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In a year replete with big-budget thrillers and action epics striving for political relevance, Hany Abu-Assad's modest account of two Palestinian suicide bombers packs the biggest punch. While the film just barely acknowledges the humanity of the Israeli targets, it paints a strikingly complex and self-critical portrait of Palestinian culture, suggesting that the Palestinians themselves bear some of the blame for making things worse in that part of the world, rather than better. Subtly horrific but also knowingly irreverent, Abu-Assad's film also examines how honor and shame can provide a motivation more powerful than life and death. (Our review.)
— Peter T. Chattaway

It's easy to tell that Noah Baumbach worked with Wes Anderson on The Life Aquatic—on his new film, The Squid and the Whale, Baumbach strikes an Andersonian balance between oddball comedy and heartbreaking tragedy, and mines his story of a broken family for similar themes of betrayal, loss, and the importance of love. In the end, though, Baumbach makes the film entirely his own, a devastating portrayal of the politics of divorce. It's not an easy film to watch, but its compassion and fearless exploration of the truth make it the kind of movie that gets under your skin and stays there, haunting in its boldness and beauty.
— Josh Hurst

After two forgettable prequels—The Phantom Menace and Attack of the Clones—I wondered if George Lucas had lost the magic that had wowed us two decades before. The special effects were great, but where was the storytelling and dialogue? But just when I thought I'd never forgive him for Jar Jar, Lucas redeemed himself—and the entire Star Wars saga—with a terrific movie. The opening 20 minutes are jaw-droppingly spectacular (how on Naboo did this movie not get an Oscar nomination for visual effects?), but visuals aside, Sith does a marvelous job of telling the story of Anakin's descent into darkness and, ultimately, the uber-villain Darth Vader. (Our review.)
— Mark Moring

Biopics are all the rage, and Walk the Line joins the best of them with fascinating subjects—Johnny Cash and June Carter—great period costuming, and amazing performances from Joaquin Phoenix and Reese Witherspoon. Phoenix nails the snarl, the hangdog look, and, most impressively, the vocals. The film gives us a poignant look at the process a man goes through in life. There's no instant demise, cure, or passion here. Instead, there's the gradual unraveling of a man lured by fame's darker side, the slow burn of an intense friendship/passion, and the hard-won road to recovery that could only be accomplished with the unconditional support of others. (Our review.)
— Camerin Courtney

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