Every minute detail and artistic decision Hitchcock makes contributes to the film’s eeriness, though it’s Leigh and Perkins’ captivating performances that turn this into the terrifying tale so entrenched in Hollywood history.

Henry Fonda, Martin Balsam, John Fiedler, and Jack Warden lead a cast that glues you to the screen and never lets you go till the final verdict.

Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

Expansive yet focused, it is a work that is dense in terms of its ideas while also making room for more delicate emotional notes when you least expect it to.

The way the visuals all dance across the screen in flashes of brilliance that strip away the barriers between form and feeling until they become one is nothing short of spectacular.

Once conceived as a faithful adaptation, it morphed into something that not only made it stand out, but surpassed the original. From changing the character dynamics to challenging the first film's reputation, it proved to be a beloved screwball comedy that still has viewers laughing more than 80 years later.

Cinema as an art form is made infinitely richer via films like Inside the Yellow Cocoon Shell. As we let it linger in our minds just as the camera does up until one final unbroken shot, you drift somewhere you've never been before and may never be again.

Not only is it a stunning piece of filmmaking that is as rich in detail as it is patient in its exploration, but it also makes the most of absolutely every single element of its slice-of-life portrait.

Song’s work here is incredible, as this story of the past and present, and what it means for the future is a carefully handled story told with love and heart. Greta Lee, Yoo Teo, and John Magaro make an incredible trio of performances, each of which hits on a unique and important perspective on this tale, in a film that you won’t want to leave, and will stick with you for long after.

With Petite Maman, Céline Sciamma crafts a staggeringly gorgeous fairy tale about the little things we don’t get to learn about the ones we love, the struggles of loss, and the loveliness of those that came from the path behind us.

The destination is worth the journey, and it offers a viewing experience that feels earned in the end

It's a heartbreaking on-the-ground look at the human cost of the Israeli government's settlement policy that must be seen.

Shot in three-strip Technicolor, it’s simply one of the most gorgeous films ever made, and in terms of composing a frame, Michael Powell was a master.

The remarkable details in how information is revealed entirely through a central performance is the reason TÁR excites. Not what it has to say, but how it tells us the story through a dual execution of performance and writing preparation.

Glazer’s latest fits within his distinct style, breaking down a genre and working with the skeleton that’s left over in order to get at the heart of what makes these stories so jarring.

The Secret Agent is a remarkable work from Mendonça Filho; a beautifully composed film that features some of the best directing, editing, and writing of the year, as well as an enthralling performance by Moura that deserves its accolades.

A tremendous work from Jafar Panahi that might go down as his masterpiece.

It reveals its most haunting truths to us slowly even as it seems to lay all its cards on the table early on. In doing so, it confronts us with deeper truths we would otherwise ignore.

Soundtrack to a Coup d'Etat is a film essential to understanding the world.

Ross has found an overwhelmingly perfect way to bring Whitehead’s story to the screen, one that feels like a step forward for how cinematic stories can be told. It’s beautiful, heart-wrenching, and refreshing in equal measure. Now, Nickel Boys is a masterpiece in two different formats.

In a career full of continuous surprises, The Boy and Heron’s biggest surprise might be just how magical and unique his work still feels after all these years.

It strikes at the core of what makes us human, our hopes and fears and the relationships we invest ourselves in. It is community as art as activism in one giant loop, filtered through the gaze of a woman so unflinchingly tireless in her efforts that you cannot help but be on her side.

Anora is Sean Baker's most searing and shattering film yet with a breakout performance from Mikey Madison.

For all the ways a four-hour experience may seem daunting, every facet of the film is necessary to understand all of this world and the people that populate it.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

On the one hand, Seeds provides a unique glimpse into one family’s joys and struggles, while on the other it delves delicately yet effectively into larger questions of policy, politics, the scars of the past, and the challenges of the present.

From the directing to the script to the acting, All of Us Strangers is a film that will stay with you long after you watch it.

Despite some missed payoffs for rich storylines introduced early on, The Birds more than earns its legendary status, with its beautiful direction, sharp performances, and an inventive and metaphorical premise.

The Sound of Falling may be one of the most grim films on the female experience you’ll ever see, but it never rises above this darkness to deliver anything illuminating about being a woman.

Beautifully shot and powerfully told, Sugarcane is a moving tale of resilience in the face of overwhelming injustice.

