Taylor Swift: The Eras Tour is bound to be a blast for anyone who has been moved by Swift’s songwriting or musicianship no matter the era. It’s an impressive, career-spanning feat from one of our most notable performers that’s worth seeing on the biggest screen you can.

Peter Hujar’s Day is a monument to the thrillingly mundane minutiae of living. I found it almost indescribably moving.

It’s a familiar template for domestic drama, particularly in its observations about traditional masculinity, but rarely – at least, in recent memory – has this type of story felt so potent or dangerous.

Taking the concept of the dysfunctional family to a degree that might even boggle Leo Tolstoy's mind, Flirting With Disaster is every son or daughter's nightmare… multiplied.

The film also inspires, if unconsciously, the viewer to rethink what exactly constitutes art.

This is Wenders’ portrait, and as such it is as unique and thought-provoking as Kiefer’s own epic works.

You think you’re watching a breezy-seeming comedy, then you’re seduced by two expert flirts, and then suddenly you’re genuinely stirred by a carpe diem monologue on the malleability of identity. I mean, what even is this? An absolute gas.

O’Sullivan’s script is also a remarkable document of community theatre: again, often a place for cheap laughs about hams and backstage romances, but it’s never played for comedy at the character’s expense.

Buoyed by pitch-perfect performances from the cast (Schubert especially nails the insufferably delicate masculinity of Leon), the film balances its humor and pathos with a natural ease, ending with a satisfying conclusion. All qualities of any good story.

Electrifying and decidedly downbeat slice of life and death in Ajami.

Danny Boyle's 127 Hours is the calm, cool, and tear-your-hair-out exciting mirror image of Tony Scott's bland and formulaic "Unstoppable."

Has everything a great personal-paranoia/persecution movie needs.

Absolutely mandatory viewing for aspiring animators and filmmakers. (In terms of pacing, scoring, editing, and narrative, it's a film school unto itself.) For the rest of us, however, it's simply magic.

Riotsville, USA is a definitely worth your time and attention.

Movies about writers can be notorious slogs but, amazingly, The End of the Tour is not one of those films. In fact, it is so much better than any movie based primarily on conversations has any right to be.

Despite these biases, the movie helps the average American understand the nature of the shell games perpetuated by Enron and how "synergistic corruptions" can corrupt absolutely.

Labyrinth of Cinema is a chaotic entanglement of ideas and endearing characters, a sweet departure for the luminous artist Ôbayashi was.

At times poignant, joyful, and terrifying, Shawshank Redemption is an altogether brilliant movie and the debut of an equally brilliant director.

Unrelenting and inconsolable, with a smattering of compassionate moments, the superb Vortex brings to mind an observation attributed to actress Bette Davis, no less: Getting old ain’t for sissies.

The Iranian production There is No Evil (Persian title: Satan Doesn’t Exist) may not revive the portmanteau film to its former glory (the comic 1963 Italian Oscar-winning trilogy Yesterday, Today, and Tomorrow being a stellar example), but it’s a comparatively solid quartet of short films that critically examine the country’s dehumanizing system of capital punishment, putting a human face on the citizen-executioner asked to carry out the all-too-frequently enacted death penalty.

Rică, like Acasă, My Home itself, meditates on how we define a life worth choosing.

The phrase “searing indictment” is an overused idiom in the critic’s toolbox, but in this instance, it couldn’t be more appropriate.

This riveting documentary about powerhouse never-say-die Aussie yacht skipper Tracy Edwards is every bit as thrilling and emotionally grueling as "Mad Max: Fury Road." And it’s all true.

A glorious, action-and-pathos packed capstone to the rebooted Apes franchise.

Substantive and imaginatively filmed but is not an off-putting art movie; rather, it's the kind of solid but accessible filmmaking that prevailed in Hollywood's golden age.

Goran Stolevski’s dreamy debut You Won’t Be Alone is a poetic glimpse at generational trauma.

Brie Larson is a revelation as the linchpin of Short Term 12. An industrious young actress, her performance here is remarkably natural and understated.

Two of Us traverses familiar beats about caring for elderly and disabled loved ones, romance impeded by unclear boundaries, and coming out to family members who may reject you. But by encasing those narratives in such genuine characters and shooting them with compassion and subtlety, Filippo Meneghetti’s feature debut imbues a painful story with necessary warmth.