A visually enthralling undersea travelogue.

Zlah H. Hamzeh's documentary is a powerful and timely portrait of the tensions that can be generated by immigration situations, especially in a post-Sept. 11 world.

Superbly conveys its themes of despair and lost opportunities.

There is no denying the emotional impact of the story, which is powerfully conveyed in this important, deeply moving documentary.

Fateless is both haunting and poetic. It also is visually stunning.

A heartwarming and moving adventure that does excellent justice to the classic character.

Michael Apted's landmark films documenting the lives of a disparate group of Brits in seven-year intervals have always been fascinating from a sociological perspective. But the latest installment proves that they are undeniably brilliant cinematically as well.

Pungently atmospheric, brilliantly textured and featuring superb performances from every performer in parts big and small.

The performances are excellent all around, with Scott mesmerizing as the emotionally volatile Laevsky and the gorgeous Glascott making vividly clear why her character drives all the surrounding men to distraction.

Taut, superbly executed and consistently engrossing, The Disappearance of Alice Creed marks an auspicious feature debut for writer-director J Blakeson.

This deeply humanistic, profoundly touching work representing independent cinema at its finest should be seen by far wider audiences.

The devastating effects of head injuries in sports are detailed in Steve James' wrenching documentary.

Few will be unmoved by this film's subjects, including the great niece of Herman Goering and the daughter of concentration camp commandant Amon Goeth, as they relate the heavy burdens stemming from their fateful lineage.

Depictions of custody battles have become a cinematic staple, but few register with the heartfelt emotion of Any Day Now.

Gorgeously photographed by co-director Burke in the beautiful environs of East Sussex, England, this modest but subtly powerful piece of minimalist cinema exerts a haunting spell.

Schickel's documentary, narrated by Sydney Pollack, breaks no new ground stylistically, but it is a well-organized, informative and inevitably entertaining portrait of the man who revolutionized screen comedy and who arguably became the first mass-market, commercialized media figure.

An invaluable addition to the rock history cinema archives.

Almost unbearably moving at times, Julie Betuccelli's simple but sublime debut feature presents a portrait of maternal love and female fortitude that will reduce the stoniest of viewers to tears.

Compelling.

A terrific cinematic essay that will have a very, very long shelf life.

Ultimately a powerful portrait of the sort of apocalyptic culture clash that is resulting in an increasingly dangerous and fragmented world.

The filmmakers turn what could have been dry subject matter into compelling, inspirational drama.

A thoughtful, provocative effort that makes up for its narrative failings with its astute philosophical musings.

A fascinating examination of a mysterious life and the truly bizarre art that it spawned.

Should be mandatory viewing for those interested in the dominant intersection between religion and politics.

A fascinating account of its subject's self-torture over his inability to stop one of the 20th century's greatest tragedies.

Uses dark humor, incisive characterizations and social commentary to infuse its familiar detective tale with a distinctive flair.

An uncompromising portrait of how global capitalism can exploit an area's resources to the point of near annihilation.

Transporter 2 really does deliver the goods.

This tale of domestic abuse breaks little new stylistic or psychological ground, but it is a searing, well-acted drama that should strike universal chords.

While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.

Particularly adept at chronicling the vague existential aimlessness of a segment of postcollege young adults, Bujalski manages to make his subjects seem simultaneously articulate and socially dunderheaded.

Fascinatingly ambiguous tale and bizarre cast of characters make it one of the more entertaining documentaries in recent memory.

An eye-opener that handles its themes in a refreshingly nonexploitative manner.

Combining the influences of Italian neorealism with Dickensian melodrama, Andrei Kravchuk's simultaneously tough-minded and sentimental The Italian is as bracing as it is moving.

What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.

Anyone looking for subtlety, character development or layered plotting will be disappointed, but action fans will find plenty to amuse them with this film that makes "Hard-Boiled" look restrained.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

Despite his obvious infirmities, Reilly infuses his performance with a great deal of energy -- frequently shouting his lines for emphasis -- and, of course, perfect comic timing. It's fortunate that we have this filmed record -- directed by Barry Poltermann and Frank Anderson -- of a memorable solo performance by a true show business original.

A music documentary of uncommon richness.

Powerful enough to make even the most cynical believe in the ability of ordinary people to induce political change.

Moving historical drama brings a fascinating chapter of art history to life.

A moving if too-leisurely paced effort that benefits immeasurably from the superb performance by its 84-year-old star.

Arriving amidst a tidal wave of overblown and frequently charmless big studio efforts, Sita Sings the Blues is a welcome reminder that when it comes to animation bigger isn't necessarily better.

Comprising seven individual films with a cumulative running time of more than 8 1/2 hours, Have You Heard From Johannesburg (the title comes from a Gil Scott-Heron song) naturally will find a more receptive home on television and home video, but New York's Film Forum, presenting it in three parts, is to be commended for giving the series its world theatrical premiere.

Most notable for its evocative photography of the bleak Oklahoma landscapes and for the memorable turns by its two leads, who bring a haunting, world-weary gravitas to their performances that feels utterly authentic.

The film, which received its world premiere at the Tribeca Film Festival, no doubt will become a mainstay of university film courses.

With fierce arguments, often drawn on partisan lines, raging across the country, The Lottery will be of vital interest to anyone interested in the topic, especially the parents of young children.

For an event of such seismic social importance in the modern era, the 1969 Stonewall riots went shockingly undocumented. Almost no archival footage exists, which gives Kate Davis and David Heilbroner's documentary feature Stonewall Uprising the frustrating air of an oral history lesson. But it's a vitally important one nonetheless.

Its awkward title notwithstanding, Mugabe and the White African offers the sort of narrative drama rarely found in documentaries.

