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Combining the historical appeal and epic sequences of films like GLADIATOR and BRAVEHEART, director Antoine Fuqua (TRAINING DAY) and producer Jerry Bruckheimer provide a sleek twist on the King Arthur legend. Arthur (Clive Owen), a brave Roman/British Christian warrior who leads his band of pagan knights on missions for the Empire, must complete one final mission before the knights can earn their freedom from servitude and Arthur can return to Rome. Along the way, however, Arthur realizes that the pullout of the Romans will open the door for a crushing invasion of Britain by the Saxons, and he takes it upon himself to fight with Merlin (Stephen Dillane) and Guinevere (Keira Knightley) for the freedom of the British people. Stunning battle scenes with extensive attention to historical detail rely very little on computer graphics and instead use intricately realistic props, costumes, and scenery. Featuring the largest film set ever built in Ireland, KING ARTHUR features a scale replica of Hadrian's Wall and two complete villages. Haunting music by composer Hans Zimmer completes this story of unselfish heroism, which ultimately provides a satisfying completion to the legend of Arthur and his knights.

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The Roger Corman-produced cult favorite DEATH RACE 2000 (1975) gets an update in this reworking from action director Paul W.S. Anderson (RESIDENT EVIL). In a role sure to please fans of his work in CRANK (2006) and the TRANSPORTER films, Jason Statham is Frankenstein, the fierce driver portrayed by David Carradine in the original. The script, also by Anderson, largely does away with the original's satirical elements in favor an increased number of breathtaking crashes and stunt driving. In 2012, the American economy has collapsed, and prisons have been taken over by corporations. Overseen by Warden Hennessey (Joan Allen), Terminal Island prison generates immense amounts of revenue with pay-per-view broadcasts of "Death Race," in which inmates participate in an auto race where anything goes. New inmate Jensen Ames (Statham), who has been framed for the death of his wife, is chosen to take over the role of Frankenstein, the contest's recently deceased masked star driver. His chief competitor, Machine Gun Joe (Tyrese Gibson), unaware that a new man is behind the mask of his old rival, will stop at nothing to win. With Case, a sexy navigator from the nearby women's facility, and a trusty pit crew led by wise veteran Coach (Ian McShane), Ames has a good shot at winning. If he does, he's been promised his freedom---but the race holds more obstacles than he can imagine, and ratings are more important to Hennessey than being true to her word. Loud, gory, and lightning fast, DEATH RACE is geared to the video game generation, right down to the graphics that appear onscreen during the race's TV broadcast. Once again, Statham creates a great hero to root for in a performance that rises above the copious stunts and visual effects. Allen, in uncharacteristic role, is suitably imposing as the steely warden.

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A gang of small time drug dealers try striking a larger score and in the process, the amateurs cross a major drug kingpin. These friends now realize there is no turning back as a war breaks out on the streets. This gritty ghetto action film emphasizes the consequences of street life and provides a dark look at the limited future of many of America's inner city young, black men.

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Peter Berg (THE KINGDOM, FRIDAY NIGHT LIGHTS) directs this story of a reluctant superhero, John Hancock (Will Smith). Like the best superheroes, Hancock can fly, is bulletproof, and has insurmountable strength. He uses these gifts to fight crime in Los Angeles and save people in distress, Unfortunately, he also is a drunk who leaves a trail of costly destruction behind during his lifesaving pursuits, and his constant sarcasm fails to win him friends. But after Hancock randomly saves his life, public relations executive Ray Embrey (Jason Bateman) decides to give him a makeover and help the superhero change his image so that the police and citizens of Los Angeles will realize how much they need their seemingly inappropriate hero. All the while, Ray's wife, Mary (Charlize Theron)--who seems to simultaneously have a strange connection and aversion to Hancock--worries that her do-gooder husband will end up disappointed by Hancock's antics. The special effects are quite impressive, as Hancock flies through Los Angeles crashing into buildings, bursting through freeway signs, and flipping automobiles around as if they were wet noodles. Smith evokes a depth and warmth in Hancock; even when he's unpleasant and anti-social, it's clear that there is more to him. Bateman is well cast as a man who really does want to change the world for the better. And Theron is quite touching in her role as a wife to Ray, a mother to Aaron, and ultimately a savior to Hancock. Be forewarned that this rather lighthearted film takes a rather sudden dark turn about three-quarters of the way through, and gunplay and fight scenes abound.

