Deleted/extended scenes

Leatherheads is a sort of two-fisted homage, simultaneously celebrating the early, unstructured days of professional football and the screwball comedies of the 1930s and 40s. George Clooney stars as "Dodge" Connelly of the Duluth Bulldogs, a wily (if a bit long in the tooth) player whose team goes bankrupt. His solution is to lure a war hero and star of the college-football circuit, Carter "The Bullet" Rutherford (John Krasinski from the American version of The Office) to join the team and, through the sheer force of his celebrity, legitimize professional football.

Up in the Air transforms some painful subjects into smart, sly comedy--with just enough of the pain underneath to give it some weight. Ryan Bingham (George Clooney) spends most of his days traveling around the country and firing people; he's hired by bosses who don't have the nerve to do their layoffs themselves. His life of constant flight suits him--he wants no attachments.

For too long, Carrie Bradshaw (Sara Jessica Parker) had been looking for love in all the wrong places...but in all the right shoes. In this much anticipated movie event, Carrie, Samantha (Kim Cattrall), Charlotte (Kristin Davis) and Miranda (Cynthia Nixon) are back, four years after the hit TV series ended. As they continue to juggle career, relationships, motherhood and life in Manhattan, the girls realize that more than ever, true friendship never goes out of style.

The sparks between Richard Gere and Diane Lane--so memorable in Unfaithful--smolder again in the sweepingly romantic Nights in Rodanthe. Based on a novel by Nicholas Sparks, the film is unapologetically sentimental, and enjoyable completely on its own terms--a small gem of an escape, complete with storm-tossed coastline. Lane plays Adrienne, a wronged wife whose husband (Christopher Meloni) was a heel, but begs for another chance. She goes to clear her head at a remote North Carolina inn, where the sole occupant is Paul, a doctor, played by Gere, who is battling his own demons.

Ben Stiller wrestles with extinct beasts, historical figures, and meddling monkeys in Night at the Museum: Battle of the Smithsonian, the sequel to the popular 2006 special-effects extravaganza. This time, the ancient Egyptian tablet (the one that brings all the exhibits at New York's Museum of Natural History to life at night) is being shipped off to the Smithsonian in Washington, D.C.--which, as the movie diligently tells us, is the largest museum in the world.

A spellbinding action epic, The Last Legion reveals the fall of Rome and the birth of King Arthur's mighty sword Excalibur. As invading hordes besiege the crumbling Roman empire, a daring general (Colin Firth), joined by a powerful wizard (Ben Kingsley) and a master warrior (Aishwarya Rai), attempts to lead one last legion of faithful soldiers to victory and glory against all odds. Featuring colossal battles, breathtaking special effects, and sweeping camerawork, The Last Legion delivers the story of a legend in action-packed style.

Unapologetically audacious, I'm Not There is more post-modern puzzle than by-the-numbers biopic. A title card sets the scene: "Inspired by the music and many lives of Bob Dylan." Yet the film features no figure by that name. Instead, writer/director Todd Haynes presents six characters, each incarnating different stages in the artist's career. Perfume's Ben Whishaw, a black-clad poet, serves as a slippery sort of narrator.

Director-writer David S. Ward’s 1982 adaptation of John Steinbeck’s Cannery Row (with material from another Steinbeck tale, Sweet Thursday) has its charms, principally some top-drawer talent on both sides of the camera; the cast is headed by Nick Nolte and Debra Winger, Jack Nitzsche composed the music, and John Huston supplies the voice-over.

Up in the Air transforms some painful subjects into smart, sly comedy--with just enough of the pain underneath to give it some weight. Ryan Bingham (George Clooney) spends most of his days traveling around the country and firing people; he's hired by bosses who don't have the nerve to do their layoffs themselves. His life of constant flight suits him--he wants no attachments.

When a famous person, like the nation's first openly gay male city supervisor, inspires an acclaimed book (The Mayor of Castro Street) and Oscar-winning documentary (The Times of Harvey Milk), a biopic can seem superfluous at best. Taking over from Oliver Stone and Bryan Singer, Gus Van Sant, whose previous picture was the more experimental Paranoid Park, directs with such grace, he renders the concern moot.