An office favorite after its Tribeca Film Fest screening, screenwriter-turned-director Massy Tadjedin’s take on the to-cheat-or-not-to-cheat conundrum had us at Clint Mansell’s opening piano track. The international cast (Keira Knightley, Guillaume Canet) coupled with the master composer and Peter Deming’s (Mulholland Dr.) camera work make for one talented threesome.
It’s like: The perfect tease.
Take: Your boy toy and an appetite for discussion.
Premiered: May 6

Reality TV speaks volumes in the Siskel/Jacobs festival award-winning production about four Chi-town high schools that battle with words in the world’s largest youth poetry slam. The thought, dedication, and rawness that go into each of the well-versed students’ performances will blow you away. They are in it to win it.
It’s like: Dead Def Poets Society.
Take: A group. The themes are universal.
Premiered: May 6

Sure to polarize audiences, director Jodie Foster’s SXSW film stars Mel as master to his character Walter’s puppet. A man as sad as the cheap tie he hangs himself with copes with his insanity by becoming The Beav, a smooth-talking (read: puppet threesome) rodent who might single-handedly win over badgering critics.
It’s like: The Weatherman meets Lars and the Real Girl.
Take: Drama queens. This is not a comedy.
Premiered: May 6

Testing Jessica Alba’s acting chops, director Marilyn Agrelo’s grim fairy tale follows numeral-obsessed Mona, who when her father gets sick is left wondering where she fits into life’s equation. Complete with whimsical animation and a loopy Marylouise Burke (Sideways), the film adaptation has our undivided attention. So it’s given a one-theater release — no bother, it’s available on demand. We call that a sign.
Its like: Big Fish meets Rain Man.
Take: One popcorn, two drinks, and three friends.
Premiered: May 6

Not to be confused with Adventureland, Anthony Burns’s Sundance/SXSW debut is a dedication to John Hughes. Roller boy Ritchie learns to roll with life’s punches (a la Lloyd Dobler) one summer in small-town East Texas 1983. Burns captures the decade we’re lucky to have experienced with colorful storytelling (right down to the neon shades and acid-wash Jordache) and a sound track that screams mixtape.
It’s like: I Love the ’80s tagged with American Graffiti.
Take: The guys and Dad’s El Camino.
Premieres: Today

Pass the tissues, please. Justin Chadwick’s (The Other Boleyn Girl) latest is an A+ tearjerker, which takes us back to school via Kenyan villager Maruge’s true story. Eighty-four years old without a clue as to how to write the letter A, Maruge shows up at a primary school insisting to be taught. The film’s authenticity shows through its lead actor (a former Kenyan news reader), the vast desert plains, and the real-life, scene-stealing schoolchildren.
It’s like: Hotel Rwanda meets Stand and Deliver.
Take: A field trip.
Premieres: Today

Move over, Rogen. Kristen Wiig’s foray into screenplay writing vows to deliver the raunch he’s famous for. Try not to fill up on romps with Jon Hamm, dirty girl talk, and puppy party favors, because Wilson Phillips is serving up “Hold On for One More Day” for dessert. Director Paul Feig’s comedy is as foul as it is refreshing, and you won’t stop laughing.
It’s like: Superbad meets My Best Friend’s Wedding.
Take: Your party people.
Premieres: Today

Bang your head for Spencer Susser’s dark debut about a bullied 13-year-old who loses his mom and a pyromaniacal metalhead who grows a heart. An angel in disguise (drawn-on tattoos, scumbag entitlement), Joseph Gordon-Levitt stars as the greasy-haired Hesher. It’s raw, honest, and as touching as a kick in the stomach.
It’s like: Mary Poppins giving the finger.
Take: Your (freeloading) roommate.
Premieres: Today

After tennis in London and seduction in Spain, we’re ready for late nights in Paris. Starring the City of Lights, Woody Allen’s sharp Cannes opener is full of color — with no Scarlett in sight. In his love letter to the city, Owen Wilson and Rachel McAdams crash into each other again, this time as a couple abroad who learns just how magical the French can be.
It’s like: Vicky Cristina Barcelona meets Paris, Je T’Aime.
Take: Votre amour.
Premieres: May 20

Screening on the Croisette on Monday, Texan Terrence Malick’s latest puzzle of a picture has cinephiles drooling. The hush-hush, polyera tale covers “time and existence and our place in that little time line,” said best by Brad Pitt, who replaced Heath Ledger. Rooted in talent (Alexandre Desplat, Emmanuel Lubezki), it’s the ultimate sensory overload.
It’s like: Two Gates of Sleep meets Aronofsky’s The Fountain (we hope).
Take: Moviegoers with lofty expectations.
Premieres: May 27