It’s ebullient and joyous but still laced without the proper amount of pain and pathos, everything working in incandescent tandem with its various pieces in order to make the movie come alive to its own free-flowing beat. Make no mistake, Frances Ha is a stunning achievement, an exercise in pure cinema that’s as rare as it is spectacular.

In the House is an incredible work of art that remembers the greatest stories start from the most blasé of scenarios, and that even when the ending to the tale borders on perfection the ultimate destination a masterpiece is headed for is for future generations to determine its value and worth for themselves.

Side Effects is the first great movie of 2013.

By the time the attack commenced my pulse was racing to such a degree I was worried I might be having a heart attack. Bigelow’s Zero Dark Thirty is a triumph. See it at once.

More than just an important piece of history, Lincoln is an enthralling sojourn into the mind of a leader driven to keep his nation intact and willing to do virtually anything to ensure those all residing within its borders achieve equality.

How to Survive a Plague is sensational, and without a doubt France’s debut is one of the more profoundly inspiring motion pictures I’ve seen this year.

Argo is an immediate Best Picture frontrunner and one of 2012’s best films.

From the vast landscapes to the creases lurking at the corner of a person’s smile, all of it matters, the internal intricacies of the human condition revealed in visual layers that continually caught me by surprise.

I’m not entirely sure I’ve felt more kinship with a motion picture in recent memory than I have with screenwriter and director Stephen Chbosky’s stunning adaption of his own 1999 novel The Perks of Being a Wallflower.