Essentially there are two kinds of gangster movies: those made during the time when men wore hats in real life and those made during the time when men wore hats that came from wardrobe. The first type are usually in black-and-white, punchy, nervy and full of wisecracks. The second type are usually longer and more violent, but slower-paced and nobler of purpose, as if the hats suddenly carried an extra weight, an extra sadness. What Michael Mann has achieved with the new Public Enemies is an often fascinating, striking combination of the two.

I walked into the new film, convinced that it could never top lean, mean B-movie classics like Max Nosseck's Dillinger (1945) or Don Siegel's Baby Face Nelson (1957) in which these gangsters were initially immortalized. But it equals them, capturing some of their raw energy and allure and clocking in as a longer, but equally fast-moving and adrenaline-pumping example. Somehow Mann only manages to use the extra time for flash and spectacle, and hardly any for depth or detail, but that only helps to speed things along. Happily, he also avoids the typical origin story, and plunges right in.

Multiple Oscar nominee Stephen Frears is a tough nut to crack. Amiable but terse, his excellent multilayered films do the talking for him, from his first collaboration with Christopher Hampton and Michelle Pfeiffer on 1998's Dangerous Liaisons to 2007's The Queen. In his latest film, Cheri (read Cinematical's review here), Frears turns his lens onto the cloistered and often duplicitous world of wealthy courtesans. Frears' films often focus on subversive outsiders who must make their own "family," as it were, such as Dirty Pretty Things, The Grifters, and My Beautiful Laundrette. But Cheri's delicious spin on sex, love, and aging is typical of its source material from author Colette, whose books Cheri and The Last of Cheri present a world of upside-down relationships and self-sufficient, frankly sexual women.

Michelle Pfeiffer leads the cast as the stunning Lea de Lonval, a famous courtesan whose friend Madame Peloux, played with busty abandon by Kathy Bates, encourages Lea to have an affair with Peloux's louche son Cheri, the pale and effeminate Rupert Friend. Neglected as a child while his mother was dealing with her affairs, Cheri is hardly likeable or loveable, but somehow their affair becomes less about sex and more about the love both he and Lea have lacked in their lives. Peloux throws a wrench into the whole thing when she plans a wedding for Cheri to another courtesan's child, Edmee, played by newcomer Felicity Jones. What happens after that surprises them all.

Cheri opens June 26th in limited cities. Visit the official website for more information.

Cinematical: What's the difference between releasing a movie like Cheri during Oscar season as opposed to the summer blockbuster season? Is it more or less stressful?

Stephen Frears: The problem with competing for the Oscars is it's very tough, so in a way it's quite a relief being [released] at another time of the year. You're all right if you've got the one that gets everybody's attention, but fighting for attention is quite difficult. I've released films in that season that have been just overlooked.

The French writer Colette, born Sidonie-Gabrielle Colette (1873 - 1954), lived one of those witty, charming lives you've read about, doing things like performing at the Moulin Rouge and having affairs with Josephine Baker, while marrying several rich husbands. She wrote, among many other things, what would become the famous musical Gigi, which Director Vincente Minnelli turned into a dull, immobile Oscar-winning hit in 1958. The English film director Stephen Frears would have been 13 when Colette died, though at that age, he had most likely never heard of her. But now, 55 years later, the two have teamed up for the new movie Cheri, based on Collete's 1920 novel about a passionate affair between an aging courtesan and a spoiled younger man.

Frears seems like the right man for the job. After all, his similarly sexy costume drama Dangerous Liaisons (1988) was another Oscar-winning hit. And in his Mrs. Henderson Presents (2005) he dealt with issues of sexuality and censorship on the stage, so he seems prepped to make something really sexy and full of wit and charm, especially given that he's re-teamed with his Dangerous Liaisons star Michelle Pfeiffer. It's a win-win scenario that quickly turns lose-lose. For some reason, Cheri is dead on arrival, a cold fish. It just lies there, too lethargic to be funny and too timid to be sexy, but not deep enough for any real drama.

Harold Ramis has worked in comedy a long time, and his career has taken many directions. With his work on the Ghostbusters (1984) script and his straight-man performance in the film, he managed to allow Bill Murray room to move and riff within the confines of a visual effects-heavy summer blockbuster. As for the meticulously crafted classic Groundhog Day (1993), I hesitate to call any movie "perfect," but it comes close. But then there were phoned-in hits like Analyze This (1999) and Analyze That (2002) that seemed too tightly wound and too slavishly dependent on plot to be very funny.

