Out On the Town

OPENING

BRIDESHEAD REVISITED
The British are coming! The British are coming! Evelyn Waugh's classic gets the big-screen treatment (it previously got the small-screen treatment in 1981, effectively launching the career of Jeremy Irons), this time starring Matthew Goode in the pivotal role of Charles Ryder, a tall, handsome young man who becomes a plaything for the aristocratic Flyte family. With Emma Thompson and Michael Gambon as Lady and Lord Marchmain and Ben Whishaw as the sexually ambiguous Sebastian Flyte. Rated PG-13. 135 minutes. Opens Friday, July 25, at area theaters.

STEPBROTHER
John C. Reilly really loves slumming. Pity, as he's such a fine actor. His slumming buddy, Will Ferrell, is not such a fine actor. So we really could care less if Ferrell makes crap -- it's come to define his life. With Mary Steenburgen but, thankfully, not Ted Danson. Rated R. Opens Friday, July 25, at area theaters.

THE X-FILES: I WANT TO BELIEVE
We, too, want to believe that this re-entry into the lives of Mulder and Scully and their little alien friends will be worth the decade-long wait. We have our doubts, however. But the truth will be out there this Friday, July 25. Rated PG-13. Area theaters.

NOW PLAYING

GET SMART

Get Smart features Steve Carell doing what he does best -- being Steve Carell. Playing the slightly bumbling, but always lovable secret agent Maxwell Smart, Carell's performance is an amalgamation of many other roles. He's the guy you want to win, but he's going to get a little beat up in the process and repeat every gag one too many times. Unfortunately, for the first half of the movie only about one in every four punch lines hits its mark. After that, it's about one in every three, then two, until a strong finish almost makes you forget the earlier missteps. In the end, Get Smart is silly fun. If the world gets saved in the process, all the better. Rated PG-13. 110 minutes. Area theaters. (Tim Plant)

HANCOCK

It's a bird, it's a plane, it's a superhero from hell. At least when he's drinking. And he's always drinking. Meet John Hancock (Will Smith), a lonely superhero who fights crime with his own special flair. If you piss him off, not only will he throw you in jail, but he also might stick your head where the sun don't shine. Literally. Hancock takes the ''jailhouse bitch'' thing to a whole new level. But since it's Will Smith, of course he's not a complete bad guy, just misunderstood. And that's the whole premise behind Hancock. When Hancock saves the life of failing advertising exec Ray Embrey (Jason Bateman), Ray decides that all Hancock needs is a little detox, some new clothes, and a better publicist. Which is a shame, really, because the movie is funniest when Hancock is being a complete and utter ass. Teaching a bratty young kid a lesson is hysterical; finding your purpose in life is a drag. So just as his wild and crazy life is kept in check, so are the laughs. Rated PG-13. 92 minutes. Area theaters. (Tim Plant)

HELLBOY II

The original film focused on Hellboy's struggle to self-identify as a man and not a demon. Hellboy II is about the struggle between humankind and creatures -- and on which side Hellboy (Ron Perlman) belongs. A long-held truce is threatened when elf prince Nuada (Luke Goss) tries to resurrect the Golden Army. There is one crown that rules them all, and it's a race between Nuada and the hell-squad to find the pieces. Director Guillermo del Toro is so much better at creating the action sequences in Hellboy II than he is at piecing together scenes that advance the plot. The creatures he concocts are magnificent. New York takes another beating in this film, but it's good old-fashioned car flipping, people running, heroes saving the day fun. Until people start talking again and things start to drag. Most of the plot is paper thin, which is fortunate since the acting can't support anything heavier. Sadly for the human roles, there's a correlation between how much an actor's face is hidden and the quality of their performance. As the movie reaches its conclusion, with plenty of opportunity for a third installment, it feels like del Toro just didn't know when to say when. Many scenes go on a little too long -- it's like he couldn't bear to remove anything. More film on the cutting room floor would have gone a long way to making Hellboy II a little less hellish. Rated PG-13. 110 Minutes. Area theaters. (Tim Plant)

