New releases 2010 Sundance Shorts Nine short films from last year’s Sundance Film Festival. A mixed bag but the ratio of good to medium-good is high. Worth seeing for the Australian coming-of-age story “The Six Dollar Fifty Man,’’ Don Hertzfeldt’s horrifically funny “Wisdom Teeth,’’ and “Rob and Valentyna in Scotland,’’ which has the muted punch of a good short story. (104 min., unrated) (Ty Burr)
And Everything Is Going Fine Steven Soderbergh’s spectral documentary assembles live performances, television interviews, and home movies of the late performance artist Spalding Gray. It’s the visual equivalent of a book of letters. In this case, the film demonstrates that Gray’s most significant correspondence was with an audience. The desks and tables he sits behind conjure up schoolhouses, newscasts, and courtrooms, turning him into a student reporting on his trials. (93 min., unrated) (Wesley Morris)
The Dilemma It’s only January, but it’s not too early to wonder whether 2011 will provide a movie as lousy and deluded as Ron Howard’s comedy. Vince Vaughn discovers that his best friend’s wife (Winona Ryder) is having an affair. He runs around Chicago spying on her, but he can’t bring himself to tell Kevin James, the friend, because the movie would last 20 minutes and require a new title. With Jennifer Connelly as Vaughn’s girlfriend. (104 min., PG-13) (Wesley Morris)
The Green Hornet What if a masked crimefighter was an obnoxious lout? Star Seth Rogen and director Michel Gondry undermine every promise a superhero movie is supposed to make with subversive comic verve, but the parody becomes a train wreck in the final hour. Taiwanese pop singer Jay Chou plays Kato, who turns out to have more talent than his boss. (111 min., PG-13) (Ty Burr)
Leaving A married woman embarks on a ruinously passionate affair with an immigrant worker. The only reason to see the movie — and it’s not a bad reason at all — is for the sight of Kristin Scott Thomas in a rare happy mood. She gives a fearless, glowing performance that outshines the capable Sergi López as her lover. In French, with subtitles. (85 min., unrated) (Ty Burr)
Previously released A Walk Into the Sea: Danny Williams and the Warhol Factory A haunting little film about a ghost on the floor of Andy Warhol’s Factory. In 1966, Danny Williams, a filmmaker in Warhol’s camp, went for a swim and never returned. Four decades later, his niece, Esther B. Robinson, tries to plumb the mystery surrounding this artist written out of his own history. (75 min., unrated) (Ty Burr)
Blue Valentine Derek Cianfrance’s time-bomb marriage movie, with Michelle Williams and Ryan Gosling, aspires to high solemnity. How long until she leaves? As the film makes its way to the end of its second hour, it becomes an acutely stylized, slow-motion marital accident. (120 min., R) (Wesley Morris)
Casino Jack The Jack Abramoff story, courtesy of star Kevin Spacey and the late director George Hickenlooper. The movie is glib, fast-paced entertainment that barely leaves a mark. Costarring Barry Pepper and the great Jon Lovitz. (108 min., R) (Ty Burr)
Country Strong That’s a title that calls to mind a pickup truck. Only in a work of science fiction would it suffice as a description of Gwyneth Paltrow, but the real problem with this movie isn’t Paltrow’s confident performance as an alcoholic country superstar. It’s the writer and director Shana Feste, who makes her heroine three or four different people. With Tim McGraw, Garrett Hedlund, and Leighton Meester. (111 min., PG-13) (Wesley Morris)
Season of the Witch In the 14th century, Nicolas Cage carts around a young woman (Claire Foy) locked in a rolling jail. Her crime is being a witch – OK, it’s being a woman. If only the studio had been a little more upfront. But, to be fair, “Season of Misogyny’’ isn’t much of a title, either. (98 min., PG-13) (Wesley Morris)
Typeface The most sideways film in the Art on Film series at the Museum of Fine Arts is a little documentary about the increasingly evaporating art of wood type. It’s not the filmmaking that’s sideways. Justine Nagan’s filmmaking is straightforwardly basic. But the idea of any series including an hourlong immersion into bygone craft is inspired. (60 min., unrated) (Wesley Morris)
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