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Even if you’re not generally a Coen Brothers fan, True Grit is a must-see. The directing duo’s latest film stars Jeff Bridges, Matt Damon, and Josh Brolin and introduces 14-year-old Hailee Steinfeld as Mattie Ross, the narrator of the Western. When Mattie’s father is killed by villain Tom Chaney (Brolin), she hires U.S. Marshal Rooster Cogburn (Bridges) to track him down and avenge her father. Texas Ranger LaBoeuf (Damon)—pronounced humorously as Le Beef—is also on the hunt for Chaney. Although True Grit was snubbed at the Golden Globes, it has far surpassed the Coens’ 2007 “No Country For Old Men” in box office revenue, and the buzz has only increased as Oscar season starts. A masterful reimagining of the 1969 original—which starred John Wayne as Bridges’s character—the film, along with its many talented actors, is sure to win some Oscar gold. Be sure to get your cowboy boots on before catching it in theatres, ‘cause this one’s got some kickback.

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David Russell’s The Fighter is based on the true story of a struggling boxer and his colourful family. Starring Mark Wahlberg as up-and-coming fighter Micky Ward, the film centres on Micky’s struggle to make it in the ring, while surrounded by his trainer and half-brother Dicky (Christian Bale), and his domineering mother and countless sisters. Fed up with his constant losses in the ring, Micky leaves his family behind for a more professional training regime, with the help of his girlfriend Charlene (Amy Adams). As Micky pulls away from his family, his brother Dicky, a one-time hometown hero who constantly touts his former glory, becomes increasingly unreliable and falls deeper into his crack addiction and criminal tendencies.Wahlberg easily endears audiences who are eager to see the conclusion to Micky’s story, and Bale as his washed-up brother shows his chops and versatility as an actor. Adams’s Charlene is also a force to be reckoned with, as demonstrated in scenes of harsh exchanges with Micky’s mother and sisters. Overall, the combination of impressive acting, authenticity and detail, and high entertainment value make The Fighter a film that will impress at the Oscars this year.

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  Although some have objected to the latest Disney flick’s name, Tangled is more than a movie about a girl with extra-long hair. It re-imagines the classic fairy tale “Rapunzel” by following the princess on her first day out of the tower. The film switches up the tried and true princess story by reversing stereotypes, featuring cupcake baking pirates, a scoundrel for a love interest, and an unexpected twist.

      As the voice of Rapunzel, Mandy Moore is enchanting yet relatable; she’s simultaneously anxious and creative, restless and hopelessly indecisive. Her relationship with bad boy Flynne (Zachary Levi) is heartwarming, heartbreaking, and strikingly modern. Tangled also moves beyond traditional Disney artistry with its breathtaking animation and influence from the Rococo painting “The Swing,” which harkens back to the Golden Age of Disney when backgrounds were painted by hand in rich oils. However, the use of 3D lends splash of realism to backgrounds, characters, and swashbuckling scenes. The animation featured in Tangled mirrors the movie’s greatest strength: the ability to be old yet new again. It brings you back to the good old days of Disney on VHS, while taking a solid step into the 21st century.

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The King’s Speech has garnered considerable Oscar buzz since its release in December, and not without merit. The film is one of the most compelling of the year, and has been commanding audiences with an interesting storyline, superb acting. and beautiful cinematography. The King’s Speech follows the Duke of York (“Bertie” for short) who unexpectedly assumes the throne following the abdication of his older brother Edward, and must overcome his fear of pubic speaking resulting from his debilitating stutter. The film follows Bertie (Colin Firth), as he navigates the rigid boundaries of royal life in the years leading up to his coronation and the onset of the Second World War. It centres on the relationship between the King (known as Prince Albert prior to his coronation) and his eccentric speech therapist Lionel Logue (Geoffrey Rush), whose unconventional treatment methods push Bertie to go deeper into his personal history and childhood experiences to determine the real reason for his speech impediment.