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

Though this fourth installment -- arriving some twenty years after the last outing -- is marginally better in spots than the first two sequels to the masterful Raiders of the Lost Ark, it is ultimately a letdown of homecoming for the archeology professor who, outfitted with an iconic whip and fedora, moonlights as an adventurer. It's hard to precisely pinpoint the root of the problem. It's certainly not star Harrison Ford, who, despite his advanced years -- and all the tiresome jokes in the film pointing to said advanced age -- slips effortlessly back into the character and gives the best performance he's delivered in a decade. It's the kind of performance that reminds us why he's a movie star. And it's certainly not Karen Allen, who reprises her role as Marion Ravenwood from Raiders and brings a much needed snap, crackle and pop to the film at just the moment things seem to have deflated past the point of ennui.From what I can determine, the problems with this Indy lie with a script by David Koepp that is needlessly cluttered and indecisive and by Spielberg, who, as a director, has very clearly outgrown this kind of juvenile, popcorn-fare material. Sure, he's still a genius when it comes to constructing clear, concise action sequences, but where you could sense the director's zest behind Raiders, here it seems like more of a ''Well, I'll do one for the fans and then go back to my more serious projects.'' Let's hope this is the last time we'll see Professor Jones. Rated PG-13. 121 minutes. Area theaters. (Randy Shulman)

IRON MAN

Adapted from the Marvel comic of the same name, Iron Man's human persona is weapons manufacturer Tony Stark (Robert Downey Jr.), a man who has it all: lots of money, lots of brains, lots of girlfriends, lots of attitude. It's his brains and attitude that really save him when he's kidnapped by terrorists who demand he create a new missile for them. Iron Man has been updated to place Tony in Afghanistan, where he's held by a terrorist cell in a cave. Since we know how well the U.S. can find someone in this region, it's naturally up to Stark to save himself. The weapon that Stark builds is not a missile, but rather an armored suit that he uses to blast his way to freedom. Once home, Tony vows to stop creating weapons until he can ensure they are used for protecting Americans, not attacking them. In order to correct his wrongs and destroy the weapons already out there, he creates a new version of his suit to help him fight for good. Downey's portrayal of Stark is so spot-on that it makes you doubt anyone else could have played the part. He owns the role, bringing bravado and vulnerability to the screen. Even when encased in the suit, shots of Downey's face help remind us of the powerful man inside the armor. Stay all the way through the end credits for a surprise that hints at movies to come. Rated PG-13. 126 minutes. Area theaters. (Tim Plant)

JOURNEY TO THE CENTER OF THE EARTH 3D
Brendan Fraser, the latter half of whose career has been spent fighting mummies, finally earns some scientific cred by venturing to the center of our planet in this Discovery Channel speci -- What's that? It's not a documentary? It's a 3D action adventure film, complete with rampaging dinosaurs and snap-happy 7-foot tall venus flytraps? Rats. That changes everything. Don your goggles now and prepare to be exploited. Rated PG. 92 minutes. Area theaters.

MAMMA MIA!

The name of the game is fun, which is often synonymous with ABBA music. It's practically a requirement to start waving your arms around and sing when the Swedish foursome start one of their famous numbers. So what if the movie featuring their music has a silly plot with more cracks in it than the foundation of the hotel where it takes place? The story is only filler until the next musical note is struck, until the next warble comes out of someone's mouth, until that warble transforms into a familiar song and you want to jump out of your seat and start to dance. Okay, so not every song makes you want to transform into a dancing queen, but more do than don't. Rated PG-13. 108 minutes. Area theaters. (Tim Plant)

SEX AND THE CITY

Those who predicted that the film version of Sex and the City would be one long episode get a gold star. Actually, they get two gold stars because the film feels like one really long episode. Even for someone who is a huge fan of TV shows on DVD, the film comes off a little too much as a marathon. Probably because nothing is done that actually elevates the production to a feature film quality. Making a film ups the ante and not meeting that challenge is a huge letdown. The film meets the most basic expectations: four women talking about men, shoes, and sex. For die-hard fans, it's a blast to the past; for those hoping for something more, it's a little too same-old, same-old. Sarah Jessica Parker remains as beautiful and lovable as always, commanding the screen with her beauty and charisma. Sometimes she works her outfits more than she works her lines, but the outfits are more entertaining anyhow. It's Kim Cattrall, however, who continues to inject fun into the whole deal. While the rest of the film resorts to fart jokes for a laugh, Cattrall's one-liners and bizarre sexual situations are the most worthwhile. In the end, the film is like a Cosmo made with cheap vodka. It's fine and you're still going to drink it, but you know that it could have been so much better. Rated R. 148 minutes. Area theaters. (Tim Plant)

