Out On the Town

GET SMART

Get Smart features Steve Carell doing what he does best -- being Steve Carell. Playing the slightly bumbling, but always lovable secret agent Maxwell Smart, Carell's performance is an amalgamation of many other roles. He's the guy you want to win, but he's going to get a little beat up in the process and repeat every gag one too many times. Unfortunately, for the first half of the movie only about one in every four punch lines hits its mark. After that, it's about one in every three, then two, until a strong finish almost makes you forget the earlier missteps. In the end, Get Smart is silly fun. If the world gets saved in the process, all the better. Rated PG-13. 110 minutes. Area theaters. (Tim Plant)

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

Though this fourth installment -- arriving some twenty years after the last outing -- is marginally better in spots than the first two sequels to the masterful Raiders of the Lost Ark, it is ultimately a letdown of homecoming for the archeology professor who, outfitted with an iconic whip and fedora, moonlights as an adventurer. It's hard to precisely pinpoint the root of the problem. It's certainly not star Harrison Ford, who, despite his advanced years -- and all the tiresome jokes in the film pointing to said advanced age -- slips effortlessly back into the character and gives the best performance he's delivered in a decade. It's the kind of performance that reminds us why he's a movie star. And it's certainly not Karen Allen, who reprises her role as Marion Ravenwood from Raiders and brings a much needed snap, crackle and pop to the film at just the moment things seem to have deflated past the point of ennui.From what I can determine, the problems with this Indy lie with a script by David Koepp that is needlessly cluttered and indecisive and by Spielberg, who, as a director, has very clearly outgrown this kind of juvenile, popcorn-fare material. Sure, he's still a genius when it comes to constructing clear, concise action sequences, but where you could sense the director's zest behind Raiders, here it seems like more of a ''Well, I'll do one for the fans and then go back to my more serious projects.'' Let's hope this is the last time we'll see Professor Jones. Rated PG-13. 121 minutes. Area theaters. (Randy Shulman)

IRON MAN

Adapted from the Marvel comic of the same name, Iron Man's human persona is weapons manufacturer Tony Stark (Robert Downey Jr.), a man who has it all: lots of money, lots of brains, lots of girlfriends, lots of attitude. It's his brains and attitude that really save him when he's kidnapped by terrorists who demand he create a new missile for them. Iron Man has been updated to place Tony in Afghanistan, where he's held by a terrorist cell in a cave. Since we know how well the U.S. can find someone in this region, it's naturally up to Stark to save himself. The weapon that Stark builds is not a missile, but rather an armored suit that he uses to blast his way to freedom. Once home, Tony vows to stop creating weapons until he can ensure they are used for protecting Americans, not attacking them. In order to correct his wrongs and destroy the weapons already out there, he creates a new version of his suit to help him fight for good. Downey's portrayal of Stark is so spot-on that it makes you doubt anyone else could have played the part. He owns the role, bringing bravado and vulnerability to the screen. Even when encased in the suit, shots of Downey's face help remind us of the powerful man inside the armor. Stay all the way through the end credits for a surprise that hints at movies to come. Rated PG-13. 126 minutes. Area theaters. (Tim Plant)

SEX AND THE CITY

Those who predicted that the film version of Sex and the City would be one long episode get a gold star. Actually, they get two gold stars because the film feels like one really long episode. Even for someone who is a huge fan of TV shows on DVD, the film comes off a little too much as a marathon. Probably because nothing is done that actually elevates the production to a feature film quality. Making a film ups the ante and not meeting that challenge is a huge letdown. The film meets the most basic expectations: four women talking about men, shoes, and sex. For die-hard fans, it's a blast to the past; for those hoping for something more, it's a little too same-old, same-old. Sarah Jessica Parker remains as beautiful and lovable as always, commanding the screen with her beauty and charisma. Sometimes she works her outfits more than she works her lines, but the outfits are more entertaining anyhow. It's Kim Cattrall, however, who continues to inject fun into the whole deal. While the rest of the film resorts to fart jokes for a laugh, Cattrall's one-liners and bizarre sexual situations are the most worthwhile. In the end, the film is like a Cosmo made with cheap vodka. It's fine and you're still going to drink it, but you know that it could have been so much better. Rated R. 148 minutes. Area theaters. (Tim Plant)

