We’ve seen the midlife-crisis comedy a hundred times before, but the smarts and the gentle wit of this one makes it a standout of the genre. Star Peter Riegert (Traffic) makes his feature directorial debut with this off-kilter gem, letting the humanity of his characters — even the unsurprisingly wacky ones, like his dad, played … more…

It’s sort of Romeo & Juliet, but with the same kind of urgency the story of star-crossed lovers must have had for the Bard’s first audience: Chimo (Mohammed Khouas) is a poor minority lad in Marseilles; Lila (Vahina Giocante) is an adolescent goddess, blonde and teasing; their teenage romance, alive with raw, unabashed lust, transforms … more…

Ismaël (Mathieu Amalric) believes that women have no souls because they live in bubbles, and that men’s souls are a consequence of their “living to die.” One can take that as a serious commentary on the states of men’s and women’s lives — on the practicality forced upon women as they deal with such basic … more…

Or, if a trip to Orlando is too much hassle, just pop into *Memoirs of a Geisha,* cuz it’s totally, like, Japanesey. Except what’s *really* cool is that it’s like those all-you-can-eat Asian buffets, where they’ve got a little bit of chow mein and a little bit of tempura — mmm, deep-fried — but nothing, like, too strange and yucky like sushi. Like, it’s Asian enough to be cool, like Hello Kitty, but not so alien that you’re like, Huh?

Look, tickets for *The Producers* on Broadway while Nathan Lane and Matthew Broderick were starring in it were something like $125, and that’s before all the service charges and handling fees and ‘donations’ to theater restoration funds and taxes and a $12.50 glass of wine at intermission. And that was if you could get them. The demand to see these two do Mel Brooks was obscene, so even if you didn’t blanch at the price of admission, you still might not have had the opportunity to check them out.