Claudia Puig

A Sundance hit that is both absorbing and bleak, Frozen River is anchored by powerful performances, believable scenarios and excellent writing.

Les Misérables is sweeping, as would be expected given the scope of the hugely popular stage musical from which it is adapted. But it's also wonderfully intimate, thanks to Tom Hooper's deft direction.

Blue Ruin is the rare film that is nearly consistently tense, the suspense only temporarily subsiding about an hour into the story. It's a welcome respite.

This low-key and engrossing Belfast-based drama is as much a well-acted character study as it is a thriller about the conflict in Northern Ireland.

Ghost World draws super, natural performances.

Profound and superbly acted, with a moving script superbly adapted from David Lindsay-Abaire's Pulitzer-winning play.

The original "True Grit" might have been eclipsed by John Wayne's larger-than-life persona, but the Coen brothers' remake is an ensemble piece that feels freshly their own.

Easy A not only makes the grade, but it comes in close to 100%.

Every second Helen Mirren is on-screen in The Last Station is a study in peerless talent.

This is the rare screwball comedy that is superbly paced, cleverly plotted and hilarious from start to finish.

The year's most riveting documentary.

Visionary director David O. Russell so deftly weaves the family's story that we, too, are initially seduced by Dicky.

Good Hair is cause for hope that Rock continues to make documentaries. His style is lively, smooth and up-to-date, like the most coveted 'do.

A brilliantly acted and achingly bleak coming-of-age story.

An excellent adaptation of a wonderful work of fiction (The Age of Grief).

Worth seeing not only because it's a highly effective thriller, but also because it's a finely tuned evocation of innocence at the mercy of adult cynicism.

More coming-of-age story than biopic, this Guevara odyssey is a transformative adventure well worth watching.

Like the best French cuisine, Ratatouille is ambitious and delightful.

One small documentary for a filmmaker and one giant leap in inspiration for audiences.

Riveting and darkly comic Super Size Me is a whip-smart documentary.

This is a romantic comedy for people who don't like rom-coms. There's no chance of a happy ending, but its tender mercies speak volumes.

A thoughtful film about ideas — creativity, the power of language and the eloquence of visuals — it features two impeccable performances full of vitality.

The ideal culmination of a fantasy series that has artfully blended excitement, adventure and terror with humor, kinship and love.

About a Boy is a rarity in many ways. It's a well-written, witty film whose memorable characters grapple with the nature of family, love, friendship and despair. Even its soundtrack, by Badly Drawn Boy, is perfectly pitched.

At a time when romantic comedies seem to have exhausted unique ideas, along comes Lars, an original, amusing and heartfelt tale sharply written by Nancy Oliver (Six Feet Under).

A rare blend of emotional content and intelligent material that makes it simultaneously gut-wrenching and thought-provoking.

Overall, however, the manner in which the film blends the tale of an imperiled boy and the history of cinema makes for an ambitious and fanciful ride.

This gem features five topnotch, multidimensional performances in one of this summer's most engaging films.