Here is something great and startling -- not necessarily the kind of comforting, consensus-creating film that wins Oscars, but unquestionably a movie that will live in the history of the medium.

One of the freshest, richest, most original films to come out of Hollywood in a very long time.

Steven Spielberg's best war film -- and one of the two or three best movies the director has made.

Garbus spent three years patiently mining for beauty in the ugliest of environments. The remarkable result stands as a challenge to anyone who would have seen only the worst and walked right by.

A generation-spanning journey that feels both comfortingly familiar and excitingly original.

Feuerzeig's film - everything a good documentary should be - is a story of family, friendship, art and fame, as seen through the prisms of exceptional beauty and deepest pain.

If you've had a hole in your heart since "Everybody Loves Raymond" ended, Tom Caltabiano's low-key documentary about star Ray Romano ought to fill the gap nicely.

Andrew Bujalski's considerable gifts begin with his deep appreciation of the miserable, hilarious awkwardness of real life.

It's the perfect antidote to overprocessed entertainment, for moviegoers of any age.

Joachim Trier's energetic, inventive debut takes such a novel approach to well-worn themes that it makes most movies look downright lazy.

A film that is both deceptively modest and deeply resonant.

The result is an often-anguished monologue built on pride, despair and self-defense. Accuracy aside, Tyson does work hard to analyze his own, clearly complex character. So while we only get half the picture, it makes for consistently compelling viewing.

If he has overlooked your favorites, have faith: There’s plenty left in the trunk for that promised encore.

When was the last time you had your mind blown by a movie? Because when Inception ends and the lights come up, you'll be sitting in your seat, staring at the screen, wondering what the hell just happened.

Every scene has its highlights, from amusing observations about sex to poignant truths about parenting and partnerships. But what you'll remember most is the exquisitely lovely final scene, in which Cholodenko reminds us that all we need is a single moment of perfection -in a family, or even in a film - to believe that somehow, things will always be all right.

Director Matt Reeves (who also made the much rawer "Cloverfield") so deeply understands the nature of childhood terror that Let Me In burns with a white-hot clarity.

All the actors are wonderful, including Sacha Baron Cohen as a villainous Inspector.

Kore-eda does extraordinary work with his young cast, who deliver gentle, natural performances in a beautifully told story of heartbreak and hope. Deceptively modest and utterly lovely, it's one of the most magical films about childhood I have ever seen.

Every moment feels human and true, from the naive optimism of the trip's sendoff to its unsparingly realistic conclusion, which trades reckless hope for quiet honor.

The vastly divergent paths of Assange and Manning make up the most fascinating aspects of this relentlessly compelling film.

Bar-Lev has created a film remarkable in its ability to capture both the worst and best of human nature.

Some of the artists appear ecstatically transported as they play. Others are just having one hell of a good time. Believe me, it's contagious.

Overwhelmingly powerful.

It has the most beautiful ending of any American film in years, a coda of reconciliation and remembrance set in a gentle L.A. rain.

It's not so much good material as divinely inspired delivery.

Working from his own original screenplay, Crowe builds a story line full of unexpected twists and digressions.

Wrenching performances and painstaking visual and thematic compositions.

The story is compelling, but Metropolis is such a visual masterpiece, it's easy to get lost within its seemingly endless layers of graphic complexity.