Cast aside any preconceived expectations you might have regarding this documentary and remember simply this: Winnebago Man is one of the best films you're going to see all year.

The film is a startlingly original and haunting take on our ageless fear of otherness.

This movie presented a radical melange of genuine horror and self-aware comic touches, not to mention the fabulous Rick Baker special effects.

Music has rarely appeared more essential to the human drama.

Dunst's performance is a thing of calm beauty and mired grit, fully deserving of the Best Actress Award she received for this work at Cannes. The entire supporting cast also proves to be a delight, even in their obstinacy and oddities.

Although a nip and a tuck here and there might improve Hugo's overall pace, there is no denying that this love letter to the movies is something to cherish.

Yes, it's a coming-out film, but it breaks that mold by being thoroughly unpredictable. It's a coming-of-age film, too, and by virtue of of telling the story of a young, black lesbian, Pariah also ventures into novel territory for a motion picture.

How the Dardennes, time and again, turn gritty, mundane subjects into transcendent moments of honesty and truth is one of the great cinematic wonders.

The horror-movie clichés form the backbone from which the film's humor and creativity emerge. This Cabin may not be the Parthenon, but it's definitely a place to worship the gods of horror.

Holy Motors is as individualistic a movie as you're likely to encounter – both in terms of the filmmaker's intent and the viewer's takeaway. Warmth and humor abide within its every frame but, like Carax's dreamer at the film's outset, you must find the key within yourself that unlocks the mysteries.

Love means being helpmates throughout all of life's stages. Death is part of love's bargain, and Haneke lays this fact bare.

It's a daredevil's ride that keeps you glued with fascination.

David Lynch doesn't tell stories as much as he shows hallucinations. Wierd, wild, excessive, obsessive, idiosyncratic visions.

The film is wickedly hilarious but more in a droll and knowing kind of sense than a har-de-har-har manner.

It's too bad the language prevents this independent film from being rated PG-13 because this is the kind of movie that might be capable of realistically reflecting teens' lives to other teens.

The originality of Innocence makes it stand apart from the romantic pack.

All the players deliver performances that kill.

The most memorable David vs. Goliath courtroom showdown in recent memory.

The kind of quiet, effective film that burrows under the viewer's skin and takes root before you've had a chance to realize that it's permeated your constitutional makeup.

You simply want the story to go on and on. Let's hope that Holofcener's movies do: Her peregrinations through the lives of contemporary women know few screen equals.

If this movie does anything to rally crowds against cinema's mass distribution of mediocrity then it has served a noble purse.

A fun, well-assembled and -performed slice of life that requires no special affinity with the subject matter in order to -- ahem -- get one's groove on.

One of the most intelligent, engaging, and gut-bustingly funny revelations to come along in a while.

A stylistic tour de force, one that wordlessly emotes and wears its emotions on its literal silk sleeves.

The entire cast is marvelous and capable of conveying continents of emotion with a furtive smile or arched brow.

You get the sense that this elegant, tough-guy jazz caper is a movie Clint Eastwood might have been proud to make.

Hopefully find the audience it deserves.

The movie will not be for all tastes. Its seedy lifestyles, nonjudgmental attitudes, nonlinear narrative, and central character whose problem is his lack of emotions is definitely nonstandard fare.