Traditionally, the best films of the year are released in November and December, when studios believe they have a shot at an Oscar run. Still, there are always a handful of pictures that keep the first half of the year from slipping into movie oblivion.

Here are the best of the best at the midpoint of 2006.

'UNITED 93'

Writer-director Paul Greengrass took a nontraditional approach to the story of doomed United flight 93, and it was superbly effective. This heartbreaking picture immerses viewers in the immediate confusion surrounding the Sept. 11 terrorist attacks and highlights the heroism of the United passengers. Rather than introduce his viewers to a handful of key characters, Greengrass treats them as passengers on the flight, giving only the most pertinent information. Because of this, and because of the knowledge every American will bring to the theater naturally, "United 93" is a breathtaking experience.

'CARS'

Pixar continued its string of hits with this funny, beautifully crafted comedy about an arrogant race car in need of a lesson in humility. As with Pixar gems such as "Toy Story" and "Monsters, Inc." the animation is gorgeous, the storytelling is detailed and the characters are deeper than most of their live-action peers. There's also a wonderful treat after the credits start rolling.

'JOYEUX NOEL'

Set in German-occupied France during 1914, writer-director Christian Carion's fictionalization of the Christmas truce of 1914 offers hope in a world overrun by warfare. It is true that a group of Scottish, German and French soldiers set aside combat long enough to celebrate Christmas Eve one fateful night, but Carion is less concerned with the facts than with the humanization of players on all sides. His goal, it seems, is to remind us that warfare obscures the truth we should all cling to: Human beings are human beings regardless of national borders.

'V FOR VENDETTA'

It's talky in places, and the hero's goofy, white mask becomes quickly annoying. Otherwise, this film is superior to most of its pseudo sci-fi peers. That's because graphic novelists Alan Moore and David Lloyd used an adventure film framework to meditate on the fine line between heroism and terrorism. Screenwriters Andy and Larry Wachowski would have done well to direct the picture themselves, but they instead handed the reins to James McTeigue who made a better picture than either of the Wachowskis' last two "Matrix" films.

'MISSION: IMPOSSIBLE III'

Forget what you think of Tom Cruise's personal life. What should matter to filmgoers is whether he can act. And he can. Particularly in big-budget action pictures like this one. Cruise once again plays U.S. operative Ethan Hunt, but this time he's taken himself out of the field to settle down with a hottie named Julia (Michelle Monaghan). Since there wouldn't be a movie if Hunt remained sedate, he's lured back to action, allowing first-time director J.J. Abrams (who co-created the TV hit "Lost") to make a picture that bests both Brian De Palma's and John Woo's stabs at the franchise. Now that's completing an impossible mission.

'ART SCHOOL CONFIDENTIAL'

The work of writer Daniel Clowes and director Terry Zwigoff isn't for everyone, but those who identify with their eccentric sense of humor should enjoy this indie gem. It focuses on a first year art student (Max Minghella) confounded by the warped world view of his professors and fellow students. Although he is clearly the most talented painter in his class, he is chastised in favor of students offering work with more emotional honesty. In other words, his work is too good. "Confidential" is an entertaining lampoon of the oft-pompous art world, which evolves into a thriller. The shifting tone is a tad off-putting, but the overall product is wonderful.

'OVER THE HEDGE'

In this animated adventure, a daring raccoon named R.J. (Bruce Willis) tries to con fellow animals into gathering food that he owes to an angry bear. They're easy marks because a housing development gobbled up half their beloved forest while they were hibernating, and they think the world is ending. But R.J. convinces them that the human incursion is actually a good thing because people throw away as much food as they eat. The plotting is smart, the themes are worthwhile, and the voice cast — also including Garry Shand-ling, Nick Nolte, William Shatner and Eugene Levy — is outstanding.

'TSOTSI'

Working from an Athol Fugard novel, writer-director Gavin Hood has crafted a startling movie that is more powerful than enjoyable. It centers on the actions of the title character (Presley Chweneyagae), a small-time Johannesburg, South Africa, gangster who accidentally takes a child during a carjacking. Then, something strange happens. The child's innocence rubs off on the hardened thug, remaking him from the inside out.

'THANK YOU FOR SMOKING'

Writer-director Jason Reitman's look at the tobacco industry is an exquisitely crafted satire that takes potshots at everything from the media to the lemming-like tendencies of the American public. Of course, Big Tobacco takes the hardest hit, but that's probably because it's an easy target. Aaron Eckhart stars as Nick Naylor, a tobacco spin-doctor so smooth he can disarm even cancer patients with the turn of a phrase. Clever, well directed, and funny, it's a must for anyone who likes adult comedy.

'WHY WE FIGHT'

Director Eugene Jarecki interviews everyone from U.S. bomber pilots to Iraqi medical personnel in this terrific documentary about America's military history. Mostly, he focuses on current events as he attempts to answer the film's provocative question. But the film does look back to World War II and the Vietnam conflict, ultimately arguing that war is waged as a means of economic growth. There is room to argue with Jarecki's premise, but the film is food for thought no matter which side of the political divide one stands on.