Jeffrey Wright in Cadillac RecordsCADILLAC RECORDS

At roughly 105 minutes, writer/director Darnell Martin's Cadillac Records is so jam-packed with character, story, incident, and musical interludes that it sometimes feels as though six or seven movies are being projected on the screen simultaneously. This is not meant as an insult. Films that overreach oftentimes give audiences too much of a fine thing, yet Cadillac Records is just enough of a really fine thing - a soulful, impassioned, beautifully enacted drama that delivers all the pleasures of the musical-bio-pic genre without the obviousness and sanctimony.

Ben Affleck and Diane Lane in HollywoodlandHOLLYWOODLAND

Against all expectation, the most touching performance in current releases is probably Ben Affleck's turn as George Reeves in the Tinseltown drama Hollywoodland. Director Allen Coulter's work centers around the mysterious shooting death of the famed Superman star of '50s television, and Affleck is just about perfect here. Seen in flashbacks, he plays Reeves' heartrending rise and fall with the abashed sweetness of a man who knows his good looks and moderate talent will only carry him so far, and Affleck's strong, subtle turn is effortlessly moving. And as trophy wife Tony Mannix, Diane Lane nearly matches him, suggesting entire generations of women carelessly tossed away by Hollywood's obsession with youth and beauty; Hollywoodland's tragedy is hers as much as Reeves', and the emotionally naked Lane turns in a fierce, brave portrayal.

Rachel McAdams and Cillian Murphy in Red EyeRED EYE

Wes Craven's Red Eye is the beneficiary of an original, intriguing leading character and, in Rachel McAdams, exactly the right performer to play her. A good thing, too, because the movie doesn't have a lot else going for it.

Jude Law and Gwyneth Paltrow in Sky Captain & the World of TomorrowSKY CAPTAIN & THE WORLD OF TOMORROW

Sky Captain & The World of Tomorrow might be the movie year's most refreshing surprise, especially when you consider how disastrous the results could have been.

Catherine Zeta-Jones in TrafficTRAFFIC

Sitting in the audience for Steven Soderbergh's drug drama Traffic, I heard a sound that had been sorely missing from 12-plus months of moviegoing: rapt, appreciative silence. It was the sort of silence that you only get when a director is in full control of his work, when the actors are working at peak form, and when the storyline is so gripping that you can't wait to see where it will lead you next. Based on a British mini-series, Traffic is something increasingly rare in modern films: a large-scale epic with a human pulse, in which every character and nuance is sharply defined, and in which your alliances and points of view change with each passing scene. The accolades and awards already bestowed on the film aren't simply a matter of it being the best of a bum year; it's one of the best movies released in many years.