THE HAPPENING

M. Night Shyamalan achieves something amazing in his latest film, The Happening. Not only has he made a film about people killing themselves, his film actually makes people want to kill themselves. Seriously, when one character sits in the middle of the street and takes a piece of glass to his own wrist, I thought, ''Lucky bastard.'' When a movie is this bad, one has to question if the director was trying to achieve something more akin to camp than to a traditional suspense film. Even if viewed through that lens, it's still pretty atrocious. After Shyamalan's last dud, Lady in the Water, he needed to pull out all the stops on this project. Amazingly, he managed to outdo himself -- who knew that there was something lower than rock bottom? Rated R. 91 minutes. Area theaters. (Tim Plant)

THE INCREDIBLE HULK

Ang Lee has directed some incredible movies, but his 2003 version, simply titled Hulk, was not one of them. Director Louis Leterrier wipes the slate clean for his update -- and it's a damn good thing he does. The first thing that distinguishes Leterrier's film of Marvel's popular comic book property is that it assumes you haven't been living under a rock your entire life and actually know that the Hulk is the angry alter-ego of a scientist who received a high dosage of gamma radiation, causing him to go all green and muscle-y when he's angry.Yes, the plot is a little formulaic and the CGI effects are heavily relied upon and the best thing to say about them is that they're fine. Basically, The Incredible Hulk is what you'd expect from a summer blockbuster: big budget special effects that take precedent over plot. There are worse ways to beat the heat. Rated PG-13. 114 Minutes. Area theaters. (Tim Plant)

THE LOVE GURU

It's hard to pinpoint what exactly the underlying problem is with Myers' gruelingly awful latest film: bad concept, pathetic writing, poor acting -- or just all of the above. Either way, it's a good thing that Myers' Guru Pitka character likes to laugh at his own jokes, because no one else is amused. Rated PG-13. 88 minutes. Area theaters. (Tim Plant)

WALL-E

HOL-E cow, this is a great movie! Pixar has done it again, taken unlikely subjects (this time robots instead of a rat) and made a film that's out of this world. WALL-E is the last robot on Earth, left behind to clean up humankind's mess. After centuries of toil, accompanied only by a cockroach, WALL-E's world is rocked by the arrival of Eve, another, sleeker model of robot. Their story of falling in love is heartbreakingly adorable and more authentic than a lot of cinematic dribble these days. This film has it all: amazing animation, a scathing commentary on big business and the direction of our country, and a spirit that can't be beat. Whether it's the action scenes that'll have audiences cheering and laughing in delight or the visual spectacle of watching robots dance in space, WALL-E is a triumph. Even without dialogue through much of the film, director Andrew Stanton ensures that the action is clear, concise and completely engaging. It's a good thing that Pixar films don't require a child to enter, because WALL-E has an amazing heart beating in his tin chest and he shouldn't be missed. Rated G. 97 minutes. Opens Friday at area theaters. (Tim Plant)

