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As the new season begins, Cochise's presence brings up a host of issues for our human heroes and for the show's plotting.

The Assassination of Abraham Lincoln tracks the converging paths of the president and his killer, then tracks and draws connections between their last journeys, in the forms of Lincoln's funeral train route and Booth's desperate efforts to escape.

The most remarkable films of 2008 were small, smart, and complicated. While they're surely worth seeking out for their own pleasures, they also represent the sort of movies that will find theatrical releases even harder to manage in the shrinking economy.

With many indie/international films receiving more and more mainstream approval from unfamiliar audiences, many of the titles here could be considered part of the overall 2008 Best Of. But their individuality and multicultural appeal keep them a quality concept apart.

Twenty talented ladies, 20 performances worthy of multiple little gold men. Unfortunately, as in all years, someone has to come out on top. But after looking over this impressive list, picking the preeminent turn of 2008 seems almost impossible.

Surviving traumas, Wendy (Michelle Williams) serves as both detailed portrait and metaphorical expanse. Her pain is specific but also vague, her loss exact and all-encompassing.

From Good Luck Chuck to Julie Taymor's ill-advised Beatlesque '60s tribute Across the Universe, PopMatters presents the dreck of 2007.

At last, all we have is the horror we began with. Pearl will be beheaded, for nothing, and the world gets a little darker.

In images of the street and daily Karachi life, the movie finds drama that is "unfamiliar" but also crucial, suggesting the complexity of the task set before investigators in Danny's case.

Apparently, as the sun's strongest rays finally settle over the movie going public, sequels are the remedy to cool down an overheated demographic. This month alone holds five examples of such redux refreshment. The rest of the choices are a variety pack of genres, ideas and possibilities.

It is a revenge story, and while we shy away from revenge as a valid motive, at least we still understand it.

Ungainly and grim, the movie is loaded with comic-book heroic clichés and explosive effects.

As John (Richard Gere) begins to question his own journalistic rigor and even his sanity, a number of inconsistencies in the stories of the mothman crop up.