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The magical triad behind Rushmore's spunky, starry-eyed soundtrack--music supervisor Randall Poster, composer Mark Mothersbaugh, and director Wes Anderson--leaps forward a decade from that beloved soundtrack's '60s gems, in the process adopting a more pensive feel for The Royal Tenenbaums' musical backdrop. It may lack the euphoric sing-along feel of, say, Creation's "Makin' Time," but the rock and folk tracks here perfectly match the film's crumbling characters and their dilapidated relationships. The Ramones' "Judy Is a Punk" is a burst of nostalgic rebellion but surely causes a sad twinge in light of Joey Ramone's untimely death in 2001; gloom-folker Nick Drake's "Fly" and Elliott Smith's excellently depressing "Needle in the Hay"--which is used to chilling effect during a wrist-slashing scene--further deepen the dark thread running through Tenenbaums. But those who prefer the sunny disposition of Rushmore will be thrilled by the calming concoctions of Mothersbaugh, who heralds the coming of a new scene with graceful woodwind/string parts ("Scrapping and Yelling") and playful sitar pieces ("Pagoda's Theme"). Throw in the Clash's squalling "Police & Thieves" and the Velvet Underground's petal-soft "Stephanie Says" and you've got another winning soundtrack from the film biz's most in-tune music lovers. Tenenbaum or not, you can go home again. --Kristy Martin

YOU SEE ME LAUGHIN - DVD Movie

Paris Is Burning closes with two neon-lit boys holding each other on the streets of Harlem. One looks into the camera and asks, "So this is New York City and what the gay lifestyle is all about--right?" This documentary takes an honest, humorous, and surprisingly poignant peek into one of America's overlooked subcultures: the world of the urban drag queen. It's a parallel dimension of bizarre beauty, where "houses" vie like gangs for turf and reputation ... only instead of street-fighting, they vogue their way down makeshift catwalks in competitive "balls." The only rule of the ballroom: be real. In surprisingly candid interviews, you discover the grace, strength, and humor it takes to be gay, black, and poor in a straight, rich, white world. You'll meet young transsexual "cover girls," street hustlers saving up for the big operation, and aging drag divas reminiscing about the bygone days of sequins, feathers, and Marilyn Monroe. Made in the late 1980s, this fashion-conscious film shows its age less than you'd expect. It's still a great watch for anyone interested in the whole range of humanity, or anyone who's ever been an outsider, desperately wanting something the world hides out of reach. --Grant Balfour

Fascinating, discomfiting, and poignant (sometimes all at once), Paris Is Burning documents New York City's recherché "ball" circuit, where members of the black and Latino gay, transvestite, and transsexual communities compete to see who can wear the most outlandish outfits and dance, pose, and generally show off to most outrageous effect. These are folks who live with a double whammy of discrimination, as they are minorities both sexually and racially. But while their tales of rejection by both society and their own families are woeful and bitter, the participants come alive when they hit the "runway" (actually the floor of some old gymnasium) to strut their stuff, liberated from the pressure of blending in with the mainstream. "Whatever you want to be, you be," says one, whether it's a school kid, a country club polo player, a high-rent executive, a character from television's Dynasty (which for some represents the dernier cri in elegance and wealth)… anything goes. Along the way, we meet characters with names like Pepper Labeija, Venus Xtravaganza, and Willi Ninja; we also learn about "reading" (i.e., dissing your competitors), "shading" (a more subtle, non-verbal version of the same thing), and "voguing" (later adopted by Madonna, it combines the poses and haughty looks of your average supermodel). Critics at the time of the film's original 1990 release tended to focus on the sadness and not-so-quiet desperation of these people's efforts to transcend their circumstances and become one-night legends, but overall, Paris Is Burning comes across as simply a damn good time. --Sam Graham

PARIS IS BURNING

Paris Is Burning closes with two neon-lit boys holding each other on the streets of Harlem. One looks into the camera and asks, "So this is New York City and what the gay lifestyle is all about--right?" This documentary takes an honest, humorous, and surprisingly poignant peek into one of America's overlooked subcultures: the world of the urban drag queen. It's a parallel dimension of bizarre beauty, where "houses" vie like gangs for turf and reputation ... only instead of street-fighting, they vogue their way down makeshift catwalks in competitive "balls." The only rule of the ballroom: be real. In surprisingly candid interviews, you discover the grace, strength, and humor it takes to be gay, black, and poor in a straight, rich, white world. You'll meet young transsexual "cover girls," street hustlers saving up for the big operation, and aging drag divas reminiscing about the bygone days of sequins, feathers, and Marilyn Monroe. Made in the late 1980s, this fashion-conscious film shows its age less than you'd expect. It's still a great watch for anyone interested in the whole range of humanity, or anyone who's ever been an outsider, desperately wanting something the world hides out of reach. --Grant Balfour

Fascinating, discomfiting, and poignant (sometimes all at once), Paris Is Burning documents New York City's recherché "ball" circuit, where members of the black and Latino gay, transvestite, and transsexual communities compete to see who can wear the most outlandish outfits and dance, pose, and generally show off to most outrageous effect. These are folks who live with a double whammy of discrimination, as they are minorities both sexually and racially. But while their tales of rejection by both society and their own families are woeful and bitter, the participants come alive when they hit the "runway" (actually the floor of some old gymnasium) to strut their stuff, liberated from the pressure of blending in with the mainstream. "Whatever you want to be, you be," says one, whether it's a school kid, a country club polo player, a high-rent executive, a character from television's Dynasty (which for some represents the dernier cri in elegance and wealth)… anything goes. Along the way, we meet characters with names like Pepper Labeija, Venus Xtravaganza, and Willi Ninja; we also learn about "reading" (i.e., dissing your competitors), "shading" (a more subtle, non-verbal version of the same thing), and "voguing" (later adopted by Madonna, it combines the poses and haughty looks of your average supermodel). Critics at the time of the film's original 1990 release tended to focus on the sadness and not-so-quiet desperation of these people's efforts to transcend their circumstances and become one-night legends, but overall, Paris Is Burning comes across as simply a damn good time. --Sam Graham

Like the high-revving imports and American muscle cars that roar down the streets of its south Florida setting, 2 Fast 2 Furious is tricked out to the max. While Vin Diesel opted for his XXX franchise, this obligatory sequel to The Fast and the Furious benefits from Diesel's absence, allowing returning star Paul Walker to shine while forging a lively partnership with rising star Tyrese, who fulfills his sidekick duties with more vitality than Diesel could ever muster. The Miami/Dade locations are another bonus, lending colorful backdrop to the most dazzling street-racing sequences (both real and digitally composited) ever committed to film. The plot is disposable--former cop Walker and jailbird Tyrese are recruited by the FBI to dethrone a thuggish kingpin (Cole Hauser)--but director John Singleton keeps the adrenalin pumping, enlisting a rainbow coalition of costars (including rapper Ludacris and Chanel supermodel Devon Aoki) to combine a hip-hop vibe with full-blown action while showcasing hot babes, edgy humor, and some of the coolest cars that ever burned rubber. Heed the movie's warning, kids: Let the stuntmen do the driving. --Jeff Shannon

Because of his part in letting Dominic Toretto escape the police, officer Brian O'Connor lost his job and seeks redemption in an investigation into a