Sara Stewart

Despite being set in the late 1970s, 20th Century Women feels like the perfect movie for this moment.

It’s very funny and sweet and even a little weepy, and it has maybe the best scene ever filmed of dirty talk gone wrong. In other words, it’s a Schumer/Apatow production — may there be more of them to come.

Take note, Lars von Trier: This is how you do a truly funny, subversive movie about a woman’s obsession with the human body and sex.

Here’s a franchise you’d think had been done to death (wasn’t the last webslinger reboot, like, two years ago?), and yet Spider-Man: Homecoming feels fresh and new, an endearingly awkward kid brother to the glamorous “Wonder Woman.”

Call this movie by its name: Masterpiece.

This Belgian drama is the real deal, an alternately wrenching and ecstatic viewing experience, adapted from a play by lead actor Johan Heldenbergh.

Capping off the year that transgender stopped being transgressive, the story of artist Lili Elbe (Eddie Redmayne) makes for one of the year’s finest films.

Sure, it’s just a space Western, but “Star Wars” is one of the our most popular modern mythologies. Johnson respects that. He’s infused the storyline with new energy and artistry, and I can’t wait to see it again.

Detroit may be tricked out with the Motown and miniskirts of the era, but its police-brutality narrative, assembled with firsthand accounts of that day, has chilling parallels with the here and now. It is not an easy watch, and it is an essential one.

This comic biopic is a blast from start to finish.

It’s the rare biopic that doesn’t wander into predictability.

It’s his home movies with Love and baby — some playful, others drugged and drooling — that fans will find the most emotional viewing. As the credits roll, it’s hard not to just root for the sensitive, progressive, fiercely creative Cobain and wish that he’d lived long enough to find a little peace of mind.

Sebastián Lelio’s remake of his 2013 Chilean movie “Gloria” is, indeed, a glorious celebration of Julianne Moore at her peak.

By turns funny, sinister, haunting, historically fascinating and mythical, The Lighthouse is one of the best films of the year.

This Little Women is two-odd hours of good cheer and lovely ensemble performances. It’s a warm fireplace hearth of a film, albeit one with a tendency to spit out fiery embers.

Many of the images — and Salgado’s accounts of taking them — are as soul-shattering as they are breathtaking.

This is the song of the summer in movie form, a playful ode to car chases, Motown, diners, that moment when you find the exact tune that matches your mood, driving stick, crime capers, ’80s movies and love.

The two working girls at the center of Tangerine are played by engaging newcomers: Kitana Kiki Rodriguez as the freshly out-of-jail Sin-Dee Rella, and Mya Taylor as her best friend Alexandra.

Love, Antosha manages to be both a deeply sad farewell and a fascinating introduction.

This is a film that challenges moviegoers in a way that a Marvel movie or rom-com will not, and it is worth taking the time and concentration — and, if possible, the trip to the theater — to view a true master of the craft at work.

In a perfect world, Tea With the Dames could be a series. Let us be flies on the wall for this posse’s weekly gathering for tea and convivial cackling. And I say this with the delighted surety that they would tell anyone who proposed this idea to go straight to hell.

Naz & Maalik does what all great New York movies do: ground unique, engaging stories in the middle of the glorious chaos that is our city.

Moana stands head and shoulders above this year’s earlier aquatic animated hit, “Finding Dory”; it’s so transporting it will have your kids begging you to book the next flight to the islands.

Director Luca Guadagnino pirouettes far from the easy-living, Italian-countryside romance of last year’s masterpiece “Call Me By Your Name” for an arthouse-meets-Grand Guignol reboot of one of the freakiest horror movies to come out of the 1970s. And he pulls it off in delicious, gut-punching style.

Profoundly moving and, at times, almost unbearably sad.

Profane, darkly funny, violent and tragic.

A masterful ode to one of life’s most universally awkward phases.

The film’s slightly confusing ending doesn’t spell anything out, but that’s all right: We’re left sitting in the dark shivering, reassured there are still some directors who can leave us well and truly creeped out.