Arts

A character we've yet to meet flies through the air in slow motion, above a busy New York street, arms and legs splayed. He's wearing a bike helmet, which is a good thing — because as The Who's "Baba O'Riley" pulses in the background and numbers come up on the screen telling us it's 6:33 p.m., he lands with a thud on the pavement.

For a second or two, he lies there staring — at a car careering toward him, a woman mouthing his name, a bike that lies crumpled at his side. You might want to take those moments to catch your breath. You won't be offered many other chances.

It's summer in France, time for stressed urbanites to head to the beach and forget their problems. For the circle of friends featured in Little White Lies, however, this year's problems are a little more memorable than most.

The backbone of a good comedy is always, supposedly, the script. But in the case of Dax Shepard and David Palmer's marvelous road-trip comedy Hit and Run, maybe not. The key to the picture isn't so much the what as the how: Instead of handing over every joke right on the beat, Hit and Run lures you in with its jackalope rhythms. There's nothing else like it on the current landscape.

Back in 2005, for the Showtime anthology series Masters of Horror, director Joe Dante and writer Sam Hamm were given carte blanche to make whatever they wanted, so long as it came in under an hour and could be classified as "horror."

They delivered, in Homecoming, one of the sharpest and angriest films about the Iraq war to date — a blunt allegory about U.S. soldiers who rise from the dead not to feast on the living but to vote the president out of office. It's an anti-war satire that only technically functioned as a zombie movie.