Being asked to direct a movie like G-Force is the equivalent of a singer being offered a gig as frontman for the FreeCreditReport.com band: it's not exactly what you had in mind when you got into the business. But when you've been working with Jerry Bruckheimer, the man partially to blame for at least one awful summer blockbuster a year since Armageddon, your taste in film is probably a tad questionable to begin with.

To be fair, first-time director Hoyt Yeatman has spent years doing visual effects, and G-Force is nothing if not visually exciting. Talking secret agent guinea pigs look as realistic as their flesh-and-blood co-stars, whether they're narrowly escaping the jaws of a guard dog or taking down a coffee maker-turned-battle mech. This marks Bruckheimer's first venture into the undeniably gimmicky world of 3-D and the film takes full advantage of the technology. Nearly every shot features something bursting out of the letterbox to a series of "ewws" and "ahhs" from the audience.

Sacha Baron Cohen's Borat was so 2006, but there is something about his flamboyant Austrian fashionista, Bruno, that feels slightly dated as well. The film follows the Austrian from his hometown as a local celebrity on his quest to America to become uber famous, by exploring every and any which way to exploit himself and others. From adopting an African baby, to attempting to make a sex tape with a one time presidential hopeful, Bruno will stop at nothing to succeed.

More after the jump.

You know that really excited feeling you get when you find out your
favorite actor is coming out with a new movie--not just any actor, the
one that you would pay your last dollar to see? For me, that's Johnny
Depp. I’ve seen everything he's been in. I own Don Juan DeMarco. I unreasonably think his movies are better than they actually are. I want to hang out with him. I think he is the epitome of cool. So, keep that all in mind.

Public Enemies is the story of John Dillinger (Depp) and his escapades
in the mid ‘30s as the most notorious bank robber of the Depression
era. Dillinger claims to be able to “take any bank, wherever he wants,
whenever he wants,” and he shows that to be true, much to the dismay
of the federal government. Melvin Purvis (Christian Bale) is appointed
head of the Dillinger Division of the FBI and starts hunting down the
Dillinger gang. Despite consistently managing to slip through authority’s fingers, Dillinger begins to see the writing on the wall as his heyday winds down.

More after the jump.