Peabody Place 22, Wolfchase Galleria Cinema 8, Collierville Towne 16, Studio on the Square, Cordova Cinema, Paradiso, Hollywood 20 Cinema, CinePlanet 16.

Feast (R, 88 min.) A movie developed during the Ben Affleck/Matt Damon-produced "Project Greenlight" cable reality series finally comes to theaters, but it will be screened only tonight and Saturday night. The plot: Flesh-eating monsters storm a bar barricaded by such survivor wannabes as Balthazar Getty and Clu Gulager.

Peabody Place 22, Forest Hill 8, Stage Cinema 12, Majestic, Collierville Towne 16, DeSoto Cinema 16, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16.

Peabody Place 22, Forest Hill 8, Stage Cinema 12, Wolfchase Galleria Cinema 8, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16, Southaven Cinema, Summer Quartet Drive-In.

Peabody Place 22, Wolfchase Galleria Cinema 8, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16.

School for Scoundrels (PG-13, 100 min.) Nerdy Jon Heder ("Napoleon Dynamite") learns life is not a bowl of tater tots when his motivational coach (Billy Bob Thornton) sabotages his life.

Greece: Secrets of the Past: The latest IMAX feature offers a travelog of the Greek Isles and an "archaeological mystery" enhanced by digital re-creations of such ancient spectacles as the creation of the Parthenon and the volcanic destruction of Santorini. Narrated by Nia Vardalos ("My Big Fat Greek Wedding"). Runs through June 22, 2007. Tickets $8; $6.25 children (ages 3-12); group rates available.

Crew Training International IMAX Theater at the Memphis Pink Palace Museum, 3050 Central. Call 763-IMAX for general information or 320-6362 for reservations.

Magnificent Desolation: Walking on the Moon: Co-written and narrated by Tom Hanks, this IMAX film features rarely seen NASA footage and computer-generated renditions of the lunar landscape. Runs through Nov. 10. Tickets $8; (tickets are free through Nov. 10 for senior citizens ages 55 and older); $6.25 children (ages 3-12); group rates available.

Crew Training International IMAX Theater at the Memphis Pink Palace Museum, 3050 Central. Call 763-IMAX for general information or 320-6362 for reservations.

Room (Not rated, 75 min.) The Memphis Brooks Museum of Art continues its "indieWIRE: Undiscovered Gems" series devoted to independent cinema with this 2005 Sundance Film Festival selection about a wife and mother, Julia (Cyndi Williams), who travels from Houston to New York when she begins experiencing blackouts and spooky visions of an empty room. Written and directed by Kyle Henry and executive produced by Michael Stipe of R.E.M., the movie is "an existential horror film" and "a parable of the war against terror being waged in Julia's psyche," according to the New York Times.

Li'l Film Fest 3: Kung Who? ...No, Kung Fu! The third "Li'l Film Fest" coordinated by the Live from Memphis website features 10 short comic films with martial arts themes created by local filmmakers. Among the titles: "Ragtime Kung Chew" and "Johnny Cage, You Are a Fool."

2 p.m. Saturday at the MeDiA Co-op theater at First Congregational Church, 1000 S. Cooper. Admission is free. Visit livefrommemphis.com or call 523-9763.

Accepted (PG-13, 90 min.) Director Steve Pink's "teen movie" about post-high school slackers, misfits and smart alecks run amuck on the improvised campus of their own fake college operates at a higher level of wit and energy than most of the so-called adult comedies now onscreen. Justin Long stars as the sharp-tongued underachiever who invents a phony school that takes on a life of its own, becoming a sort of campus-sized Delta House that offers such student-designed courses as "Taking a Walk and Thinking About Stuff." Unfortunately, the script's embrace of the school's supposedly uplifting alternative approach to education gets a little thick, when what's really called for is the anarchy of "Rock 'n' Roll High School."

The Ant Bully (PG, 88 min.) An insect-tormenting boy magically shrunk to mite size learns lessons about cooperation, understanding and diversity ("It's the differences that make a colony strong") after being teased by ants, chased by wasps and regurgitated by a bullfrog in the latest amusing if uninspiring computer-animated entertainment for families killing time between Pixar releases. Nicolas Cage and Julia Roberts provide voices, but "Evil Dead" zombie-battler Bruce Campbell -- already close to being a human cartoon -- steals the soundtrack with his hambone baritone. Based on a children's book by John Nickle; directed by John A. Davis ("Jimmy Neutron: Boy Genius"). Produced by Tom Hanks as a sort of homage to special effects grandmaster Ray Harryhausen, whose movies (such as "7th Voyage of Sinbad") often depicted battles between the big and the small.

