Extract ***

A sort of factory-set bookend to his cubicle-land "Office Space," "Extract" is Mike Judge's latest workplace comedy. While not, I think, destined to be a cult classic like its predecessor, it is nevertheless a well-observed, funny, and engaging look at management vs. labor America.

The owner of the flavorings factory, Joel (a solid, sane Jason Bateman), is faced with a lifeless marriage (played by the always interesting Kristin Wiig), a mutinous work force, and a confidante bartender/friend (Ben Affleck), who has a drug for every crisis. Judge captures both the aridity of contemporary gated-community life and the uninformed myopia of the working class, as well as the larceny that can hide in the hearts of drop-dead gorgeous young women (the, as they say, smoking Mila Kunis).

I especially enjoyed Affleck's turn as Dean the pill-popper, Bateman's long-suffering mister manager everyman, and J.K. Simmons as the plant manager who can't remember the names of his workers. It's a diverting movie that captures a slice of contemporary life not often seen, and for that it's worth your time.

Rated R. 92 minutes. Mike Judge - Director / Writer, John Altschuler - Producer, Michael Rotenberg - Producer, Tim Suhrstedt - Cinematographer, George S. Clinton - Composer, Maher Ahmad - Production Designer, Julia Wong - Editor. Produced by 3 Arts Entertainment. Distributed by Miramax.

Principal actors: Jason Bateman, Kristen Wiig, Ben Affleck, Mila Kunis, J.K. Simmons, David Koechner, Clifton Collins Jr., and T.J. Miller.

All About Steve (no stars)

"All About Steve" is derivative drivel, not funny, and occasionally insults your intelligence. The story involves quirky motormouth repository-of-endless-knowledge crossword constructor Mary Magdalene Horowitz (Sandra Bullock) who chases cute CCN cameraman Steve (Bradley Cooper) from disaster to disaster after a blind date, convinced they are perfect for each other.

Mary is, I suppose, supposed to be quirky but lovable, but is finally just irritating. Steve is a cardboard character who, I suppose, is supposed to be an island of sanity, but is finally just an uninvolved lump of masculinity telling Mary to go away. And the really big question, I suppose, is what do you suppose Bullock was thinking when she produced this picture? That she could make us like this weird character that no one likes? In the end, she doesn't pull it off, and the audience feels the same as everyone else: she talks too much and needs to grow up.

Preening newscasters are an easy target of this film, as are the superficial fixations of the media and the public's penchant for choosing sides in what should be private decisions. All well and good, and all deserved, but the easy laughs and gross, and I do mean gross, exaggerations just fall flat. There are a few varied locations for this semi-road picture, but somehow Arizona, Texas, and Colorado all look like the foothills of California, and are somehow close enough to each other that a van can drive between them in time to catch breaking news.

Bullock and Cooper, and Thomas Hayden Church as the newscaster, are pleasant enough to watch, but there's nothing they can do to save this turkey. Don't waste your money at the theater, don't rent it, and give it a pass when it hits free TV.

Rated PG-13. 98 minutes. Phil Traill - Director, Kim Barker - Writer, Sandra Bullock - Producer, Mary McLaglen - Producer, Tim Suhrstedt - Cinematographer, Christophe Beck - Composer, Maher Ahmad - Production Designer, Rod Dean - Editor, Virginia Katz - Editor. Produced by Fortis Films. Distributed by Twentieth Century-Fox Film Corporation.

Principal actors: Sandra Bullock, Thomas Haden Church, Bradley Cooper, Ken Jeong, DJ Qualls, Katy Mixon, and Howard Hesseman.

Humpday ***

"Humpday" explores male bonding, competition, the subject of art, and the limits of friendship and marriage in an intimate, hilariously funny story of what happens when two former college roommates decide to make a porn movie for a contest - starring themselves. What starts out as a joke morphs into a macho contest of wills and then into something deeper and more personal.

Ben (Mark Duplass) has settled into a marriage, a house, a job, with plans for a family, when Andrew (Joshua Leonard) the free-spirited and world-travelling artist he hasn't seen in years comes banging on his door at two in the morning. Andrew quickly draws Ben into a world of freedom and experimentation that makes Ben question the path he's taken, and makes Andrew re-examine his own accomplishments.

