When it comes time for a Hollywood remake, Depp would make a great Mels.

So beautifully made (everything in it is understated except the gorgeous good looks of its stars) and turns out to have such real cumulative power that it is worth holding out to the end.

Seeing what Hitler's propaganda minister saw, hearing only his diary entries and what he heard, we effectively live inside the monster's head.

An occasionally amusing but strained fable about the dangers and delights of sibling rivalry that asks us to believe (for instance) that soccer scouts roam Mexico looking for 30-year-old recruits.

Fight Club badly wants to be "A Clockwork Orange" for the millennium - and succeeds to a surprising extent until director David Fincher ends up sucker-punching the audience.

The editing (by Kitano) and lensing are stylish and guaranteed to keep viewers hooked through the final rubout.

The longer director Jan Hrebejk's film goes on, the more complex the relationships become, until the film becomes little more than a talkathon.

If you were among the many who thought highly of "A Prophet," the French prison drama that played here last year, you'll want to see the brutally realistic Danish thriller R.

A hilarious Parker Posey provides her customary blast of brittle energy in Price Check, an engaging corporate comedy.

Neither a concert film nor a documentary but a ghoulish “event” offered just in time for Halloween, This is It is sadly -- and reprehensively, if you ask me -- the movie equivalent to the National Enquirer’s infamous post-mortem shot of Elvis Presley.

It might take a while to figure out what is happening, because Khoo provides no expository dialogue. But viewers' patience will be rewarded as the stories come together in a moving fashion.

Although it has affecting moments, the film can't quite decide whether it's about aging or about the effects of war on the home front.

To compete with the quintessence of nullity that is Sofia Coppola's insufferable Somewhere, imagine a film called "Wanna See Me Crack My Knuckles?" or possibly "Let's Learn How Long It Takes This Shallow Dish of Liquid To Evaporate."

Had me watching through misty eyes, at least for the first half.

A worthy addition to the cinematic canon, which, at last count, numbered 52 different versions.

A heartfelt, beautifully acted film that suffers from its similarity to countless other movies.

A documentary mosaic of kooky Americana.

An oddity: an upbeat film about a cemetery.

Garbus’ film is at its best when giving voice to the female relatives of these victims, who come together to pressure the cops — who’ve been instructed to downplay the possible connection between the killings — to do more.

A cut above the season’s other belated sequels like “My Big Fat Greek Wedding 2’’ and “Zoolander 2.’’

Just in time for Mexico’s Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue.

The documentary was filmed in the 1990s by Denny Tedesco, whose father Tommy is credited as the most recorded guitarist in history, including the instantly identifiable themes to “Bonanza” and “Mission: Impossible.”

Unspeakable brutality ensues, including a rape, a castration and cold-blooded murder. Dumont never mentions Iraq, but the parallels are clear.

The omnipresence of oddity in The Future dilutes its charm: A T-shirt creeps around on its own, a little girl likes being buried neck-deep in the backyard. Whatevs.

At some two hours, the film is 30 minutes too long. Cutting out the melodrama and sticking with the daring-do is the answer.

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

This Cinderella is all dressed up with nowhere very interesting to go.

Once in a Lifetime, which is being released at the peak of World Cup fever, is the sort of sports documentary that will appeal even to nonfans. It's a quintessential only-in-New York story.