ARGO

It sounds like an all-too-Hollywood idea for a high-concept suspense thriller: A sextet of State Department employees are trapped in Iran, and their only hope for escape lies with an ingenious CIA official who plans to free the Americans by having them pose as a location-scouting team for a Canadian science-fiction movie. Yet within its first minutes, director/star Ben Affleck's Argo - based on a recently declassified chapter of the Iranian hostage crisis of 1979-80 - registers as terrifically, nerve-rackingly authentic, even if the film's most enjoyable elements are, in truth, as Hollywood as they come.

PROMETHEUS

After many months of speculation, the question of whether Ridley Scott's Prometheus is, in fact, a prequel to the director's Alien can finally be answered: Hell yeah it is. And a good thing, too, because the enticing echoes of that 1979 sci-fi/horror essential are among the scant few elements that truly resonate in this visually extraordinary but only fitfully engaging endeavor.

DRIVE

Drive is the first action thriller I've seen in ages in which the chases and threats and killings actually matter. Yet it's also the first movie I've seen in ages, in any genre, in which a kiss actually matters, which is a far greater surprise. Directed by Danish helmer Nicolas Winding Refn, whose work here earned him Best Director laurels at this past spring's Cannes Film Festival, the film is a sleek, exciting, and unexpectedly affecting tour de force of mood, like what you'd get if the Michael Mann of Manhunter and the David Lynch of Blue Velvet collaborated on a scrappy, grubby B-picture for drive-in audiences. I couldn't possibly mean that as a higher compliment.