“Mixes well-drawn character arcs and settings wonderfully fresh and creative yet somehow simultaneously nostalgic and comforting for a cinematic potion that feels like it was brewed just for me. Certainly one of the best of 2012, and arguably the best non-Pixar Disney animation since 1994′s The Lion King. Would make a great miniature film festival paired with Scott Pilgrim and Community’s 8-bit episode.” – Ytadel

“This whimsical fantasy is strongest in its portrayal of broken people reaching out beyond themselves for a chance at healing. What’s on display here may be relatively mild forms of mental illness, but that doesn’t make the story any less true or impacting. Rather, the more comic tone sets this story apart from others that treat mental illness more directly, and, as a result, more seriously. I appreciated the film for what it was–snappy writing, strong performances, and an affecting conclusion.” – Icarus

“This is probably the closest a film has to come to “scaring” me since I realised that films aren’t scary. The story itself is terrifying enough but it increases tenfold upon the realisation that this is an actual documentary (I went into this completely blind). Incredibly well made and a fascinating, nail-biting experience. One of this years best.” – RapeyVessey

“One could enjoy this just based on the “wtf” that it makes you feel, but there are a lot of weird movies. Holy Motors has some incredible scenes, such as the rendition of Let My Baby Ride, or the ending (it made me laugh). That’s the thing, for as odd as it is, and for how great the premise is, there is a point here (I don’t entirely know what it is, I just know it’s there, maaan). It uses music well, and the vignettes range from weird, to heart wrenching to violent… and it does it easily.” – Obdurate

“With a beautiful visual style, sensitively molded to the equally sensitive central character story, and some heartfelt acting, especially from the talented Anders Danielsen Lie, Joachim Triers existential drama creeps slowly but surely under your skin.” – Henrik

“Phoenix’s face is the star of the film, impeccably lit to accentuate all the brilliant contours of his thin, expressive mug. The cinematography, music, and performances all blend together to form Anderson’s most bizarre film yet, one that fabricates a mirror between the two main characters in their sexual passion, their vices, and their spirituality (which may all be the same thing). That’s a simplistic explanation for a theme far richer than I can briefly describe here. A beautiful work.” – Actionberg

“Pierrot le fou for children. Wes Anderson for lovers. Bill Murray as an American treasure. Bruce Willis as someone who’s uncool. Edward Norton as a funny scoutmaster. A gorgeous film.” – wetwillies

“Touching from the very first frame, with a ton of great laughs convincingly delivered by a charming Omar Sy. The chemistry between Driss and Phillipe cannot be bought for money – A highly recommendable film wich I sat through with one big smile on my face…” – Bunken

“A heart-wrenching look at an elderly couple dealing with the trials of old age. As typical with Michael Haneke films, it has a mechanical feel due to slow pacing and an emphasis on quiet long-takes, but it is directed with the sure hand of a master filmmaker. The performances by Emmanuelle Riva and Jean-Louis Trintignant are stunning achievements of acting. Amour is one of the toughest films I have ever sat through, but it is a triumph of film-making that deserves all accolades it has received.” – DougieD

“Tarantino’s Western pastiche may be more thoughtful and have more tenderness than much of his work, but when the blood flows, it gushes. The violence here comes from the brutality of slavery and bounty-hunting, both of which Django (Jamie Foxx) experiences, the latter as he seeks his beloved Broomhilda (Kerry Washington). Directed with great panache, well-written, and well-acted across the board–Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson are superb–it is a long but worthy tale.” – xacviant