The Screengrab

Note: We had to delay the Thursday Morning Poll this week until Thursday evening, for reasons that should soon become apparent. Sorry for the confusion.

The people have spoken, and when it comes to Philip Seymour Hoffman's work in 2007, your favorite was... all of them, as "how can I pick just one?" took in 31% of the vote in last week's poll. Of the "just ones," the favorite of the bunch was his work as the sleazy, duplicitous Andy in Sidney Lumet's Before the Devil Knows You're Dead, followed by Jon in The Savages. My favorite of the bunch, his performance as the wonderfully salty Gust in Charlie Wilson's War, took in a mere 13%, bringing it even with the tally from the "I don't like him" contingent.

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When Laura Linney first began appearing in movies and on TV, she had what the Guardian's Barbara Ellen calls a "patrician quality" often found in stage-trained actresses of a WASPy mien and a "deceptively bare--classically beautiful" face, which seemed fused to a "nice girl" vibe: she played a lot of schoolteachers. Her movie parts started getting bigger with 1994's Congo, in which she wielded a big gun against a marauding horde of albino gorillas while the movie's alleged leading man stood there looking shell shocked, which really wasn't the most unreasonable reaction to the script. Somehow, Linney's career survived the drying up of the brief vogue for killer-gorilla jungle movies, but it may not have been until 2000's You Can Count on Me, where she got to have a cackle fit upon hearing her suddenly seamy love life reflected in a country song on the radio, where she really started to get the chance to stretch out onscreen.

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The Diving Bell and the Butterfly: "It's the real-life story, not the artistry involved in its telling, that does all the heavy lifting here."

The Savages: "The Savages boasts plenty of keenly observed moments, but it's also the kind of film in which someone says 'He won't marry me, but he cries when I make him eggs,' and two scenes later, sure enough, there the guy is choking back tears at the breakfast table."

Chronicle of an Escape: "Chronicle of an Escape feels scrupulously, nauseatingly accurate in its unstinting depiction of deprivation and torture, but it also seems to have no other purpose; the film belongs to that large, undistinguished subset of historical dramas that achieve little more than informing viewers that the events onscreen did in fact take place."

Q&A: Tamara Jenkins: "I definitely wasn't interested in a sentimental portrait [of death] or a sanctimonious portrait or a maudlin portrait."

Still Crazy After All These Years: "Generally, cinematic controversies seem less relevant as the years go by. But for Pier Paolo Pasolini, the rule does not apply."

Twin Peaks: Definitive Gold Box Edition: "Remastered, and still a masterpiece."