Non-Fiction is incredibly witty, fast-paced, and unmistakably French.

Take Me To The River: New Orleans is edited together in a way more organic to music than traditional documentaries, which works wonders.

Onscreen, A Huey P. Newton Story is memorable, but it must have been something to see on stage. Roger Guenver Smith gives a striking, extremely physical, performance.

The Earth Is Blue As An Orange is probably one of the most unique documentaries about filmmaking.

No one portrays and skewers really intelligent morons the way Albert Brooks does. Oddly enough Lost in America has a lot of similarities to everybody’s favorite TV show Green Acres. They are both about men who have dropped out of society and their inability to convince all the insane people in their world about the usefulness of common sense and rationality in an insane world.

Here Breillat directs one of the most thrilling actresses working today, and the latter makes this calculated study into a tale brimming with passion and sorrow.

Insanely inventive and brimming with exceptional performances, The Saddest Music in the World is as audacious as it is entertaining.

Cane Fire is a fascinating documentary, and I would recommend it to any American to watch. We should see what is wrought by claiming an archipelago from the people who actually owned it.

Until they get that epic version of The Big Bopper’s life and career off the table, this is still the best Rock and Roll biography ever filmed.

Anchored by an iconic turn from Cobb, in her first lead role, and consistently daring choices from both star and director, We Are All Going to the World’s Fair is one hell of a trip.

Although Byrne always brings a great performance in whatever she’s cast in, I would almost say just go watch her in Platonic. There she, too, plays a mom who deals with the issues of being married and life’s trials and tribulations.

Unlike other productions, Del Toro finds the visual balance between creature and man. Elordi then runs with it, giving us the balance between a menace and a kind and thoughtful soul.

The funniest buddy movie ever and a generally daffy one at that. It features some of the most genuinely stupid and amusing tough guys in the history of cinema, and a tantalizing slow burn by Deniro.

This is war as a First Person Shooter, and it’s incredibly effective at putting the viewer in the moment.

Limbo is a cinematic monument for the shadows of the doomed.

The Substance is flawed but only because it is so ambitious. Fargaet takes the entertainment industry down a peg while still being very entertaining.

A friend called Fred Schepisi's ensemble drama "a crusty old white man's 'Joy Luck Club'" -- an assessment that isn't without some kernel of truth.

An inspiring, fun documentary.

While an enjoyable twist on the noir genre, a little more character development would have been nice.

Nosferatu is a failure on almost every level.

The Blue Trail is an examination of not only what it means to be free, but what it feels like to earn that freedom yourself.

The fascinating visuals and performances by Leung and the assortment of actresses like Gong, Zhang Ziyi and Maggie Cheung ensure that the film is still worth watching.

This is a long-overdue must-see that sets the record straight for a woman whose whole life was glossed over in favor of a more camera-ready tabloid romance.

If your first exposure to Rasoulof was There is No Evil, you may feel a bit let down by A Man of Integrity. That is not to say that this is a subpar film, as it is definitely a satisfying drama.

Kung Fu Hustle is something you rarely encounter in theaters: a genuinely original comedy.

I think what sets Rita Moreno: Just a Girl Who Decided to Go for It apart from other end-of-life docs is that this one is just so honest, so forthcoming, and so remarkably detailed. Mariem Pérez Riera has perfectly captured an American icon at the moment we need her the most.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

This is Scorsese’s "Schindler's List", for better and for worse (mostly the better).