Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

A comedy of discomfort -- and one of their (Coen brothers) best, most insightful and most provocative films.

Involves the gradual revelation of the hopes, fears and insecurities of well-observed characters.

A stark, contemplative and hauntingly brilliant film.

Bursting with smart dialogue, surprising situations and humor that springs from richly imagined characters.

The success of the three, separately screened films -- the first set in 1974, the second in 1980 and the concluding segment in 1983 -- depends not on their specifics, but on their ability to sustain an atmosphere that's appropriate to the dark but haunting story.

Essential viewing for art-film buffs and crime-flick fans, but also for anyone who's looking for a great story, terrific acting and masterful filmmaking.

Sophisticated comedies have gone out of fashion, largely because Hollywood finds it easier and more profitable to simply gross out moviegoers. But Please Give has real class -- and for that it deserves our gratitude.

The Kids Are All Right probably could have used a few more scenes to come to an even more satisfying conclusion. But it's a terrific film anyway.

Nev and the filmmakers prove to be charismatic, and at times hilarious, investigators of the unfolding mystery.

A film that's at once timely and timeless.

An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.

A lovably quirky comedy-drama with a rhythm all its own.

Into the Abyss makes a strong case for the inhumanity of capital punishment, regardless of the crime or the criminal.

The film is a raw, unsparing look at the downside of humanity.

The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."

A cinematic miracle, a film that carves out a vivid space that has nothing to do with wizards or extraterrestrials, but quite a lot to say about the fantastical creatures that roam through the humanity in us all.

One of the best films of the year.

Unlike too many films these days, Zero Dark Thirty dares to embrace complexity. And that makes it not just state-of-the-art entertainment, but a great film.

The story is so masterfully told that one can't help but be enthralled.

This is the kind of film that benefits from being experienced with as little prior knowledge as possible. As one watches it, certain questions may arise. But don’t worry — the answers are fascinating.

Traditional in the best sense.

Has been criticized as endorsing or condoning violence, but that assessment is unfair and inaccurate. If terrorism is to be eliminated, it must be understood, not oversimplified.

It's one of the funniest and most perceptive films of the year.

An action comedy that works. But it’s also a surprisingly poignant romance. This is the summer flick you’ve been waiting for.

Although Lebanon is to be congratulated for its bold visual strategy and strong antiwar stance, the film becomes claustrophobic after a while.

Gilchrist ("United States of Tara") is immensely appealing as a kid who's just a bit too wrapped up in himself to grasp that perhaps his problems aren't insurmountable.

Allen has been criticized for leaving some of the plot lines up in the air and several characters in the lurch. But he seems to be making a point: Neat Hollywood endings are as phony and dangerous as Cristal's ramblings.

Black Swan is ridiculously over the top, but in a way that makes it fascinating to watch.

Director David O. Russell ("Three Kings") delivers a film of staggering impact.

Might be mistaken for a mere soap opera. But it's actually an emotional symphony.

Unhurried in its storytelling but unshakable in its impact.

A terrific but uncompromising film that's definitely not for everyone.

As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.

It's an original that plays as if it were based on a novel.

Bonnaire, whose films include "Vagabond" and "Monsieur Hire," gets Helene just right, registering her joys and disappointments with finesse.

Wysocki is perfectly cast as a teen who's at odds with both his environment and himself. It's a terrific performance. And as the empathetic Fitzgerald, Reilly is at his quirky best.

Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.

Our Idiot Brother is smart entertainment.

Starts out so promisingly that it's a huge disappointment when it ultimately becomes way too predictable - and unbelievable. It's as if "Raging Bull" suddenly morphed into "Rocky."

The Hedgehog sneaks up on you with its heartfelt storytelling and sophisticated wit.

A beautifully realized drama that gets to the essence of what it's like to be young, confused and in love.

The film isn't quite as edgy as Fincher's best work - "Seven," "Fight Club" and "Zodiac" are masterpieces of modern angst. But the director brings a fresh eye to what might easily have been an unnecessary rehash of the 2009 Swedish adaptation.

Yes, Tinker Tailor Soldier Spy is often hard to follow, perhaps overestimating the audience's ability to keep track of what's going on and why. But it's a well-crafted film that wears its old-fashionedness with pride.

Like Elizabeth Olsen in "Martha Marcy May Marlene," Oduye brilliantly slips inside the skin of a sensitive young woman who's having trouble finding her place in the world.

This is a film that's not always easy to watch, but just about impossible to forget.

Bernie could easily have gone horribly wrong. But Black and Linklater finesse this tricky material with as much virtuosity as Bernie brings to that broccoli.

This is a smart, moving film that's also very, very funny.

As memorable as it is insightful, Take This Waltz is one of the best films of the year.

Particularly memorable are scenes in which Calvin loses his cool as Ruby holds onto her calm. It all adds up to a movie that's sparklingly entertaining.

Zobel's unsparing approach is justified. This film should be hard to watch - and it is. But it's also hard to forget.

