There Will Be Blood is ferocious, and it will be championed and attacked with an equal ferocity. When the dust settles, we may look back on it as some kind of obsessed classic.

The Departed is Scorsese's most purely enjoyable movie in years. But it's not for the faint of heart. It's rude, bleak, violent and defiantly un-PC. But if you doubt that it's also OK to laugh throughout this rat's nest of paranoia, deceit and bloodshed, keep your eyes on the final frames. Scorsese's parting shot is an uncharacteristic, but well-earned, wink.

Schnabel, screenwriter Ronald Harwood and Spielberg's great cinematographer Janusz Kaminski have found a way to take us inside Bauby's mind--his memories, his fantasies, his loves and lusts--transforming a story of physical entrapment and spiritual renewal into exhilarating images.

Smart, generous, as subtle as it is expansive, this is storytelling of a rare order. Six hours may seem like a big investment, but the emotional pay-back is beyond price.

Once again, the Pixar wizards have pushed the animation envelope in unexpected directions and come up with a winner. Wondrously inventive, funny and poignant, WALL*E is part sci-fi adventure, part cautionary fable, part satire and part love story, which may be the best and most improbable part of all.

A film as rich as a sauce béarnaise, as refreshing as a raspberry sorbet.

There's neither coyness nor self-importance in Brokeback Mountain--just close, compassionate observation, deeply committed performances, a bone-deep feeling for hardscrabble Western lives. Few films have captured so acutely the desolation of frustrated, repressed passion.

It's not to be missed in any language. In a year that has given us such marvelous animated movies as "Ratatouille" and "Paprika," this vibrant, sly and moving personal odyssey takes pride of place.

Judd Apatow is making the freshest, most honest mainstream comedies in Hollywood.

It's unprecedented, a sorrowful and savagely beautiful elegy that can stand in the company of the greatest antiwar movies.

Eastwood takes the audience to raw, profoundly moving places. If you fear strong emotions, this is not for you. But if you want to see Hollywood filmmaking at its most potent, Eastwood has delivered the real deal.

The second installment was better than the first, and this one is best of all. It has spectacular action scenes and imaginary creatures, and it's by far the most moving chapter. The performances have deepened.

No two-hour film could ever capture all the riches of McEwan's masterly novel. But Wright and Hampton's Atonement comes tantalizingly close, while adding sensual delights all its own.

A meticulous, spellbinding, provocative depiction of the final days of the Third Reich.

Howl's Moving Castle has the logic of a dream: behind every door lie multiple realities, one more astonishing than the next.

It's a passionate, serious, impeccably crafted movie tackling a subject Clooney cares about deeply: the duty of journalism to speak truth to power. It also happens to be the most compelling American movie of the year so far.

A superbly taut and well-made thriller that jumps from Geneva to Rome, from Paris to Beirut, from Athens to Brooklyn, each lethal assignment staged with a mastery Hitchcock might envy.

This brilliantly disturbing movie is constructed with surgical precision. Haneke lets no one off the hook least of all the viewer.

Harrowingly intense odyssey.

Infused with the bleak romanticism of Melville's gangster movies ("Le Samouraï," "Bob le Flambeur"), and deepened by his own experiences in the Resistance, this hard-bitten tribute to freedom fighters makes most current movies look flabby and undisciplined. Don't miss it.

This is comedy from the danger zone, and it will genuinely offend some folks who feel certain subjects are not to be laughed at. They'd best stay at home. Fans should be warned as well: Borat can make you laugh so hard it hurts.

The great Spanish director's fourth triumph in a row--following "All About My Mother," "Talk to Her" and "Bad Education"--Volver (which means "coming back") flows effortlessly between peril and poignancy, the real and the surreal, even life and death.

The movie belongs to Hudson as the proud, self-destructive Effie. When she's center stage, Dreamgirls transports you to movie musical heaven.

Depp is such a soulful presence he gives you a glimpse of this maniac's pain and pathos. Bonham Carter is extraordinary. She reinvents Mrs. Lovett from the inside out.

This powerful, lyrical meditation on Arenas's life achieves a kind of hallucinatory urgency as it leaps and twists through his life.

Courtney Love's performance as stripper Althea Leasure is an amazement. Funny, unfettered and almost scarily alive in front of a camera, she's the definition of a "natural."

Lucky for us there are no ordinary circumstances in this smart, tasty adaptation of the Elmore Leonard novel and it gets quirkier, funnier and sexier as it goes.

An excruciatingly entertaining portrait of the filmmaking process that no Hollywood studio would ever allow to be shown. But Gilliam, bless his impish, obsessive heart, is anything but a Hollywood type.