Tokyo Story, Ozu’s 1953 magnum opus, has frequently been acclaimed by filmmakers and critics alike as the greatest film ever made, and it very arguably could be. Regardless of where you’d place it on the hierarchy of the “best ever’s", Tokyo Story is certainly the ultimate family film—that is, the ultimate film about family and what family actually means.

While the humorous heights of both the situation and the people within them can be exaggerated for comedic effect, the conclusion we arrive at is anything but. When we see these people for who they are and the frightening whole they have come, it will leave you shaken to the core because you can recognize just how familiar this all is.

While there is often a necessity to condense potentially decades of context to fit within a bounded runtime, history is much broader and more expansive than that. What makes The Territory such a stunning and standout work is that it never loses sight of this history that is inexorably intertwined with those living with its repercussions now.

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.

It is a dynamic, deadly work of filmmaking that achieves all its lofty ambitions and then some to become an absolute masterwork.

River is a poetic argument made potent.

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.

It’s so much fun to watch Johnson in this mode, especially with a cast this relentlessly fun and playful. With Glass Onion, Johnson proves himself to be a film disruptor of the highest order.

With only two films, Raiff has proven himself to be one of the most exciting filmmakers today, telling stories that are emotionally honest and lived in, without any pretensions and with an unabashed tenderness.

Maestro is a refreshing subversion of the classic biopic.

I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.

Meta-filled mayhem that plays on some of the corniest and most familiar Star Wars tropes is the perfect piece of cinema for long summer nights.

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.

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

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.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

Creed III honors the past while looking forward to the future, and gives Jordan—both the actor and the director—the spotlight in a way that shows his immense talents.

Babylon is often pure mayhem, but it’s the beauty of life and film itself underneath that makes this one of the best movies about movies this year, and one of the best films of 2022.

Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.

In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

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.

Even as the film pulls out all the stops, the character work remains subtle in a way that gets under your skin. The magnificent performances of Reyes and Ireland align perfectly, peeling back the humanity their two characters had only tenuously been clinging to.

The fast-paced, vaudevillian-style humor keeps us laughing despite the fact that we never really have any clue what any of the Minions themselves are saying. This movie affords itself more surface-level moments with lesser-developed villains because of the relationships we're immediately invested in between Gru and his Minions.

Sometimes, Deshon’s obsessive attention to detail drains some of the fun from Daughter, and the movie might burn too slowly to please every horror fan. Still, the movie is a rare achievement, turning a small budget and a simple story into a cinematic experience we can unravel to find new things over multiple viewings.

The Persian Version isn't quite the quirky family comedy the trailers make it out to be. It's funny, but it's also raw. It's emotional and heartwarming in its truths. It will also leave you wanting to call your mother.

Even as it eventually loses steam on the way towards a rushed conclusion, the film’s prevailing charm and characters shine through such struggles.

The film has the power to bring its audience to tears because the story is powerful, and the thoughtful creative decisions do justice to it.

Daniels explores the hopelessness of depression, the little miracles that truly make life worthwhile, how acts of kindness can be an extraordinary asset, and—most fitting to this film—how it’s OK to be a mess.