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Though it is one of America's most popular sporting events, the association of NASCAR with uneducated, backwards rednecks seems cemented into the American consciousness. So the brilliant comedy TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, is not just a sidesplitting series of slapstick pratfalls and over-the-top accents, but a lens into an important part of American culture. Comic sensation Will Ferrell (SATURDAY NIGHT LIVE, ANCHORMAN) plays the title character, Ricky Bobby, a figure who is at once laughably ridiculous, infuriating, and loveable. Ricky Bobby, with his bleached-blond wife, cute sons Walker and Texas Ranger, and dim-bulb sidekick Cal (award-winning actor John C. Reilly, flexing his considerable comedic muscle), has got it made. He is NASCAR's most popular driver, and nearly every aspect of his life is endorsed by a recognizable product. Yet his racetrack kingdom is not unshakeable: two formidable opponents, his unpleasable father, Reese (Gary Cole), and a flashy new opponent, the openly gay French import Jean (played by a hilarious Sasha Baron Cohen, known to millions as Ali G), threaten to hijack his crown and expose his vulnerabilities. Though many of the jokes are easy laughs (having Ferrell run around shirtless is a guaranteed guffaw-fest), the script (co-written by Farrell and Adam McKay) is nuanced and intelligent, lending its characters much more sympathy and complexity than dumber comedies are want to do. And every performer--from Ferrell to Amy Adams (as Susan, Bobby's fawning assistant)--tackles his or her part with joy and relish. A knee-slapper with smarts and savvy, TALLADEGA NIGHTS ensures Ferrell's position as one of comedy's shining talents.

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Director Ronny Yu (FREDDY VS. JASON) tells the story of Chinese hero Huo Yianjia in JET LI'S FEARLESS. Born in the late 1800s to a martial-arts master in the Tianjin region of China, Huo Yianjia (Jet Li) is not allowed to train at his father's school because he has asthma. Later, as an adult, the self-taught Yianjia becomes a master in his own right with his own school and disciples. His only goal: to become the Champion of Tianjin--and he is willing to fight any and every challenger. Along the way, Yianjia's pride takes over and he becomes obsessed with both praise and revenge, missing the true purpose and message of the martial arts. When his quest for revenge results in tragedy, Yianjia embarks on a new journey, leaving Tianjin. Returning to his home years later, Yianjia is a new man, understanding the connection between body, mind, and soul. Instead of fighting for personal gain, he sees the importance of maintaining the national identity and pride of the Chinese people. Focusing on the importance of good sportsmanship and unity, Yianjia starts the Jingwu Sports Federation, bringing all the schools of martial arts together. Most important, he makes history in Shanghai in 1910 by defending the honor of the Chinese people in a contest against representatives from the four major foreign powers in China. Based on a true story, the film features detailed period settings and costumes, as well as superior stunts. Jet Li evokes a wide range of emotions as Yianjia, instilling the character with life and capturing the essence of this important chapter in Chinese history. Dong Yong stars as Yianjia's loyal friend, Nong Jinsun, and Sun Li plays Moon, a young woman who befriends Yianjia when he leaves Tianjin. This film is in Chinese with English subtitles.

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This sequel to the Russian film NIGHT WATCH centers on an epic battle between forces of good and evil. An uneasy truce has kept the armies at bay for centuries, but that peace is about to end, and it will pit vampires, psychics, and witches against one another. Both factions, the Day Watch and the Night Watch, have beings of extraordinary power called "Great Others," and if these two people meet, a supernatural war will begin. Anton Gorodetsky (Konstantin Khabensky) finds himself torn between his son, the dark side's Great Other, and the woman he loves, the champion for the Light Others. DAY WATCH (DNEVNOI DOZOR) explodes in the mind-bending space between THE MATRIX and UNDERWORLD. The Russian film boasts the same visual verve as THE MATRIX, and it's just as revolutionary. Director Timur Bekmambetov is operating on a completely different level of creativity than most of his peers, fashioning a unique world and jaw-dropping set pieces. The fate of the universe hangs in the balance, but DAY WATCH doesn't take itself too seriously. From humor in the subtitles themselves to jokes at the expense of the Russian bureaucracy, there's a lot of fun to be had at the dawn of the apocalypse. Though NIGHT WATCH was an enjoyable experience, Bekmambetov ups the ante with this sequel, improving on the original in every way. DAY WATCH may clock in at an epic 140 minutes, but it's a tight film filled with action and style.

