From serious political commentary to pop-culture tributes, the best films of 2005 register… From serious political commentary to pop-culture tributes, the best films of 2005 register clear across the spectrum. While I may be offering a relatively kitschy cross-section, the mainstream still contributed to the panoply of 2005’s gems.

1. “Brokeback Mountain”

Director Ang Lee’s approach to capturing the love story of two men over the course of 20 years in Wyoming is an exercise in perfect simplicity. With an almost musical subtlety, “Brokeback Mountain” follows the relationship between two neo-cowboys and their heartbreaking loss of a pastoral paradise.

The action unfolds with a purity matching the austere score as Lee explores the various and often brutal facets of the situation. Heath Ledger’s performance – wrapped in a muffled drawl and helplessness personified – is nothing short of groundbreaking.

2. “Munich”

After “War of the Worlds,” a cookie-cutter blockbuster with a dash of Tom Cruise, Spielberg delivered a starkly violent, oddly beautiful exploration of the cyclical nature of revenge and brutality.

As it follows Israeli assassins eliminating the Palestinians associated with the murders at the 1972 Olympics, “Munich” transmits an implicit call for peace by humanizing the players on either side. Cinematographer Janusz Kaminski favored instinctive cinematography over storyboarding for the project, and the technique creates a natural, flowing course of images.

3. “Kingdom of Heaven”

Although Ridley Scott’s piece arrived smack in the middle of the epic-bashing trend, “Kingdom of Heaven” taps into the greatest elements of the genre while still feeling fresh. Scott’s depiction of the Crusades features cultural awareness and sensitivity without seeming anachronistic.

The clear, crisp battles clash with the serene beauty of the Middle-Eastern setting, and the ethereal score of Harry-Gregson Williams rounds out the full-bodied imagery of the epic. Orlando Bloom slipped easily into the role of the tacit, reluctant hero, meshing well with the ensemble cast of seasoned greats.

4. “Me and You and Everyone We Know”

Directed by and starring Miranda July, “Me and You and Everyone We Know” reads like an exploration of breaking down solipsism. Her exploration of people attempting to make connections in a technological age considers the travails of children and adults alike.

July calmly offers a number of scenarios without judgment, sitting back and allowing us to assess. There are no great tragedies – although the possibility exists for several – and we are simply left to connect the images into our own hierarchy of importance.

5. “Corpse Bride”

While Tim Burton’s “Corpse Bride” managed to inexorably link the bizarre and the aesthetic, the feat of creating seamless stop-motion is laudable from the get-go. When we’re engrossed in the eerily lovely Victorian setting, it’s easy to forget that the spectacle was painstakingly rendered frame by frame.

The fluidity with which the figures are manipulated defies belief, and the world resonates with a crisp, luminous glow. Although the primary draw to “Corpse Bride” is its appeal to the senses, the concept of morality and loyalty transcending death fleshes out the story.

6. “Sin City”

Like “Corpse Bride,” Robert Rodriguez’s “Sin City” unites unusual subject matter with the ideal medium. By filming with HD cameras, the black-and-white imagery with the occasional infusion of color perfectly mimics the spirit of Frank Miller’s graphic novels.

The episodic, ultra-violent, over-the-top narrative blends perfectly with Rodriguez’s technique, enlivened by the distinct directorial cameo of Quentin Tarantino. Although akin to “A Clockwork Orange” in its dedication to shock value, “Sin City” pushes limits with astonishing aplomb.

7. “Star Wars, Episode III: Revenge of the Sith”

After the disappointments of Episodes I and II, George Lucas nearly erased his missteps by delivering at the last moment. After shoving aside the trivialities of the love story that helped to poison the other prequels, Lucas uses Anakin’s love for his wife to create more sophisticated, pitiable origins for one of cinema’s most notorious villains. The paralleled births of Darth Vader and his twins, Luke and Leia, vividly juxtapose ruin and hope, marking a fine conclusion to Lucas’ 30-year odyssey.

8. “La Marche de l’Empereur”

By hunkering down with emperor penguins in a frozen wasteland for a year, the crew of “La Marche de l’Empereur” epitomized dedication. As director Luc Jacquet reveals the brutal process of rearing chicks in Antarctica, we accumulate an incredible sympathy for the creatures.

Displays of tenderness between the penguins are punctuated by lighter moments of fluffy, waddling clumsiness. Although Jacquet delivers a feature-length dose of natural science, his tender tale captures far more than a dance of instinct.

9. “King Kong”

Faced with the daunting task of following up the “Lord of the Rings” trilogy, Peter Jackson wisely stuck with the general theme of enormity. His romance with monster movies finds full voice as he treats us to chilling encounters with every prehistoric beast, bug and shrub his miraculous special effects can conjure.

Jackson realizes Kong himself with stunning realism, infusing the creature with convincingly human characteristics. The remake honors the 1933 classic, capturing the campy dialogue and the style of its keynote moments.

10. “Batman Begins”

Riding the waves of comic book movie one-upping, “Batman Begins” pulls off everything we expect from the genre and then some. Christian Bale offers a dark, gritty portrayal of the hero and he’s pitted against villains who are actually frightening.

The overall dynamic and pervading sense of coolness almost makes us forget how painful it was when Clooney wore the cape and Schwarzenegger was charged with imbuing terror. Director Christopher Nolan infused Gotham with a dank, nightmarish quality and captured a strong glimpse of the hero’s origins, but simply rescuing Batman puts his film on my list.

E-mail Kristen your top 10 films of ’05 at [email protected].