There will definitely be a need to see it again after the first time, for the atmosphere, for Hoyle, for the theories, for the case, for everything offered and happily accepted.

It is always unclear what the film is really about.

It’s a historical slice of life that not even most Canadians get to see, never mind the rest of the world, yet the tale is told more with emotion than words, and the language barrier melts away like the snow in spring.

It is compellingly enervating and a marvel in the filmmaking process.

Perhaps Planet 51 should have added a dash of Pedro Almodovar, one of Spain's preeminent directors.

It’s intellectually and socially detrimental to both literature and cinema, simultaneously.

This may be Bullock's best performance. Ever.

Nicolas Cage is a joy to watch, and Werner Herzog is a brilliant storyteller.

Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.

If characters with more than one dimension, a plausible story and some sort of viewpoint are moviegoing musts, you may leave 2012 feeling a tad shortchanged.

The animals are often caught in a stare as if they, too, are looking for the tale that Anderson forgot.

An even bigger issue: things start sinking by the opening minutes.

The revelation of the film's mystery just barely makes sense. Yet, we dismiss it as an extended MacGuffin, and thus can delight in the film's devious turns.

Shot in the manner of a grueling horror picture, with jittery edits to half-remembered traumas and glistening close-ups on the faces of monsters.

The Fourth Kind has nowhere to go and sticks to its real-life/reel-life device. It feels like mud by the second act.

It is frustrating to see this much raw talent on the screen, not to mention behind the camera, and to have had these people produce something that hints at so many complex things, but ultimately fails to deliver on them. It’s just a comedy, then. So be it, Jedi.

It’s a great story. I’ve read books on the subject and have found it fascinating. But even reading Mandela and Desmond Tutu will not prepare you for the barrage of information Endgame throws at you.

Halbrook absolutely nails the lead role of Mr. Abner Meecham, the headstrong farmer whose lips can’t form the words “give up.”

Bottom line: the spectacle he was preparing may well have provided Jackson with the appropriate note on which to close his long, controversial career. This, however, I think even die hard fans will concur, isn't it.

When this actor (Swank) steps into the right role, she wears and inspires it like Denzel Washington.

Conveys a much louder political message and the implementation of violence reflects as much.

If only von Trier could work beyond the poster art concept. Antichrist stubbornly fails as a gothic nightmare and meanders as a misanthropic two-character drama.

The astonishingly gonzoid fight scenes from Ong Bak 2 might be the best ever filmed.

His film captures the wonderment of dreaming - and the reality of waking.

Technical elements are among the best this year. Photography, editing, music, production design, and costumes all add seamless period flavor to the puritanical stew that was London almost a half-century ago.

Elevates a significant moment in the history of this massively passionate spectator sport.

In addition to the socio-economic impact, Good Hair also explores how hair care affects the African-American community in confidence (both personal and race-related), romantic relationships and every day life.

Thankfully there's nothing remotely serious about Zombieland. It's just a heck of carnival attraction (Shoot the ducks/Shoot the zombies) on a roller coaster filled with laughs.