THE INCREDIBLE HULK

Ang Lee has directed some incredible movies, but his 2003 version, simply titled Hulk, was not one of them. Director Louis Leterrier wipes the slate clean for his update -- and it's a damn good thing he does. The first thing that distinguishes Leterrier's film of Marvel's popular comic book property is that it assumes you haven't been living under a rock your entire life and actually know that the Hulk is the angry alter-ego of a scientist who received a high dosage of gamma radiation, causing him to go all green and muscle-y when he's angry.Yes, the plot is a little formulaic and the CGI effects are heavily relied upon and the best thing to say about them is that they're fine. Basically, The Incredible Hulk is what you'd expect from a summer blockbuster: big budget special effects that take precedent over plot. There are worse ways to beat the heat. Rated PG-13. 114 Minutes. Area theaters. (Tim Plant)

WALL-E

HOL-E cow, this is a great movie! Pixar has done it again, taken unlikely subjects (this time robots instead of a rat) and made a film that's out of this world. WALL-E is the last robot on Earth, left behind to clean up humankind's mess. After centuries of toil, accompanied only by a cockroach, WALL-E's world is rocked by the arrival of Eve, another, sleeker model of robot. Their story of falling in love is heartbreakingly adorable and more authentic than a lot of cinematic dribble these days. This film has it all: amazing animation, a scathing commentary on big business and the direction of our country, and a spirit that can't be beat. Whether it's the action scenes that'll have audiences cheering and laughing in delight or the visual spectacle of watching robots dance in space, WALL-E is a triumph. Even without dialogue through much of the film, director Andrew Stanton ensures that the action is clear, concise and completely engaging. It's a good thing that Pixar films don't require a child to enter, because WALL-E has an amazing heart beating in his tin chest and he shouldn't be missed. Rated G. 97 minutes. Area theaters. (Tim Plant)

WANTED

Popcorn? Check. Soda? Check. Intelligence? Check at the door. Because brains aren't needed for what's in Wanted: blood, gore, ridiculous stunts, and lots of pretty people. Wanted is every cubicle mole's fantasy -- that his mundane and boring life is going to be rocked when a frickin' hot babe shows up. Wesley Gibson (James McAvoy) is your typical office drone, who one day finds out he's been chosen to join a secret society of assassins called The Fraternity. After lots of training from Fox (Angelina Jolie), he starts killing people. The rest of the plot is inconsequential except to say that a lot of people die. Director Timur Bekmambetov makes up for the lack of plot by ensuring you experience the multitude of deaths in a variety of gruesome ways. If you close your eyes during the first time a bullet exits the brain, he'll replay it in reverse so you can catch it the second time. Wanted is like The Matrix on speed -- and acid. It might be a good time, but you're going to lose some brain cells in the process. Rated PG-13. 92 minutes. Area theaters. (Tim Plant)

THE LION KING

A decade after its Broadway premiere, Disney's The Lion King feels as imaginative as the first time audiences witnessed the complex puppetry, masks and costumes designed by the Tony award-winning Julie Taymor. In fact, The Lion King may actually do more for the adults in the audience than for the children who drag them there. The Lion King cleaves very close to the story told in its animated counterpart. The birth of Simba the lion cub is met with great celebration by everyone but his uncle, Scar. Scar has his eyes on the throne and now finds that he must eliminate both his brother and his nephew to gain power. To tell the story, Taymor utilizes a dazzling vocabulary of visual elements that draws from across the continent of Africa and into the storytelling traditions of the Far East. The show boasts a tremendous touring company that not only features some truly outstanding vocalists in lead roles, including the showstopping Phindile Mkhize as soothsaying baboon Rafiki. Not to be missed. To August 24. At the Kennedy Center Opera House. Tickets are $25 to $150. Call 202-467-4600 or visit www.kennedy-center.org. (Tom Avila)

