Wondering what else is in theaters this weekend? Here are seven films recommended by The New York Sun’s critics that you can still catch around town.

COME EARLY MORNING
R, 97 minutes

A building contractor by day and an aging party girl by night, Lucy’s (Ashley Judd) emotional life is loosely defined by an unending string of empty one-night stands, balanced with the chaste attentions of a series of father-figure stand-ins.

Despite its occasional shortcomings in craft, script, and scope, “Come Early

Morning” is lithe and engrossing character-centered storytelling. It is clearly a labor of love for all concerned and, unlike the majority of American films of similarly low budgets and sincere ambitions, you don’t need to have worked on the film to experience that abundant compassionate creative spirit behind it. First-time director Joey Lauren Adams demonstrates an unusually strong acumen for unobtrusive, emotionally motivated camera movement, and her script for the most part avoids southern fried clichés.

— Bruce Bennett (November 10)

STRANGER THAN FICTION
PG-13, 113 minutes

We’ve all been down the boring-corporate-stiff-transformed by-love-for-freespirited-girl route many times before, but if the core love story in “Stranger Than Fiction” is not particularly original, the same cannot be said of the context in which it’s set. Harold Crick (Will Ferrell) is not just a nerdy IRS agent, he’s also the hero of the latest novel by reclusive author Karen Eiffel (Emma Thompson), something he only discovers after hearing the disembodied voice of the novelist narrating exactly what the unfortunate taxman is up to. Crick comes to discover that Karen is busily working out how she can kill him off in the final chapter.

If all this sounds a little heavy for a date movie, don’t worry. It’s perfectly possible to enjoy popcorn, hormones, and “Stranger Than Fiction” without being bothered too much by the deeper issues lurking just below the sheen of its romantic comedy surface.

— Andrew Stuttaford (November 10)

VOLVER
R, 111 minutes

“Volver” means “to return,” and the recurrence of the past is the film’s major theme. In the movie’s fantastical logic, death, however inconvenient, does not bring an end to unsettled business. Restless souls can rise from the grave in search of closure, and ghosts can seem as real and as caring as sisters, daughters, and mothers. As is often the case in Pedro Almodóvar’s inimitable universe, all the principal characters are women.

Fantasy and reality freely mix in “Volver,” which manages to treat big themes like incest betrayal murder abandonment, mortality, and loneliness in a charmingly blithe, yet nonetheless serious, manner. This enchanting alchemy also translates to unforgettable details. Several still shots perfectly capture Mr. Almodóvar’s unique blend of earnestness and perverseness.

— David Grosz (November 3)

BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN
R, 82 minutes

Embodying the worst aspects of the Eastern European stereotype, Borat Sagdiyev (Sacha Baron Cohen) jaunts across America, spouting his sexist and anti-Semitic beliefs to unsuspecting people as if, of course, they share his point of view. But Borat’s questions aren’t what’s funny. What’s funny is that his unsuspecting targets give him answers.

As Borat skips coast to coast, he effortlessly makes a fool of everyone he encounters along the way (the release contract offered to those appearing in the film was rumored to be vague at best).

Despite some side-splitting moments involving bewildered Americans, the film works best when it drops the social satire and simply erupts with pure anarchy. In fact, it’s a good lesson for all comedies: Spend less time making points and more time showing fat naked men wrestling, and you’ll be on the right track.

— Grady Hendrix (October 31)

THE BRIDGE
Unrated, 93 minutes

When documentarian Eric Steel’s camera settles into a classic beauty shot looking north from Golden Gate Park toward the fabled bridge, something happens that transforms the bridge into an icon exerting a very different magnetism than the one tourists have flocked to for decades. Clearly discernible in the choppy gray tide between Golden Gate Bridge’s two towers is a small but distinctive splash — the first of many in this harrowing, tragic, and deeply disturbing film. Using footage from cameras continuously covering the bridge itself and interviews with family members and witnesses, Mr. Steel’s “The Bridge” documents a single year in the Golden Gate Bridge’s reign as the suicide capital of the world.

— B.B. (October 27)

MARIE ANTOINETTE
PG-13, 123 minutes

By Hollywood standards, Sophia Coppola’s “Marie Antoinette” is well researched, its sins mainly those of omission (although not entirely: Contrary to what’s shown in the movie, the real queen drank very little), not that those are trivial. This is a Marie Antoinette without the necklace (that scandal is never mentioned), but who keeps her neck. The last three to four years of her life, in which she finally achieved a certain tragic dignity, don’t feature at all, but perhaps they don’t need to. After all, we witness her refusal to abandon Louis XVI as the revolution grew, and we see the bravery with which she faced the mob that had stormed Versailles.

— A.S. (October 20)

THE DEPARTED
R, 149 mintues

Like its milieu, Irish-Catholic Boston, “The Departed” has plenty in common with the mean streets that Martin Scorsese has trod before, without the watershed setting or the whiff of Grand Guignol that complicated the mix in his last violent romp, the period piece “Gangs of New York.” It has plenty more, too. For both these reasons, it’s awfully fun to watch. The same could be said for the two informers at the center of the story, which is borrowed from the 2002 Hong Kong policier “Infernal Affairs.” Ostensible gangster Billy Costigan (Leonardo DiCaprio) and ostensible police sergeant Colin Sullivan (Matt Damon) are both the opposite of what they appear to be.

— Darrell Hartman (October 6)