Barnyard (PG, 90 min.) The latest computer-animated funny-animal movie could cause more gender confusion than "Transamerica": The heroes are "cows," but they're male and they have udders, which makes you wonder if writer-director Steve Oedekerk has ever wandered beyond his Los Angeles Zip Code. The misbegotten story mixes "Lion King" menace and trauma with the wacky wisecracking antics that typify most second-rate CGI releases (the cows look like they've been molded from rubber erasers). The North Mississippi Allstars contribute five songs and appear in cartoon form as the farm's house band, "the Barnyard Boys," according to the credits, but you can't tell by looking -- the animals onstage don't resemble the Allstars. Memphis' the Bo-Keys also contribute a number to the soundtrack, but the show is stolen by a fat rat who raps out Shaggy's "Boombastic."

The Black Dahlia (R, 119 min.) It's appropriate that bad word of mouth is likely to kill this exhilarating and confounding crime thriller; after all, director Brian De Palma's adaptation of James Ellroy's novel is all about disfigured, sardonic and deceitful smiles, from the mutilated death rictus of the title victim to the impossibly candy-red lips of Scarlett Johansson to the false "chompers" worn by detective hero Josh Hartnett after his police partner (Aaron Eckhart) knocks out two of his teeth. Inspired by the gruesome, real-life 1947 murder of would-be actress Elizabeth Short, the movie is frustrating (I've seen it twice and still don't get the plot) but fascinating, and it reaffirms De Palma's status as American cinema's cruelest satirist, as demonstrated most vividly in a dinner scene that re-imagines the neurotic Sternwood family of "The Big Sleep" as the decadent embodiment of inbred, idiot privilege.

Cars (G, 122 min.) The most conventional film yet from the CGI geniuses at Pixar, this is a movie a 5-year-old boy might imagine, which is both its strength and its weakness. Director John Lasseter's film is populated entirely by anthropomorphic automobiles, including a hot-shot race car (voiced by Owen Wilson) who learns "It's kind of nice to slow down every once in a while" when he's stranded in "the cutest little town in Carburetor County" on a lonely desert stretch of "the mother road," Route 66. Once again, Pixar proves itself the Ferrari of digital animation studios: The title characters are unthreateningly toylike, but they are depicted with the stylized photorealism of a Richard Estes painting, and they inhabit a Western landscape in which the buttes and monuments resemble hood ornaments and Cadillac fins. The movie's ideas, however, seem stuck in reverse; perhaps the idyllic small town here should have been depicted through stop-motion or traditional animation, to suggest the limits as well as the appeal of the so-called good old days.

Clerks II (R, 97 min.) Following the failure of "Jersey Girl," writer-director Kevin Smith has retreated to the safety of the breakout indie hit that functioned as the big bang for his universe of comic books, cartoons, Web sites, action figures and, of course, movies. This 12-years-later color sequel to the $27,000 black-and-white "Clerks" basically repeats the comic and narrative strategies of the first film; its gross-out situations (a Joel Siegel-offending "donkey show"), life-altering complications and absurd pop-culture debates ("Transformers" is a target) function as the circles of hell through which the appropriately named Dante (Brian O'Halloran) moves to find salvation, with the help of fellow service-industry lifer Randal Graves (Jeff Anderson). "Today is the first day of the rest of our lives," says Randal, but this amiable yet underachieving film suggests artistic withdrawal rather than momentum.

Click (PG-13, 108 min.) This "Twilight Zone" update with an "It's a Wonderful Life" resolution is utterly unoriginal in concept and uninventive in execution, but it's a film of its digital age: It's aware that the moviegoer sometimes reaches for a remote control device that isn't there, like an amputee experiencing the itch of a phantom limb. Adam Sandler stars as a suburban family man who learns a lesson about "fast-forwarding" through life when he is presented a magical "universal remote" that controls everything in his universe. The inability of Sandler and director Frank Coraci to relinquish the security blanket of crude juvenile humor is especially disappointing in this dark, reflective context; a recurring gag about the family dog's erotic obsession with a big stuffed duck is only the most gratuitous of numerous offenses to good taste.