The performances are first-rate, with Lindhardt particularly moving as a guy who's in deep denial about just how much he can expect from a relationship with an addict.

Superior filmmaking. Yes, it runs almost three hours - but you've probably seen 90-minute films that felt a lot longer.

As enchanting as it is ambitious.

A film that's all the more intriguing for being virtually impossible to categorize.

Although The Gatekeepers lacks the stylistic inventiveness of “Fog,” it is nonetheless a compelling account of what can go wrong when power is unrestrained.

The Oscar-nominated No has the gritty feel of a foreign film from the 1970s. As such, it may take a few minutes for most moviegoers to adjust to its rhythms. Ironically for a film about advertising, there’s nothing slick about it — and therein lies much of its greatness.

A provocative mood piece. Nichols, who had an art-house hit in 2011 with “Take Shelter,” has a gift for creating characters of unusual depth, and for eliciting performances of emotional resonance. With Mud, he seems to be edging closer to the mainstream, but his skills are as sharp as ever.

$9.99 may not be entirely successful from a dramatic perspective, and it certainly offers little enlightenment about the meaning of life. But the film is so intriguing in other ways that it's definitely worth a look.

This isn't just another crime story, and it would be misleading to suggest that it has anything to do with stylish gunplay, exhilarating car chases or brutal fistfights.

Washington is surprisingly persuasive as a world-weary blade-wielder, and Oldman makes the most of a not particularly interesting villain. But the film's breakout star may be Kunis, who brings to Solara a blend of sassiness and sexiness that's reminiscent of Michelle Pfeiffer.

Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

A film that's as much a character study as it is a crime drama. At the heart of it is Caine's hauntingly memorable performance.

The been-there, done-that nature of the plot doesn't take away from the undeniable sweetness found in Just Wright.

Unfortunately, Garcia can't quite resist sentimentality, giving us an ending that's a bit too emotionally neat. Still, Mother and Child is a thoughtful and provocative film about the way we live now.

Perhaps best appreciated as a character study -- about a character some moviegoers might prefer to avoid. Still, it's a smart, funny film that flirts with the edge.

Best appreciated as an exercise in style. Based on Martin Booth's novel "A Very Private Gentleman," the film establishes and sustains a mood of suspense, but Corbijn seems only minimally interested in conventional thrills.

Stone isn't for everyone. But for all its shortcomings, it is courageously original.

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

Seth Rogen is the Green Hornet. What else do you need to know?

Skarsgard, who is perhaps best known for "Good Will Hunting" and "Breaking the Waves," makes the most of his rich role, imbuing Ulrik with a knockabout charm.

As popcorn entertainment, it's right on schedule.

Superbly acted, and a return to form for Tavernier, who guided jazz legend Dexter Gordon to an Oscar nomination for "'Round Midnight" (1986).

The Beaver isn't a perfect film, but it's challenging and original.

It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.

Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.

The Debt eventually settles into a predictable groove that slightly undercuts its impact. Still, it's a film of ambition and substance.

The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.

Doesn't rise to classic status, but it's an intriguing mood piece.

This film might easily have settled for mocking religion. Instead, it's a fascinating glimpse into a culture that forces some people to choose between fitting in and opting out.

Offers an inside look at Iran in all its cultural complexity.

Pleasant, well-acted but somewhat overlong, The Way was written and directed by Estevez, who's perhaps best known for his acting career ("The Breakfast Club").

Lacks the urgency of "Who Killed the Electric Car?" But Paine's thorough knowledge of his subject, and engaging way with an interview, make the follow-up film a fun ride.

As a tale of a boy, his dog and their battles with bad guys, it's a treasure.

As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.

As biopics go, The Iron Lady is among the more intriguing ones.

Stölzl blends romance and melancholy in fine style.

Isn't as memorable or provocative as it might have been. But it's an engaging love story that should appeal to moviegoers with a flair for the offbeat.

What's lacking is a galvanizing performance comparable to that of the Oscar-nominated Catalina Sandino Moreno in "Maria Full of Grace." Still, The Forgiveness of Blood is a memorable portrait of a society and the demands it makes on those caught up in it.

Denham impressively captures Peter's flintiness, rendering him sympathetic yet not quite likable, and Vicius is just right as the wary Lorna.

Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.

The Well-Digger's Daughter is perhaps a bit too sentimental. But the performances are so heartfelt that its occasional excesses are easily forgiven. In a movie summer too often obsessed with things that go boom, this film is all about romance.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

At once an intriguing character study and a refreshingly offbeat romance.

The Big Picture ends perhaps a bit too ambiguously, but there's something refreshing about its faith in the moviegoer's intelligence.

Bana ("Munich") makes an effective bad guy. Hunnam portrays Jay as a hero worth rooting for. And Wilde turns in a nuanced performance as a woman in conflict with herself.

The acting is first-rate. Gosling masterfully fills in Luke’s motivational blanks, and Cooper nicely handles Avery’s evolution from idealist to manipulator.