Running almost two hours, its increasingly convoluted narrative may be too difficult to follow for younger viewers. But its thematic ambition and dazzling visual style ultimately make it one of the more rewarding anime efforts to reach these shores.

While the film is occasionally frustrating in its lack of analysis, it nonetheless delivers a riveting portrait of the driven and troubled Mugianis.

The film is best appreciated as a showcase for the hugely popular titular character, with Perry tearing into the role with hugely entertaining comic gusto.

Carl Colby's deeply felt exploration of his father's life and career is as emotionally, as it is historically, intriguing, even if the filmmaker ultimately admits that he's never quite able to get to the bottom of his subject's enigmatic personality.

Although not exactly breaking any new ground with its by now all too familiar found-footage format, Paranormal Activity 3 hews to the formula in expertly crafted fashion, mustering up the requisite scares and then some.

Martyn Burke's documentary hauntingly dissects the rise of media mortality in the war zone and the mental disorders that follow.

Instantly proves itself an invaluable historical document. Shot verite-style with no narration, soundtrack or other embellishments, Tahrir: Liberation Square simply depicts the events of late January and early February 2011 with a vital immediacy.

Although there are numerous interviews with various people both directly involved with or peripheral to the action, the most compelling figure on display is a particularly articulate coach who proves all too determined to have his protégé succeed. The fact that he works strictly on commission is certainly no small element of his zeal.

Few will fail to be moved by this portrait of selflessness in the face of near insurmountable odds.

A quiet, nearly plot-free drama enlivened by beautifully nuanced performances by its four-person leading ensemble, In Our Nature depicts familiar dysfunctional family dynamics with a welcome lack of melodrama.

The comedy of errors surrounding the 11 years (and counting) efforts to rebuild the devastated Ground Zero site would be funny if it weren't so tragic. Filmmaker Richard Hankin manages to encompass both aspects in 16 Acres, his strikingly coherent documentary chronicling the tortured process.

Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.

The extra weight that the actor has packed on gives him an air of vulnerability that makes his character's ultimate emergence from his seemingly impenetrable emotional shell all the more moving.

The opportunity to see the stunning footage on the big screen is not to be missed, and the narration by Daniel Craig, delivered with James Bond-style drollness, makes it as much fun to listen to as to watch.

Each of the stories, impeccably staged and acted, has just the right length, well befitting the slight aspects of their story lines. Never allowing preciousness or ponderousness to infuse the material, filmmaker Pak demonstrates a real talent for concise storytelling marked by poignancy and humor.

Flirting intriguingly with film noir conventions, the film never really achieves a coherent tone in its depiction of the complicated and sometimes fatal series of events that arise.

In effect an elaborate home movie. But its examination of the long-lasting effects of evil on the psyche of its victims and their descendants is both thoughtful and much needed in these increasingly polarized times.

While much of what is said here has been recounted in previous forums -- the special Sept. 11 episode of TV's "Third Watch" being a prime example -- the redundancy doesn't deprive the commentary of its power.

The film lacks narration or music, but the devastating images speak for themselves.

A sensitive and well-observed drama that, while not breaking new ground, marks its director-screenwriter as someone to watch.

Despite the often insightful comments by the various cast members and Shepard himself -- the film doesn't dig very deeply into the artistic process of putting on a new play. But it does offer a fascinating fly-on-the-wall perspective.

Ultimately stronger on characterization and atmosphere than narrative. But its portrait of a society torn apart by, among other things, religious fundamentalism, is all too currently resonant.

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Comes across as Almodovar lite, but the film, from director-screenwriters Ines Paris and Daniela Fejerman, offers some pleasures along the way, including an engaging performance by Leonor Watling ("Talk to Her").

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

It does offer plenty of musical numbers and an impressionistic portrait of his life and times.

The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.

The film will eventually be a must-own video item for theater buffs.

The results are always visually arresting, while the narrative, even by Maddin standards, is completely out in the ozone.

While the arguments obviously will be digested differently according to the viewer's preconceived notions, the impressive credentials of the witnesses, most of them former insiders rather than mere pontificators, give their arguments an undeniable credibility.

A clearly partisan effort -- director George Butler is a longtime Kerry friend and supporter -- the film is nonetheless bound to have some political impact, thanks to its powerful depiction of the young Kerry.

An earnest drama about spiritual redemption that is likely to strike quite a chord with certain audiences.

Quite moving thanks to its gorgeous cinematography and a story that manages to be emotionally resonate despite its familiarity.

Boasts an undeniably original premise and clever plot machinations that lift it several notches above the usual slasher film level.

Tells a gripping story that resonates with numerous subtexts.

An appealing lead performance from its leading man and a wonderfully sentimental, if overly familiar, story line are the chief virtues of this French drama, a huge success in its native country.

Mainly notable for its exoticism and gorgeous scenery.

The two main characters are both so funny, human and touching that Sunset Story ultimately possesses an emotional quality missing from many similarly themed efforts.

Although Cinevardaphoto is hardly a major work, it does represent the latest (and earlier) chapters in the career of a fascinating filmmaker.

A lack of artful filmmaking doesn't detract from the dramatic impact of this fly-on-the-wall, cinema verite documentary.

Highly entertaining and frequently fascinating.

Odessa ... Odessa! could use a little more narrative substance to augment its haunting imagery but is ultimately a memorable portrait of cultural dislocation.

Possesses a lighthearted quality that makes it rather enjoyable.

Tells a fascinatingly lurid tale.

A thought-provoking and involving film.

If ultimately the highly talky Saraband comes across as a minor entry in the canon, it nonetheless marks a dignified farewell for one of cinema's greatest directors.

The result isn't particularly mesmerizing, but it does offer a well-rounded portrait that will be of particular interest to photography lovers.