The Covenant (PG-13, 98 min.) "The Craft" with hunks instead of babes, this stab at WB network-style homoerotic teen escapism from veteran action-horror director Renny Harlin is fairly efficient until the final act, when the film's supernatural mystery gives way to a dully chaotic mano a mano duel between good and evil prep school warlocks ("How about I make you my wee-otch" is one inevitable taunt).

Peabody Place 22, Stage Cinema 12, Wolfchase Galleria Cinema 8, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16, Southaven Cinema.

Crank (R, 83 min.) "D.O.A." for the "Grand Theft Auto" generation: Action star Jason Statham must track down his would-be killers while keeping his heart beating at a rapid rate to prevent a poison from entering his system.

Crossover (PG-13, 95 min.) A pre-med student with a basketball scholarship to UCLA becomes involved in an extreme form of underground basketball. The bad guy is named "Jewelz"; the love interest is "Eboni"; the template is "tired."

Everyone's Hero (G, 88 min.) A young baseball fan with a talking bat tries to help Babe Ruth and the New York Yankees win the World Series in this computer- animated project, originated by the late Christopher Reeve.

Peabody Place 22, Forest Hill 8, Stage Cinema 12, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16, Southaven Cinema.

The Fast and the Furious: Tokyo Drift (PG-13, 104 min.) Professional Southern knucklehead Lucas Black takes the lead in the third "Fast and Furious" film, an ode to reckless driving set in a Japanese underground of barely dressed cuties and tough teen Yakuza wannabes with access to an apparently inexhaustible supply of wreckable cars. Directed by Justin Lin (who made a splash with the indie Asian teen drama "Better Luck Tomorrow"), the movie is both exhilarating and laughable -- a noisy neon mash-up of "Blade Runner" and "Eat My Dust."

Garfield: A Tail of Two Kitties (PG, 78 min.) This sequel to 2004's forgettable but apparently profitable "Garfield" is only 78 minutes long, but that's 78 minutes you could spend with your child reading A.A. Milne or Lewis Carroll or Mark Twain, whose "The Prince and the Pauper" inspired a plot that finds Jim Davis' comic-strip fat cat Garfield (voiced by Bill Murray) mistaken for his lookalike, a pampered British pussycat named Prince (Tim Curry). The CGI felines are impressive, but the film's crude slapstick, ersatz anarchy (Garfield plays air guitar to "Cat Scratch Fever") and endorsement of the privilege of nobility (Prince rules over a barnyard of happy subjects) are insulting.

Peabody Place 22, Forest Hill 8, Stage Cinema 12, Wolfchase Galleria Cinema 8, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Cordova Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16, Southaven Cinema, Summer Quartet Drive-In.

Hollywoodland (R, 126 min.) Superman may be faster than a speeding bullet, but George Reeves wasn't. The controversy surrounding the actor's 1959 handgun death provides the inspiration for this noirish period piece in which a seedy private eye (Adrien Brody) investigates the death of the typecast TV star (played in flashback by Ben Affleck). The film is part hardboiled murder mystery, part warts-and-all biopic, part "Sunset Boulevard"-style show business autopsy and part conspiracy thriller; if the kryptonite cocktail that debuting feature director Allen Coulter mixes from these ingredients isn't as potent as it ought to be, it's still a welcome adult concoction, knocked back with a teary-eyed wink by Diane Lane, who emerges from the film's simultaneously tawdry and glamorous Tinseltown landscape as the tarnished trophy wife to beat for this year's Best Supporting Actress Oscar.

How to Eat Fried Worms (PG, 83 min.) Based on the popular 1973 novel by Thomas Rockwell, this admirable children's movie hides a surprisingly palatable lesson about growing up behind the gross-out come-on of its title. Luke Benward stars as an 11-year-old "new kid" who agrees to a disgusting dare: Over the course of a single Saturday, he must eat 10 earthworms, all prepared in a gruesome variety of improvised recipes by the school bully and his cronies. Yes, the worm scenes are pretty yucky, but nothing here is as disturbing as Goldie Hawn and Susan Sarandon in their groupie Spandex in director Bob Dolman's previous movie, "The Banger Sisters."

