Charting a life in transit and barely sidestepping a tragic journey's end, CARO DIARIO proves that you never really know people until you travel with them.

A sensitive, thought-provoking story involving a man forced to look at himself as youth gives way to middle age. Elliott is outstanding as the title character, an old-timer in the profession at age 30.

Berman and Pulcini, who turned Harvey Pekar's graphic memoir into the visually inventive, Oscar-nominated "American Splendor," dress this film as an anthropological field diary and add several fabulous touches.

If Caspian has a fault, it's that viewers familiar with neither the books nor the first film may have trouble picking up the strands of the story in the early scenes… but in all honesty, how many Lewis neophytes will choose Caspian as their point of entry?

Outrageous fun, this film is New Wave chic, satire, self-parody, science fiction, and certainly one of the more accessible independent features ever made.

Interestingly, the real heart of the film is in the finely drawn adult characters.

Nobody's Fool is to be commended just for acknowledging the existence of old age in the context of youth-obsessed pop culture; more importantly, the film is refreshingly frank about the everyday struggles of many senior citizens in an era of fractured families and a disappearing social safety net.

The footage in the Indy race is of the awesome 17-car crackup that began the 1968 festivities. Its insertion lends the picture even greater authenticity.

Delightful, sophisticated comedy sparked by the famous chemistry between Katharine Hepburn and Spencer Tracy.

Though it's bogged down by a stiff cast, a yawn-inspiring conventional romance, and a sappy religiosity, it remains a landmark in the history of special effects.

Glossy trash with the star at full throttle, it's the quintessential La Liz movie.

Bielinsky's "Nine Queens" was a complex romp through the machinations of high-stakes con artists, but this intricately plotted mystery ventures into darker psychological territory and never misses a step.

Noted French filmmaker Demy's wife Agnes Varda helmed this intensely personal tribute to her late husband. It is her third such tribute and is the only one to look deeply into Demy's vision as a director and his filmmaking techniques.

The good news is that, as sitcom-style theater goes, The Odd Couple is often highly amusing, with Lemmon and Matthau ideally cast as prissy neatnik and unmitigated slob.

Buoyed by Morton's sensitive performance, the film proceeds as a series of vignettes, some of them unforgettable.

Highly sentimental social soaper, subtly crafted by director Stahl.

Brynner is very good, his austere presence and unflinching intent making him seem indestructible.

Anyone who grew up in the Brooklyn of the 1950s will recognize the essential honesty of this picture.

Sardonic and steeped in the tumultuous history of the former Yugoslavia, this absurdist comedy of contemporary mores can be appreciated even without intimate knowledge of its specific cultural context.

The most intelligent and perhaps the best filmic treatment of Edgar Rice Burroughs's classic pulp novels about Tarzan, the white child of noble blood raised by apes in the jungle, since Elmo Lincoln first brought the character to the screen in 1918.

Director William Asher, whose previous credits include various episodes of I Love Lucy and several beach party movies--most notably, BEACH BLANKET BINGO and HOW TO STUFF A WILD BIKINI--keeps the action rolling at a brisk pace, while Tyrrell turns in one of her best performances as the psychopathic aunt.

It's also pretty funny -- certainly more so than the first film.

In different hands and different lands, the same story could easily have been a pretentious bit of "Red Shoe Diaries" piffle. But exceptional performances and the oh-so-Frenchness of the complications instead produce an erotic tale that plays like the best gossipy story you ever heard about people you thought you knew.

Rossier's film leaves the dispiriting impression that democracy simply will not be tolerated in the Southern Hemisphere.

While all of the acting is top-notch, Reynolds steals the show with his underplaying and understanding of the role.

Togman, an associate professor in political science at Seton Hall University, paints a clear-eyed and unsentimental picture of Sheree's efforts, and there are no happy endings for her or for Mary, who's quietly battling breast cancer as she helps Sheree line up paperwork and negotiate with creditors. The film leaves them both where they started: struggling.

Wahlberg acquits himself well, and the supporting cast -- which includes pioneering rocker Levon Helm in a scene-stealing cameo as an aging gun buff who knows a thing or two about cover-ups, Ned Beatty as a corrupt politician, and a Strangelovian Rade Serbedzija -- is so strong you almost wish the film were longer so they could have more screen time.

A charming comedy shot in black and white that mixes several varieties of the New Yorkers that Allen loves so well.