Volver
Volver is Pedro Almodovar’s latest movie, and it’s alternately hilarious and heartwarming. Almodovar is one of those directors whose work always seems to revolve around the same themes and ideas, but never gets old. His films are like Frida Kahlo’s self-portraits… you never grow tired of that unibrow, always captivated by what new context she’s placed it within.

Old Joy
Old Joy is a sublime 76-minute film essentially made up of two guys wandering around in a forest. Based on a short story that was accompanied by a series of photographs, Old Joy is a subtle, honest portrait of one transitory moment in a friendship, a coming of age story, and an allegory for a generation. And it stars indie rock folk singer Bonnie “Prince” Billy.

20 Centimeters
I saw 20 Centimeters at this summer’s Los Angeles gay film festival, Outfest, and was thoroughly entertained. It’s about a narcoleptic tranny prostitute one blowjob away from the gutter with a dream of finding love and having her enormous cock removed, and it’s also an extremely vibrant musical set to songs by Madonna, Queen, and David Bowie. On paper, it sounds likes a bizarre combination of My Own Private Idaho, All About My Mother and Hedwig and the Angry Inch, but it’s much more than that… it’s unique, endlessly clever, and at times exhilarating.

Sympathy for Lady Vengeance
With Lady Vengeance, Korean director Park Chan-Wook closes the trilogy that began with 2002’s Sympathy for Mr. Vengeance and 2004 Cannes Grand Jury Prize winner Oldboy. While each of the films are truly extraordinary, the third entry in his “Revenge Trilogy” carries much more grace and eloquence than the others.

The Devil and Daniel Johnston
The Devil and Daniel Johnston is one of the best documentaries I’ve ever seen. It’s the heartbreaking and unbelievable story of a quiet American legend, a record of his genius and madness.

Brick
I’m sure you’ve heard about Brick by now. It’s that movie where the kid from “3rd Rock From the Sun” tries to solve a mystery amidst film noir jibber-jabber and deadpan cartoon villains in a parallel universe modern-day high school. Sure, it’s flawed, and sometimes unnecissarily muddled– but it’s a breath of fresh air in a decade of lifeless teen movies, and it’s oh-so aesthetically pleasing.

Wassup Rockers
Larry Clark’s latest effort in a career of no-holds barred looks at American youth is a lot of fun. Like Brick, Wassup Rockers reminds us of what’s been missing in filmic depictions of teenagers, and it also gives us a realistic portrayal of the complicated friendships and bonds between teenage boys that are often glossed over in favor of sterile frat-boy sexual competition. Plus, it includes cameos by Janice Dickinson and Jeremy Scott as over-the-top Beverly Hills weirdos.

Fat Girls
Fat Girls is a welcome surprise in the “gay comedy” genre, although to label it so restrictively would be unfair. It’s set in small town Texas and centers around a pair of misfit friends and their various tragicomic misadventures in high school. Some have compared it to Napoleon Dynamite, but it’s not nearly as vapid. The writer/star/director, Ash Christian, instills a true sense of intimidation– he wrote the film at 19, directed it at 20, and now at 21 he’s negotiating a sitcom deal with a major network. I need to get on that…

Time To Leave
Francois Ozon, who recently garnered acclaim for both 8 Women and Swimming Pool, impresses once again with this film about death and legacy. I’ve never seen a “You’ve got three months left to live” movie executed with such tact and thoughtfulness.

Little Miss Sunshine
I’m sure you’re sick of hearing about it by now, but really, it’s great. No, I refuse to be cynical and pretend it wasn’t heart-warming, because it totally was.

Quinceañera
Quinceañera is a film about a mexican-american girl growing up in Echo Park, Los Angeles with her saintly grandfather and her gay chollo cousin, and how their family is affected by gentrification. Specifically, gentrification by their new gay yuppie landlords. Incidentally, it’s written and directed by a couple of gay yuppies who live in Echo Park. Regardless, it feels honest and authentic, and it’s probably my favorite movie about the east side of Los Angeles I’ve yet to see.

Jesus Camp
Jesus Camp is the scariest movie of the year. Imagine a horror film where angelic-faced kids are brainwashed from birth to be soldiers in the militant wing of a cult loosely based on Christianity. Now imagine it as a documentary. That’s what Jesus Camp is. You’ll start packing for Sweden as soon as you see these kids praying in tounges to a cardboard cut-out of George W. Bush. Plus, a deliciously poignant cameo by disgraced drug-addict homo evangelical Ted Haggard.

The Science of Sleep
Michel Gondry’s dreamgasm is a Gael Garcia Bernal-fest and a Charlotte Gainsbourg love letter. What more could you ask for?

Shortbus
John Cameron Mitchell, creator of Hedwig and the Angry Inch, returned this year with his long-awaited “dramatic porn film.” While anyone expecting non-stop titilation will likely be let down, Shortbus is better than a porno– it’s a surprisingly emotionally resonant conversation about sex, a nuanced character study, and a beautiful ensemble film.

The Departed & Inside Man
Well, Martin Scorsese decided to quit it with all the historical epic nonsense and get back to the kind of film he’s really good at… he’s still got it. The Departed nicely complemented Spike Lee’s Inside Man this year as two intellegent mainstream crime dramas from veteran directors who deservedly garnered great commercial as well as critical successes for their work. If nothing else, Inside Man proves that Jodie Foster can still successfully portray characters who aren’t simply angry mothers fighting! to save! their daughters!

Borat
It’s always nice to see people successfully lampooning America, even if it is like shooting fish in a barrel. Borat is undeniably hysterical.

Babel
Another epic movie from Alejandro González Iñárritu, the director of Amores Perros and 21 Grams. The visuals he presents in Babel lift a flawed, melodramatic script into something transcendent.

Duck Season
Duck Season is a Mexican coming of age film that’s equal parts John Hughes and early Jim Jarmusch, but with more nuanced characters than either of those stylists could have crafted in their day. Like Old Joy, Duck Season may not appeal to hard-line fans of fast-moving plot action, but if you’re patient enough to spend a couple of hours with Duck Season, you won’t be disappointed.

Inland Empire
Inland Empire is the In-N-Out Double-Double burger of David Lynch films. It is three hours long, mercilessly fragmented, and shot on digital video. And somehow, very enjoyable. If Science of Sleep is Michel Gondry’s dreamgasm, Inland Empire is Lynch’s uncensored nightmaregasm. Freed from the constraints of narrative logic imposed by the studio system, Lynch goes wild with the freedom. His muse Laura Dern anchors the film with a masterful performance as “A Woman in Trouble.”