This wonderful film by Polish director Agnieszka Holland (Total Eclipse), based on an autobiography by Solomon Perel, concerns a Jewish-German boy who manages to conceal his identity from the Nazis and ends up a member of their Youth Party. An admirably full experience, the film is both black comedy and horror show, with the central character taking the full measure of everyone's perspective on the war and Nazi crimes. -Tom Keogh.

A movie only a kid could love, which was the whole point. Harvey Keitel plays a small-time thief who performs as an organ grinder on the boardwalk at Venice Beach. His scam involves his monkey, which has been trained to pick pockets. Now a mob boss wants to borrow the monkey to pull off some big scores-but the monkey runs away and is adopted by a lonely little girl (Thora Birch). She finds herself in increasingly hot water when her new pet starts bringing her the valuables of everyone in the neighborhood. Birch is a natural young actress, while Keitel hams it up shamelessly (he reportedly made the film to amuse his young daughter). -Marshall Fine.

The late director Norman Rene and writer Craig Lucas made a pretty fine creative team on the stage and in the movies, and this 1990 drama about the evolving impact of AIDS on gay New Yorkers is their best cinematic achievement. The ensemble story follows the lives of nine or so characters as word of the so-called "gay cancer" eventually becomes a real force, killing several of them as the years go by. The film works well on a number of levels, not least of which is the enviable closeness of the characters, the script's wit, the bittersweet experience of loss, and a celebratory attitude at the end mixing wisdom with defiance. -Tom Keogh.

Freeway is one of those movies that has the power to simultaneously amaze and disgust just about anyone who dares to view it. Like Seven, Kalifornia, and Natural Born Killers, it's a movie that could be called a product of our times, since it caters to our societal fascination with serial killers and outrageous psychopathic behavior. But make no mistake: director Matthew Bright isn't out to feed anyone's sickest impulse. This is a scathing satire in the age of Jerry Springer fistfights and "real" TV shows like Cops, in which the "I-5 Killer" (Kiefer Sutherland) meets a wayward teenager (Reese Witherspoon) on the freeway that provides his nickname. She confides in the man but soon discovers his gruesome intentions, and. well, let's just say she effectively defends herself, only to find later that the killer (whose wife is played by Brooke Shields, no less!) has used the media to his advantage. Fine performances make this a provocative thriller, but it's definitely not for the innocent or squeamish. -Jeff Shannon.

A prank gone horribly wrong resurfaces decades later to haunt the participants in this compelling little indie suspense flick, told with an unusual double-flashback technique. In the first flashback, Ivan, Frank, George, and Derek reunite for the first time in 22 years. In the second, we witness the deadly chain of events that drove the friends apart. Back in the first flashback, we learn that the police have at last turned up evidence that points to Derek. The dual structure of the movie makes for an engaging parallel rise in suspense: just as events spin out of control for the teenagers, their later selves descend into a chaos of mistrust and divided loyalties. Not once, but twice the four friends must learn that gunplay and threatened manhood don't mix. -Ali Davis.

When two Italian-American boys from New York are falsely accused of murder in a small Alabama town, they call for a lawyer-but the only lawyer they know is their cousin Vinny (Joe Pesci), who made six attempts before he passed his bar exam. My Cousin Vinny is a classic fish-out-of-water comedy; the flimsy plot about clearing the two boys and solving the murder is just a hook to support a lot of culture-clash humor. Thanks to the strong cast of character actors like Fred Gwynne, Austin Pendleton, and Lane Smith, it's pretty funny-even old-hat jokes about Brooklyn versus Southern accents come to life. Pesci has played a few too many schticky characters, but this time it works. There's just enough humanity in his caricature to make Vinny likable and entertaining. When the movie was released, there was controversy about whether Marisa Tomei, playing Vinny's big-haired and black-leather-wearing fiancée, deserved to win the best supporting actress Oscar (she beat out Judy Davis, Joan Plowright, Miranda Richardson, and Vanessa Redgrave); but seeing her performance on its own, it's a comic marvel and worthy of honor. -Bret Fetzer.

Neil Simon's terribly funny play about roommates Oscar the slob and Felix the neurotic was first committed to film in this 1968 production, directed by Gene Saks (Barefoot in the Park). Perfectly timed, ingeniously rendered, not a hair out of place in the history-making performances of Walter Matthau and Jack Lemmon (or the great support cast), The Odd Couple is a movie that one just has to see every two or three years to stay happy. The poker-game sequence in which Oscar's cronies seem to be falling under the sway of fussy Felix's talent for making sandwiches is priceless. -Tom Keogh.

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Following the box-office failure of his 1970 film Dodes'ka-den and an unsuccessful suicide attempt, Kurosawa was unable to find financial backing in Japan, and he made his acclaimed 1975 film Dersu Uzala in Siberia with Russian financing. With only partial Japanese backing for his epic project Kagemusha, the 70-year-old master then found American support from George Lucas and Francis Ford Coppola, who served as coexecutive producers (through 20th Century Fox) for this magnificent 1980 production-to that date the most expensive film in Japanese history. Set in the late 16th century, Kagemusha centers on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When Lord Shingen (Tatsuya Nakadai), head of the Takeda clan, is mortally wounded in battle and near death, he orders that his death be kept secret and that his "kagemusha"-or "shadow warrior"-take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen-but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. -Jeff Shannon.