Written and directed by Lynn Shelton, who also has a role in the movie, "Humpday" comes out of the mumblecore movement, independent films characterized by nonprofessionals examining mundane postcollege and young adult life with an emphasis on character and dialog (often improvised), and who frequently appear in each other's works. The raw, cinema verite style of mumblecore movies, commonly shot with available light on location in real houses and apartments, is the antithesis of Hollywood slickness. Yet these micro budget films often have more truth, insight, humor and verisimilitude than twenty Tinseltown romcoms.

Shelton's style favors close shots and the unpolished dialog of real life. This effort has a very nice flow, crisply provided by editor Nat Sanders. The principal actors, including Alycia Delmore as Ben's wife Anna, also get writing credits for developing the dialog, and all give solid, totally believable performances. "Humpday" is a fine effort that won't disappoint.

Rated R. 94 minutes. Lynn Shelton - Director / Writer (writer) / Producer, Benjamin Kasulke - Cinematographer, Vince Smith - Composer, Jasminka Vukcevic - Production Designer, Nat Sanders - Editor. Distributed by Magnolia Pictures.

Principal actors: Mark Duplass, Joshua Leonard, Alycia Delmore, Lynn Shelton, and Trina Willard.

Inglourious Basterds ****

"Inglourious Basterds" is glorious film making. But don't expect history from Quentin Tarantino's tribute to World War II movies. Instead, expect emotional truth, a lush '40s look, tense life and death scenes of well-crafted dialog, a self-conscious tribute to movies, trademark Tarantino violence, and a story whose pieces fit together like film over sprocket wheels leading to an explosive, revenge fantasy cathartic climax.

Performances are also glorious. Brad Pitt is a standout as the leader of a band of Jewish commandos operating, and terrorizing Nazis, behind enemy lines. Melanie Laurant captivates as a young theater owner with a past who concocts an unbelievable plot. But the standout performance is from Christoph Waltz, whose chilling, insightful, and deadly polyglot German investigator Col. Hans Landa already has many fans calling for an Oscar.

Tarantino has a well-deserved hit here. The great writing and directing are his, and he merits the accolades sure to come.

Rated R. 153 minutes. Quentin Tarantino - Director / Writer, Lawrence Bender - Producer, Robert Richardson - Cinematographer, David Wasco - Production Designer, Sally Menke - Editor. Produced by Universal Pictures. Distributed by The Weinstein Company.

Principal actors: Brad Pitt, Diane Kruger, Til Schweiger, Eli Roth, Michael Fassbender, Mike Myers, Cloris Leachman, and Samuel L. Jackson.

District 9 ****

You might not expect an alien invasion movie to deal with important topics like apartheid, immigration, and the military industrial complex, yet that, surprisingly, is what happens in what might seem to be just another empty-headed summer action flick.

Because "District 9" is an alien invasion movie like no other. These aliens are not conquerors but refugees, marooned on earth 20 years ago when their spaceship settled in the sky above Johannesburg. Eventually ferried to a settlement camp below their spaceship, more than a million of them live in a special district where they live in regimented squalor, both supported and preyed upon by humans. Now the government wants the land of District 9, and has started the process of notifying them of an impending relocation to a new district on less valuable land.

Told in a cinema-verite documentary style, "District 9" shows us a completely imagined world in a gritty, grubby way, and follows the head of the relocation project, an affable bureaucrat named Wikus Van De Merwe, superbly played by Sharlto Copley. Wikus gets in over his head soon enough, and the film turns into an exciting chase movie.

Special effects are so good they don't look like special effects. Direction and screenplay, by Neill Blomkamp, heretofore an animator, is skillful and visceral. Some credit for the quality of "District 9," with a first time feature director and largely unknown principal actors, must surely go to producer Peter ("Lord of the Rings") Jackson.

"District 9" satisfies on many levels and will surprise and reward any viewer who pays attention.

Rated R. 112 minutes. Neill Blomkamp - Director / Writer (screenplay), Terri Tatchell - Writer (screenplay), Peter Jackson - Producer, Trent Opaloch - Cinematographer, Clinton Shorter - Composer, Philip Ivey - Production Designer, Julian Clarke - Editor.

