Borat isn't just one of the funniest movies of the year, it might be one of the funniest movies of all time.

The Farewell is wonderfully specific towards the culture depicted, but there’s a universality to its issues regarding family. Just about everyone will be able to take something away from The Farewell.

Marty Supreme is a rare film that will become a watershed moment in cinematic history, in the same way that Taxi Driver and Pulp Fiction did. It will be spoken of in reverent tones in years to come, and will be endlessly studied and then copied by lesser filmmakers.

No End In Sight is the most important film of the year thus far and, more significantly, the most comprehensive, clear-eyed account of the Iraq debacle and the arrogance behind it that we have.

It is a worthy return to feature directing by Jane Campion and a thoroughly relevant film to our modern discourse.

This is a five star film because it is one of the most perfect science fiction thrillers of all time.

Filled with situations that mirror the social and racial preconception of the time, this hypnotic tale of punishment and atrocious colonialism is an engrossing experience.

The documentary is a deeply meditative look at what it means to truly live with purpose and meaning.

Rebel Without a Cause has such beautiful color photography that it seems almost impossible to conceive of the fact that they initially started filming it in black and white. Dean is every bit as tormented here as he was in East of Eden, but it’s more of an existential torment this time.

Portraying the same 1945 confrontation from the vantage point of the Japanese was an inspired idea. Unfortunately, the movie it inspired is something of a letdown.

Even after over four decades, Diva still impresses with Beineix’s masterful mix of highbrow and lowbrow. With the stunning new 4K restoration, Diva retains its well-deserved status as a late 20th-century movie masterpiece.

In the end, while I did struggle to follow its central narrative, Bi Gan has my admiration as a filmmaker, though I was hoping it would be a little more profound as it was artful in the end. He connects with you from an emotional standpoint

A timeless classic, full of excitement, humor, witty asides and memorable characters.

Once again, the Coens' tale of the damned is damn funny.

One of the most beautifully stark, yet provocative and powerful films of 2005 has to be Capote. Phillip Seymour Hoffman, who gives his finest screen performance to date, literally becomes Truman Capote through effete mannerism, nasaly voice & self-absorbed tone.

The film is a monumental achievement, rolling in like distant thunder and lightning seen through the treeline.

The lightning in a bottle you have to catch to make an epic love story work is chemistry between the leads. With one actor a relative novice, and the other trying to stretch himself and direct his first feature, the deck was stacked against them. But wow did they pull it off. Lady Gaga and Bradley Cooper are terrific together.

This is brilliant filmmaking.

Julie Christie gives a fabulous performance of mysterious, unclear depth as Fiona.

Hamilton is a brilliantly shot and produced performance for posterity of one of America’s best contemporary musicals.

The Father is about the suffering of old age, the importance of connection, the sick encroaching of an affliction, and ultimately, death. It doesn’t sugarcoat things, despite its sugarcoated exterior. Like its French counterpart, Michael Haneke’s Amour, it’s not an easy watch, but it’s a necessary one, a film that examines the very essence of our humanity.

Cruz effortlessly holds the screen in a tricky performance: phlegmatic and ambivalent, radiating charisma and sophistication, making you feel for her despite some morally dubious acts.

After a strong takeoff, the film lands on dead grounds.

A true cinematic gem.

One of the funniest things I have ever seen was Dustin Hoffman weeping uncontrollably as he recounted how he never truly understood the inner pain and torment of what it felt like to be an ugly woman until he made “Tootsie.” I wouldn’t trade that thirty seconds for the entire film. Tootsie is funny enough and Hoffman truly does make an scary awe inspiring wreck of a woman, but people would have you believe this film was the Rosetta Stone of comedy, whereas it’s really just an ok film dominated by television actors and desperately lucky to have caught Bill Murray on a free afternoon.

In 1968, a variety show appeared on PBS that would permanently change the face of television. That program, created, produced, and hosted by openly gay African American Ellis Haizlip, was Soul! His niece, writer/director Melissa Haizlip, now tells the story of her uncle’s legacy in the enthralling, all-encompassing documentary Mr. Soul! 1960s television was full of white people. They were well-off posing as middle class, as in The Donna Reed Show and Mr. Ed, or the hillbillies featured in The Beverly Hillbillies and Green Acres, but everybody, from sitcoms to news to commercials, was white. Ironically, this same decade also saw the rise of the color television, yet programmers remained colorblind. Ellis Haizlip had a vision, though: a black show for black people. His connections in public broadcasting made it happen, and he went through a handful of hosts before taking on the duty himself. What emerged became one of the single most important broadcast series in the history of television. Of course, the powers that be eventually caught on, leading to the show’s demise. Yes, this is a basic summary, but honestly, it would be a disservice to go any deeper for anybody previously unfamiliar with this show or its content. Simply put, this was one of the most amazing things ever to appear on television, and that’s not hyperbole. Ellis’ connection to the Black Arts Movement brought in a wide range of artists, from Stevie Wonder, Rahsaan Roland Kirk, members from The Last Poets, to Amiri Baraka. Author James Baldwin, Minister Louis Farrakhan, and boxer Muhammad Ali all appeared, as well as actors Harry Belafonte and Sidney Poitier. BAM poet Nikki Giovanni frequently guest hosted. “In 1968, a variety show appeared on PBS that would permanently change the face of television.” Essentially, Melissa Haizlip has built a motion picture monument to Ellis and his vision. There’s a brief glimpse of his life, enough to understand where he was coming from and what he was doing. But, the movie is really about the show he created, where Gospel choirs would collaborate with poets and jazz musicians, sometimes all at once, and figureheads of black culture could come to express the beauty and experience of their lives. This wasn’t about denigrating others for their privilege, but rather a serious discussion of what was happening then and there. Haizlip wasn’t afraid to challenge his guests, either. We see Ellis question Farrakhan on the Nation of Islam’s position on homosexuality. The minister’s response can be interpreted in many ways, but Haizlip allowed for that. He addressed issues without anger, resentment, or provocation. He kept things low-key and relaxed, a social gathering where all were welcome no matter where they came from. This was not only the first program to fully embrace African American being, but also a landmark in arts programming, as in Nikki Giovanni’s in-depth conversations with James Baldwin. This was different, innovative, groundbreaking. Soul! ended in the wake of the Nixon administration, but its legacy lives on. About two-thirds of the series is available for streaming, and after watching just a few episodes, you understand why this show from fifty years ago deserves to be the subject of serious analysis today. To get the full story, though, you should watch Mr. Soul! and understand why Ellis Haizlip deserves and embodies that title.

We all know about this war, but until you actually see it, it’s difficult to grasp. That’s why 2000 Meters to Andriivka is so important, people need to know what is going on.

This movie is absolutely fantastic!