Oscar Nominee: Best Film Editing

A superb cast and an even-handed treatment of a true story buoy Into the Wild, Sean Penn's screen adaptation of Jon Krakauer's bestselling book.

Unmistakably a shot at greatness, Paul Thomas Anderson's There Will Be Blood succeeds in wild, explosive ways. The film digs into nothing less than the sources of peculiarly American kinds of ambition, corruption, and industry--and makes exhilarating cinema from it all. Although inspired by Upton Sinclair's 1927 novel Oil!, Anderson has crafted his own take on the material, focusing on a black-eyed, self-made oilman named Daniel Plainview (Daniel Day-Lewis), whose voracious appetite for oil turns him into a California tycoon in the early years of the 20th century.

2001: A Space Odyssey took the world on a mind-bending trip to outer space, but Fantastic Voyage is the original psychedelic inner-space adventure. When a brilliant scientist falls into a coma with an inoperable blood clot in the brain, a surgical team embarks on a top-secret journey to the center of the mind in a high-tech military submarine shrunk to microbial dimensions.

Leonardo DiCaprio puts a handsome face on an ugly industry: In parts of Africa, diamond mining fuels civil warfare, killing thousands of innocents and drafting preteen children as vicious soldiers. DiCaprio (The Departed) plays Danny Archer, a white African soldier-turned-diamond-smuggler who gets wind of a large raw jewel found by Solomon Vandy, a native fisherman (Djimon Hounsou, In America) recently escaped from enslavement by a brutal rebel leader. Archer offers a deal: He'll help Vandy find his war-scattered family if Vandy will share the diamond with him.

Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, Children of Men is a riveting cautionary tale of potential things to come. Set in the crisis-ravaged future of 2027, and based on the atypical 1993 novel by British mystery writer P.D.

Brilliantly conceived, superbly directed, and beautifully acted, Babel is inarguably one of the best films of 2006.

This rousing, explosive 1961 WWII adventure, based on Alistair MacLean's thrilling novel, turns the war thriller into a deadly caper film. Gregory Peck heads a star-studded cast charged with a near impossible mission: destroy a pair of German guns nestled in a protective cave on the strategic Mediterranean island of Navarone, from where they can control a vital sea passage.

A solid and entertaining biopic, Walk the Line works less as a movie than an actors' showcase for its stars. Joaquin Phoenix's total immersion into the skin of singer Johnny Cash is startling--watching it, you can't believe this is the same guy who whined about being "vexed" in Gladiator. As he evolves from a farm boy to gospel croonin' plunker to the Man in Black, Phoenix disappears into Cash's deep baritone, his way of slinging the guitar onto his back, and his hunched-up style of strumming.

One of the most shocking events in modern American history gets a skilled and respectful treatment in United 93. The movie begins by following the four terrorists who hijacked the plane that never reached its target on 9/11/2001, tracking them as they enter the airport and wait for their flight, surrounded by the people who will die from their actions. From there, it cuts to and fro among air traffic controllers and the military as, gradually, it becomes clear that planes are being hijacked and crashed into buildings.

At its core, Munich is a straightforward thriller. Based on the book Vengeance: The True Story of an Israeli Counter-Terrorist Team by George Jonas, itís built on a relatively stock movie premise, the revenge plot: innocent people are killed, the bad guys got away with it, and someone has to make them pay. But director Steven Spielberg uses that as a starting point to delve into complex ethical questions about the cyclic nature of revenge and the moral price of violence. The movie starts with a rush.