The U.S. government did torture prisoners of war in the name of its so-called war on terror and, by extension, in the name of all Americans. What Bigelow and Boal seem to be arguing is that such actions take a deep cosmic toll on the people responsible -- whether directly, in the case of Chastain's character, or indirectly, in the case of you and me.

Positively soars.

More than anything else, however, director Jacques Audiard's gritty, grab-you-by-the-shirtfront film is a mob movie -- a really, really good mob movie. Think "GoodFellas," but with Gauloises and accent aigu instead of plates of spaghetti and accent Pesci.

Like "The Hurt Locker," Winter's Bone is a spare but riveting drama with a female director. It is built around a raw, revelatory performance by a young, little-known lead actor.

If nothing else, this is a cinematic high-wire act.

One of the chief reasons that director Tom Hooper's richly produced film works so well is because it operates on so many different levels. The King's Speech is all about layers, and Hooper keeps it humming on several at once.

A thoroughly uplifting bit of cinema.

A dazzling, stirring capper to a once-in-a-generation movie franchise.

What plays out is something like CSPAN 1865. That is, it's dense, talky stuff at times -- particularly at its start, as the film takes a good 15 minutes to gain traction -- but also highly rewarding and instructive.

Beasts of the Southern Wild is not only a wonderful story -- a portrait of intestinal fortitude in the face of enormous change -- but it's our story, forged in our own shared recent history and dripping with flood, sweat and tears.

It's a career-making performance that relies as much on charm as on acting ability -- and Mulligan has both.

A film that is beautiful, harrowing, heartbreaking -- and necessary.

This film is undoubtedly a piece of art, as much so as a Picasso painting, one that invites viewers to immerse themselves, scratch their heads and consider it.

A thoroughly endearing journey, and one of the most enjoyable and touching movies to land in theaters so far this year.

Feels startlingly real and inherently relevant, a shining, sterling example of cinema at its most powerful and urgent.

At times humorous, at times poignant, but always absorbing.

Not only does it deliver a powerful message, but it is wrapped in an immensely entertaining package.

A documentary that is equal parts sweet science, brutal art and masterful filmmaking.

A simple story about a difficult man, and it's an impressive debut from writer-director Scott Cooper.

Extraordinarily engaging but surprisingly sobering.

This kind of cinematic delight is a rarity, a warm and masterfully crafted reminder of why we love to go to the movies in the first place.

127 Hours -- just like "Slumdog Millionaire" -- is a masterful slice of four-star cinema, featuring an irresistible performance by James Franco, breathtaking cinematography, and the kind of deep, searching soul that is absent from so much of what comes out of Hollywood.

A story of hope amid the ruins -- one that everybody can appreciate, no matter their politics.

It is beautiful, and it is difficult to watch. It is heartwarming, and it is heart-wrenching. It is absorbing, and it's unsettling.

A lovely jaunt that ends up becoming one of Allen's most enjoyable films, start-to-finish, in years.

To his credit, however, the often-playful Blomkamp never bludgeons his audience with any specific message. He's too busy letting 'er rip with his edge-of-your-seat, and unapologetically violent, sci-fi adventure.

The result is a human drama that quietly argues that the gift of life isn't one to be taken lightly.

Bong's film starts out as a comedy, transforms into a quirky Agatha Christie whodunnit and finishes with an unpredictable Hitchcockian flourish.