Attractions: Finally, the Tom Cruise/Adam Sandler Showdown You've Been Waiting For

Welcome back to Movieline Attractions, your regular guide to everything new, noteworthy, and faintly smelling of 1998 at the movies. This week, the world watches as Cameron Diaz helps Tom Cruise test his staying power, Adam Sandler and friends get juvenile, and an endlessly intriguing documentary pick up the slack at the art house.

WHAT'S NEW: Before we get too carried away with new openings, all bow to Toy Story 3. Pixar will easily win the weekend with around $61 million, moving it beyond a $200 million domestic total and sucking up every penny it can before Eclipse drops in next week. In a maybe not-so-distant second lands Grown Ups, Adam Sandler's semi-SNL reunion/semi-Chuck and Larry comeback looping Kevin James and director Dennis Dugan into a fratty, puerile riff on middle age. By all accounts it's virtually unwatchable, which of course translates to a minimum $38 million opening and some decent security against next week's estrogen tsunami.

Also opening: The Sundance-winning Afghanistan war doc Restrepo; French New Wave alum Alain Resnais's good-but-not-great Wild Grass; the WTF Greek import Dogtooth (NYC only); and in L.A., the would-be-radical Muslim comedy The Infidel, the gay Orthodox Jew doc Eyes Wide Open, and the Tibetan liberation doc The Sun Behind the Clouds.

THE BIG LOSER: After a 48-hour head-start, the Cruise/Diaz action comedy Knight and Day finally enters the latter part of its five-day opening frame. Alas, whatever momentum Fox thought it was going to attain by this point has been pretty much forfeited after Wednesday's $3.8 million opening. The numbers from here look kind of dismal; a weekend below $20 million and a five-day total below $25 million are the going rate for this $107 million-budgeted caper. Pray for the foreign box-office, which should get this to a break-even point and maybe even a minor profit if Fox is lucky.

THE UNDERDOG: To the extent that the gripping Restrepo will clean house this weekend in limited release, there's something kind of thrilling and weird about Oliver Stone's Latin American political safari South of the Border. I can't deny the creepy sycophancy going here between the filmmaker and presidents Hugo Chávez, Evo Morales, Raúl Castro and other "New Bolivarian" leaders whom Stone says get a viciously unfair rap in the American media. But I also can't deny that Stone's giddiness -- if not his ideology -- is infectious. I mean, here is a guy staging impromptu flashback scenes of the Venezuelan president walking out of his childhood home -- "You're thinking of your grandmother... and, action!" -- and counteracting Bolivia's oppressive elevation with a Morales-hosted coca-leaf feast. Meanwhile, Albert Maysles is getting the whole thing on tape, up to and including the point we're matter-of-factly introduced to the Latin American New World Order. In the end, South of the Border must be one of only two things: The curious, all-access work of a shameless fanboy -- to be taken with a fat grain of historical salt -- or an accurate, prescient glimpse at the developing powers that will succeed in squelching our hegemony. In either case, it's Stone's most singular, infuriating work in years and rarely less than fascinating.