The King’s Speech depicts British history from a unique perspective, with director Tom Hooper focusing on the personal relationships and royal family dynamics that are often mocked or ignored in films about the monarchy. Firth, Rush, and Helena Bonham Carter as Bertie’s wife, Elizabeth Bowes-Lyon, bring this personal story to life, and supporting cast members Guy Pearce and Michael Gambon add depth to Bertie’s brother and father who have stifled Bertie for the majority of his life. The film is also aesthetically pleasing; the cinematography and set design are rich with depth and colour and show the stark contrast between royal and common life in the Great Depression. The King’s Speech is a memorable portrayal of a reluctant king, whose perseverance in overcoming personal obstacles was essential to his status as a beloved historical figure in wartime Britain.

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Darren Aronofsky’s Black Swan, likely to be a strong Oscar contender, was one of 2010’s most exciting films. A psychological thriller set in the dramatic world of ballet, the film stars Natalie Portman as Nina Sayers, a tortured ballerina on her descent into madness after winning the star role in a production of “Swan Lake.”  The film is smart and sexy, showcasing Portman’s incredible talent. Mila Kunis, Vincent Cassel, and Barbara Hershey round out the stellar cast. The film also contains elements of a sexual thriller. Portman plays a shy, timid dancer who becomes mentally and physically corrupted by her new role in a premiere ballet company with an overtly sexual director, played by Vincent Cassel. Kunis is the beautiful temptress who stands to take Portman’s place if she falters, and Hershey plays Portman’s mother, an overly protective and frightening woman with hints of an incestuous crush on her daughter. The film highlights the darker side of the dance world. Without being too cliché, Aronofsky crafts a stylish and haunting fishbowl of passion and cutthroat competition that finds its protagonist losing her sanity to the art form to which she has dedicated her life. The film challenges the audience to toe the line between reality and total madness, guessing which parts of the film are genuine and which are only happening in Nina’s head.  Abandon all hopes for a storyline that makes much sense, and go see Black Swan for its twisted beauty.

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Two years after the release of director Danny Boyle’s Slumdog Millionaire comes 127 Hours, a film based on the terrifying true story of adventure seeker Aron Ralston (James Franco). Ralston inadvertently has his right arm pinned between a boulder and a cavern wall during an afternoon hike in the Utah desert. But the movie would almost certainly never have been made were it not for his gruesome method of escape: after five days in the wilderness, Ralston chooses to cut off his own arm with a multi-tool.  

Revealing this by no means spoils the movie. In fact, the very concept of a man cutting off his own arm to survive is the only thing separating this story from your standard “lost in the woods” news headline. To some extent we are all intrigued by this type of violence, even if it’s completely horrifying. Boyle must have anticipated that the legend of Ralston would become common knowledge before the movie was released, so he wisely chose to drop hints within the movie that foreshadow the amputation. One shot in particular shows Ralston packing all the necessities for a day’s hike, as the camera slowly pans in on his multi-tool resting in the cupboard.  

Ralston is resourceful and carefree. When he takes a spill over his bike’s handlebars, he quickly snaps a picture of himself lying exhausted on the ground. He even meets a couple of women on the trail and shows them his favourite areas off the beaten path. It’s all amusing until he slips into a small crevice and a rock lands on his arm. The rest of the film is a fascinating character study, a race against time. and a depiction of man versus nature.

We see Ralston use his multi-tool knife to chip away at the boulder until he realizes that he’s only wasting his energy, muttering to himself sarcastically that his blade is now “nice and dull.” We know the consequence of this, but all we can do is feel sorry for him as he figures it out for himself.

Ralston’s psyche slowly deteriorates, and with this come some very abstract dreams and hallucinations.  The hallucinations are bizarre, but provide valuable insight on what would otherwise look like the incoherent ramblings of a man nearing death. The film also touches on the topic of destiny as Ralston seems to think that every bad choice he has made in his life has consequently led to this rock landing on his arm. Millions of years before he was born, this rock was fated to crush his arm. Who wouldn’t beg, plead, pray, and repent to God in situations half as scary as this?

The camera holds nothing back. From the beautiful landscape to the hell Ralston endures in the cave, no details are spared (though at times you’ll wish they were). The film can be unflinchingly gruesome, but more importantly it’s triumphant, and ultimately very inspiring. It couldn’t have had such an impact were it not for James Franco, who deserves nothing short of an Oscar nomination for his emotional conviction to the role.