Profoundly disturbing yet compelling, “Disgrace” unabashedly confronts a vast array of controversies and taboos. Its intensity derives from the film’s desire to be deeply affecting. The film is successful in evoking a myriad of emotions; however, the intensity and its lack of a concentrated focus may prevent it from getting the viewership it deserves.

Tragicomically reminiscent of the mock rockumentary, “This Is Spinal Tap,” filmmaker Sacha Gervasi’s “Anvil! The Story of Anvil” is simultaneously a sad tale of disillusionment and a heartwarming crowd-pleaser about the fulfillment of dreams.

Screenwriter Charlie Kaufman’s (“Eternal Sunshine of the Spotless Mind,” “Being John Malkovich”) latest oeuvre is, assuredly, one of the greatest motion pictures of the decade (a consciously grandiose statement that echoes the nature of the film).

“Religulous” is Bill Maher’s satirical and quick-witted feature-length exposition of his perceptions about organized religion.

The first big hit of the year has arrived, and it goes by the name of Diane Latifah Holmes. “Mad Money,” the new caper comedy from the creator of the monumental “Thelma and Louise,” will surely echo in eternity as a landmark cinematic achievement.

While Korean blockbusters like “The Host” and “Oldboy” are slowly achieving cult-like status in the U.S., there exists an entire realm of Korean cinema still unknown that transcends genres.

Nobody has time to see all the good movies in a year. And as new releases come out each weekend, it’s hard to keep track of the movies that seem worth watching.