See review this issue. Fox Tower 10.

A documentary that follows several Cubans as they set out on homemade rafts for the US in 1994, and also catches up with them seven years later. Northwest Film Center's Whitsell Auditorium.

Basque Ball
2003's Spanish doc about the Basques and their "language, culture conflicts, and history." Northwest Film Center's Whitsell Auditorium.

One of my best memories from last summer was watching Indiana Jones and the Last Crusade as part of "Flicks on the Bricks" at Pioneer Courthouse Square. They rolled out a big inflatable screen, set up some speakers, had popcorn and ice cream and all sorts of other stuff there, and about a billion Portlanders sat in the Square and watched a great movie. It was awesome. This year the series kicks off with Tim Burton's Batman, and it should be equally fun. ERIK HENRIKSEN Pioneer Courthouse Square.

Black Sheep
See review this issue. Hollywood Theatre.

Dope Fiend Confidential: 16 mm Drug Scare Films
Educational films warn you away from marijuana, PCP, and amphetamines. Heh. Too late! Clinton Street Theater.

Dreaming Lhasa
Karma (Tenzin Chokyi Gyatso), an American filmmaker with a healthy dose of liberal guilt, teams with dreamy Tibetan monk Dhondup (Jampa Kalsang) to deliver a thing to some guy. The plot doesn't matter—Dreaming Lhasa, as it plods along with all the energy of a funeral march, is mainly a contrivance to show us the post-Tibet life of Tibetans. The main draw is the claustrophobic camerawork, which provides a fleeting glimpse inside the crumbling Indian slums the disillusioned exiles inhabit. THOMAS LUNDBY Living Room Theaters.

See review this issue. Various Theaters.

Harry Potter and the Order of the Phoenix
In this writer's opinion, Order of the Phoenix is by far the most stressful Harry Potter book so far: When Harry arrives at Hogwarts at the beginning of year five, it's to find that no one believes that Lord Voldemort has returned, Professor Dumbledore won't speak to him, the horrible Dolores Umbridge is the new Defense Against the Dark Arts teacher, and Harry himself has the biggest case of teen angst since Christian Slater in Pump Up the Volume. Plus he's trying to get a piece of hottie Cho Chang. In one of the most satisfying Harry Potter films, director David Yates and screenwriter Michael Goldenberg (both new to the franchise) do a fair job deflecting some of the anxiety inherent to the plot. The movie is surprisingly funny, and the special effects and magic tricks of the Potterverse are as impressive as ever—more importantly, the 870-page novel is pragmatically abridged, the pacing is quick, and all of the important plot points are touched upon. ALISON HALLETT Various Theaters.

I Have Never Forgotten You: The Life & Legacy of Simon Wiesenthal
A Nicole Kidman-narrated doc about Nazi Hunter Simon Wiesenthal, who, after Buffy, has the coolest job title in the world. Hollywood Theatre.

I Now Pronounce You Chuck and Larry
See review this issue. Various Theaters.

The Intimate Distance—

"Consciousness Unbound"
A tribute to Mark LaPore, and his style of "experimental immersion, purposeful disorientation, and striking juxtapositions of geographic dislocation and opposing sound and image." Enjoy! Cinema Project at New American Art Union.

Introducing the Dwights
A family "dramedy" in the vein of Little Miss Sunshine, Introducing the Dwights hails from the suburbs of Australia. Already met with middling reviews, Dwights doesn't stand a chance at garnering the attention Sunshine enjoyed, but that constitutes no reason to bypass it—if you're looking for a feel-good cry, don't miss this one. MARJORIE SKINNER Fox Tower 10.

See review this issue. Fox Tower 10.

La Vie en Rose
Even if you're like me and find most musical biopics depressingly formulaic, you might think Oliver Dahan's Edith Piaf movie is a slight cut above. Sure, it checks off all the genre's requisite ingredients (childhood trauma, drug addiction, troubled relationships), and is about as consistent as its heroine's mental and physical health. But stretches of the film, which traces Piaf's rise from Parisian poverty to international stardom, feel uncommonly—even thrillingly—intimate. JON FROSCH Fox Tower 10.

Lady Chatterley
See review this issue. Cinema 21.

Live Free or Die Hard
The good news about Live Free or Die Hard: Despite being the oldest person in the cast by about 20 years, BRUCE WILLIS IS STILL AWESOME. Here, Willis has some great action sequences and a few killer jokes—at his best, he makes this entry as fun as the previous three. But now for the not-so-good news: Live Free or Die Hard, with its annoying PG-13 rating and light, funny tone, isn't nearly as intense or cool as the series' earlier, better movies. ERIK HENRIKSEN Various Theaters.

Memory Train
A 2006 documentary about the nearly two million Spaniards who left Spain in the 1960s to look for work in France, West Germany, and other countries, eventually settling in their adopted countries. Northwest Film Center's Whitsell Auditorium.

Night of Lust
Night of Lust follows one very simple philosophy of filmmaking: Whenever possible, even if the plot doesn't call for it, the camera should always be focused on a naked woman. And the only thing better than one naked woman? Three or more naked women! This "French noir sleaze" film from the '60s is ostensibly about rival gangs fighting over the Parisian heroin market, but that plot takes a back seat to scenes of strip shows and ladies in their altogether hanging around a prostitution den. Refreshingly, since this was the '60s, the women are realistically built and naturally gorgeous—until you realize that they now could be your grandmother. Bonus: Chet Baker's score, though it's a tad overrated. SCOTT MOORE Clinton Street Theater.

Those who make their living putting words down on a page are loathe to admit it, but nevertheless, it's true: Sometimes, words aren't enough. Merely describing the appeal and beauty of Satoshi Kon's Paprika can't quite be done—sure, I can tell you about the stunningly detailed animation, the overwhelming colors, the way that Paprika's hand-drawn characters convey their weight and personalities and movements as effortlessly as if they were real-life actors, and about how there are a few sequences in which music, movement, and color align as beautifully as they have in anything else I've seen. But it's not quite enough. ERIK HENRIKSEN Academy Theater, Laurelhurst.

Stephanie Daley
When a young girl gives birth unexpectedly and the baby is found dead, a pregnant psychologist is charged with ascertaining whether the girl killed the baby or not. The film contains some memorable performances, but is nonetheless utterly miserable to sit through, thanks to the beyond-depressing subject matter. ALISON HALLETT Living Room Theaters.

When the Levees Broke
See review this issue. Northwest Film Center's Whitsell Auditorium.

You Kill Me
I'm a big fan of director John Dahl's mid-'90s films The Last Seduction and Red Rock West. Both films are gritty tales of backstabbing, noir-ish twists, and strange interpersonal dynamics, all peppered with incredibly memorable characters. Dahl's panache for quirky characters is striking, but with all the oddballs in his newest film, You Kill Me—from Ben Kingsley's alcoholic hit man to Bill Pullman's real estate agent to Luke Wilson's gay recovering alcoholic—one can't help feeling that he's just trying too hard to recreate some old magic. COURTNEY FERGUSON Various Theaters.