Gregory Ellwood

Like Brokeback Mountain a decade ago, Moonlight is a piece of art that will transform lives long after it leaves theaters.

In terms of filmmaking prowess, "remarkable" may not do Laszlo Nemes' holocaust drama "Son of Saul" justice.

Hands down one of the best films of the year, Sebastian Schipper has directed a one-shot film that is truly a captivating cinematic experience.

Outside of a few short moments in Ismail Merchant and James Ivory’s “Maurice,” and Ang Lee’s “Brokeback Mountain,” the love and intimacy between two male characters has never truly felt this real or emotionally heartbreaking in a theatrical context. It’s almost revolutionary. It’s cinematic art.

Like any creative endeavor a film is the sum of its parts. In the most elementary terms it needs a screenplay as a base, a cast to bring the script to life and a director to orchestrate the pieces into something of considerable impact. Excuse the hyperbole, but Tom McCarthy's Spotlight is an example of when all those pieces fit together almost perfectly.

Simply put, this is an expertly directed first feature. Clapin’s willingness to be patient as a scene unfolds, to let the hand experience the surreal images from its perspective, to let the quiet captivate the audience is beyond impressive.

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

A bold dissection on aging and self-hatred Fargeat’s latest work is an utter visual marvel and features superb performances from its lead actresses; Demi Moore and Margaret Qualley.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

Nine Days is the sort of original cinematic art that, these days, is few and far between.

If not for Sareum’s charismatic performance the film might fold like a house of cards.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

Fukunaga not only directed the film but also co-wrote the screenplay and served as director of photography. His efforts have resulted in a brazenly confident piece of cinematic art where every image immerses you deeper and deeper into Agu’s horror.

While Eisenberg is excellent on screen, especially during a dinner scene when he unloads his concerns over David to his fellow tourists, it’s Culkin who, rightfully, steals the film.

This is a swinging-for-the-fences with the bases-loaded type of movie. An irreverent monster of a film that leaves you buzzing. We’re talking “cinema,” baby.

Lurker is the sort of film that lingers with you for days.

Framed by fearless and charismatic turns by newcomers Bahraminejad and Mana and beautifully shot by cinematographer Ali Ehsani, “The Friend’s House” is a remarkable depiction of life in contemporary Iran that will haunt you for weeks.

Sauvage captures the multitude of emotion or lack of, that come with Leo’s tricks. There’s jealousy, pain, excitement, cruelty and even monotonous apathy where you’d least expect it.

What’s most remarkable about His Three Daughters aren’t the performances. As you’d suspect, Coon, Moss, and Lyonne complement each other perfectly (although we should note this is without question the best work of Lyonne’s career). It’s the fact that Jacobs and cinematographer Sam Levy have crafted a drama that takes place almost entirely in one enclosed space and somehow avoided the dreaded claustrophobic aesthetic that makes one feel like they are watching a filmed play.

Zhao has fashioned a masterwork that, once again, straddles the line between narrative and cinematic art in a manner few of her contemporaries can match.

To say it’s a stellar feat of cinema is something of an understatement.

Throughout this journey across North Africa, Laxe peppers the film with moments that touch on pertinent themes such as the power of a chosen family, Western society’s naive self confidence when confronting the environment, and perhaps most poignantly, the fallacy that because we have so little control, we can dance away as the world crumbles around us.

This is a film you can dissect for hours. A movie full of details and creative choices that will spur debate and passion. Another work of Glazer’s full of images that may haunt you for weeks. And well worth almost the decade it took to get here.

Dhont, who displayed an impressive artistic vision with his feature and slightly problematic debut “Girl,” has pulled off something miraculous with his sophomore effort.

As with much of his previous work, Trier is masterful with delicate, humanist moments.

Ford v Ferrari is the sort of cinematic entertainment that sucks you in and won’t let you go until you cross the finish line.

Haru’s journey is more soulful and heartbreaking than you may want it to be. And that somehow makes the magical moments even more endearing.

