E. Oliver Whitney

If Redford really is done for good, this is a perfect way for him to say goodbye.

If Beale Street Could Talk is a movie about racism and the incarceration of black Americans – realities as significant and relevant today as they were when Baldwin’s novel came out – but most importantly, the deep, shining love that pulses through Tish and Fonny’s story never fades.

Though Widows isn’t as exceptional as McQueen’s previous work, his style elevates it well beyond any generic big studio genre film. It’s a first-rate popcorn thriller that dazzles you and gives you something thoughtful and timely to chew on.

Green serves up everything we love about the first Halloween, completely playing off our nostalgia for the slasher classic, and to me, that’s not necessarily a bad thing.

While A Star Is Born isn’t a perfect movie, faltering in its second act and rushing far too quickly into Ally’s rise to fame, it’s an undeniably mesmerizing one.

Though Searching is a fun ride, I left disappointed over how little the film uses its digital schtick to unpack the psychology behind our modern screen addiction.

Burnham is uniquely tuned into the minds and behaviors of his young characters and their hyper-active, hormonally-charged world. For a gloriously funny and heartbreaking 94 minutes, you too will feel like you’re 13 again.

First Reformed is the type of film that leaves you with more profound questions than answers. You’ll probably need to see it two, maybe three times to really soak it up, but even after a single viewing, it left me completely awestruck.

There’s a twist that brings deeper insight and originality to the story, but it’s one Cody and Reitman don’t land as gracefully or sharply as they could have. It ultimately leads to a too-tidy conclusion that left me unsatisfied and a bit bummed out. That said, the first three quarters of Tully are pure magic, a darkly comedic and earnest ode to the woes of motherhood.

You Were Never Really Here isn’t an entirely satisfying experience, and may benefit from multiple viewings, but it’s still a masterful exploration of the nasty ways repressed trauma can resurface, and how violence can become a means of excising the bruises of the past.

When I think about Haigh’s work, the word tenderness comes to mind. Both Weekend and 45 Years examined the rise and fall of relationships with profound sensitivity. While Lean On Pete isn’t quite as indelible as those two films, it’s another impressive piece of understated storytelling.

Every once in a while you stumble upon a near-perfect movie that is so sharp, warm, and genuine you can’t wait to watch it all over again once the credits roll.

Dysfunctional relationships and bickering families are nothing new, but the raw emotion here elevates The Meyerowitz Stories above Baumbach’s previous work. It may slight some of its more compelling character relationships, but it’s still a bittersweet delight.

It’s a heartbreaking love story about loneliness and the transcendent power of language, and it’s simply magical.

The Florida Project immerses us in more stories that too often get excluded from movies. It finds magic in the mundane, and reminds audiences how to look at the world through fresh, untainted eyes.

Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.

Soderbergh did some impressive work during his break from the movies, but Logan Lucky proves his talents need to be showcased on the big screen, melding crime and suspense with comedy.

The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.

Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here. Song to Song is far from his strongest film, but it’s his best and most exciting work since The Tree of Life.

Ultimately it’s Finley’s sleek and stylish visual language that makes Thoroughbred a must-see, and one of the best surprises out of Sundance. He composes his shots with such precision, control, and confidence.

Even if you’re unfamiliar with the movements in the film, Manifesto is still a brilliant display of Blanchett’s unstoppable talent and Rosefeldt’s ability to use one art form – filmmaking – to explore so many others.

Guadagnino does a remarkable job of capturing the tension and anxiety that comes with not only first love, but first-time queer romances.

There’s a novelistic quality to Mudbound that elevates it from what could have been a traditional and singular story about struggle and oppression into a layered, multi-dimensional one.

Funny, feel good, and touching, The Incredible Jessica James will leave you with a smile on your face.

Although it’s sometimes uneven with somewhat underdeveloped characters, I Don’t Feel at Home is nonetheless a clever blend of two very different genres. Blair’s mix of humor and feverish violence works best in the film’s final act, when things turn completely nutty.

It’s a tender, introspective film you’ll want to pull in close, hold tight, and keep with you.

It shirks the typical Disney model of an untouchable, picturesque fantasy by telling a more grounded, human story coursing with love and earnestness.

It’s a film that slowly sneaks up on you, imbued with such quiet emotions that you don’t feel its full weight and beauty until it ends.

Pure and simple, Catfight is a total blast.

Instead of observing its historical subject from behind a glass case, Jackie offers a piercing portrait of a woman’s psychological and emotional journey.

It’s a film that aches with beauty. It cries with longing. It quakes with a rich sadness that lingers with you long after the final moments. A masterpiece of poetic filmmaking, Moonlight is one of the most powerful films of the year.

The film will be remembered for its performances, but it should also be remembered for its messy, realistic examination of the complicated decisions we’re faced with in life.

Unafraid to expose her character's weaknesses and degradation, White Girl establishes Wood as a brazen new talent to watch.

At its heart, Florence Foster Jenkins is about a woman at her most unabashedly genuine, and there’s something admirable about that.

Southside With You’s greatest assets are its performances.

Lowery’s visual world essentially translates the movie’s message, that magic is everywhere if you allow yourself to see it. It may be a cliché and sappy sentiment, and one we’ve seen again and again in movies, but when done right it can be a beautiful one.

Its sheer over-the-top excess and lack of taking itself too seriously allow it to become a delightful, exhilarating concoction of its many pieces, and much more accessible and entertaining than the dizzying cinéma vérité of its parent movie.

The biggest strength of Zootopia is in how it acknowledges all identities are capable of carrying prejudice and wielding judgement, yet the first step toward change is awareness.

It’s both an accomplishment in introspective, transcendent filmmaking, and a puzzle as imbalanced as the knight at its center. We may not quite be able to understand it, but Knight of Cups certainly feels like a work of a great talent who’s still figuring out what he’s trying to say.