A likable British twit tries to prove he's in it for the long haul in the quirky romantic comedy "Run Fatboy Run" (Picturehouse).

Five years after leaving his pregnant fiancee, Libby (Thandie Newton), standing at the altar, slovenly London security guard Dennis (Simon Pegg, who also co-wrote the script) bitterly regrets this characteristic act of cowardice. But his chances of undoing the damage look slim, since Libby --- now a successful bakery owner --- is dating wealthy, athletic American businessman Whit (Hank Azaria).

Provoked by Whit's macho boasting about a forthcoming marathon, Dennis rashly declares that he, too, will enter and complete the race. This leaves the untrained layabout, who sports a gut the size and shape of a small potato sack, only three weeks to prepare.

The pressure mounts as Dennis learns that his best friend, Gordon (Dylan Moran), has made underground bets on the outcome that he can't afford to lose. Also counting on the novice's stamina are his trusting son, Jake (Matthew Fenton), and his enthusiastic Indian landlord, and self-identified biggest fan, Mr. Ghoshdashtidar (Harish Patel).

Despite some errant, occasionally outrageous humor and a familiar story arc, actor David Schwimmer's directorial debut has enough sparkle and eccentricity to make it past the finish line.

As Dennis struggles to redeem himself, the script highlights his need for maturity and commitment and identifies self-sacrificing discipline with true masculinity. These values contrast with the film's casual acceptance of contemporary sexual mores.

The film contains two scenes of rear nudity, implied premarital sex, one use of the f-word, some crude and crass language, one profanity, obscene gestures, sexual and scatological humor, a violent fight and a transsexual character. The USCCB Office for Film & Broadcasting classification is A-III --- adults. The Motion Picture Association of America rating is PG-13 --- parents strongly cautioned. Some material may be inappropriate for children under 13.

--- John Mulderig

Flawless (Magnolia)
Stylish heist film set in 1960 London as an executive (Demi Moore) in a diamond corporation and the soon-to-be-retired night cleaning man (Michael Caine) join forces to steal gems from the firm's high-security vault, after she learns she will be dismissed from her position. Director Michael Radford, working from a first-time script by Edward Anderson, captures the milieu of the corporation and the era well and builds taut suspense, with Moore, Caine and Lambert Wilson as the detective assigned to investigate the robbery all in top form, while objectionable elements --- apart from some language and the robbery itself, of course --- are practically nil. Brief profanity, a single use of the f-word and some crass language; acceptable for older teens. (A-III, PG-13)

Shutter (20th Century Fox)
Glum, morbid horror tale about a Brooklyn photographer (Joshua Jackson) and his bride (Rachael Taylor) whose Tokyo honeymoon is haunted by the wraith of a Japanese girl (Megumi Okina) they accidentally struck down with their car. Director Masayuki Ochiai's remake of the 2004 Thai film of the same name, while not gratuitously bloody, lacks coherence and originality. Implied nonmarital sex, occasional vulgarity, five uses of profanity, a suicide and a rape theme. (A-III, PG-13)

Stop-Loss (Paramount)
Harshly realistic war drama about a decorated Army sergeant (Ryan Phillippe) who returns from Iraq expecting to be discharged, but is ordered to return to combat under the titular policy and instead defies his commander (Timothy Olyphant) by taking off without leave and going to Washington with the help of his best friend's (Channing Tatum) fiancee (Abbie Cornish). Director Kimberly Peirce's moving, measured film is subtly acted but includes language and imagery that restrict its appeal. Graphic battle scenes with gore, pervasive rough and crude language, some crass language and profanity, sexual humor, two obscene gestures and a suicide theme. (L, R)

Office for Film & Broadcasting classifications: A-I --- general patronage; A-II --- adults and adolescents; A-III --- adults; L --- limited adult audience, films whose problematic content many adults would find troubling; O --- morally offensive. John Mulderig is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.