Ronnie Scheib

A rousing, hilarious Bacchanal of family togetherness, Roger Paradiso's brilliantly cinematic adaptation of the second-longest running play in Off-Broadway history might be the best of the recent rash of wedding pics.

Culture shock often proves the stuff of comedy, but the sight of a silver-studded, sombrero-topped mariachi band breaking into a rousing rendition of "Hava Nagila" transports diversity into the realm of the surreal.

For Fry, the music's complexity, ambiguity, innovation and humanity far surpass Wagner's personal limitations. He may not convince his viewers of the rightness of his conclusions, but he certainly makes a fervent case for the triumph of art over biography.

Unlike "Unzipped," with its single focus on the charismatic Mizrahi, Seamless follows three of the 10 finalists, furnishing a quietly fascinating contrast in persona, approach and design.

Piles heavy emotional baggage on a slender story frame. Pic looks ravishing, featuring a nocturnal road trip through a cool kaleidoscopic landscape of shifting colors peopled by three commanding thesps of different generations whose interlocking stories form a cohesive whole.

Confusing lack of historical set-up considerably dims the potential luster of a great true story: Helmer Alberto Negrin relies instead on competently rendered but cliche-ridden melodrama of nasty Nazis and suffering Jews.

Burns' always impressive sense of place lends authenticity to the pals' perambulations, and the stellar cast brings a welcome overabundance of personality to regrettably one-note roles.

Barsky wisely includes just enough dissenting voices and admissions of grievous error by Koch himself to prevent the picture from seeming like a 100% feel-good puff piece.

Less cohesive and accessible than "The Maid" (which the Chilean duo co-scripted and Silva helmed solo), picture nonetheless contains unforgettable scenes.

Ron Frank and Melvut Akkaya’s docu isn’t exactly groundbreaking, but as a brief history of the Catskill resorts, liberally laced with well-edited archival promos, songs, homemovies and extended excerpts from routines by Jewish comics who performed there, it consistently entertains.

Holiff Sr.’s extensive audio diaries and taped phone conversations with Cash give authentic voice to the film’s otherwise stodgy re-creations of this true odd couple’s stormy relationship.

Director-producer Aviva Kempner's well-researched but unchallenging docu, like "The Goldbergs" itself, has cross-cultural appeal for Jews and goyim alike.

Uneven but enjoyably titillating black comedy should elate Rickman fans while pleasing aficionados of extra-flakey caper flicks.

The pleasures of well-observed characters and small epiphanies are undeniable, and Alex of Venice, actor Chris Messina’s directing debut, is amply supplied with both, thanks to Mary Elizabeth Winstead’s extraordinary performance: Registering profound shocks with slight ripples rather than big emotions, she quietly commands attention.

Despite lively commentaries by a pantheon of master musicians and magnificently performed classical pieces, "Exiles" only distantly echoes Huberman's visionary adventure.

Documentarian Jarred Alterman emphasizes oddball lyricism in the one-of-a-kind Convento, in which a 400-year-old Portuguese monastery provides the canvas for a Dutch family's artistic experimentation.

Schwarz lacks the writing chops to adequately embed the character’s predictable learning curve into a richer narrative fabric, but Dunne’s perf is pitch-perfect.

As a character study and revelation of a possible answer to addiction, the docu rocks. But Negroponte's low-res video camera, trivializes the film's already crude approximations of psychedelic experiences and its recordings of shamanistic rituals.

The indomitable siblings' unusual background, huge size and highly developed intellects, as well as the dramatic ups, downs and rebounds of their interwoven sagas, should result in a fascinating dual biodoc. But the two-hour pic's lack of economy makes for heavy slogging, with no boxing minutiae too small for exhaustive exposition.

The latest in a line of documentaries decrying the destruction of viable working-class businesses and residential neighborhoods in Brooklyn, Su Friedrich’s film bypasses sadness and indignation for flat-out anger and well-aimed sarcasm.

Picture loses its delicate edge when it builds to a prescribed dramatic flashpoint within an overly compressed timeframe

Unlike more generally philosophical, life-affirming autobiographical docus about dying, “One Cut, One Life” rehashes old problems and tries to resolve multiple unresolved issues already exposed in previous films, proving as exasperating as it is weirdly compelling.

Covering familiar ground from an unfamiliar angle, Ted Woods' oddball documentary White Wash examines the history of African-American disenfranchisement from a black surfer's viewpoint, in the process countering the racist myth that black people don't swim or surf.

As endless processions of friends and colleagues attest to Spinney’s genius, and the filmmakers wallow in never-before-seen behind-the-scenes imagery, they fail to fully capture the actual art of puppeteering, with woefully few substantial excerpts from the show itself.

Winner of the Golden Starfish fiction competition at the Hamptons fest, pic's gutsy, madly ambiguous unleashing of a mixed bag of religious reactions attests to a genuine sense of regionalism.

Though generally engrossing, Ikland's multiscreen displays and cross-cultural theatrical experiments prove more distracting than effective.

Koons Garcia has obviously opted for an upbeat approach: Choruses of scientists and farmers sing the praises of organic farming while John Chater’s camera visually devours the fruits, vegetables and livestock produced by healthy dirt.