The Illusionist (PG-13, 109 min.) Edward Norton is convincingly intense as a master magician with possibly supernatural powers in this sumptuously produced puzzler set in an elegant fin de siecle Vienna of top-hatted police inspectors, ectoplasmic apparitions and sinister princes who carry jewel-encrusted swords. Writer-director Neil Burger has several tricks up his sleeve; he makes us aware that our response to the action onscreen is a testimony to the conjurations of the filmmakers (the costumes, the characterizations, the special effects), just as the reactions of the people in the movie affirm the magician's talents. In a sense, the film is as much about the audiences that experience its sleight of hand as it is a love story about a magician who longs for a duchess (Jessica Biel) betrothed to a crown prince (Rufus Sewell). With Paul Giamatti as a sympathetic police inspector.

Invincible (PG, 104 min.) In this inspirational surprise box-office hit, Mark Wahlberg stars as Vince Papale, the down-and-out real-life Philadelphia Eagles fan whose wildest dream comes true when he makes the team during an open tryout. With Greg Kinnear as Coach Dick Vermeil.

Forest Hill 8, Stage Cinema 12, Collierville Towne 16, DeSoto Cinema 16, Cordova Cinema, Paradiso, Hollywood 20 Cinema, CinePlanet 16, Summer Quartet Drive-In.

The Lake House (PG, 99 min.) Keanu Reeves and Sandra Bullock become more than pen pals through a magic mailbox that sends love letters through time.

Little Man (PG-13, 99 min.) Digital technology transplants the face of Marlon Wayans onto the body of a child actor; the somewhat disturbing result is a 2-foot-6 jewel thief who disguises himself as an abandoned infant in order to get inside the neat suburban home of a wannabe father (Shawn Wayans) and his job-obsessed wife (Kerry Washington). Directed by Keenen Ivory Wayans, this feature-length rewrite of a 1954 Bugs Bunny cartoon stages its expected comic humiliations, ridiculous sight gags, painful slapstick and gruesome sex and potty jokes with unfussy efficiency. The film is surprisingly funny, with diaper and breast milk humor that is less distasteful than the suggestion that the wife is selfish for postponing motherhood for the sake of her career.

Little Miss Sunshine (R, 101 min.) Overpraised by many and scorned by a few, this charming and frustrating road trip comedy from the husband-and-wife directing team of Jonathan Dayton and Valerie Faris is preprogrammed to be a quirky indie-gone-mainstream cult hit. The unlikely funny-poignant dramatis personae who make up its self-consciously dysfunctional family exist as concepts first and characters second: Steve Carell is the suicidal gay Proust scholar; Alan Arkin is the heroin-snorting porn-addict grandfather; Paul Dano is the teen Nietzsche fan who's taken a vow of silence, and so on. Encouraged by Mom (Toni Collette) and Dad (Greg Kinnear), they all pile into a mulish Volkswagen bus to drive from Albuquerque to Redondo Beach so pudgy 7-year-old Olive (scene-stealing Abigail Breslin) can participate in the title beauty pageant. (It's typical of the script's contradictions that this ghoulish parade of inappropriately attired and sexualized JonBenet Ramseys is mocked even as Olive is celebrated for pursuing her impossible dream.) A plus is that the cantankerous VW bus -- a vehicle that both requires and betrays cooperation -- makes a wonderful metaphor for the typical family experience.

Material Girls (PG, 99 min.) Martha Coolidge ("Valley Girl") directs the Duff sisters, Hilary and Haylie, in a comedy about two spoiled rich girls stripped of their wealth.

Miami Vice (R, 135 min.) Like a Dostoevsky of crime cinema, director Michael Mann is interested in the Underground Man -- the alienated person who operates in the shadows of conventional society, and whose identity is in flux: bank robbers, detectives, taxi drivers, hit men, "Manhunter," "Thief." "Miami Vice" gives us two such characters, but Jamie Foxx's Ricardo Tubbs recedes to make way for Colin Farrell's Sonny Crockett, who falls for a Colombian gang lord's girlfriend (Gong Li) when he goes deep undercover. Mann uses handheld digital video cameras to imbue the project with a documentary realism, but if this strategy intensifies the sudden brutal violence it also results in the cheapest looking $135 million-budget blockbuster ever.