NOW PLAYING

ANTONY AND CLEOPATRA

JULIUS CAESAR

As beautifully costumed and brilliantly designed as these Shakespeare Theatre Company productions are, by rendering them in their intended time and place directors Michael Kahn (Cleopatra) and David Muse (Caesar) are offering audiences plays that feel clean and positively modern. They've allowed the clever humor and scathing commentary to shine through to an audience with a particular appreciation for political drama. STC's repertory offering does that very thing by having the actors playing such key characters as Mark Antony, Octavius Caesar and Lepidus carry their performances from one play to the next. The device creates a solid foundation of reality for their Rome. For those who have not brushed up their Shakespeare, Julius Caesar tells the story of the plot against the titular Roman emperor (Dan Kreemer). A harsh critique of the malleable nature of public opinion and political loyalty, Julius Caesar is, as one audience member noted upon taking her seat, ''The Ides of March one.'' Antony and Cleopatra continues the dramatic arc begun in Julius Caesar. Octavius Caesar (Deeker) has assumed leadership of the Roman Empire with Marc Antony (Long) at his side. At least in spirit. In reality, Antony is in Egypt where he has fallen in love with Cleopatra (Suzanne Bertish). The affair creates a rift between the Octavius and Antony and, to heal the wounds and convince the Roman emperor of his loyalty, Antony agrees to marry Octavius's sister. This is a political maneuver that finds no favor with the Egyptian queen.What follows is a play that, while no less brutal in its action, has a lighter humor than Julius Caesar. Closes Sunday, July 6. At Harman Hall, 610 F St. NW. Tickets are $23.50 to $79.75. Call 202-547-1122 or visit www.shakespearetheatre.org. (Tom Avila)

THE IMAGINARY INVALID

Rene Auberjonois possesses the kind of talent America seems no longer interested in cultivating: the actor capable of moving effortlessly between screen and stage, adjusting his methods, technique and level of dramatic intelligence accordingly. In Moliere's The Imaginary Invalid, the actor performs as an authentic, applying rather than imitating the traditions and techniques of the stage. He is a joy to watch. Accolades for Auberjonois aside, there is no escaping that Invalid is a 17th century comedy with all the peculiarities that such origins entail. So despite his skill and flair and the translator's occasional license with the one-liners, this is not going to be everyone's cup of tea. There are ensemble musical numbers that director Keith Baxter has been unable to make palatable, there is some over-bearing slapstick that only the genetically predisposed could love, and the less than original (at least nowadays) plot of the gruff old dad thwarting his daughter's quest for true love with a grotesquely unsuitable choice of husband. There is also extensive railing on the medical profession. And yet for all that, there is fun and pleasure to be had with this well-paced and conceived production and a unique opportunity to be in on a 17th century joke. To July 27. At the Lansburgh Theatre, 450 Seventh St. NW. Tickets are $39.50 to $79.75. Call 202-547-1122 or visit www.shakespearetheatre.org. (Kate Wingfield)

THE MYSTERY OF IRMA VEP

Performed with two actors playing numerous roles thanks to vaudeville quick-change tricks and a team of fast-handed dressers, Charles Ludlum's The Mystery of Irma Vep begs, borrows and steals from literature, Hitchcock thrillers and vintage monster movies. Lord Edgar Hillcrest (J. Fred Shiffman) has brought his new wife, the Lady Enid (Brad Oscar) home to his family manor. Despised by the servant Jane (Shiffman again) and craved by the groundskeeper Nicodemus (Oscar again -- get where this is going?), the Lady Hillcrest finds herself trapped in a struggle to hold on to her very sanity. That is, when she and Jane aren't playing dueling banjos on their dulcimers.Shiffman and Oscar are both very talented actors and when the show is working it is enormously entertaining. But there's a lack of spontaneity, a spark that's missing, and sometimes it causes the work being done on stage to seem like ... well ... work. The costume changes already have the pair walking a high wire -- why not take the unicycle out of storage and see what happens? To July 13. At Arena Stage, 1800 S. Bell St. in Arlington. Tickets are $47-$66. Call 202-488-3300 or visit www.arenastage.org. (Tom Avila)

