Roger Moore’s reviews of selected movies at the 2009 Florida Film Festival

Vintage ‘50s cars, vintage clothes and ‘50s vintage cheese are the selling points of Alien Trespass, a monster movie that tries to recreate the slick, silly B-movies of the Eisenhower era.

Here’s a documentary about a piece of history many won’t believe ever happened.

Twenty years ago Arlen Faber ( Jeff Daniels) wrote a runaway self-help best-seller, Me and God.

They were in the thick of that whole 80s “hair metal” craze, touring with Whitesnake, appearing on the same bill with Scorpions, Bon Jovi and the like.

Doug Pray’s documentary Art & Copy suggests that advertising is the dominant modern-art form.

When you stretch a modestly scripted short-film idea into feature length, the result usually looks something like The Attic Door, a too-easily guessed “What’s really going on here?”

As titles go, BLAST! promises a lot.

Charlize Theron plays another damaged woman running from her past in the modest indie The Burning Plain.

Junkies and drunks are more than just punks in the land of the midnight sun.

They were just a bunch of lads from Daytona Beach, musicians wearing matching suits and cranking out jangly pop in the Central Florida of the mid-1960s.

Deadgirl is a River’s Edge for misogynists, a zombie movie with high schoolers struggling and failing to do the right thing when faced with a big moral choice.

A big piece of modern American history is explored in Robert Stone’s Earth Days, which details the origins of the modern environmental movement.

Tony Barbieri’s bland romantic drama Em is about two 20somethings who meet, mate, move in together only to discover that one of them is bipolar and this will never work out.

Henry Marsh is a British neurosurgeon who is single-handedly trying to bring one hospital in one corner of Eastern Europe into the 21st century, at least in terms of his specialty.

A classic movie is one that gets under our skin, that resonates in the culture, that becomes a cultural catchphrase.

A terrific, if seriously California-centric culinary history lesson, Food Fight is about what happened to America’s farmers, shoppers and eaters before San Francisco-area cooks pushed the whole “eat healthier, eat fresh, eat local” thing on the rest of the country and indeed the world.

Scott Hamilton Kennedy’s Oscar-nominated documentary, The Garden, is about the “largest urban garden in the United States” and efforts to save it.

Animator and longtime Florida Film Festival friend Bill Plympton makes edgy, delightful and defiantly messy cartoon shorts.

Il Divo, the Godfather-ish drama about Italy’s big Mafia trials of the 1990s -- court cases that implicated the very top of the Italian government, the Vatican and the Masons in mob activity -- won a jury prize at the Cannes Film Festival last year.

Jeremiah Zagar points his camera at his artistic parents for his warts-and-grout-and-all documentary In A Dream.

“Barstow” has long been the California version of Perth Amboy or Flushing -- the town as regional punchline.

Dallas Roberts -- you’ll recognize the face if not the name.

A nearly perfect cast more than compensates for the over familiarity of elements of Lymelife, the umpteenth coming-of-age drama to roll out of Indiewood in recent years.

Management, a romantic comedy starring Jennifer Aniston and Steve Zahn, covers a lot of ground – emotionally and geographically.

Back in the olden days, when “adult movie” meant movies for grownups, not “just” sexually explicit pictures, a major studio let a major director (John Schlesinger) and two rising stars make the most daring, provocative and “adult” movie of its day.

Peter Wier and Bruce Beresford were making the Australian films that put Australia on the international movie-making map in the 1970s.

The rugged, bare and beautiful mountains of the Pakistani-Indian border are the setting for Mehreen Jabbar’s slow but pretty Ramchand Pakistani, a tale of an accidental border crossing with tragic consequences.

The chef barks at the underlings, has fits of temper and rules almost every aspect of their lives.

Shot on a shoestring but written and acted with wit and heart, Prince of Broadway is a Kramer vs.

Kimberly Reed, who began life as Paul McKerrow, thought bringing a film crew home to Montana offered the chance to document her acceptance or rejection by her long-estranged brother Marc, a guy who had never been able to compete when Paul was the star quarterback, most-likely-to-succeed guy in high school, and who has never gotten over Kimberly’s sex change operation.

A wacky family dysfunction farce inexplicably set in 1987 Buffalo, Poundcake is one of those indie comedies that attracted a better “name” cast than it deserves.

Showbiz Pizzas used to dot the landscape, offering a noisy dinner, games and a show to kids in a pre-Chuck E.

They’re stressing about learning the lines to The Wizard of Oz, mastering their dance moves, about hitting those high notes at the end of “Over the Rainbow.”

Yolande Moreau plays the industrious but touched washerwoman-turned-painter Seraphine de Senlis (Seraphine Louis) with an open-faced conviction that is almost unnerving in its intensity.

A decade after The Blair Witch Project, many of us who follow “the Haxan Films boys” had pretty much given up on them ever making anything that measures up to that happy accident.

The French romance Shall We Kiss is both thoroughly modern and a throwback to ancient storytelling traditions, when tales began with somebody on the road to Canterbury, for instance, interacting with someone else and then telling a story.

Director Nina Paley’s whimsical spin on Indian history and folklore, Sita Sings the Blues, may run out of whimsy a half hour before it’s over.

They were a national punchline almost from the moment of their birth in 1965.

So many “scenes” being born or dying at any given time in New York that a body could go starkers trying to track them.

“Great” performances by very young children in movies are rare, but there are two tiny jewels at the heart of the Korean melodrama Treeless Mountain.

A hallmark of America’s indie cinema: gorgeous leading ladies dressing down and “slumming” their way through down-and-dirty working class characters.

Mark Duplass is sort of the indie film answer to Jack Black, Jason Segel or Seann William Scott.

They served their country, most of them, many decades ago.

“Where you from?”

Imagine a subculture where the kids think wearing skinny ties and straightened hair and mini skirts is cool, where the preferred mode of transport is a Vespa or some other vintage or new scooter.

Carol Kaye trots out her bass guitar and demonstrates finding the opening hook on Sonny & Cher’s “The Beat Goes On.”