Monster House (PG, 91 min.) Erected by debuting feature director Gil Kenan and producers Steven Spielberg and Robert Zemeckis, the computer- generated "Monster House" is creepy in more ways than one: The "performance capture" technology introduced in "The Polar Express" -- in which actors wearing sensors are photographed to provide a framework for digital artists -- still results in animated human characters who look more disturbing than natural. Even so, this story of three plucky young friends (think Harry, Hermione and Ron, without magic powers) who investigate the neighborhood haunted house is often scary and exciting, and the house itself -- with its carpet tongue, broken-plank teeth and scowling window eyes ("performance-captured" from the expressions of Kathleen Turner) -- is way cool. Too bad the the enterprise is undermined by such occasional termites as a bug-eyed black cop who could have been "performance captured" from Willie Best.

Over the Hedge (PG, 84 min.) Adapted from the clever comic strip by Michael Fry and T Lewis, the latest DreamWorks CGI comedy depicts a sort of woodland war of insurgency in which a raccoon, a skunk, a turtle, a squirrel and some possums and porcupines defy the habitat-threatening forces of human civilization by staging food raids on the pantries and garbage cans of suburbia. Unfortunately, the promising premise soon falls victim to a violent-slapstick beat-down. The impressive voice cast includes Bruce Willis, Gary Shandling, Wanda Sykes, William Shatner and Steve Carell.

Pirates of the Caribbean: Dead Man's Chest (PG-13, 151 min.) Cannibals, a tentacled "kraken" and a crew of undead barnacly monster-pirates are among the threats (and treats) in director Gore Verbinski's amusing but exhausting sequel to his 2003 mega-hit. The plotting is simple-minded yet confusing, as Captain Jack Sparrow (Johnny Depp), Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightley) embark on a series of repetitive quests that are cut short only by the cliffhanger non-ending.

The Protector (R, 82 min.) "Enter the Dragon" meets "Lassie, Come Home" when Thai martial arts phenomenon Tony Jaa travels to Sydney to rescue a pair of kidnapped elephants. This follow-up to the giddy "Ong-Bak" is incoherent and nonsensical, possibly because the film's U.S. distributor, the Weinstein Company, cut 27 minutes from the original running time. (Worse, the movie is ugly to look at: Reportedly, the Weinsteins also are responsible for the color desaturation that emphasizes the movie's cheap grainy photography.) Even so, if you enjoy fight scenes -- real fight scenes, without the digital and editing trickery of Hollywood action movies -- this is an eye-popping amazement, highlighted by a sequence in which the camera follows Jaa up a multi-story spiral stairway as he dispatches thug after thug after thug in a single, uninterrupted take.

Pulse (PG-13, 90 min.) No pulse here -- the latest Hollywood remake of a Japanese horror film is dead on arrival, thanks to incoherent plotting (the world seems to be ending, but the college-student characters are more concerned with their relationships) and digitally finagled, desaturated-color atmospherics that makes the city look leprous even before evil invades. The plot: Kristen Bell ("Veronica Mars") and her nitwit friends ("Stop hatin'" and "You got it goin' on" are typical witticisms) discover cell phones and computers have become conduits for supernatural evil.

Quinceanera (R, 90 min.) A 14-year-old "pregnant virgin" (Emily Rios), her macho-gay cousin (Jesse Garcia) and their loving octogenarian uncle (Sam Peckinpah stock player Chalo Gonzalez) are among the lead characters in this charming film, set in the vibrant Latino neighborhood of Echo Park in Los Angeles. The hit of this year's Sundance Film Festival, the movie begins at a quinceanara, a ritualized coming-out party in honor of a girl's 15th birthday, where Catholic Mexican tradition rubs (sometimes literally, on the dance floor) against Anglo excess. These scenes are so culturally specific yet universal in their depiction of teen self-consciousness and joy that the moviegoer feels privileged to have been invited to witness "this marvelous day in a young girl's life"; unfortunately, the somewhat melodramatic plot contrived by the writing-directing team of Richard Glatzer and Wash Westmoreland is no match for the compelling authenticity of the setting.