THIS BEAUTIFUL CITY

The Civilians blur the boundaries between storytelling, musical theater and creative nonfiction to offer a viewpoint that is as deeply nuanced as it is entertaining. Their show, This Beautiful City, is based on a series of interviews the company conducted in Colorado Springs, Colo., over a 10-week period. The show raises questions about the separation of church and state, the role that religion can play in either bringing together or tearing apart a community, and our own very personal feelings about what it is to be -- or not to be -- a person of faith. Ultimately, this is a show where the reaction of the audience becomes just as telling and integral to the message as the action on the stage. Some of the most successful musical numbers are drawn very directly from the sound and performance style of the kinds of Christian rock bands that populate youth festivals and the stages of some mega-churches. The sermons delivered from the stage have the texture and emotion of the real thing. The monologues -- delivered as responses to the questions of an unseen interviewer -- are troubling in their very real earnestness. The small ensemble includes some remarkable talent, including Stephen Plunkett and Emily Ackerman. This Beautiful City shows what can be accomplished when a play asks more questions than it can ever possibly answer. When characters that might be played for simple, fast laughs are given time to be human and hurting. When writers challenge us to spend as much time looking at ourselves as the actors on the stage. Closes Sunday, July 6. At the Studio Theatre, 1501 14th St. NW. Tickets are $39-$57. Call 202-332-3300 or visit www.studiotheatre.org. (Tom Avila)

1409 PLAYBILL CAFÉ
1409 14th St. NW Washington 202-265-3055 Cost: $$ Serving harried theatre goers and local barflies with the same aplomb, this 10-year-old Logan Circle stalwart is the perfect answer, whether hearty bar fare or a multi-course dinner are on your personal menu. Sumptuous artichoke dip, generous nachos and Playbill's signature ''Naomi's Fries'' star on the appetizer menu while nearly every entreé offering will have you yelling ''encore!'' -- and loosening your belt a notch. Vegetarian options on this mostly traditional American-fare menu abound, while regular dinner specials expand the offerings with flavors from more exotic locals. And be sure to ask about the restaurant's monthly international wine and multi-course dinner special featuring recipes, ingredients and wines unique to that month's featured country or region.

18TH & U DUPLEX DINER

2004 18th St. NW
 Washington 
202-265-9599 Cost: $$ Perched on the border of the Adams Morgan and Dupont Circle neighborhoods, Duplex Diner has long served as a lively and casual gathering spot for D.C.'s gay movers and shakers. The dining room is as social as the bar, with much table hopping and hobnobbing. The food is classic American comfort -- a generous meatloaf, a terrific mac and cheese, unbeatable pork chops, a savory rib eye and a new wedge salad comprised of iceberg lettuce, thick chunks of bacon and bathed in blue cheese dressing -- that adds to the at-home-with-friends feel.

ALBERTO'S
2010 P St. NW 2438 18th St. NW Washington 202-986-2121 Cost: $ Quality can be found at any price. On the low-end of the financial spectrum, Alberto's definitely delivers quality. Alberto De Souza, who owns the two-outlet Alberto's with his wife, Jillian, combines his Chicago-trained sensibility and French influences -- by way of serving as Sofitel Washington's executive chef -- in a stone oven. The result? ''Go Bears!,'' if you go Chicago style, or c'est magnifique! for a, say, thin crust with goat cheese and capers. By the pie, it's the perfect rustic dinner in, or the soothing nightcap slice as you stumble home. Free delivery around Dupont and Adams Morgan.

BANANA CAFÉ
500 Eighth St. SE Washington202-543-5906 Cost: $$ Once the sole reason to frequent Capitol Hill's Barracks Row, Banana Café now has many fellow restaurants around it offering a wide array of options. But the choice is still clear. With its consistently delicious menu offering a blend of Cuban and South American dishes, fast friendly service, delightful decor and ambiance, large outdoor patio, not to mention their perfect margaritas, Banana Café is still the destination restaurant on 8th Street SE. Be sure to venture upstairs to the piano bar to catch the incomparable Gordon Kent on piano.

BEACON BAR & GRILL
1615 Rhode Island Ave. NW Washington 202-872-1126 Cost: $$ If some may consider the Human Rights Campaign building at 17th and Rhode Island a sort of heart of the gay community, perhaps the Beacon Bar & Grill across the street is its stomach. Really, nothing says gay venue like a great happy-hour bar menu -- $5 apiece for mini burgers, crab quesadillas and plenty more. Then there's the elaborate Sunday buffet brunch, with unlimited mimosas, champagne or Bloody Marys; the Saturday night prix fixe wine dinners; or Tuesday's three-course pasta dinners. From bar fare to eggs benedict, Beacon Bar & Grill hits every appetite. Sneak up to the rooftop Beacon Sky-Bar, when open, for one the best views around.

