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Capsules by Michael Sragow or Chris Kaltenbach, unless noted. Full reviews are at baltimore sun.com/movies.

Atonement -- The crush of an upper-class teen on her housekeeper's son (James McAvoy) catalyzes a devastating accusation that ruins his life and that of the girl's older sister (Keira Knightley). This beautifully acted, remarkably visualized adaptation of Ian McEwan's novel sums up the need for charity and generosity in art and life. (M.S.) R 123 minutes A

Cloverfield -- A big nasty something-or-other begins destroying Manhattan, and it's all captured on this guy's video cam. Not much story or script, but plenty of style. (C.K.) PG-13 84 minutes B-

Definitely, Maybe -- imagines a world where happy endings are de rigueur, but getting there is no picnic. As romantic comedies go, that may not qualify as a revelation, but in the hands of writer-director Adam Brooks and his uniformly charming cast - including Ryan Reynolds as the poor guy whose heart belongs to either Elizabeth Banks, Isla Fisher or Rachel Weisz - it's a welcome wrinkle in a genre that rarely ventures beyond the predictable. Abigail Breslin is the young girl transfixed by her father's tale and anxious to find out which of based-on-fact girlfriends he's telling her about is her mother. (C.K.) PG-13 111 minutes B

Diary of the Dead -- A film student decides to record his and his pals' efforts to escape the undead. Too much hand-held camera and not enough of a fresh take on the whole zombie scene suggests writer-director George Romero may have gone to the zombie well once too often. (C.K.) R 95 minutes C+

Fool's Gold -- An undersea-treasure hunter and his ex-wife renew their love connection over the prospective bounty from a sunken Spanish fleet. Formulaic and cliched, but Matthew McConaughey and Kate Hudson have a winning chemistry. (C.K.) PG-13 110 minutes B-

Hannah Montana & Miley Cyrus: Best of Both Worlds Concert -- It's a 3-D version of the Disney darling's concert that's driven tweens to distraction and parents to scalper Web sites. The 3-D camera throws drumsticks and confetti in our faces, but the technical effects seem superfluous to the star's bona fide energy. (Newsday) G 74 minutes C+

How She Move -- sure has got the moves, even if we've seen so many of them before. Rutina Wesley is a teenager determined to escape a dead-end world of drugs and shattered dreams that has already claimed the life of her sister. She uses stepping - a combination of breakdancing and military-style drill formations - as a means to that end. (C.K.) PG-13 91 minutes B-

Jumper -- has enough kinetic energy to light a thousand houses. Unfortunately, there's no one home in any of them. Hayden Christensen plays the title character, a selfish, amoral 20-something able to teleport himself instantly to anyplace he can visualize. We're never clued in on such trivial matters as how and why. Worse, the filmmakers compound the offense by inventing the rules of this new world as they go along. With Rachel Bilson as the childhood sweetie who, maybe too late, gives him someone to live for, and Samuel L. Jacskon as a jumper-hunter with murder on his mind. (C.K.) PG-13 92 minutes C

The Spiderwick Chronicles -- With character names like Hogsqueal, Mulgarath and Thimbletack, it's got to be derivative. So it's not altogether surprising that Mark Waters' adaptation of The Spiderwick Chronicles feels slightly not-so-fresh. Based on the children's fantasy series by Tony DiTerlizzi and Holly Black, it's the story of what happens to a trio of kids-in-trouble when their newly single mom moves them from New York to a crumbling, fairy-infested Victorian mansion in the country - where they soon run afoul of the local ogre. It lacks the imagination and energy of Lord of the Rings and Harry Potter pictures. (From wire reports) PG 90 minutes B+

Step Up 2 the Streets -- scores some serious points for its dance moves but does a lousy job of remembering there's a lot more to this big old world than moving your feet. A sequel to 2006's surprise shot-in-Baltimore hit Step Up, it posits a world (set and filmed again in Charm City) where the only thing of any importance is winning the local underground dance competition - in this case, an on-the-sly showdown between warring crews dubbed The Streets. Not that we should expect measured social commentary, or even attempted realism, from dance movies. But the original Step Up at least suggested that these teens had other issues to deal with. Not so here, as smoldering newcomer Briana Evigan is underserved by the flimsiest and most cliched of story lines. The result is undeniably energetic and viscerally satisfying, but emotionally hollow. (C.K.) PG-13 97 minutes C+

There Will Be Blood -- From 1898 through the Roaring '20s, a monomaniacal California oil baron (Daniel Day-Lewis) achieves towering financial success - but morally scrapes the bottom of the barrel. (M.S.) R 158 minutes C-

27 Dresses -- Katherine Heigl is Jane, an eternal bridesmaid (literally) who finds herself at odds with James Marsden's Kevin, a cynical wedding reporter. The film is a romantic comedy, so you can probably guess where this is headed. Predictable but utterly charming, especially when Heigl is onscreen. (C.K.) PG-13 107 minutes B

Untraceable -- A killer tortures his victims on the Internet while inviting the rest of the world to watch. Sounds interesting, but the film abandons any pretense of mystery by revealing the degenerate's identity about a third of the way through. Diane Lane is stuck playing an FBI Internet specialist. (C.K.) R 100 minutes C

Welcome Home Roscoe Jenkins, -- starring Martin Lawrence and Mo'Nique, sets out to prove that you can go home again, but the lesson apparently is that it's going to be painful for everyone involved (audiences included). Drawn in extremely broad strokes with an enthusiastic cast vying for most over-the-top honors, this rude family comedy throws so many jokes and gags at the screen, a few are bound to stick. The film, by writer-director Malcolm D. Lee, is a near continuous assault of cliches. It attempts to wring unearned sentiment from the inevitable, awkwardly staged family rapprochement. But why does it have to take Roscoe almost two hours to come to realize what is obvious to the audience in the first 10 minutes? (Los Angeles Times) PG-13 114 minutes. C

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