Trailers/TV spots

Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino.

Striking images abound in the twisty, surreal thriller Stay: Walruses rubbing up against the glass in an aquarium; a corridor painted neon green; entire crowds composed of twins and triplets; a piano being lifted several stories in the air. The plot is impossible to encapsulate: A psychiatrist named Sam (Ewan McGregor, Trainspotting) takes on a colleague's patient, Henry (Ryan Gosling, The Notebook), who announces his intention to kill himself.

Eric Roberts, young, charming, and handsome, does a rare comic turn as an American Coca-Cola executive with a honeyed Georgia drawl sent Down Under in this congenial little Australian comedy. As the zealous, unfailingly polite eccentric declares economic war on a veritable back-country feudal lord who runs his own steam-powered soda plant (Bill Kerr), Robertsís enchantingly goofy secretary (Greta Scacchi) plots a campaign of seduction that includes a Santa suit that explodes in an orgiastic blizzard of feathers.

I Have Found It (Kandukondain Kandukondain) transplants Jane Austen's Sense And Sensibility into an irresistibly musical, infectiously funny and sweetly romantic widescreen wonder world that could only by found in a Bollywood film. An eye-popping riot of brilliant color, show-stopping musical numbers, spectacular global locations and exuberant performances, I Have Found It represents a gigantic leap forward for Southern Indian "Kollywood" movies - the Tamil-speaking cousin of Bollywood Hindi language film.

One of the greatest screen biographies ever produced, this monumental film runs nearly three hours, won seven Academy Awards, and gave George C. Scott the greatest role of his career. It was released in 1970 when protest against the Vietnam War still raged at home and abroad, and many critics and moviegoers struggled to reconcile current events with the movie's glorification of Gen. George S. Patton as a crazy-brave genius of World War II. How could a movie so huge in scope and so fascinated by its subject be considered an anti-war film?

When Julie Andrews sang "The hills are alive with the sound of music" from an Austrian mountaintop in 1965, the most beloved movie musical was born. To be sure, the adaptation of Richard Rodgers and Oscar Hammerstein II's Broadway hit has never been as universally acclaimed as, say, Singin' in the Rain. Critics argue that the songs are saccharine (even the songwriters regretted the line "To sing through the night like a lark who is learning to pray") and that the characters and plot lack the complexity that could make them more interesting.

Emma Thompson scores a double bull's-eye with this marvelous adaptation of Jane Austen's novel. Not only does Thompson turn in a strong (and gently humorous) performance as one of the Dashwood sisters--the one with "sense"--she also wrote the witty, wise screenplay. Austen's tale of 19th-century manners and morals provides a large cast with a feast of possibilities, notably Kate Winslet, in her pre-Titanic flowering, as Thompson's deeply romantic sister.

Barry Levinson (Wag the Dog) directed this comedy-drama about an Armed Forces Radio disc jockey (Robin Williams) whose manic, hilarious delivery from a studio in 1965 Saigon gives U.S. troops in the field a morale boost (while upsetting military brass). Based on the real-life experiences of deejay Adrian Cronauer, the film is actually more concept than story: put Williams in front of a microphone and let him go nuts.

Having developed his skill as a master of contemporary crime drama, writer-director Michael Mann displayed every aspect of that mastery in this intelligent, character-driven thriller from 1995, which also marked the first onscreen pairing of Robert De Niro and Al Pacino. The two great actors had played father and son in the separate time periods of The Godfather, Part II, but this was the first film in which the pair appeared together, and although their only scene together is brief, it's the riveting fulcrum of this high-tech cops-and-robbers scenario.

Fully recovering from the wretched flop Timeline, director Richard Donner brings seasoned skill to 16 Blocks, a satisfying thriller boosted by intelligent plotting and the stellar pairing of Bruce Willis and Mos Def in quirky, well-written roles. Making the most of minimal dialogue, Willis plays Jack Mosley, a boozy, disillusioned New York City detective who reluctantly accepts an assignment to transport squeaky-voiced chatterbox Eddie Bunker (Mos Def) to a grand jury hearing where he's scheduled to testify against a group of corrupt, drug-dealing cops.