Unexpectedly touching -- odd-couple buddy comedy.

The freedom to answer Hamlet's nagging question over whether to be or not for oneself is explored in this thoughtful and thought provoking documentary about the Swiss organization EXIT AMD.

Beautifully played by Valette and Zylberstein, and directed with amazing grace by Albou, this touching film offers a respectful, fascinating look at a community that's ignored as often as it's misunderstood.

What Guttentag and Sturman gain in dramatic immediacy, however, they lose when it comes to historical context, and the chance to offer insight into why such things occur in the first place -- and continue to happen today -- is lost.

There's a hilarious performance of a "de-fascisized" version of Beethoven's "Ode to Joy," and the soundtrack prominently features an Italian version of the crypto-fascist girl-group classic "I Will Follow Him," a joke Kenneth Anger first made in "Scorpio Rising" that's still funny today.

Unexpectedly poignant documentary.

The cumulative evidence that genocide could not have occurred without the cooperation of the German army is overwhelming.

A deranged penguin is seen racing toward his certain doom amid the crags of a mountain range. It may not be "Happy Feet," but Herzog has made a penguin movie after all.

Animal lovers and museum-goers alike are sure to enjoy this curiously delightful hour-long documentary.

The thorny heart of Steven Spielberg's sober, fact-based political thriller about Israeli retaliation for the murder of 11 Olympic athletes by Palestinian terrorists is the knowledge that vengeance is a self-perpetuating murder machine that drags successive generations into a mire of tit-for-tat bloodshed.

Patrice Chereau's portrait of a marriage en crise is an excoriating look at the deep unhappiness that can fester within the most respectable-seeming of households.

Nelson's film eschews sensationalism, and knowing how the story ends in no way diminishes its visceral impact.

It's an unexpectedly powerful little film that manages to say a lot of what, despite all the talk on the subject, isn't being said in the national debate on immigration.

A thoughtful, unsparing look at a controversial subject: suicide bombing.

[A] bold and brilliant rendering of Henry James' masterpiece.

If your idea of fun involves zombies, monstrous physical transformations and alien slugs bent on world domination, look no further than James Gunn's gleeful homage to all things gross and horrible actually makes good on the "horror comedy" label by being both flat-out creepy and darkly funny.

Questions the efficacy and, above all, the humanity of what even steadfast Bush supporters like Tony Blair have condemned.

At times funny, but mostly tragic, Scurlock's film is important viewing for any who owns a credit card without realizing that it's a wallet time bomb.

The film's sweetness derives primarily from the relationship between Ashmol and his unusual sister, and draws much of its richness from the unfamiliar and fascinating world of opal prospecting.

For the most part, the "Rocky" pictures have been outstanding entertainments, beautifully crafted and executed, and Rocky V is an important and worthwhile addition to the series.

A hilarious black comedy and already something of a cult favorite.

Bolstered by a beautifully shaded performance by Karanovic as a woman attempting to escape the torments of her past while securing a future for her daughter, Zbanic's film begs a pretty complex question: Is a love story possible in the aftermath of torture and genocide? The answer appears to be a tentative yes, both on the levels of the film and filmmaking, but it isn't easy.

So laugh all you want at the proud haircutters of Beauty Without Borders - but don't underestimate what a basic cut and color can mean for a country's future.

The film runs 95 minutes, and you'll be holding your breath for most of them.

Zeffirelli's production is neither high art nor lowbrow pandering, but something in between.

The lovely Audrey Tautou and sad-eyed Gad Elmaleh are perfectly cast as a gold digger and the poor sap who loves her, but the real star of Pierre Salvadori's larky, Lubitsch-esque farce is France's impossibly chic Cote d'Azure.

By no means a landmark, but it is a remarkably pleasant surprise -- so few movies aimed for the whole family show an understanding of why it's actually healthy to pretend.

Twenty years ago, Li's film might have served as a warning; today, it rues a dehumanizing economic system run rampant that leaves one sad slave wife to muse, "It's easy to die. It's living that's hard."