5 (R)

Death makes a killing in the next installment of this horror series. — Not reviewed

Chapel Hills 15, Cinemark 16, Tinseltown

*Fright Night (R)

This delightfully perverse little vampire movie makes me nostalgic for the feeling that '80s movies gave me. Director Craig Gillespie (Lars and the Real Girl) manages to invoke the retro without being cheesy, the amusing without winking, and the creepy without being awkward. — MaryAnn Johanson

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

Green Lantern (PG-13)

When the Green Lantern assigned to this sector of space finds himself dying on planet Earth, he tells the ring to find a suitable successor — Not reviewed

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The Hangover Part II (R)

This feels exactly like a script that was thrown together quickly to capitalize financially on an unexpected success, duplicating the execution — and, unfortunately for viewers, the flaws — of the first version. — Scott Renshaw

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*Harry Potter and the Deathly Hallows Part 2 (PG-13)

It's fair to say that while Deathly Hallows 2.0 is far from a perfect piece of filmcraft, director David Yates and screenwriter Steve Kloves know exactly how to guide us through this final chapter. — Scott Renshaw

Chapel Hills 15, Cinemark 16, Cinemark 16 IMAX, Hollywood Interquest, Tinseltown

The Help (PG-13)

Set in Mississippi in the '60s, a Southern society girl returns from college determined to become a writer, but soon she turns her friends' lives upside down when she decides to interview the black women who have spent their adult lives taking care of prominent Southern families. — Not reviewed

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

*Horrible Bosses (R)

Horrible Bosses is a rarity in that the story holds together throughout while just about every joke, quip, one-liner and physical gag works. — Dan Hudak

Tinseltown

Kung Fu Panda 2 (PG)

Po is now living his dream as the Dragon Warrior. But his new life of awesomeness is threatened by the emergence of a formidable villain, who plans to use a secret, unstoppable weapon to conquer China and destroy kung fu. — Not reviewed

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*Midnight in Paris (PG-13)

The film is a nicely executed, clever idea, if neither as groundbreaking nor as intelligent as Woody Allen's earlier work. — Anders Wright

Chapel Hills 15, Kimball's Peak Three, Tinseltown

Monte Carlo (PG)

A young woman, her uptight stepsister and her best friend use their savings for a long-anticipated dream trip to Paris. When they decide to take a break and duck into the lobby of a five-star hotel, one of them is mistaken for a spoiled British heiress. — Not reviewed

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Mr. Popper's Penguins (PG)

This material deserved the Big Fish treatment, something with scope and intimacy, absurdist flourishes and a warm palette. Instead, the new film starring Jim Carrey, isn't an adaptation, it's a crime scene. — Justin Strout

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*One Day (PG-13)

There's no logical way to defend the way One Day charmed me. As adapted by David Nicholls from his tear-jerking novel, it's hardly an example of clockwork plotting, but it does what you ask of a romance: It gives you two interesting people and a reason to hope that they wind up happy. — Scott Renshaw

Cinemark 16, Hollywood Interquest, Kimball's Peak Three, Tinseltown

Pirates of the Caribbean:

On Stranger Tides (PG-13)

The creative team seems to have learned little from the mistakes of the past, while adding new ones. The attempt to give Jack Sparrow a romantic subplot feels like a misunderstanding of the character's nature, and there's never a genuine spark between Johnny Depp and Penelope Cruz. — Scott Renshaw

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*Rise of the Planet of the Apes (PG-13)

Escapism isn't about what happens on the screen, but what happens to us: You want to lose yourself in a movie. Rise of the Planet of the Apes is the essence of the summer flick, and this is how you do it. — MaryAnn Johanson

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

Sarah's Key (PG-13)

Sarah's Key tells the story of an American journalist. What starts off as a research article about the Vel'd'Hiv Roundup in 1942 in France ends up as a journey toward self-discovery as she learns the heartbreaking story of a Jewish family forced out of their home. — Not reviewed

Kimball's Peak Three

The Smurfs (PG)

A hybrid live-action and animated family comedy. When the evil wizard Gargamel chases the Smurfs out of their village, they're forced through a portal and into our world. They must find a way home. — Not reviewed

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

Spy Kids: All the Time in the World (PG)

Marissa Cortez Wilson's world turns upside down when the Timekeeper threatens to take over the planet and she is called back into action by the OSS. — Not reviewed

Carmike 10, Chapel Hills 15, Cinemark 16, Hollywood Interquest, Tinseltown

*Super 8 (PG-13)

When J.J. Abrams gets away from the strengths of his own story, he turns it into something merely pretty good, instead of the kind of movie other filmmakers will be referencing a generation from now. — Scott Renshaw

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*Thor (PG-13)

Thor shows that director Kenneth Branagh grasps these fundamental realities: He nails a unique tone, and he has a lead actor who understands how to play a god. — Scott Renshaw

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Transformers: Dark of the Moon (PG-13)

Dark of the Moon is yet another Michael Bay movie in which any given 10 minutes would almost certainly be better as only three. — Scott Renshaw

Carmike 10, Cinemark 16 IMAX

Winnie the Pooh (G)

With every bit of the charm, wit and whimsy of the popular original featurettes, this all-new movie reunites audiences with the philosophical "bear of very little brain" and friends. — Not reviewed

Chapel Hills 15, Picture Show

*X-Men: First Class (PG-13)

It's not Shakespeare — silly inner fangirl — but, as breezy, thoughtful summer comic-book movies go, this is actually damn close. — MaryAnn Johanson

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