The Grand Budapest Hotel is nothing short of an enchantment.

As is typical by now, Baker (along with cinematographer Drew Daniels) captures the ethos and texture of America on the fringes in a way not many others do.

Hamaguchi’s films, from Happy Hour to Asako I & II, are all explorations of love, the complex, overwhelming emotion that has the power to break your heart. Drive My Car dissects that heartbreak, what it means to love someone and how to come to terms with that love once they are no longer around to fix what was broken.

The story winds its way over the material, forcing the characters and the viewers to constantly reassess everything they have seen and heard.

As sad and poignant and potentially hopeful as it is amusing. The movie is our story as much as it is Schmidt's, no matter if it's viewed as a self-reflection or cautionary tale

One of Chaplin’s sweetest and most humble movies.

Riley’s film is a welcome hand grenade of subversive power that often reminded me of another incendiary film, Terry Gilliam’s classic "Brazil."

The film itself is fictional, filmed in a 1.33:1 ratio to mimic the framing of the inspirational photographs. It’s absolutely breathtaking work – the camera helmed by Maria von Hausswolff captures the unassuming beauty of Iceland, but also does not hide its frigid nature, both terrifying and beautiful.

Very satisfying. Classic storytelling, modern techniques. And the images: This movie has embedded so many strange and new mental pictures in my head that I'm not able to shake free. Yet, neither would I want to be free.

Peter Weir made this unsettling, atmospheric film early in his career, and it is still one of his most successful projects to date.

Yet a nigh-miraculous blend of high spirits, poignancy, gentle satire, and unpretentious insight into the nature of human aspiration make this one of the most impressive films you're likely to see this year.

A concept executed with bravura style, intelligent curiosity, and playful wit.

The all-out Love Lies Bleeding is a love story that won’t work for everyone. However, for those who can revel in the blood-soaked, complicated, sapphic delights that make up the backbone of the film, the saga of Lou and Jackie will be one for the ages.

Italian filmmaker Alice Rohrwacher’s fourth narrative feature – a soft kiss of magical realism here, a Keystone Cops caper there – is dreamily disorienting.

To this day one of the most riveting, horrific, and empathetically turbocharged pieces of motion picture history ever recorded, Eisenstein's mind-bogglingly complex composition – utilizing a seeming cast of thousands of extras in addition to the unnamed, iconic main figures – is a gory ballet of marching Cossacks, frantic Odessites, trampled innocence, and doomed dissent.

Hooper's vision is horrid yet engrossing... But the worst part about this vision is that despite its sensational aspects, it never seems too far from what could be the truth.

A one-of-a-kind essay centered on art forgery and hoaxes that is built from spare parts, questionable coverage, obvious overdubbing, and outright bluff, 'F for Fake' is a masterwork most often hailed for its hijacking of documentary form to tease cinema's capacity for making truth out of bullshit

A delightful little wormhole that takes us on a journey to another dimension of consciousness.

It's huge and bewildering and it hurts to watch, but it hurts so good it's gorgeous.

Nabokov’s satire is sensationally cast, with Winters and Sellers delivering some of their best work ever.

Kubrick’s gladiator film is the pinnacle of sword-and-sandal epics, and who isn’t a sucker for stories about rebellious slaves? This is the kind of movie the Paramount’s screen was made for.

Beautifully made, courageously edited, and swift-moving, this challenging, provocative film is a work that is both humanist and revolutionary.

In this magnificent, profoundly tragic film, Nolte and Coburn each turn in career-best performances as a father and son who embody the ancient, seemingly ineradicable male pathology of violence, retribution, and the slow death of the soul.

Edwards' crowning achievement. It is a wickedly funny, impeccably cast, ingeniously subversive satire of the Hollywood film industry.

What makes Nanau’s film utterly compelling is the unfettered access he had to both the Sports Gazette journalists and to Minister of Health Voiculescu. There are no interviews or talking heads here: Everything unfolds as it is happening.

The film is so soaring, sometimes literally, I hardly missed the feeling of hard ground underfoot.

Peckinpah's grasp, for once, matches his reach and in this Western story he achieves a mythological tone for his moral fable.

At a time when so many people are struggling to find something of value in their lives, when people are fleeing jobs, cities, futures they thought they wanted, Cage has crafted a quiet soliloquy about grasping on to something that has meaning. In some ways, this is one of his most emotionally brutal films.