Snakes on a Plane (R, 106 min.) The one thing that could kill the phenomenon that is "Snakes on a Plane" has arrived: "Snakes on a Plane." As has been widely reported, the Internet-generated buzz inspired by the project's tell-it-like-it-is title became so intense that the giddy producers upped the level of gore, sex and Samuel L. Jackson profanity to meet fan expectations; based on the film's modest box office performance, those fans remained the only people who really wanted to see the movie, despite the hype. The publicity created unrealistic expectations: I like seeing a fanged reptile leap from a barf bag onto an airline passenger's face as much as the next person, but I was disappointed that this readymade camp classic is more an "Airport" sequel with snakes than a horror movie in the air. Directed by David R. Ellis, who proved himself an efficient pulp storyteller with "Final Destination 2" and "Cellular."

Talladega Nights: The Ballad of Ricky Bobby (PG-13, 110 min.) This comedy of willful (Will-ful?) dumbness reunites the star, director, story structure, goofball caricature and title punctuation of 2004's "Anchorman: The Legend of Ron Burgundy" but adds some potentially provocative satire: The archnemesis of dimwitted NASCAR champion Ricky Bobby (Will Ferrell) is not only French but gay -- a Formula One driver (scene-stealing Sacha Baron Cohen) who loves jazz, Camus and his "husband" (Andy Richter), and who disdains America for giving the world "George Bush, Cheerios and the Thighmaster." The film contains many funny moments, but it treats moviegoers as suckers as it eagerly embraces the product-placement dollars of the chain restaurants and junk food it pretends to mock. No wonder the Formula One driver tells Ricky Bobby after a literal French kiss: "You taste of America."

Peabody Place 22, Forest Hill 8, Stage Cinema 12, Wolfchase Galleria Cinema 8, Collierville Towne 16, Paradiso, Hollywood 20 Cinema, CinePlanet 16, Summer Quartet Drive-In.

Trust the Man (R, 103 min.) Julianne Moore and David Duchovny fight to save their marriage in this comedy-drama written and directed by Moore's husband, Bart Freundlich ("The Myth of Fingerprints").

Waist Deep (R, 97 min.) Inner-city L.A. dad Tyrese Gibson is pulled back into the gangsta underground when his car is hijacked with his young son inside. A promising premise quickly goes awry, due to absurd plot digressions (Gibson and streetwalker sidekick Meagan Good become "the new modern-day Bonnie and Clyde") and director Vondie Curtis-Hall's choppy, sloppy and incoherent shaky-camera action sequences. With The Game as Meat (yes, that's a correct sentence).

The Wicker Man (PG-13, 102 min.) Director Neil LaBute ("In the Company of Men") transforms the 1973 horror classic (voted one of the top 100 British films of the 20th century by the British Film Institute) into a castration-anxiety companion piece to "The Da Vinci Code," only this time "the suppression of the feminine" is responsible not for a Renaissance masterpiece but a murderous island cult of goddess- worshipping honey harvesters, with Ellen Burstyn as the colony's queen bee. Nicolas Cage is the hapless detective who travels to the island to investigate a child's disappearance; what he finds is intriguing but more silly than scary. The final scene remains effective, however, thanks to the power of the title image.

Peabody Place 22, Wolfchase Galleria Cinema 8, Majestic, Collierville Towne 16, DeSoto Cinema 16, Raleigh Springs Cinema, Paradiso, Palace Cinema, Hollywood 20 Cinema, CinePlanet 16.

The Wild (G, 85 min.) A pampered Zoo's Who led by a former circus lion (voiced by Kiefer Sutherland) leaves New York for a bizarre adventure in Africa involving would-be carnivorous wildebeest and the usual inspirational life lessons. The diverse computer-animated animals (a giraffe, a koala, a Kaa-inspired snake) are beautifully rendered, but this cliche-riddled Disney movie represents one too many trips to the CGI non-inkwell.

Zoom (PG, 89 min.) Stink jokes, snot jokes, Smash Mouth songs, dependably dull Tim Allen, some truly obnoxious product placement and "We're more than a team, we're a family" bromides leach the potential pleasure from this overfamiliar story of young superheroes in training. If you've seen "Spy Kids" or "Sky High," you've seen this before, only better.

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