Ramis' new film Year One, on the other hand, comes closer to the spirit of his directorial debut Caddyshack (1980). I'm not saying it's quite as funny or as brilliant, but it's in the same spirit. It cares thankfully little about its plot or its character arcs, or historical accuracy; it's a bit flabby and careless, but it's also gleefully stupid, and it has the ability to knock you off guard and make you giggle helplessly.

Harold Ramis is the comedy writer and director everyone's cribbed from, from Sandler to Apatow. After leaving "Second City TV," Ramis went on to write, direct, and occasionally star in comedic touchstones like Animal House, Caddyshack, Stripes, Groundhog Day, and of course, Ghostbusters, which have starred a slew of loveable losers fighting to get their sh*t together in the army, on the golf course, or in the middle of a war with supernatural beings. After taking a few years off, Ramis is taking it back to the beginning with this summer's Year One, which stars Jack Black and Michael Cera as loveable loser cavemen who, when Black's Zed accidentally burns down the village, find themselves in the middle of a very familiar holy war. Read on and find out what the big daddy of buddy movies had to say about evolution and self-improvement, male full frontal nudity and the lack thereof, and what the heck is up with Ghostbusters 3.

Year One opens nationwide this Friday, June 19th.

Cinematical: How much more stressful is it to deal with marketing a summer blockbuster and competing with the other movies that are out?

Harold Ramis: You know, it's the same level of stress every time you make a movie, because you've pinned all your hopes and dreams on it and you've fantasized what success will be like, but at the time you can't escape fantasizing what failure will be like. [laughs]

I conceived this movie on a big scale, to do a Biblical epic comedy. I knew it was ambitious and when the studio said "Yes, we'll do it," and it became real, I thought, "Oh my God!" [laughs] It's one thing to fail small, but to make a big movie that doesn't work is so risky.

Lately, we have seen documentaries with a huge range of subjects, from war to religion, from art to video games. Those subjects are interesting and newsworthy and perhaps even moving or entertaining, but there are only two subjects that directly affect the people of the world on a daily, hourly basis. The first is the climate crisis, for which folks need to learn how to adjust their lifestyle in order to prevent further damage and encourage healing. But even more urgent is the issue of food. Every living man, woman and child eats, or thinks about eating, every single day, several times a day. Yet, as the new Food, Inc. points out, most of us know very little about our food. A very deliberate veil has sprung up between us and what we eat. Fortunately, little by little, we're learning.

Todd Phillips scored a hit in 2003 with the raucous R-rated comedy Old School, then for some reason moved to tamer waters for Starsky & Hutch and School for Scoundrels, neither of which amounted to anything. Duly chastened, he now returns home with The Hangover, a movie that's as gleefully dirty as Old School, and maybe funnier.

It's a story of friendship, camaraderie, and alcohol. As such, it can only be set in Las Vegas. That is where Doug (Justin Bartha), who is getting married Sunday, is taken by his friends for an epic bachelor party: Phil (Bradley Cooper), a schoolteacher who hates his students almost as much as he hates being married, is the ringleader; Stu (Ed Helms), a wimpy dentist with a controlling shrew for a girlfriend, is the nervous nellie; Alan (Zach Galifianakis), Doug's soon-to-be brother-in-law, is the spacey, grubby, possibly mentally handicapped one who recalls Will Ferrell in Old School (which means he also recalls John Belushi in Animal House).

The four embark on a night of revelry. The next morning, Phil, Stu, and Alan wake up in their hotel suite with a tiger and a baby. There's no sign of Doug, the groom-to-be. And no one can remember anything that happened the night before.

As comedy premises go, this one is brilliantly simple. Three hungover guys stumble around Las Vegas in search of clues as to their missing friend's whereabouts, not to mention the origin of the baby and the tiger, and not to mention the other various things that have gone awry that, well, I won't mention. (Spoiler: Ed Helms is missing that tooth in real life.)

Rewinding the past seven days of the wonderful world of independent films:

Deals. Twilight fans will have the opportunity to see Kristen Stewart in a different type of role later this year. In Udayan Prasad's The Yellow Handkerchief, based on a story by Pete Hamill, Stewart jumps into a stranger's car. She and the driver (Eddie Redmayne) are soon joined by a newly-released convict (William Hurt) as they travel through rural Louisiana toward a hoped-for reunion with the ex-con's beloved (Maria Bello). Samuel Goldwyn Films has acquired U.S. rights and is planning a theatrical release, according to indieWIRE.