Oppenheimer is a towering achievement not just for Nolan, but for everyone involved. It is the kind of film that makes you appreciative of every aspect of filmmaking, blowing you away with how it all comes together in such a fitting fashion.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

Bolstered by a strong cast and a luscious color palette and landscape, Killers of the Flower Moon is worthy of a watch for those who can look past its romanticization. For those looking for a film that puts Native American voices and characters on center stage or a more comprehensive story, continue moving on, even with three-and-a-half hours, this is not that film.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

An Cailín Ciúin is one of the most masterful meditations on childhood, family, and love.

The way Leigh uses these characters to inform us of Pansy’s story is impeccably handled, a sign of a master storyteller that still has plenty to offer.

Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.

Poor Things is a staggering accomplishment of a movie, a film that feels so uniquely Lanthimos, and yet, with a heart and a shocking amount of joy and enthusiasm that shows the filmmaker pushing his style and boundaries as much as possible.

Chernov offers us a visceral look at what Ukrainian soldiers have been facing for the last decade.

While the film is rich in meticulous details from its crushing central performance to the delicate way it is all captured, any writing about it requires withholding to preserve the experience.

Sarah Friedland's directorial debut is a visually striking but shallow exploration of dementia.

Return to Seoul is a powerful and quietly staggering work, and one of the most engrossing films of the year.

Robot Dreams is a beautifully animated look at life, friendship, and what it means to grow apart.

Like the sparse land of its setting, Inisherin is a film that reveals multitudes through observation and reflection. While I’m writing mostly of its emotional seriousness, it is also compassionate and humorous.

It's anchored by a wonderful central performance from Susan Chardy, who finds layers of nuance in Shula as her anger over the situation bubbles to the surface. It's an excellent film, and a strong display of talent across the board.

When all the echoes which Jackson delicately explores come into harmony, All Dirt Roads Taste of Salt strikes a resonant chord that will be heard for time eternal.

Flow takes a fascinating and effective approach to animated stories and shows that the barrier between the two types should be broken down more often.

Resurrection is a puzzlebox to be probed, a dream not simply to be decoded to provide a singular interpretation, but one to be enraptured as you are caught up in its fragmented logic, soothed by its smoke-filled spaces, and stunned by the myriad connections shared between its two central characters.

Through it all, Collias is so confident and assured that it feels like this is her fiftieth leading role instead of her first.

Without much footage of the war itself, the firsthand accounts from the passengers in the car are enough to paint a picture of the terrors that they've endured and their need to find a better place to stay.

Renaissance: A Film by Beyoncé, Queen Bey wants us to know that being at one of her concerts is a communal experience.

Part true crime legal thriller and part family drama, Triet's Palme d'Or winner is a thrilling story about perception, truth, and ambition.

It is a triumph in every sense of the word just as it is a humble portrait of life's small moments. The way Kaurismäki strikes this balance is breathtaking in its patience, proving how the most moving works of cinema can come from the simplest of places.

Across the Spider-Verse isn't just easily one of the best films of 2023 and one of the best animated films in years, it's also in the running for best superhero film ever, and arguably cements Miles Morales as the best Spider-Man we've seen on the screen so far.

Hard Boiled escalates perfectly, with the action starting out spectacular, and then getting increasingly grand in scale and ambition as things march along. The whole final act is particularly great, and largely responsible for making the movie an all-timer among action/crime flicks.

It’s a tough watch, and it never presents easy answers, but there’s an undercurrent of hope that keeps it from ever being overly punishing and even a few moments of much-needed levity to balance out some of the bleakness.

In a world of so much noise, it is Reichardt’s Showing Up that proves to be present and powerful in its accumulation of small moments that come together into something spectacular.

I Saw the TV Glow is bold, unhinged, extremely unusual, and also kind of magnificent—a daring step forward for Schoenbrun as a filmmaker, and a film that will certainly divide audiences not sure what the hell to make of it.

While Haynes isn't at his best with May December, a talented cast and an intriguing story make the film an entertaining exercise all the same.

Diwan’s reflective, quiet tone only highlights the sheer dread of this situation, and shows that restriction and taboos about such issues only makes this world a more cruel and terrifying place. With Happening, Diwan has crafted a horror story that is becoming a haunting and very real possibility.

Trier's understanding of complex family relationships and his ability to portray them honestly make this yet another win for him and a solid entry into his filmography.

A Little Prayer is often a fairly still story, but it all builds to a beautiful moment between Bill and Tammy, where we get to see the true impact of MacLachlan's tale hit the audience in full force.

Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.

No Other Choice is yet another great film from Park, and one of the best dark comedies you'll see this year.

Eisenberg knocks it out of the park and proves he is a triple threat to be reckoned with, with solid writing, confident directing, and stellar acting — even if, at the end of the day, the film really does belong to Culkin.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

It gradually starts to shift into something more comprehensively striking and somber the longer you sit with it.