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This sequel to the Russian film NIGHT WATCH centers on an epic battle between forces of good and evil. An uneasy truce has kept the armies at bay for centuries, but that peace is about to end, and it will pit vampires, psychics, and witches against one another. Both factions, the Day Watch and the Night Watch, have beings of extraordinary power called "Great Others," and if these two people meet, a supernatural war will begin. Anton Gorodetsky (Konstantin Khabensky) finds himself torn between his son, the dark side's Great Other, and the woman he loves, the champion for the Light Others. DAY WATCH (DNEVNOI DOZOR) explodes in the mind-bending space between THE MATRIX and UNDERWORLD. The Russian film boasts the same visual verve as THE MATRIX, and it's just as revolutionary. Director Timur Bekmambetov is operating on a completely different level of creativity than most of his peers, fashioning a unique world and jaw-dropping set pieces. The fate of the universe hangs in the balance, but DAY WATCH doesn't take itself too seriously. From humor in the subtitles themselves to jokes at the expense of the Russian bureaucracy, there's a lot of fun to be had at the dawn of the apocalypse. Though NIGHT WATCH was an enjoyable experience, Bekmambetov ups the ante with this sequel, improving on the original in every way. DAY WATCH may clock in at an epic 140 minutes, but it's a tight film filled with action and style.

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Martial arts superstar Jet Li reteams with French writer-director Luc Besson (KISS OF THE DRAGON) in this psychological action film shot in Glasgow, Scotland. Li stars as Danny, a human attack dog for a powerful mobster he calls Uncle Bart (Bob Hoskins, looking resplendent in white suit after white suit). When Bart and his men go out on their collection runs, they bring Danny, who has been trained since he was a child to fight to kill. When Bart takes Danny's collar off and commands, "Get 'im," Danny goes to work, an unstoppable machine, using the only weapon he knows: his body. But when a turf war ends up in bloody carnage, Danny escapes and is taken in by a kind family consisting of blind piano tuner Sam (Morgan Freeman) and his teenage stepdaughter, Victoria (Kerry Condon). They teach Danny how to be a real person, to be able to act civilly in society. They also allow Danny to explore his love of the piano, where a specific tune haunts him, bringing up repressed memories from his long-ago past. Just when Danny thinks he has escaped from his former life, he is pulled back in, but he is no longer the trained dog Bart thinks he is. Written by Besson and directed by Louis Letterier (THE TRANSPORTER), UNLEASHED is a gripping, heart-wrenching film fueled by the music of Massive Attack and a relentless visual style. And having taken acting lessons for the first time in his career, Li more than holds his own in the presence of such masters as Hoskins and Freeman.

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With soaring photography that circles from above then swoops in for the action, TROY is Wolfgang Petersen's majestic presentation of the classic Greek legend. It tells the story of an epic battle over Helen (Diane Kruger), the queen of Sparta, who is kidnapped by her lover Paris (Orlando Bloom), the prince of Troy. This infuriates Helen's husband Menelaus (Brendan Gleeson), whose brother Agamemnon (Brian Cox) convinces him to invade Troy. They recruit Achilles (Brad Pitt), the best warrior in Greece, whose bravery, quick feet, and remarkable swordsmanship (not to mention tanned biceps, short kilts, and blond locks) have earned him a reputation that is almost as impressive as his ego. Achilles agrees to fight for Sparta, if only for the fame it will bring him. Even Achilles's mother, in a touching scene, advises him to forget mortal achievements and become a hero who will be remembered throughout history. Along with the invasion of Troy, a series of duels must also be fought: Paris, who is heartbreaking in his lovestruck naiveté, must go up against the enraged Menelaus, and Achilles must settle a score with Hector (Eric Bana), who is fiercely dedicated to protecting his brother Paris and their father, the frail king Priam (Peter O'Toole). When the war finally ignites in its massive proportions, the action is awesome. And as the increasingly dramatic events play out, TROY earns its own timeless reputation among other action-adventure epics such as GLADIATOR and SPARTACUS.

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A ramped-up techno soundtrack bleats out adrenaline-pumping action tunes while leather-clad vampire slayers smash through walls and floors and ceilings, break windows with their bodies, and occasionally defy gravity. Cascades of flying glass sparkle in the air and crimson pools of blood shine on the floors of warehouse dens where the hungry creatures hide. This is BLADE: TRINITY, the third installment of the film series adapted from Marvel comics. Here, a new challenge faces the preternaturally sharp hunter, Blade (Wesley Snipes), when a group of vamps resurrect the long-slumbering "Drake" (Dominic Purcell)--the ancient and all-powerful Count Dracula--and Blade meets the ultimate opponent. Teaming up with the Nightstalkers, a group of similar-minded hunters led by tough slayer-hottie Abigail (Jessica Biel) and her joke-a-minute partner Hannibal (Ryan Reynolds), Blade is ready for battle. However, Drake's handlers are an unruly bunch themselves, with sassy goth wench Danica (Parker Posey in a wonderfully exaggerated performance) doing her best to make things as unpleasant as possible. What's more, while Danica's vamp team is harvesting homeless people for their blood, the Nightstalkers' scientist creates a potion that can not only kill Drake but can take the entire bloodsucking race with him. And thus, David S. Goyer continues the BLADE cinema series, satisfying fans with plenty of the nocturnal monster mystique they so desperately crave.

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