Beautifully textured, cleverly scripted and eerily shot (often with a wideangle lens making characters look even weirder), Delicatessan is a zany little film that's a startling and clever debut for co-helmers Jean-Pierre Jeunet and Marc Caro.

The Graduate is a delightful, satirical comedy-drama about a young man's seduction by an older woman, and the measure of maturity which he attains from the experience.

Fonda himself has given this a fine production dress, with associate Bert Schneider, and the brilliant lensing, excellent music background ballads, especially Bob Dylan's "Easy Rider," are fine counterpoints to this poetic trip along Southwest America.

Dirty Rotten Scoundrels is a wonderfully crafted, absolutely charming remake of the 1964 film "Bedtime Story." In this classy version, Steve Martin and Michael Caine play the competing French Riviera conmen trying to outscheme each other in consistently amusing and surprising setups. Martin takes the crass American role played by Marlon Brando, and Caine plays homage to David Niven by sporting a thin mustache, slicked-back hair and double-breasted blue blazer in a sort of 1930s British yachtsman look.

This handsomely produced period piece is easily the most emotionally effective bigscreen melodrama since "The Joy Luck Club," as well as the most intelligent.

Enormously entertaining, Broadcast News is an inside look at the personal and professional lives of three TV journlists.

Shallow Grave, a tar-black comedy that zings along on a wave of visual and scripting inventiveness.

Absolutely charming, unabashedly offbeat Blue Juice is a quirky comedy billed as Britain's first surf pic.

Wolfgang Petersen's The NeverEnding Story is a marvelously realized flight of pure fantasy.

Grease has got it, from the outstanding animated titles of John Wilson all the way through the rousing finale as John Travolta and Olivia Newton-John ride off into teenage happiness.

A skilled, careful adaptation of a much-admired story, A River Runs Through It is a convincing trip back in time to a virtually vanished American West, as well as a nicely observed family study.

Tom Burlinson is very effective as the shy stable-boy who becomes devoted to the courageous horse. Martin Vaughan is impressive as the grimly determined trainer who leases the horse in the first place, as is Celia de Burgh, luminous as his loyal but neglected wife. Ron Leibman practically walks away with the picture as Davis, the smooth American horseowner, and Judy Morris is quietly effective as his naive, talkative wife.

It is literate, bawdy, sophisticated, sensual, cynical, heart-warming, and disturbingly thought-provoking.

A charming, witty, passionate romantic drama about a love transcending space and time, Somewhere In Time is an old-fashioned film in the best sense of that term. Which means it's carefully crafted, civilized in its sensibilities, and interested more in characterization than in shock effects.

Less of a comedy than a hilarious tragedy, I Love You Phillip Morris stars Jim Carrey in his most complicated comedic role since "The Cable Guy."

Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure.

There is no denying Danny Hoch's talent. A monologist in the tradition of Eric Bogosian, Hoch assembles a cast of urban types and explores their dysfunctions and angst with a winning combination of sympathy, ironic point and dead-on mimicry.

In the post-Columbine era, Koury's film has its finger on something particularly potent.

A powerful and creative film.

It's hard to walk away unaffected from this heartfelt, well-researched, feature-length documentary.

A triumph of indie casting of unknowns, Good Housekeeping is knee-deep in delicious thesping.

A superior example of fearless filmmakers in exactly the right place at the right time.

Los Angeles may be the most photographed city in the world, but it has never have been captured with such complex layers of meaning and fascination as in Thom Andersen's remarkable Los Angeles Plays Itself.

Does a superb job of condensing an overwhelming mass of documentation, archival imagery and artistic representation into a concise yet passionate history lesson whose relevance could not be timelier.

Observing locally and thinking globally, Laura Dunn's astonishing debut doc feature The Unforeseen is the kind of transformative viewing experience that has made the current period a golden age for nonfiction film.

Recent history once again intrudes on the present-day lives of working Czechs in the masterful multicharacter drama Beauty in Trouble.

How many thrillers could put the outcome in the title and still provide as many white-knuckle moments as Harvard Beats Yale 29-29?

This is upscale French entertainment at its best.