In the year's richest, most complex and ultimately most heartbreaking film, Inarritu invites us to get past the babble of modern civilization and start listening to each other.

Volver is Almodovar's passionate tribute to the community of women -- living and dead -- who nurtured him. Through the transformative power of his art -- carried on the wings of Alberto Iglesias' exhilarating score -- we feel their presence. You do not want to miss this one.

Eastwood's direction here is a thing of beauty, blending the ferocity of the classic films of Akira Kurosawa (Seven Samurai) with the delicacy and unblinking gaze of Yasujiro Ozu (Tokyo Story).

Del Toro never coddles the audience. He means us to leave Pan's Labyrinth shaken to our souls. He succeeds.

Writer and first-time director Anthony Minghella lays on the whimsy a bit thick at times, but his wryly funny and heartfelt observations on sorrow go down much easier than the Hollywood brand of lump-in-the-throat histrionics.

Broken Arrow delivers the hippest action fun around. Travolta's "Dr. Strangelove" exit will blow you away. Ditto the movie.

But Stone has found in Cruise the ideal actor to anchor the movie with simplicity and strength. Together they do more than show what happened to Kovic. Their fervent, consistently gripping film shows why it still urgently matters.

Joel and Ethan Coen's adaptation of Cormac McCarthy's 2005 novel is an indisputably great movie, at this point the year's very best.

Nothing in Joe Wright's screen version of Ian McEwan's dense, internalized 2001 novel of secrets and lies should really work, but damn near everything does. It's some kind of miracle. Written, directed and acted to perfection, Atonement sweeps you up on waves of humor, heartbreak and ravishing romance.

In terms of excitement, imagination and rule-busting experimentation, it's a gusher.

You just don't expect Hollywood to produce a masterwork so early in the new year. And it hasn't. This slice of celluloid dynamite comes from Romania, and what you see will floor you.

You leave WALL-E with a feeling of the rarest kind: that you've just enjoyed a close encounter with an enduring classic.

It's a total triumph, brimming with humor, heart, sexual heat, political provocation and a crying need to stir things up, just like Harvey did. If there's a better movie around this year, with more bristling purpose, I sure as hell haven't seen it.

Up is a breathtaking ride into the realm of pure imagination.

Jonze has filmed a fantasy as if it were absolutely real, allowing us to see the world as Max sees it, full of beauty and terror. The brilliant songs, by Karen O (of the Yeah Yeah Yeahs) and the Kids, enhance the film's power.

A new crime classic.

Keep your eyes on Garfield - he's shatteringly good, the soul of a film that might otherwise be without one. The Social Network is the movie of the year. But Fincher and Sorkin triumph by taking it further. Lacing their scathing wit with an aching sadness, they define the dark irony of the past decade.

A brilliant piece of nasty business that races on a B-movie track until it switches to the dizzying fuel of undiluted creativity. Damn, it's good. You can get buzzed just from the fumes coming off this wild thing.

Payne's low-key approach only deepens the film's intimate power. Want a movie you can really connect with? The Descendants is damn near perfect.

There's no way you won't be captivated by Wallis, chosen ahead of 3,500 candidates to play the tiny folk hero who narrates the story. Her performance in this deceptively small film is a towering achievement.

Written, directed, acted, shot, edited and scored with a bracing vibrancy that restores your faith in film as an art form, The Master is nirvana for movie lovers. Anderson mixes sounds and images into a dark, dazzling music that is all his own.

Hang on tight. The knockout punch of the movie season is being delivered by Zero Dark Thirty.

Watching De Niro take Paul through his first panic attack ("I'm crying like a woman") is an unalloyed joy.

Before this trippy, mesmerizing movie swerves out of control, it delivers an exhilarating and challenging ride.

One of the best movies of the year and by far the most entertaining.

A riveting and surprisingly romantic ride.

Fierce, funny and vividly moving.

The actors make it unique and unforgettable.