V.A. Musetto

It would seem no easy task conveying the essence of a bigger-than-life figure like Ellison in a 96-minute film. But Nelson, producer of Werner Herzog's "Grizzly Man," makes it look easy.

Letters could be dismissed as a soap opera, but that would be unfair to this beautiful work. It features tender performances by Kaarina Hazard (Leila) and Jukka Keinonen (Jacob), as well as beautiful cinematography by Tuomo Hutri.

The Outskirts, handsomely directed by Petr Lutsik, will grab people's emotions. The dark and bitter comedy deals with a corrupt, post-communist Russia.

There's scant dialogue in Workingman's Death, but little is needed when majestic camera work by Wolfgang Thaler tells the story so well.

Guaranteed to leave you outraged at the way children - and, for that matter, adults - are exploited by mining companies.

The result is surprisingly engrossing -- even lively, due in part to brief musical numbers inserted amid the interviews.

You can sympathize with both sides in their ideological battle, which ends in a most unexpected way.

Says Rampling: "If you're going to do a story like this, it's not going to be all flowers and roses and smell nice."

Unlike traditional zombie romps, these crazies don't stumble around mindlessly, noshing on human flesh. They look and act like normal people - until the second they go bonkers.

Ali Zaoua doesn't have the fireworks that made "City of God," the story of Brazilian youth gangs, a crossover hit. But in its own, low-key way, Ali Zaoua is just as stirring.

The Japanese whalers are clearly in violation of international law, but no government is willing to take action. That leaves it up to ragtag groups such as the Sea Shepherds to do their best to shut down the whalers. The planet owes them a big "thank you."

Dieter Laser is grand as the doc, a character Christopher Walken would be comfortable doing, and Akihiro Kitamura provides laughs as the first part of the centipede.

The folks on "Survivor" have nothing on Julia Butterfly Hill.

Spanish director Achero Manas' El Bola shows how the boys' bond leads to salvation of a sort for the needy Pellet. He does so with great sensitivity, never sinking into exploitation.

You are left with two emotions - despair and hope - after watching producer-director Jennifer Dworkin's disquieting documentary.

An amazing portrait of the great filmmaker Ingmar Bergman in his later years.

There's not much new in this Filipino film by longtime director Gil M. Portes. But it's so endearing that only a grouch wouldn't be charmed.

Rulfo adds punch to his material with speeded-up visuals and an eye-popping, six-minute helicopter shot of the entire 10-mile project - which alone is worth the price of admission.

Breezy, entertaining and enlightening.

An exploration of the power of religion -- should delight Dumont's fans. For others, it will take a bit of getting used to. The effort will prove to be worthwhile.

Marker's documentary, shot on video, uses interviews, film clips and shots of Tarkovsky on the set to examine the Russian's work.

Strel's 2007 adventures on and in the Amazon are detailed in John Maringouin's fun documentary Big River Man.

Examines in entertaining detail the way Hollywood has treated North American natives going as far back as the days of silent flicks.

Frantic and out of control - and great fun to watch.

The film's unusual look lends a magical feeling.

The final twist is completely unexpected.

The indie film is funny and, at times, heartbreaking. Wisely, it avoids the happy ending that Hollywood would have insisted upon.

Walker's breezy film turns Muniz into a folk hero. And who am I to argue?