FREDDIE'S BEACH BAR & RESTAURANT
555 South 23rd St. Crystal City 703-685-0555 Cost: $$ Perched atop Crystal City's restaurant row for over seven years, Freddie's Beach Bar has never been the wallflower on the strip. With his signature color purple, neon and beach ephemera dripping from every surface, proprietor Freddie Lutz has created a beachside oasis that'll warm you up and take you to the shore no matter what the weather. And like all top-notch island resorts there's no lack of entertainment -- from Freddie's Follies drag shows to karaoke there's always something to keep the lively, friendly crowd on their toes, just as the menu offerings are sure to keep them in their seats. Freddie's extensive beach menu features an array of hearty appetizers, burgers, and entreés. The crab cakes are some of the best we've had and the buffalo chicken sandwich is mouth-watering. And don't miss the Sunday brunch buffet, offering everything from eggs benedict to General Tso's chicken.

JACK'S RESTAURANT & BAR
1527 17th St. NW Washington 202-332-6767 Cost: $$ The location has proven hit or miss, but Jack's seems to be making a hit. With a mix of European flair and American simplicity -- peppered with a dash of Turkish exoticism -- Jack's is drawing festive crowds to both the bar and bistro. Half-price bottles of wine/champagne on Tuesdays and Thursdays don't hurt, especially when paired with fare that ranges from burgers to pork loin al balsamico. Bon vivants will certainly appreciate the ambitious cocktail menu and Jack's unique birthday celebrations.

KRAMERBOOKS & AFTERWORDS CAFE
1517 Connecticut Ave. NW Washington Cost: $$ For decades, Afterwords Cafe has whipped up a flavor more akin to Greenwich Village than the capital. Whether it's a weekday breakfast of blueberry pancakes or a tower of late-night, signature ''Sharezies'' -- maybe crab cakes, mussels and mushroom crostini? -- Afterwords gives D.C. a taste of the bohemian bistro that nearly never sleeps, even if the Metro does. Don't make a mistake of missing the rockin' beer and wine list, to be enjoyed on the patio or in the cozy, wooden bar.

M STREET BAR & GRILL
2033 M St. NW Washington 202-530-3621 Cost: $$ Sundays at the M Street Bar & Grill are becoming an institution, where table-service brunch and endless mimosas/Bloody Marys are the rule. Yvonne Johnson's jazz accompaniment is the perfect aural digestif with brunch or Thursday dinner. All menus offer solidly American fare with hints of the Middle East and soul cooking at the edges. The two-course dinner for two for $40 makes for a great date -- especially so considering the rooms and suites of the St. Gregory Hotel fill the floors above the restaurant, for those wishing to add their own spice.

SIMPLY HOME
1410 U St. NW Washington 202-232-2522 Cost: $$ Simply Home can make anything look good. Try the restaurant's ''Squid Ink Spaghetti.'' It might not sound too thrilling, but upon delivery, the seafood and green curry meets pasta offering is a work of art, and surprisingly delicious. There are also more familiar dishes for the less adventurous, including appetizers and a variety of Pad Thai entrees. There's a lot to gain from trying something new like Indian Roti Beef or the Burmese Kao Soi Noodles. You can also take a piece of Simply Home's elegant decor home, as the restaurant includes a gift shop selling everything from candles to the elegant, curved glasses the restaurant uses to serve drinks to patrons.

THAI TANIC
1326-A 14th St. NW Washington 202-588-1795 Cost: $$ From its narrow, yet cozy, perch in the ever-improving Logan Circle neighborhood, Thai Tanic offers some of the city's best moderately priced Thai food. The curries and spicy dishes are as hot as they should be -- but not so hot that you can't taste the food underneath the spices. First timers should try the panang or pad thai; heat seekers hit the beef nam tok and drunken noodles. The intimate tables are good for casual dates -- wrap up the evening with sticky rice and mango.