Rudy Cahayadi

Something evil lurks just beneath the surface of teenaged girl\’s private school world — and it\’s ready to battle for her very soul. Now, on the eve of her 18th birthday, Molly Hartley is about to discover the devilish truth of just who, or rather what, it is she is destined to become.

At first, Clint Eastwood\’s CHANGELING could appear to be following too closely in the footsteps of his earlier Oscar winner, MYSTIC RIVER, since both films center on a missing child. But while his previous film was based on a Dennis Lehane novel, CHANGELING carries a particular weight because it is based on a true story, and one that isn\’t largely known. Angelina Jolie stars as Christine Collins, a single mother working in 1928 Los Angeles when her son goes missing. A boy is returned to her months later by the police, but she is shocked and disheartened when she realizes that the boy isn\’t her son. Joined by a crusading pastor (John Malkovich), Christine battles for justice against the corrupt L.A.P.D. while she continues to search for her child. Eventually her fight against the cops lands her in a mental hospital, where she is surrounded by others with a similar plight. <br><br>At times, CHANGELING is incredibly difficult to watch. Jolie gives an authentic, anguished performance, and the on-screen tragedy is quite disturbing, largely because of its basis in reality. But Eastwood has crafted another Oscar-worthy film that is certainly worth sitting through, even if a tissue or two is required. Screenwriter J. Michael Straczynski had been best known for his work in science fiction (BABYLON FIVE) and graphic novels, but he makes an adept transition to feature drama with this film. Its unusual focus–on the victim and her struggle for justice, rather than on the criminal and the crime–brings further depth to the film. As always, Amy Ryan (an Oscar nominee for GONE BABY GONE) perfectly morphs into her role (this time as a prostitute imprisoned in the mental hospital), and the film\’s many child actors are compelling to watch.

Book club favorite THE SECRET LIFE OF BEES more than just survives its transition to the screen. Thanks to its strong cast, this female-centric drama thrives. Dakota Fanning stars as Lily, a 14-year-old girl living with her abusive father (Paul Bettany) in South Carolina in 1964. Lily struggles with a burden of guilt after she accidentally killed her mother a decade before, and she longs for knowledge of the woman. When the family\’s caretaker Rosaleen (Oscar winner Jennifer Hudson) is arrested after standing up to a group of violent white men, Lily seizes the opportunity to run off with Rosaleen and search for clues to her mother\’s life. They arrive at the home of the Boatwrights, a trio of black sisters. Motherly August (Queen Latifah) cultivates the state\’s most coveted honey, June (Alicia Keys) focuses on her music and on rebuffing the advances of an ardent suitor (Nate Parker), and childlike May (Sophie Okonedo) struggles to stay happy in the turbulent time. But in a still-racist world where the Civil Rights Act has just been passed, the Boatwrights\’ home acts as a haven for Lily as she searches for information about her mother\’s past. <br><br>The heavy drama could\’ve presented a challenge for Fanning, who has gone beyond the role of a little girl, but she does a fine job. The other actresses in the film, especially Latifah and Okonedo, shine without overpowering the other performances. Bettany departs from his usual charming roles and melts into the difficult part of Lily\’s violent father. In the spirit of past favorites such as THE COLOR PURPLE and CORRINA, CORRINA, THE SECRET LIFE OF BEES presents a gripping look at the South in the 1960s with a nice balance of laughter and tears.

The East High Tigers dance their way from the Disney Channel to the silver screen in this feature film. In HIGH SCHOOL MUSICAL 3: SENIOR YEAR, Troy (Zac Efron) and Gabriella (Vanessa Hudgens) realize that high school–and their closeness–may not last forever, so they decide to produce one last musical before graduation.

As its explicit title suggests, Kevin Smith\’s ZACK AND MIRI MAKE A PORNO is a foul-mouthed and filthy film that probably isn\’t fit for the very young, the very old, or the easily offended. But for those who enjoy Smith\’s brand of humor, this raunchy but romantic comedy could be the perfect date movie (though perhaps not for a first date). With mountains of past-due bills piling up, Zack (Seth Rogen, KNOCKED UP) and his roommate/childhood friend Miri (Elizabeth Banks, SCRUBS) aren\’t sure how they\’re going to stay in their Pittsburgh apartment. But a chance encounter at their 10-year reunion gives them the idea to make a porn movie. When it comes time for the friends to do the deed, they realize that perhaps they\’re more than just friends.<br><br>With all the talk of sexual positions and bodily functions, it\’d be easy to say that Smith is hopping on the Judd Apatow bandwagon that has dominated the box office in the latter half of the aughts with KNOCKED UP and THE 40-YEAR-OLD VIRGIN, and ZACK AND MIRI even features a few Apatow alumni. But Smith perfected this schtick down back in the \’90s with CLERKS, when some of Apatow\’s fans were still in diapers. ZACK AND MIRI is most reminscent of Smith\’s own CHASING AMY; there are plenty of gag- or giggle-inducing moments, but Smith\’s script is also surprisingly sweet. Rogen and Banks make a perfect couple, and the always hilarious Rogen could be Smith\’s new Ben Affleck or Jason Lee.

In this comedy, Paul Rudd and Seann William Scott play two men who are hardly model citizens. But their bad behavior puts them in trouble with the law, and soon the men must act as mentors as a part of their community service. Christopher Mintz-Plasse, who made his debut as McLovin in SUPERBAD, costars in this film from THE TEN director David Wain.

With everyone else dead and rotting, it\’s up to Hoffman to continue Jigsaw\’s murderous traditions. When he feels that his identity might be discovered, the killer has to use all his training as a detective to track down anything–and anyone–that might expose him.

After they escaped from New York City, the creatures of 2005\’s MADAGASCAR are back in this African adventure. MADAGASCAR: THE CRATE ESCAPE features the return of the first film\’s vocal talents: Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, and Andy Richter.

Betrayed by Vesper, the woman he loved, 007 fights the urge to make his latest mission personal. Pursuing his determination to uncover the truth, Bond and M interrogate Mr. White who reveals the organization which blackmailed Vesper is far more complex and dangerous than anyone had imagined.<br><br> Forensic intelligence links an Mi6 traitor to a bank account in Haiti where a case of mistaken identity introduces Bond to the beautiful but feisty Camille, a woman who has her own vendetta. Camille leads Bond straight to Dominic Greene, a ruthless business man and major force within the mysterious organization.<br><br> On a mission that leads him to Austria, Italy and South America, Bond discovers that Greene, conspiring to take total control of one of the world\’s most important natural resources, is forging a deal with the exiled General Medrano. Using his associates in the organization, and manipulating his powerful contacts within the CIA and the British government, Greene promises to overthrow the existing regime in a Latin American country, giving the General control of the country in exchange for a seemingly barren piece of land.<br><br> In a minefield of treachery, murder and deceit, Bond allies with old friends in a battle to uncover the truth. As he gets closer to finding the man responsible for the betrayal of Vesper, 007 must keep one step ahead of the CIA, the terrorists and even M, to unravel Greene\’s sinister plan and stop his organization.

Samuel L. Jackson and Bernie Mac top the marquee in this road trip comedy. The two stars play Louis and Floyd, two former soul group members who had a falling out years ago. But when a mutual friend (John Legend) dies, they embark on a five-day trip to Harlem for a tribute show. Malcolm D. Lee (WELCOME HOME ROSCOE JENKINS) directs.