G. Allen Johnson

Powered by the great Soviet director Mikhail Kalatozov ("The Cranes Are Flying") and the unmatched handheld black-and-white cinematography of Sergei Urusevsky, it is one of the most visually hypnotic films ever -- and that's not hyperbole.

Climate change is never explicitly mentioned in the documentary The Biggest Little Farm, one of the year’s best films, but it hangs all over the deep, rich story of the Chesters, a pair of hardscrabble idealists who move from the concrete jungle of Santa Monica to start a 200-acre, sustainable farm from scratch.

A film so rich and pleasurable you’d be forgiven if you thought about it each time you have a glass of red.

Excited with the possibilities of the relatively young film medium, Russia's Dziga Vertov took to the streets of Moscow, Odessa and Kiev to give us a portrait of an ever-changing world that is more essay than documentary. It's a 1929 silent film that added its punctuation in the lab - jump cuts, dissolves, split screens, etc. - to create an indelible work in cinema history. [13 Apr 2017, p.E8]

First-time feature director A.V. Rockwell, working from her own script, tells an epic tale in miniature.

A must-see documentary about not just a would-be assassin and moment in American history, but a snapshot of the Bay Area during turbulent times.

To watch Close is to be fully immersed in its finely detailed world suggested by Dhont and co-writer Angelo Tijssens; realized by Dhont and cinematographer Frank van den Eeden; and brought to life by the exquisite performances of its top-notch cast, led by Dambrine, De Waele, Dequenne and — as Leo’s mother — Léa Drucker. As its accolades suggest, it is one of the best films of 2022.

It is not just about the American dream; it is a search for America’s soul.

The incident depicted in Warfare may have happened nearly two decades ago, but the film seems as fresh as today’s headlines.

The depth of [Thorne's] characters, brought to life by a terrific cast, and tactile world building are what set 40 Acres apart. The setting feels authentic; you could imagine yourself living on this farm with this family.

Not only a portrait of a great artist, but a sensitive and engrossing depiction of the act of creation and its process.

Demon Slayer is sharply paced, colorful fun.

François Ozon’s Peter von Kant, about a film director toxically obsessed with a young actor, is much more than a remake. It’s a valentine.

This is a film that pops on the big screen — no CGI needed here, folks. But the way Dosa shapes the story, emphasizing the couple’s deep love for each other and their unconventional lives, is what makes Fire of Love...one of the most moving and memorable films of 2022.

To imagine the future, one must consider the past and be active in the present. C’mon C’mon is about the present, and how precious it truly is.

One of the most playful films about cinema in recent memory, and even with its angst, is more joyful than any film Bergman made on the island.

Price has given us Yelchin’s most complete performance: himself. It is a cinematic gift to contemporary film fans everywhere.

Marty Supreme is so fast-moving that its 2½-hour running time passes quickly. Even with a uniformly excellent and eclectic cast and some over-the-top situations, it’s hard to take your eyes off Chalamet.

Playtime is sharp and colorful, and visually makes quite an impression.

Kurosawa pulled out all the stops with Ran, his obsession with loyalty and his love of expressionistic film techniques allowed to roam freely.

Bergman fans will love this film, but the great thing about Searching for Ingmar Bergman is that budding cineastes who are curious about his work will find much value in it as well.

Every character, even minor ones, is well thought out and cast; the eye-popping visual design is not only inspired and mesmerizing but also functional; and memorable songs by Lin-Manuel Miranda and others complement the story perfectly.

Close to Vermeer is much more than a chronicle of the exhibition. It is a globe-trotting tale of diplomacy, a detective story and a fascinating insight into the insular world of museum curation, research and preservation, which helps keep culture alive through the march of history.

The film details how constant propaganda, lies and outright gaslighting can effectively numb and coerce a populace.

Jackson tells Mack’s life in detailed close-up, and it is as if we are passing the years alongside her.

The film doesn’t deny that justice must be served, and those who commit crimes must pay. Its question is: How it is paid fairly to the satisfaction of victims and their families and to the benefit of society? The answers are down the road, many miles ahead.

Cause for celebration. It's not only a cracking good film, but it is the first by Taiwanese master Hou Hsiao-hsien to gain a national (though limited) release.

De Sica has to be considered one of the great directors of children, and the film, which won the first Academy Award for best foreign film and has been championed by Orson Welles and Martin Scorsese, is as valuable for its location shooting as its storytelling. [03 Jul 2011, p.P22]