THE IMAGINARY INVALID

Rene Auberjonois possesses the kind of talent America seems no longer interested in cultivating: the actor capable of moving effortlessly between screen and stage, adjusting his methods, technique and level of dramatic intelligence accordingly. In Moliere's The Imaginary Invalid, the actor performs as an authentic, applying rather than imitating the traditions and techniques of the stage. He is a joy to watch. Accolades for Auberjonois aside, there is no escaping that Invalid is a 17th century comedy with all the peculiarities that such origins entail. So despite his skill and flair and the translator's occasional license with the one-liners, this is not going to be everyone's cup of tea. There are ensemble musical numbers that director Keith Baxter has been unable to make palatable, there is some over-bearing slapstick that only the genetically predisposed could love, and the less than original (at least nowadays) plot of the gruff old dad thwarting his daughter's quest for true love with a grotesquely unsuitable choice of husband. There is also extensive railing on the medical profession. And yet for all that, there is fun and pleasure to be had with this well-paced and conceived production and a unique opportunity to be in on a 17th century joke. Extended to August 2. At the Lansburgh Theatre, 450 Seventh St. NW. Tickets are $39.50 to $79.75. Call 202-547-1122 or visit www.shakespearetheatre.org. (Kate Wingfield)

GEORGE MICHAEL
George Michael hasn't toured stateside in 17 years and once his current tour wraps next month, the singer has said he'll retreat from the public spotlight to try and lead a quieter life. For the moment, though, he's anything but quiet, with a stop through town on Tuesday, July 29, with his 25 Live Tour. Critics in other cities have found him to be in fine form, pulling out all the razzle-dazzle stops. This could be your last opportunity to see the silky smooth, soul-dipped singer and exceptionally strong pop songwriter perform again. So savor a rare chance to see the just-turned 45-year-old as he sings and swings through his playbook -- from ''Careless Whisper'' to ''Faith'' to ''Amazing'' -- over a career more than a quarter-century strong. Tuesday, July 29. At the Verizon Center, 601 F St. NW. Show begins at 8 p.m. Tickets are $55-$250. Call 202-397-SEAT, 800-551-SEAT or visit www.ticketmaster.com.

1409 PLAYBILL CAFÉ
1409 14th St. NW Washington 202-265-3055 Cost: $$ Serving harried theatre goers and local barflies with the same aplomb, this 10-year-old Logan Circle stalwart is the perfect answer, whether hearty bar fare or a multi-course dinner are on your personal menu. Sumptuous artichoke dip, generous nachos and Playbill's signature ''Naomi's Fries'' star on the appetizer menu while nearly every entreé offering will have you yelling ''encore!'' -- and loosening your belt a notch. Vegetarian options on this mostly traditional American-fare menu abound, while regular dinner specials expand the offerings with flavors from more exotic locals. And be sure to ask about the restaurant's monthly international wine and multi-course dinner special featuring recipes, ingredients and wines unique to that month's featured country or region.

18TH & U DUPLEX DINER

2004 18th St. NW
 Washington 
202-265-9599 Cost: $$ Perched on the border of the Adams Morgan and Dupont Circle neighborhoods, Duplex Diner has long served as a lively and casual gathering spot for D.C.'s gay movers and shakers. The dining room is as social as the bar, with much table hopping and hobnobbing. The food is classic American comfort -- a generous meatloaf, a terrific mac and cheese, unbeatable pork chops, a savory rib eye and a new wedge salad comprised of iceberg lettuce, thick chunks of bacon and bathed in blue cheese dressing -- that adds to the at-home-with-friends feel.

ALBERTO'S
2010 P St. NW 2438 18th St. NW Washington 202-986-2121 Cost: $ Quality can be found at any price. On the low-end of the financial spectrum, Alberto's definitely delivers quality. Alberto De Souza, who owns the two-outlet Alberto's with his wife, Jillian, combines his Chicago-trained sensibility and French influences -- by way of serving as Sofitel Washington's executive chef -- in a stone oven. The result? ''Go Bears!,'' if you go Chicago style, or c'est magnifique! for a, say, thin crust with goat cheese and capers. By the pie, it's the perfect rustic dinner in, or the soothing nightcap slice as you stumble home. Free delivery around Dupont and Adams Morgan.

BANANA CAFÉ
500 Eighth St. SE Washington202-543-5906 Cost: $$ Once the sole reason to frequent Capitol Hill's Barracks Row, Banana Café now has many fellow restaurants around it offering a wide array of options. But the choice is still clear. With its consistently delicious menu offering a blend of Cuban and South American dishes, fast friendly service, delightful decor and ambiance, large outdoor patio, not to mention their perfect margaritas, Banana Café is still the destination restaurant on 8th Street SE. Be sure to venture upstairs to the piano bar to catch the incomparable Gordon Kent on piano.