It’s a breathtakingly melancholic film infused with mourning, journeying its way through subtly painful yet often poetic conversations about searching for something lost that may never be found. That only makes all the discoveries it makes that much more stunning to behold.

It’s a crowdpleaser that will plaster a smile on your face from beginning to end with a high chance of some tears. Just when it teeters on overly saccharine territory, its hilarious script and earnest performances dial it back.

The Wild Robot is a jaw-dropping and tear-jerking endeavor that immediately cements itself as one of the director’s very best, and possibly one of the best films of the year.

Trần Anh Hùng’s The Taste of Things is a beautiful film that finds splendor in both its characters and their culinary creations.

It doesn’t coast on its set-up, Skarsgård’s presence, or the taboos it approaches. It handles all these and then some, combining a compelling coming-of-age story, an endearing comedy, and a sex-positive odd romance into one of the best films of the year.

With a delectable cast and Soderbergh and Koepp knowing exactly how to twist this story with each new scene and reveal, Black Bag is yet another example that Soderbergh can basically make any genre his own, and thrive in it.

This is the kind of film that has the power to change minds, hearts, and lives.

Zinnemann is honest in his depiction of the raw, unfiltered emotions of displaced children, making The Search one of the most searing examinations of war’s impact ever put on screen.

The Wonderful Story of Henry Sugar feels like a project Anderson needed, a way to explore smaller storytelling in a manner that still allows him room to experiment, have fun, and utilize his very specific voice and talents.

The beauty of Decision to Leave is how Chan-wook can set his table with so many ideas, diversions, and elements, all making for an overly exquisite experience. Not only does Chan-wook blend detective mystery and romance, but Decision to Leave is weirdly funny, full of dark humor that fits in perfectly with everything else.

Despite not ending on its strongest note, Daughters is still a highly effective documentary overall. Working with subjects this young and topics this sensitive can be challenging, and you always run the risk of feeling exploitative, but Daughters handles both with compassion and care.

Spielberg has given us all so much magic over the course of our lives, and The Fabelmans becomes yet another Spielberg masterpiece, but this time, by showing us how this magic came to be in his own life.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

The chemistry between all of the Paira family members forms the beating heart of the film, devastating the audience by reminding them how happy they used to be, but promising them that nothing can shatter their sense of spirit, because they are together.

Alberdi reminds us of the essential beauty of personal connection, and it elevates The Eternal Memory from a memoir to a glimpse into what the best humanity has to offer even in times of hopelessness or crisis.

Are You There God? It's Me, Margaret isn't just a long-awaited adaptation; it's a loving, laugh-out-loud one, with clear affection for the original story rendered in every frame.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

Sinners is an electric film sparkling with energy and passion.

Limelight resonates today because of its awareness of the gravity surrounding Chaplin's legacy without favoring too far into self-indulgence. The film's endearing conclusion, that the humbling appreciation of humanity stands as the driving force behind art, is the thematic idea that Chaplin embodies.

In Earth Mama, Savanah Leaf gives us a towering reminder of the women who gave their all for us, their determination and power, the difficulties of staying afloat when you feel like you’re drowning, and how we can’t truly know what other people are struggling with, no matter how hard we try.

Sweeney's take on Winner reflects the emotional whirlwind the young woman went through after FBI agents showed up in her footsteps. Thanks to her, Reality is a mesmerizing experience that doesn’t hold any punches and will shake any viewer to their core.

To a Land Unknown paints a brutally honest and empathetic portrait of the lives of Palestinian refugees.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

It's a remarkable, revolutionary work of art. As precisely focused and tightly constructed as it is expansive in its aspirations, it’s a rallying cry for the irreplaceable value of artistic expression in a world that will repress it at all costs.

Riseborough’s impeccable performance cannot be overstated. Her passion shines consistently whether Leslie has hit her lowest low or is riding her highest high. All of this contributes to the film’s poetic ending, which is sure to leave you teary-eyed and reinvigorated with a new lease on life.

The result is a film that leaves a distinct impression, molding deeply personal elements and sweepingly profound ideas into something spectacular that sneaks up on you.

Hamnet captures the beautiful aching that makes up life in all its forms, and it makes for one of the most profound and staggering works you’ll see this year.

Cameron taking the most thrilling aspects of what worked in Alien and punching them up into an action film fits the xenomorphs (and their queen) much better.

Eephus delivers an experience that lingers, successfully capturing a deeper melancholy that can’t be shaken.

Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.