Principal actors: Sharlto Copley and David James.

Julie & Julia ***

"Julie & Julia," the true stories of two women separated by 50 years and the Atlantic Ocean, but united in a love for food and a desire to make something more of their lives, is a tasty, funny, satisfying double portion serving of delightful movie making. Julie is Julie Powell, played by Amy Adams, who embarks on a year's assignment to cook and blog her way through Julia Child's classic, "Mastering the Art of French Cooking." And Julia, superbly played by Meryl Streep, is of course the iconic Julia Child in France. Directed and written by Nora Ephron from Child's posthumously published autobiography, "My Life in France," and Powell's eponymous account of her year, the movie jumps back and forth from 50's France to today's New York.

There are interesting parallels as well as contrasts in the two worlds. The two women each find a way to transcend their roles, and to use cooking as a means to get there. They both have wonderfully supportive husbands, which, of course, we're not used to seeing in the movies. I guess it's just too boring to see happy couples on screen - where's the drama in that? Stanley Tucci as Paul Child and Chris Messina as Eric Powell turn in fine performances.

The period settings in France have a classic Hollywood patina, and Streep is invariably luminous playing the almost rollicking Child. The scenes in New York, on the other hand, are in a cramped 900 square foot walk-up above a pizza store, so the atmosphere is more gritty than glamour. Julie does have her meltdown moments, but keeps plugging away admirably. She's a different person with different challenges than Julia, and her story is not going to be as riveting, but for me the story rang true and did not drag.

I dare say this will be the big women's movie of the summer (if you don't count "The Proposal"), but husbands and boyfriends with an interest in cooking and/or who do not arrive hungry will have as much fun as they had at showier, but much less meaty escapist fare.

Rated PG-13. 123 minutes. Nora Ephron - Director / Writer (screenplay) / Producer, Julie Powell - Writer (book "Julie & Julia"), Julia Child - Writer (book "My Life in France"), Alex Prud'homme - Writer (book "My Life in France"), Laurence Mark - Producer, Amy Robinson - Producer, Eric Steel - Producer, Stephen Goldblatt - Cinematographer, Alexandre Desplat - Composer, Mark Ricker - Production Designer, Richard Marks - Editor.

Principal actors: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, and Linda Emond.

Funny People ***

A friendless comedian with a terminal illness is not your usual Judd Apatow subject, nor your usual Adam Sandler vehicle. But it is an interesting, and yes, at times really funny character study of George Simmons, famous funny man (who seems a lot like Adam Sandler) and the relationship he strikes up with a young joke writer and comedian, Ira Wright, trying to break into the business, winningly played by Seth Rogen.

Ira, who sleeps on a friend's sofa, is dazzled by Simmons' lifestyle: the big house for one, the private jet, the easy conquests. But change is coming, as his illness leads Simmons to look up old friends, family, girlfriend. Throughout the journey Ira is there as the all-purpose assistant as well as writer. Ira's roommates and attempts at dating provide a contrast to Simmons, as well as an echo, one imagines, of his early days.

Both men have a lot to learn, and together they seem to help each other, until a reunion with the one who got away (Leslie Mann) opens a rift. These dramatic situations have to be developed, I know, but it takes a bit too long to get there, and the movie almost grinds to a halt in the last half hour. Ultimately the movie delivers. It's a darker message than the fairy tale endings of "Knocked Up" and "The 40 Year Old Virgin," and it's Sandler's best work in years, but it would have been better with about 15 fewer minutes.

Rated R. 146 minutes. Judd Apatow - Director / Writer / Producer, Barry Mendel - Producer, Clayton Townsend - Producer, Janusz Kaminski - Cinematographer, Michael Andrews - Composer, Jason Schwartzman - Composer, Jefferson Sage - Production Designer, Craig Alpert - Editor, Brent White - Editor. Produced and distributed by Universal Pictures.

Principal actors: Adam Sandler, Seth Rogen, Leslie Mann, Eric Bana, Jonah Hill, and Jason Schwartzman.