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Bad marketing … burnout over boxing movies … Russell Crowe's infamous telephone smackdown … global conspiracy … whatever the reason, it's almost criminal the way Cinderella Man was overlooked in 2005. The storytelling and technical aspects make this one of Ron Howard's finest films, with award-worthy performances from Crowe—playing Jim Braddock, a real-life Depression era boxing hero—as well as Paul Giamatti and Renee Zellweger. This is one of those films where you forget the genre and the relatively predictable conventions, because the human drama takes over. More than just a feel-good tale of zero to hero, it's a story of family, friendship and love. (Our review.)

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A wonderful, enchanting story about a child's faith, his desire to be like the saints he so admires, and his efforts to be generous. Danny Boyle lets us see the world through a child's eyes, and he brings the saints themselves to vivid, if occasionally slightly irreverent, life. The film avoids stereotyped characters and has a truly unique plot and main character—Damian, played with irresistible charm by Alex Etel. Boyle creates a world we can believe in, while adding fantastical flourishes throughout. And in the end, it somehow inspires doing good without any hint of cheese or an agenda. One of our critics said that every time he watches it, the film gives him hope and makes him aspire to be a better person. (Our review.)

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Forget any Batman movies you've seen in the past: This is the definitive one. This film's greatest achievement is not in action spectacles or dazzling-do, but in answering that crucial question: Why does Bruce Wayne do what he does? By showing us the real man—and not just the bat—director Christopher Nolan makes Wayne (Christian Bale) real, understandable, and truly heroic. And by focusing on story and gristle, Nolan makes this film rise above just another comic book movie with a dramatic story about fear, the line between revenge and justice, and what defines each person. A masterpiece. (Our review.)

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A well-directed and riveting character drama, Crash showcases a handful of the best ensemble performances of the year: Terrance Howard, Ludacris, Don Cheadle, Matt Dillon, Sandra Bullock, and more. Telling the intercrossing stories of several L.A. residents, the film dissects the sins, racism, and human failings that separate us all—and we see the good and bad in each character. It's a "hyperlink movie," interweaving the short stories of numerous characters, and it holds together to communicate its point without confusing audiences. It's a fresh look at an old topic: racism and prejudice. But whatever your race or social status, Crash makes you consider how you treat those who are different from you. (Our review.)

In a year of "important issue films" (Crash, Syriana, Munich) and biopics (Walk the Line, Capote, Good Night and Good Luck), Dear Frankie is a marvelous breath of fresh air. A charming tale about a boy longing for a father, the film creates an endearing world of an imaginative deaf boy and his struggling mom, who will do anything for her son—even lie. The film is handled with great restraint, sweetness, and originality. Dear Frankie will move you to laugh and to cry, but without ever feeling manipulative. Director Shona Auerbach isn't afraid of silence; there are a number of wordless scenes where the facial expressions alone convey the mood, including one of the most beautiful—and realistically awkward and understated—romantic scenes we've ever seen. Emily Mortimer, Gerard Butler, and Jack McElhone are terrific in the three lead roles. Don't miss it. (Our review.)

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