Alfred Hitchcock tapped a can’t-miss muse for his 1956 thriller The Man Who Knew Too Much: himself. The film is an action-packed remake of his own lighter 1934 movie, this time with Jimmy Stewart in the lead role as a tourist in Morocco who hears the intrigue-laden last words of an assassinated spy. The Times Cinema screens . . .

Alfred Hitchcock tapped a can’t-miss muse for his 1956 thriller The Man Who Knew Too Much: himself. The film is an action-packed remake of his own lighter 1934 movie, this time with Jimmy Stewart in the lead role as a tourist in Morocco who hears the intrigue-laden last words of an assassinated spy. The . . .

Let’s face it: Unless you have the time and disposable income to fly to film festivals around the world, it can be difficult to see all the selections that the Academy nominates for their short-film category. Thankfully, the Oscar Nominated Short Films program, which screens at the Times Cinema at 7 p.m. tonight, makes . . .

The brief clips displayed at Sunday’s Academy Awards broadcast whet a lot of appetites for this year’s nominated live action short films. These shorts can be difficult for American audiences to see, but thankfully the Times Cinema is screening a program of all five nominees through Thursday, with a performance at 7 . . .

As part of its “Modernity and Tradition: Film in Interwar Central Europe” series, the UWM Union Theatre hosts a free 7 p.m. screening tonight of Faithless Marjika, a somber 1934 Czechoslovakian drama bout infidelity. It’ll screen accompanied by a short Polish film on the traditional Kujawiak dance . . .

A good teenage comedy should nail the particulars of high school life, a purgatory period that remains rife with satirical potential generation after generation. It should also satirize the society that promulgated the purgatory. By those measures, Charlie Bartlett is a success. The adult problems it spoofs are magnified and distorted in the funhouse mirror of teen life. In Charlie Bartlett, everyone is troubled and seeking medication, whether

In 1920s Germany there emerged a genre called “mountain films.” They were fictional mountain-climbing adventure stories that strained the limits of cinematic technology and the endurance of actors as they ventured to places where movies had never gone, in the snowy wilderness on the roof of the world. Many scenes from the documentary Steep rekindle the cobalt blue aura of those old German films. Steep concerns the origin and growth of big mountain skiing (or “extreme skiing” to use the current cliché), a sport that involves climbing beyond the well-manicured hills of the ski resorts and onto the craggier summits.

Experimental documentary filmmaker Bill Brown set his lens on the personal toll the United State’s war on immigration has taken in his latest film, The Other Side. Tonight, the UWM Union Theatre hosts a free 7 p.m. screening of The Other Side and other selections from Brown’s short-film compilation Homeland . . .

Marquette University’s kicks off the second year of its free, six-day Foreign Film Festival today with a pair of dramas (Ju Dou, from China, at 3:45 p.m., and Children of Heaven, from Iran, at 6:15 p.m.), before screening the ambitious ensemble film Paris je t’aime at 8:30 p.m. For that last film, over 20 directors from . . .

The plot of Tokyo Godfathers reads like the set up for a crude joke: A transvestite, a bum and a little girl discover an abandoned baby in a dumpster. Satoshi Kon, who wrote and directed this 2003 anime film, doesn’t play the premise up for cheap laughs, however. Instead, he takes a heartfelt look at these . . .