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Here's a look at the new films that I saw this week, including a pair of top contenders.

The Artist

Starring: Jean Dujardin, Bernice Bejo, John Goodman, and James Cromwell

Synopsis: This is one of the most lauded films of 2011, and for good reason. "The Artist" is artful, whimsical, and daring. It is a black and white silent film about a silent film star coming to grips with the end of the silent film era. In a day and age where studios are intent on pushing forward with 3D and special effects technology, this film is a throwback to a simpler era when a film was defined by its story and performances. Both are first rate in this film. And if it took a silent film to introduce U.S. audiences to the talents of Dujardin and Bejo — French film stars — then keep them coming. Both are fantastic in difficult roles that take you back to a different era of filmmaking and storytelling. Writer/director Michael Hazanavicius clearly had a vision for this film, and he brings that vision to life in a stunning way. The other supporting actors — chiefly Goodman and Cromwell — do a nice job in their roles too, and the film features one of the most engaging and entertaining dog performances in recent memory. In fact, the dog is so good he should get third billing for the film. This is a movie that mixes humor and pathos, romance and isolation, music and dancing in a way no other film has in quite some time. I don't have a lot experience with silent films — having seen clips of Chaplin films and all of "Birth of a Nation" as a frame of reference — but "The Artist" is a film that celebrates the era, celebrates the artists, and celebrates talent in a world where technology seems to take precedence. And the rousing romance of the film, as well as the inspired closing sequence, it breathtaking and brilliant. The film received a gaggle of Academy Award nominations — including Best Picture, Best Director, Best Actor and Best Supporting Actress — and it was deserving of them all. "The Artist" is one of the rare true gems in motion pictures, for this year or any year.

Rating: PG-13 for a disturbing image and a crude gesture.

Verdict: Four stars out of four.

Extremely Loud and Incredibly Close

Starring: Thomas Horn, Tom Hanks, Sandra Bullock, Viola Davis, Jeffrey Wright, and Max Von Sydow

Synopsis: Every once in a while a movie comes along that knocks you on your behind, emotionally. It should have been easy to tell from the trailer that “Extremely Loud and Incredibly Close” is such a film. The key plot element — the fact that protagonist Oskar Schell (Thomas Horn) loses his father during the attacks on 9/11 — is a basis for the trailer, TV commercials, and all the advertising for the film, but that’s really only the beginning of the emotions connected to this story. It’s a beautifully told journey of the exploration of what connects us — in life and in death — and an exploration of the human experience. Though the film has been a minor player in awards’ season to this point, due in part to its later release, when you see the film it’s not hard to see why it was nominated for Best Picture. The film — based on the novel by Jonathan Safran Foer — follows Oskar as he goes on one last journey to find out the purpose of a key discovered in his father’s closet. Stephen Daldry is no stranger to making deep, emotionally complex films. In the past he helmed Oscar contenders such as “The Hours” and “The Reader.” Here he again captures the emotional complexity of this story in a beautiful and moving way. At it’s heart, “Extremely Loud and Incredibly Close” is a story about loss, grief, and guilt, but it’s put together in an incredibly moving way. Screenwriter Eric Roth — who crafted “Forrest Gump” and “The Curious Case of Benjamin Button” for the screen — does a beautiful job of bringing the story and characters to life. The story unravels in an effective and beautiful way, making use of all the supporting characters and stories along the way. The film is also full of rich performances from a powerful cast. Hanks, a two-time Academy Award winner, does a great job as Thomas. Some of his most powerful moments come via voice recordings, no easy feat for an actor. Bullock, who won an Academy Award for “The Blind Side,” delivers a beautiful performance as well. She has to do some tough work in some emotional sequences and pulls it off gracefully. The supporting cast is great too. Von Sydow does an incredible job of creating a character solely through expression and physical movement, while Viola Davis and Jeffrey Wright are great in smaller parts as people Oskar meets along his journey. But the real find in this film is Horn. Without a strong performance from Horn in the lead role, the journey simply wouldn’t work. The young actor proves he’s up for that in spades, holding his own against a talented group of supporting performers. As Oskar, Horn has to convey a breadth and depth of emotion and endure some difficult aspects of the central story, and he handles it all beautifully. The performances, writing, directing, and film craft come together in a stirring way with “Extremely Loud and Incredibly Close.” It is a beautiful, emotional film that pulls you in and doesn’t let go until the final credits role. That is a credit to all involved. Without a doubt, this is one of the best films of 2011 and a worthy Best Picture nominee.

Rating: PG-13 for emotional thematic material, some disturbing images, and language.

Verdict: Four stars out of four.

Haywire

Starring: Gina Carano, Michael Angarano, Michael Fassbender, Michael Douglas, Antonio Bandaras, Channing Tatum, Bill Paxton, and Ewan McGregor

Synopsis: Director Steven Soderbergh has always vacillated between commercial films and more artistic approaches to storytelling. It hasn't always worked, but in his own way he redefined the action/spy genre with "Haywire." That isn't to say it's a great film — it isn't. And it isn't to say I loved the film — I didn't. But there is a certain fascination with the artistic decisions and the way the film is put together. Soderbergh was reportedly fascinated with the physical skills of Carano — an mixed martial arts fighter — so he built a film around her unique talents. Carano actually, as a bonus, has an affable screen persona as well, and she is more than believable in the action sequences which form the heart of this film. The male co-stars — and there are plenty — basically serve as plot devices as she moves through her journey. Each plays their part and, more often than not, pays the price for underestimating her skill and resolve. What is fascinating about the film, though, has little to do with story and performances. Both are passable — though the story does leave some holes, which would be more of a problem if you really cared. No, what stands out about this film is the film craft. The fight sequences come in a more toned down, realistic way. There is no music to underscore the moments, just the raw sounds of combat. The strikes are quick, brutal, and brilliant to watch — like an ultra violent dance performance. That combined with the toned down way the entire production is put together give the film a unique feel that is somewhat engaging and appealing. This isn't a great film, and it probably isn't even particularly memorable, but it is somewhat daring. In that sense, Soderbergh has taken a basic action film and given it a bit of artistic depth.

Rating: R for some violence.

Verdict: Three stars out of four.

Upcoming Releases:

Friday, Jan. 27 — "The Grey," "One For The Money," "Man on a Ledge"