TORONTO — The story of a cancer patient and his best friend, the cinematic return of Kermit the Frog and a blood-soaked noir thriller are among the year's Top 10 films as selected by the writers and editors of The Canadian Press.

In alphabetical order, the films are:

"50/50" -- Cancer can be a difficult sell at the box office, but those who took a pass on this pitch-perfect film -- based on writer Will Reiser's own experience with the disease -- missed out on something truly special. Director Jonathan Levine strikes an exquisite tone, crafting a story that is by turns funny, surprising and desperately sad -- yet genuine throughout. Joseph Gordon-Levitt deserves an Oscar nomination for his subtle turn as a young man staring down mortality, as does Anjelica Huston, who is wonderful as his heartbroken mother. Seth Rogen, meanwhile, shows a whole new range as the baffled best friend. "50/50" is one of the cinematic wonders of the year -- filled with tiny, miraculous moments that sneak up on the viewer again and again.

"Beginners" -- Writer-director Mike Mills proves he's a master of the big-screen memoir with this organic, affecting and humorous tale of an ailing father who reveals he's gay at age 75. Mills loosely based the story on his own dad, and yet he didn't delve into drippy territory, as many in his position might. Instead he takes a refreshing approach that is both informative (he subtly weaves in historical facts without weighing the film down), unconventional (he provides subtitles to show what the son's dog is thinking) and hilarious (Christopher Plummer's comedic timing is spot-on as his character hits the night clubs and gay social circles). Ewan McGregor and Melanie Laurent also impress as the stunned son and his girlfriend who question love just as Plummer's character has figured it out.

"Bridesmaids" -- This ensemble laugher hit theatres in May, yet it was immediately clear even then that it would be the funniest film of the year. But it's more than that, with writer-star Kristen Wiig grafting a believable romance and moving themes about the fragility of adult friendships to a film that otherwise delights in women behaving badly. With a series of hilariously memorable setpieces -- including that literally gut-busting sequence following the ladies' feast on corrupted Brazilian meat -- every member of the film's crackerjack cast is well-served, particularly Melissa McCarthy in her deservedly lauded breakout role as the unceasingly uncouth sister of the groom. But no one tops Wiig, whose nuanced performance as a jealous maid-of-honour on the brink points toward a promising post-"SNL" film career.

"Crazy, Stupid, Love" -- Steve Carell's gift as a comic actor lies not just in being funny -- though he is, effortlessly and riotously so -- but in his ability to wring those laughs from characters who are sweetly, uncomfortably real. In the underrated romantic comedy "Crazy, Stupid, Love," his father of two happily lets himself sink into a familiar suburban rut until he's blindsided by his wife's affair. With support from a stellar supporting cast -- particular kudos for Ryan Gosling's performance as a suavely shallow ladies' man carefully concealing his sadness and Emma Stone as his intelligent target simultaneously bewitched and bemused by his routine -- Carell leads yet another film that boasts many of his best qualities as an actor: funny, warm-hearted and completely devoid of cynicism.

"Drive" -- Most actors fight to get as much screen time and dialogue as possible. Gosling, on the other hand, wanted to tear apart the screenplay for "Drive" and cut most of his lines, so he could properly embody the strong-and-silent-type character known only as "Driver." Taking dialogue away from the film's central character -- and one of the hottest actors in the world right now (Gosling has three films on this list!) -- was one of several atypical elements that made the action-drama a refreshingly non-Hollywood take on the genre. Surely some of the viewers who went into the theatre expecting "The Fast and the Furious" left disappointed, and others might have been taken aback by the graphic violence that punctuates some intense scenes. But those looking for something resembling the typical mainstream popcorn flick -- but with some creative edge -- got it in "Drive."

"Ides of March" -- Line up George Clooney, Gosling and Paul Giamatti for a film and it's pretty tough to go wrong -- even if it is an insider-y flick about politics in America. The engaging story of a charming, Obama-esque Democrat's fight to become president toes the line between getting too inside baseball and not dumbing down some of the behind-the-scenes minutiae of running a political campaign. Gosling carries the movie as an idealistic aide who's forced to decide when fighting dirty crosses the line, while Clooney is convincing as the picture-perfect politician -- right up until his too-good-to-be-true veneer is shattered and the film races to its thrilling conclusion. Gosling's final scene is a frustratingly effective cliffhanger that leaves filmgoers stunned.

"Midnight in Paris" -- Woody Allen surprises and delights with this clever, star-packed account of a screenwriter (Owen Wilson) who rediscovers his passion for the pen when he travels back in time in Paris. Wilson is simply endearing as his character, Gil, encounters a never-ending stream of esteemed authors and artists on his magical midnight escapades through the city's heady 1920s: Oh look, there's Ernest Hemingway and Gertrude Stein! And here comes Pablo Picasso and Salvador Dali! Other stars include Rachel McAdams as Gil's dismissive fiancee and Michael Sheen as her pompous friend. Allen took a risk in trying to portray so many iconic, historical figures but it paid off -- his signature naturalistic style wrangles the huge ensemble cast into a cohesive tale packed with wit and charm.

"The Muppets" -- This easily could have gone embarrassingly awry, but the big screen return of Kermit and his floppy, felt-covered gang is just plain fun and more than a little touching for those of us old enough to remember the Muppets in their heyday decades ago. The gags are silly and the story is largely predictable but the sheer enthusiasm and heartfelt affection writer/star Jason Segel brings to this vibrant reboot is infectious and more than welcome in an era when most family fare is driven by heavy CGI and snarky pop culture jabs. A frog and his banjo go a long way here.

"Take Shelter" -- This taut psychological thriller about a family man beset by wild portents defies categorization for its headlong embrace of both simple naturalism and mind-bending sci-fi-esque imagery. It all works, in large part thanks to star Michael Shannon's mesmerizing portrayal of a man simmering up to a boil as anxieties real and imagined increasingly take hold. Is he losing his mind? Is the world about to end? This gripping, horrifying and mostly heartbreaking tale keeps you guessing to the end.

"War Horse" -- Sure it's shmaltzy at times, and the German soldiers speaking accented English might irritate hardcore cinephiles, but is there any director who conveys the horrors of war more powerfully than Steven Spielberg? With this sweeping World War One-era tale of a British boy and his horse, the Oscar-winning director offers up an all-too-rare breed of family film that has the power to educate, engross and entertain. Rendered with eye-popping colour and breathtaking scope, the scenes of Joey the horse -- bloodied, muddied and tangled in barbed wire as he wildly runs through the trenches -- will haunt audiences long after the credits roll.

By Canadian Press entertainment reporters Victoria Ahearn, Andrea Baillie, Michael Oliveira, Nick Patch and Cassandra Szklarski.