As a realistic political thriller about Americans in harm's way it is not half as suspenseful or entertaining as "Argo." We may never know the truth about how we found bin Laden, but I still believe what we do know makes a strong enough story on its own without Wonder Woman.

Don't let Amour join the legion of "Best Films You Never Saw." I urge you to share its sweetness and wisdom, and learn something.

Get ready for a smash hit. Gimmicky but delicious, this is a valentine to the movies I promise you will cherish.

As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.

The awesome effects take over where the plot used to be, and although this is the end, my guess is that it will fire the imagination for years to come. What fun to feel like a kid again. I had a marvelous time.

Wake in Fright is the closest a movie can get to a primal scream.

This is a subtle, elegant and altogether triumphant film about a subject I thought I was tired of, told with an artistry and freshness that is positively thrilling.

Lincoln is also a colossal bore. It is so pedantic, slow-moving, sanitized and sentimental that I kept pinching myself to stay awake - which, like the film itself, didn't always work.

Some people might blindly and inaccurately accuse this movie of attacking family values, but it has exactly the opposite effect. Touching and funny in their upheaval, the people in The Kids Are All Right open the door to a brand new examination of family values that leaves you charged and cheering.

Argo is a triumph. It has tension, sincerity, mystery, artistic responsibility, entertainment value, technical expertise, a narrative arc and a thrilling respect for the tradition of how to tell a story with minimum frills and maximum impact. It's a great footnote to history, one of the best films of 2012 and a sure-fire contender on Oscar night.

Call The Master whatever you want, but lobotomized catatonia from what I call the New Hacks can never take the place of well-made narrative films about real people that tell profound stories for a broader and more sophisticated audience. Fads come and go, but as Walter Kerr used to say, "I'll yell tripe whenever tripe is served."

Don't miss this one. A brave and inspired antidote to time-wasting mainstream movies, it is unlike anything you've seen before or will likely ever see again. In short, it is unforgettable.

Content to make movies for himself (Malick) that nobody else wants to see as long as he can find someone to foot the bill, he's also an iconoclast searching for significance. So am I, but not 138 minutes worth. Anyone seeking symmetry in this cinematic taffy pull risks emerging from it with a pretzel for a brain.

Who goes to the movies for 104 minutes of punishment? Where is John Wayne, now that we need him?

The result, in the case of Moonrise Kingdom, is what I call transcendentally brainless - an after school special aimed at asinine adolescents over the age of 40.

The Descendants is a soap opera with Hawaiian shirts.

For a story about a man who cannot move, the ordeal unfolds at a pace that keeps you breathless.

A true masterpiece of visual enchantment. One of the most original and unique geniuses in cinema today, Mr. Chomet directed, wrote, illustrated and composed the music for this holiday jewel, an homage to the sweet, sad melancholia of the legendary French comic Jacques Tati.

It is quirky, dark, much maligned by feminists and too slow for some tastes, but it's a work worth seeing again, and Ms. Weisz is wonderful in it.

Blue Valentine is about real life, warts and all, over narrative conventions like action and plot mechanics. It is brutal, compassionate, beautiful in its ugliness and one of the bravest films of the year.

The best thing about Beginners is the way it accepts every character in a nonjudgmental way.

Exactly what you might expect from the fearless, controversial director of "Pulp Fiction" - it's overlong, raunchy, shocking, grim, exaggerated, self-indulgently over-the-top and so politically incorrect it demands a new definition of the term. It is also bold, original, mesmerizing, stylish and one hell of a piece of entertainment.

Bond is back, and so is high-octane entertainment.

In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.

It's a slow, repetitive, meandering, mostly overacted little picture - perfectly agreeable but nothing special, and directed with a steamroller by David O. Russell. Go figure.

Melancholia is his latest pile of undiluted drivel, nauseatingly filmed by a wonky hand-held camera and featuring a crazy, mismatched ensemble headed by Kirsten Dunst, who won an acting award in Cannes last year for looking totally catatonic.

The original western won John Wayne a puzzling and undeserved Oscar for finally falling off his horse. Don't expect the same miracle for Jeff Bridges. In the numbing hands of pretentious filmmakers Joel and Ethan Coen, history does not repeat itself in any way whatsoever.

In one of the most wrenching performances I have seen on the screen in some time, it’s thrilling to watch a young actor with passion and charisma explore so many avenues of damage control with so much depth, allowing the viewer to grapple with an unsettling variety of personal emotions.