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Columbia Pictures Presents Sony Pictures Animation’s first full-length feature film, the animated action-adventure comedy “Open Season,” in which Boog (Martin Lawrence), a grizzly bear with no survival skills, has his perfect world turned upside-down when he meets Elliot (Ashton Kutcher), a scrawny, fast-talking wild mule deer. When Elliot convinces Boog to desert his idyllic existence living in a garage decked out with all the comforts of home, and try the “wild” life, things quickly spiral out of control. With open season upon them, and the hunters arriving in force, Elliot must help Boog get in touch with his inner grizzly to unite the woodland creatures and take the forest back!

“Open Season” is based on the humor of cartoonist Steve Moore (”In the Bleachers”) who, along with John Carls, serves as executive producer. The film is directed by Roger Allers (director of “The Lion King”) and Jill Culton (”Monsters, Inc.” and “Toy Story 2″) and co-directed by Anthony Stacchi (”Antz”). The producer is Michelle Murdocca (”Stuart Little” and “Stuart Little 2″). Legendary singer-songwriter Paul Westerberg is creating original songs and, with Ramin Djawadi, score. The CG animation is by Sony Pictures Imageworks.

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“A Guide to Recognizing Your Saints” is a coming-of-age drama about a boy growing up in Astoria, N.Y., during the 1980s. As his friends end up dead, on drugs or in prison, he comes to believe he has been saved from their fate by various so-called saints.

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Generally unheralded at the time, the early 1980s hardcore punk rock scene gave birth to much of the rock music and culture that followed. There would be no Nirvana, Beastie Boys or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains and Minor Threat.

Hardcore was more than music-it was a social movement created by Reagan-era misfit kids. The participants constituted a tribe unto themselves-some finding a voice, others an escape in the hard-edged music. And while some sought a better world, others were just angry and wanted to raise hell.

“American Hardcore” traces this lost subculture, from its early roots in 1980 to its extinction in 1986.

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Based on Robert Penn Warren’s 1946 Pulitzer Prize winning novel, “All the King’s Men” tells the story of an idealist’s rise to power in the world of Louisiana politics and the corruption that leads to his ultimate downfall.

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“Colin Fitz Lives!” is a charming, caustic, and sweetly demented comedy that finds its ironic inspiration in GenX obsessions with death, beer, and rock ‘n roll. Every year on the anniversary of rock idol Colin Fitz’ death, something bizarre happens at his gravesite. This year his wife, Justice Fitz (Julianne Phillips), calls upon the O’Day Security Firm for help. The two guards who are hired, Paul (Matt McGrath) and Grady (Andy Fowle), are clearly not from the same universe. From the moment they begin preparing for their night in the graveyard, their completely opposite and fundamentally dysfunctional personalities clash as they heatedly exchange views on life, love, and American pop culture.

Throughout their increasingly strange tour of duty, the mismatched guards have encounters with numerous visitors: a Colin Fitz fan (Martha Plimpton), their officious supervisor Mr. O’Day (William H. Macy), the mysterious groundskeeper Nolan (John C. McGinley), Grady’s ex-girlfriend Moira (Mary McCormack) and her new beau Tony Baby Shark (Chris Bauer). By the end of the night, Paul and Grady arrive at a new respect for the megastar’s iconic power as they finish their beers, call a truce, and finally leave for breakfast with a group of Swedish fans.

With raucous speculation on how world history would have been different if Buddy Holly had dropped acid or whether future generations will establish a John Lennon religion, “Colin Fitz Lives!” is a wonderfully offbeat dark comedy that is at once playful and smart. Echoing the canny madness of “This Is Spinal Tap!,” and the deadpan worldview of “Clerks,” “Colin Fitz Lives!” not only explores dead rock star mythology and post-modern romance, it also makes a case for friendship in a ridiculously discordant world.

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