BEACON BAR & GRILL
1615 Rhode Island Ave. NW Washington 202-872-1126 Cost: $$ If some may consider the Human Rights Campaign building at 17th and Rhode Island a sort of heart of the gay community, perhaps the Beacon Bar & Grill across the street is its stomach. Really, nothing says gay venue like a great happy-hour bar menu -- $5 apiece for mini burgers, crab quesadillas and plenty more. Then there's the elaborate Sunday buffet brunch, with unlimited mimosas, champagne or Bloody Marys; the Saturday night prix fixe wine dinners; or Tuesday's three-course pasta dinners. From bar fare to eggs benedict, Beacon Bar & Grill hits every appetite. Sneak up to the rooftop Beacon Sky-Bar, when open, for one the best views around.

FREDDIE'S BEACH BAR & RESTAURANT
555 South 23rd St. Crystal City 703-685-0555 Cost: $$ Perched atop Crystal City's restaurant row for over seven years, Freddie's Beach Bar has never been the wallflower on the strip. With his signature color purple, neon and beach ephemera dripping from every surface, proprietor Freddie Lutz has created a beachside oasis that'll warm you up and take you to the shore no matter what the weather. And like all top-notch island resorts there's no lack of entertainment -- from Freddie's Follies drag shows to karaoke there's always something to keep the lively, friendly crowd on their toes, just as the menu offerings are sure to keep them in their seats. Freddie's extensive beach menu features an array of hearty appetizers, burgers, and entreés. The crab cakes are some of the best we've had and the buffalo chicken sandwich is mouth-watering. And don't miss the Sunday brunch buffet, offering everything from eggs benedict to General Tso's chicken.

JACK'S RESTAURANT & BAR
1527 17th St. NW Washington 202-332-6767 Cost: $$ The location has proven hit or miss, but Jack's seems to be making a hit. With a mix of European flair and American simplicity -- peppered with a dash of Turkish exoticism -- Jack's is drawing festive crowds to both the bar and bistro. Half-price bottles of wine/champagne on Tuesdays and Thursdays don't hurt, especially when paired with fare that ranges from burgers to pork loin al balsamico. Bon vivants will certainly appreciate the ambitious cocktail menu and Jack's unique birthday celebrations.

KRAMERBOOKS & AFTERWORDS CAFE
1517 Connecticut Ave. NW Washington Cost: $$ For decades, Afterwords Cafe has whipped up a flavor more akin to Greenwich Village than the capital. Whether it's a weekday breakfast of blueberry pancakes or a tower of late-night, signature ''Sharezies'' -- maybe crab cakes, mussels and mushroom crostini? -- Afterwords gives D.C. a taste of the bohemian bistro that nearly never sleeps, even if the Metro does. Don't make a mistake of missing the rockin' beer and wine list, to be enjoyed on the patio or in the cozy, wooden bar.

M STREET BAR & GRILL
2033 M St. NW Washington 202-530-3621 Cost: $$ Sundays at the M Street Bar & Grill are becoming an institution, where table-service brunch and endless mimosas/Bloody Marys are the rule. Yvonne Johnson's jazz accompaniment is the perfect aural digestif with brunch or Thursday dinner. All menus offer solidly American fare with hints of the Middle East and soul cooking at the edges. The two-course dinner for two for $40 makes for a great date -- especially so considering the rooms and suites of the St. Gregory Hotel fill the floors above the restaurant, for those wishing to add their own spice.

SIMPLY HOME
1410 U St. NW Washington 202-232-2522 Cost: $$ Simply Home can make anything look good. Try the restaurant's ''Squid Ink Spaghetti.'' It might not sound too thrilling, but upon delivery, the seafood and green curry meets pasta offering is a work of art, and surprisingly delicious. There are also more familiar dishes for the less adventurous, including appetizers and a variety of Pad Thai entrees. There's a lot to gain from trying something new like Indian Roti Beef or the Burmese Kao Soi Noodles. You can also take a piece of Simply Home's elegant decor home, as the restaurant includes a gift shop selling everything from candles to the elegant, curved glasses the restaurant uses to serve drinks to patrons.