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.

CASINO ROYALE
PG-13, 144 minutes

Ian Fleming’s love letter to Cold War British hooliganism has finally been realized in a movie that offers up a 007 utterly faithful to the author’s intent. As the new James Bond, Daniel Craig is a thuggish gorilla trained to wear a tuxedo and chomp caviar so he can infiltrate high society with a Walther PPK tucked into his cummerbund. Not only does Mr. Craig’s Bond remorselessly murder for the Queen, but he does it with just the tiniest thimble of heart.

The recipe is simple and tasty — start with generous slabs of sex and violence, toss in car chases, sneering villains, geewhiz gizmos of death, a dash of cool “Rule, Britannia,” and add plenty of gallows humor.

— John Devore (November 17)

DANCE PARTY, USA
Unrated, 65 minutes

If purity of intent counts for anything, then “Dance Party, USA” may be one of the best American films of the year. Shot for what looks like almost no budget, with a young cast of unknowns in Portland, Ore., the movie is a mere 65 minutes long and is filled with as much open, elliptical space between its characters as the thoughts they struggle to articulate.

Directed by Aaron Katz, a 25-year-old filmmaker based in Brooklyn, “Dance Party” trails a pair of high school kids through the groggy mornings and beersodden late nights of a Fourth of July weekend. Since Mr. Katz is very nearly a peer of his characters, his feel for their language and his choice in casting actors who can naturally embrace it gives the film a documentary feel. This is enhanced by loosely intimate camera work, which compensates for the movie’s washy color resolution with tight closeups and the casual exterior photography that has always been the inventive, lowbudget filmmaker’s best friend.

— Steve Dollar (November 17)

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)

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.

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 Pedro 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 from 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.

— Andrew Stuttaford (October 20)