Hans-Christian Schmid's legal thriller Storm will also hit theaters later this year, indieWIRE says, courtesy of Film Movement. Kerry Fox stars as a prosecutor at the International Criminal Tribunal for the former Yugoslavia in The Hague; she must convince a witness (Anamaria Marinca from 4 Months, 3 Weeks and 2 Days) to testify in order to convict a former officer of war crimes.

Box Office. Arriving with this year's Academy Award for Best Foreign Language Film in hand, Yojiro Takita's Departures took the #1 spot among indies. Set in and around a Japanese business tasked with preparing bodies for burial, the drama earned $8,327 per screen at the nine theaters where it opened in New York and Los Angeles, Box Office Mojo reports.

Also performing well in its debut weekend, Pressure Cooker grossed $8,151 at one theater in New York. The documentary, directed by Jennifer Grausman and Mark Becker, follows a high school culinary arts class in Northeast Philadelphia, where teacher Wilma Stephenson tries to help her students earn college scholarships. We've embedded the fiery trailer below.

After the jump: Outfest lineup, plus Transformers 2 in Los Angeles.

Keenen Ivory Wayans' nephew Damien makes his feature directorial debut with Dance Flick, the latest from a comedy factory even bigger and more confusing than Judd Apatow's. Let's see if I can get this straight. Keenen and his brother Damon Wayans started to break into showbiz in the early 1980s (apparently with some help from Eddie Murphy). Then Keenen wrote and directed the very funny blaxploitation spoof I'm Gonna Git You Sucka (1988), which featured roles for many of his siblings, plus one for a young Chris Rock. Then he created the terrific TV show "In Living Color" (1990), which, among its other accomplishments, boosted Jim Carrey's career. There were some other attempts at movies, most embarrassingly White Chicks (2004) and Little Man (2006), but their real bread and butter seemed to come from Sucka-like spoofs and parodies, starting with Scary Movie (2000).

I like that movie, and even its first two sequels have some memorable moments, but those films also inadvertently unleashed upon the world the screenwriting/directing team of Jason Friedberg and Aaron Seltzer. Their creations Date Movie (2004), Epic Movie (2006), Meet the Spartans (2008) and Disaster Movie (2008) somehow made lots of money while being universally despised. (Don't ask me how Superhero Movie fits into this mix.) Fortunately Friedberg and Seltzer have nothing to do with Dance Flick, though it would be easy to make that mistake. Rather, no less than five Wayanses worked on the screenplay for this: Keenen, his brothers Shawn and Marlon, his cousin Craig and nephew Damien Wayans. And ten Wayanes appear in the acting credits. I can only imagine that the read-throughs and story conferences were funnier than the movie.

In the early 1980s I was an "X-Men" fanatic, eagerly devouring every comic book I could get my hands on. But my favorite, and it remains my favorite to this day, was a 1982 four-issue mini-series written by Chris Claremont, drawn by Frank Miller and devoted exclusively to Wolverine. In it, Wolvie goes to Japan to find out what happened to his true love Mariko. He's a magnificent warrior and he understands Japan's ancient codes and rules but also understands his own raging animal instincts and his need to abandon the rules. He constantly battles these two sides, and in one sublime image, after a fight, he smoothes the disturbed pebbles in a Zen garden, making the connection between chaos and order.

Sadly, there's nothing in the new X-Men Origins: Wolverine even remotely as good or as interesting as that one image. This Wolverine (Hugh Jackman) no longer struggles between his two sides. He's smack dab on the side of good, and beholden to the unwritten Hollywood rule, which says that no hero can kill anyone in cold blood (only in self-defense, or in response to senseless acts of cruelty and violence). Sure, he can rage and howl from time to time, but he must pull back at the last second -- to set a good example for the kiddies, I guess. To spur him to action, the film brutally dispatches everyone who's nice to him, from his kind-hearted father/guardian in the opening flashback to the sweet farmer couple that gives him refuge, to his own sweetheart Kayla Silverfox (Lynn Collins). So there's some bad foreshadowing for you: if you help an old lady across the street or tell a romantic story about the moon, you're toast.