Room is simply a movie about mother and son trying to adapt to the outside world after years of forced captivity. And the surprise is how succinctly it captures this drastic life change from the perspective of five-year-old.

The movie lives and dies, however, on Ingrid herself and, remarkably, Plaza finds a way for you to root for her even when she crosses line after line after line.

How many times have you read that it’s really hard to duplicate the success of the first film in a sequel? Probably more than you can remember. Well, here’s a newsflash: Guardians of the Galaxy, Vol. 2 pulls that feat off with only a little strain and a belly of genuine emotion.

Bornstein has fashioned a cinematic anxiety-fueled experience whether you can relate to having children or not.

Amy also turns the camera back on the viewer who saw, mocked and ignored Winehouse’s descent as it transpired across the media landscape. How could the world collectively denigrate a woman whose addiction was destroying her? In this era of reactionary social media it’s a warning to all of us to be wary of stoning the next Amy in the digital town square.

At its heart, the film is a love story. A love story about two souls who need to trust each other if they want to survive.

From a narrative standpoint, Decker and her three writing collaborators have fashioned a reasonably compelling story. What makes the film transcendent is how she uses the art of cinema to convey it and Howard’s phenomenal performance.

A victim of a politically motivated jail sentence for supporting the 2022 Masha Amini hijab protests, Rasoulof‘s latest feature will likely anger the Iranian government even more. Especially considering how brilliant “Sacred Fig” is at deconstructing the rampant injustice in the totalitarian state.

For all of Heller's impressive direction, she could have delivered something soulless without Powley's contributions.

It’s hard to recall a movie that leaves you with this feeling of genuine hope.

Despite what may initially seem to be a somewhat straightforward contemporary drama, Hamaguchi has crafted a rich, skilfully layered masterwork with flawless performances and a script that is a screenwriter’s holy grail. It sticks in your brain for days and nudges you to take it in again.

Rian Johnson has seamlessly crafted another murder mystery with even more delicious twists and turns than the previous two installments. Maybe even combined. Somewhat hard to believe until you witness it for yourself. And, along with a slightly (and emphasis on “slightly”) more serious tone, the result is often smashing.

The most remarkable aspect of Victor’s accomplishment with Sorry, Baby isn’t her wry sense of humor and deft observations about the inherent awkwardness of human social interactions (although it consistently pops). Instead, it’s how she emphasizes the seriousness of the events while staying true to Agnes’ unique personality.

Masterfully played by Annette Bening, Dorothea is a fascinating character of contradictions.

There is barely a manufactured minute in the film. Everything fits together organically and in a narrative film that is much harder to pull off than it sounds.

Despite all of the film’s time jumps and questionable character motivations (and there are some), when it needs to, the filmmaking is completely ace.

You believe this woman exists. And Leigh and Jean-Baptiste ensure she will haunt you.

When was the last time someone who has so mastered the stage – Baker is a Pulitzer Prize-winning playwright, mind you – crafted a directorial feature debut of such artistic confidence? A film that feels a million miles from the confines of a sterile theatrical setting. A movie that is creatively propelled more by a filmmaker’s eye than the words composed by a screenwriter.

Few would argue that Oldman isn’t one of the finest actors of his generation, but this is a tour de force portrayal that will define his body of work for decades to come.

Beyond its subject matter one of the reasons Scoop is genuinely compelling is Philip Martin’s direction. The pacing is brisk, but not rushed. And time and again, “The Crown” veteran smartly lets his actors play to their strengths.

“Five Foot Two” is mostly about a woman pushing forward with her career in pain, and we’re talking chronic literal pain.

Of course, you can also just enjoy Red Rocket for Baker and cinematographer Drew Daniels’ gorgeous twilight landscapes or Rex’s irresistible charismatic performance. Or laugh at Stabler’s exploits (although we admit, the film could genuinely be a bit funnier) or fall under Strawberry’s charm. Or you can see more.

Sicario starts and ends with Blunt’s impassioned performance (and she's spectacular in her final scene), but it’s Del Toro who is the real standout.

