Although its whimsical title makes it sound as though it could be a follow-up to Steve Martin’s Picasso at the Lapin Agile, a comic imagining of a meeting between the painter and Albert Einstein, Arne Glimcher’s documentary Picasso and Braque Go to the Movies essentially puts forth an academic argument. Glimcher’s thesis proposes that Cubism, the revolutionary abstract painting and collage style pioneered by Pablo Picasso and Georges Braque, grew out of a reaction to cinema.

Sometime in the 1980s, after Japan’s bubble economy burst, a weird thing happened: Japan became cool to the rest of the world. While Rivers Cuomo looked to Japanese girls (at least, half) for jerk-off material, most American artists who turned to Japan romanticized the culture itself, intrigued by its perceived combination of capitalist excess and tradition-bound reserve.

Despite the joys of Martin and Monkey Shines, George Romero’s fans shouldn’t be disappointed that the 70-year-old director doesn’t seem to make non-zombie movies anymore. Where each entry in his initial trilogy (Night Of The Living Dead, Dawn Of The Dead, and Day Of The Dead) came out in a different decade, he’s already knocked out two more since his return to the genre, 2005’s Land Of The Dead.

Is Sex and the City 2 meant to be taken as the ultimate chick flick? Its 2008 precursor made an incredible $55.7 million in its opening weekend, and 85% of those in attendance were women. In Vogue’s May 2010 cover story on Sarah Jessica Parker (who plays the series’ protagonist, Carrie Bradshaw), writer Vicki Woods marvels at the “magical, amazing thing” that a third Sex and the City feature film could do: it’d “get millions of women… into movie theaters.”

Living in Brooklyn, young Hasid Sam Gold (Jesse Eisenberg) moves through tepid landscapes, working in his father’s fabric store and studying to become a rabbi. He spends his time reading, eating dinner with his family, smiling at girls he’s not allowed to talk to, and watching porn through his bedroom window on the neighbor’s television. Intended to be the dullest point of Holy Rollers — contrasted starkly by the bright lights, women, and drugs to come in the second act — it is in fact the most engaging and heartfelt part of the story.