After seeing Federico Fellini at his most tragic in La Strada earlier this week, you can catch him at his most cynical, self-reflective, and satiric in 8-1/2 (1963; 2:30 + 5:15 + 8 pm). Marcello Mastroianni serves as Fellini's persona in this dreamlike portrait of a director losing his grip under the pressure of trying to come up with a new movie.

Surely our media will soon be overflowing with commemorations of the 10th anniversary of 9/11. If you're looking for a low-key, sober way to acknowledge this grim milestone, there's James Whitaker's documentary Rebirth. Seven Up!-style, it follows the lives of five people affected by the event - a fireman, a survivor, and three who lost family members - interviewing them every year on that awful date.

The "little friend" looks bigger than ever as Brian De Palma's epic, operatic Scarface (1983) gets the IMAX treatment "with all-new restored high-definition picture and enhanced audio." Al Pacino plays the title Cuban drug king-pin whose ruthless rise to the top and spectacular fall has provided an inspiration and role model for gangstas and Wall Street buccaneers alike.

Citizen Kane theatrical trailer

The photography and editing are revolutionary, but the score deserves a lot of the credit for making Orson Welles's masterpiece Citizen Kane (1941; 2:15 pm) number one on everyone's ten-best-movies-of-all-time list. Watch it with that in mind when it screens as part of the Brattle Theatre's ongoing Music For Movies: Bernard Herrmann Centennial Repertory Series

How did the Prince of Darkness go from being every parent's worst nightmare to becoming the doddering, incoherent family man on reality TV and a figure of fun on commercials? Maybe the answers will be found in God Bless Ozzy Osbourne, a documentary directed by Ozzy's son Jack, which features rare concert footage and appearances from Paul McCartney and Tommy Lee.

When it comes to Italian neorealist movies, the only movie that rivals De Sica's Umberto D. in the tear-jerk department is Federico Fellini's heartbreaking La Strada (1954). Fellini's wife Giulietta Masina plays Gelsomina, a simple, pure-hearted girl devoted to the brutish circus strong man Zampano (Anthony Quinn), who bought her from her impoverished family to assist in his act.

No matter how many times you watch it, Zoolander, (2001) never lets you down. There will always be something that renews your appreciation of the film's hilarity. Like the hallucinogenic orgy with the Maori tribesman and Finnish dwarfs. Or the lines "You can read minds?" and "I feel like I'm taking crazy pills!" Ben Stiller directed this classic dumb comedy and stars as the titular supermodel, challenged for the top spot by archrival Hansel, played by Owen Wilson.

Twisted Nerve (1968) opening credits

You might not remember what you've seen in a film with a Bernard Herrmann score, but you'll probably remember what you heard. Like the taunting rhythms of the title music to Sisters (1973; 3:15 + 7:30 pm), Brian De Palma's diabolical thriller about a beautiful pair of divided Siamese siblings who give added meaning to the term "evil twin."

Even the most hardcore Red Sox fan might feel a little begrudging affection for the pinstripes after watching Safe At Home! (1962). Of course, it helps that it takes place almost half a century ago, when Yankees Mickey Mantle and Roger Maris were vying to break the Babe's single season home run record. The two sluggers star in this heartwarming drama about a Little League team that dreams of seeing them in person, and though the ballplayers were wise not to leave the diamond for the big screen, director Walter Doniger does touch on sentiments that both Boston and New York fans can appreciate.

There are many shocking moments in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980), but the real terror is subtle, insidious, and will linger in your nightmares. Some images will never leave you: the elevator full of blood, for example, or the Diane Arbus twins, or the woman in the tub, or the eerie sound that Danny - the little boy with the title gift of ESP - makes when his Big Wheel rolls from bare floors to carpeting in the endless, empty corridors of the Overlook Hotel.

Yesterday I wrote a review of Raúl Ruiz's wonderful 4-1/2 hour film "The Mysteries of Lisbon," a sublime, joyous, and terrifying exploration of the link between story-telling and mortality. Today I learned that the brilliant, prolific Chilean filmmaker just died at the age of 70. Few other artists have exulted as feverishly in the imaginative power of cinema, or its potential for metaphysical insight.

Though he's come down hard on porn, gays, and other assaults on American Family Values, is Texas Governor and Republican Presidential candidate Rick Perry putting his money where his mouth is?

Not according to this story on the website firedoglake.com, that asserts that he owned $5000-10,000 in stock with Movie Gallery, a now defunct video company that had been the biggest supplier of porn in the US, with titles like Teens with Tits Vol.

The Ghost and Mrs. Muir (1947)

Ghosts were once less disagreeable on the big screen than they are today. Compare the specter in, say, Paranormal Activity, with the spook in Joseph L. Mankiewicz's The Ghost and Mrs. Muir (1947; 7 pm). He's the sexy, pipe-smoking, bearded sea captain (Rex Harrison), who proves erotically titillating to the widow (Gene Tierney), when she moves into the quaint cottage he haunts.

Viva Riva!

A recent overlooked mini-masterpiece, Austrian director Benjamin Heisenberg's The Robber (2010; screens at 3:30 and 7:30 pm) features an electrifying performance by Andreas Lust as the real-life felon of the title, who supplements his compulsive bank robbing with marathon running, two metaphors of existential futility that prove not altogether complementary.