Margolin’s directorial debut is often super entertaining with just enough style and patience to avoid the trappings of a broad, studio endeavor. It also has a ton to say about senior autonomy, aging, ageism (two very different things), and the bonds between family members, young and old.

Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.

Mudbound soars thanks to the impressive performances of the ensemble cast and, notably, Rees’ intent on depicting the harsh reality of this pre-Civil Rights era, warts and all.

A deceptively dense piece of work filled with moments that articulate the complexity of the human condition.

As a filmmaker, Walker-Silverman’s talents are letting a narrative unfold without pretense or melodrama. When the events are this powerful you don’t need to ratchet up the stakes.

When the big show finally happens at the end of the picture? You can’t help but smile.

What you take away from Wendy, however, is that Zeitlin’s talent to soar cinematically remains intact. He can transport you to a fantastical world without the benefit of massive CG effects or a massive set on a gigantic soundstage.

Edgerton, who also wrote the screenplay, shows a masterful touch in playing with conventional expectations.

In the end, it’s a stellar turn from Sharp that dots the I’s and crosses the t’s when the tear ducts begin to flow. And you realize how marvelously constructed the whole endeavor is.

While the kids are pretty fantastic overall, it’s the collaboration between Brill and Bonilla that takes Heller’s screenplay to another level.

Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.

Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.

At no point in Patti Cake$ is there ever a hint that Macdonald is unable to legitimately rap. She’s simply a revelation.

It becomes pretty obvious early on that CODA is one of those movies where you know where the story is going pretty much the entire time, but the elements harmonize so beautifully it still sucks you in.

It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.

The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

Beyond Reitman and Keenan’s tight screenplay and a fantastic recreation of Studio 8H from production designer Jess Gonchor, the movie would not fly without an ensemble that may end up being legendary in its own right.

As the pieces of Ghostlight continue to unfold, it becomes increasingly clear what a smart and moving narrative O’Sullivan has put together.

Ultimately, not only has Park crafted an often hilarious and entertaining coming-of-age movie, but a surprise tearjerker.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

This sort of storyline could go wrong very quickly, but thanks to some fortuitously funny moments, Vallee’s assured direction and Gyllenhaal’s spectacular performance it’s surprisingly compelling. And, let’s be absolutely clear: it’s Gyllenhaal who keeps it all together.

Fox knows firsthand the events that occur to Dern’s character in her feature narrative debut because they happened to her. And beyond its creative success and failures, her willingness to tell her own story in such graphic detail is a startlingly brave act.

To say Blanchett is good here is a grave understatement.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

What’s often most striking about Inside Out 2, however, is how the arguments and conflicts between these emotions often feel as though they are speaking directly to the adults in the audience.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.

Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.

Admittedly, Utama is a simple story, but one that packs an emotional punch without endless exposition or symbolism.

What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way.

Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.

Lacorazza Samudio has pulled off a splendid feature directorial debut. Inspired by events in her own life and a sparse 90 minutes, the screenplay is layered but tight. The emotional beats are purposeful and not forced. There is a nuance and authenticity to the entire endeavor that is genuinely refreshing.

A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Cedar’s smart dialogue and direction lift Norman: The Moderate Rise and Tragic Fall of a New York Fixer (hereby just referred to as ‘Norman’) above expectations.

Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.

Institutional corruption has been a centerpiece in Romanian film, especially over the past two decades. It’s no surprise then that Emanuel Parvu‘s Three Kilometers to the End of the World is driven by that narrative even when it’s not the most compelling part of the story.

If you’re wondering whether you’ll believe Streep is a convincing rock musician, please. It’s Meryl Streep here. She sounds like she’s ready to open for Bruce Springsteen.

Somehow, Gillespie manages not only to make it feel fresh but its own distinct chapter in this never-ending story.

Blank knows exactly what narrative territory she’s in and uses the dramatic conflicts at bay to make a number of decidedly funny and oh, so painful points.