There are too many classic moments in this film to possibly count, and I won't even bother trying to quote lines or describe gags.

A work of shattering empathy, Drive My Car makes you stare long and hard at people’s withholding exteriors as it carefully chips away at them, revealing how they patiently bear their burdens, working without rest.

Gerwig mostly plays it safe with this adaptation but a stellar cast and her impressive directorial eye mean that it's a total joy to watch.

Hayao Miyazaki delivers the perfect coda to his illustrious career with a stunning animated adventure that reminds us how lucky we are to live at a time when Studio Ghibli is making movies.

Hit the Road is a quietly powerful yet very funny film about the sacrifices we make for family.

Peter Jackson's technical ambitions sometimes muddy his otherwise moving WWI documentary They Shall Not Grow Old.

Baker cuts straight to the feeling – and because of his fearless filmmaking, this career-best film, in all its crushing and chaotic glory, demands to be felt.

Despite its age, Bambi continues to dazzle and amaze.

Like the imposing, unadorned structures of brutalism (think: Boston City Hall, the blocky public housing of the Soviet Union, modern additions to any university campus), it can feel at times intentionally ugly or rudimentary. But it’s also a breathtaking work that’s simultaneously maximalist and minimalist – a searing movie that’s poetic on a formal, storytelling, and thematic level.

The Worst Person in the World is a concentrated emotional dose of living through the last half-decade of uncertainty.

What Anderson doesn’t give us is the inner lives of anyone in the film.

You’ve likely never seen a movie that tackles the specific loneliness many gay men still face today, and this one is laudable for that alone. However, All of Us Strangers airs on the side of saccharine, especially towards the end, and it would benefit overall from some more human ugliness.

If the first film could be considered to glorify violence and organized crime, this one shows the consequences of that life. It also serves as a thinly veiled metaphor for American capitalism and its destructive effect on family, cultural heritage, community identity and morality.

Gorgeous and unpredictable, and maybe a little indulgent, Phantom Thread is another fascinating drama from Paul Thomas Anderson, with captivating lead performances by Daniel Day-Lewis and Vicky Krieps.

A full-tilt biopic unlike any before it, Christopher Nolan’s Oppenheimer is as stunning as it is terrifying.

An extraordinary first feature and one of the best films of 2025 so far, Sorry, Baby pulls off astounding feats of storytelling.

De Niro's performance is one of legend.

It's a very good adaptation of the original novel that maintains the core themes and characters while at the same time making it distinctly "Disney". I

It’s one of Scorsese’s most brutal films, yet one of his most thoughtful and self-reflexive, as he crafts a subversive murder “mystery” that leaves no lingering questions save for one.

The film was designed to be an homage to the John Wayne classic Rio Bravo directed by Carpenter's idol Howard Hawks.The parallels between the film and the westerns that Carpenter holds dear are clear from the get go, none more so striking then the sight of the gang warlords mingling their blood in a bowl in for a symbolic blood oath that echoes similar scenes that found Indians becoming blood brothers in westerns long since forgotten.

White Heat is to the gangster genre what The Good, The Bad, and the Ugly was to Westerns: it took all the clichés, tropes and general violence of its genre and made it into art.

More than just a retrospective of himself (and his relationship with his sprightly grandmother), Minari feels like Chung gazing into the past to recognize and empathize with the kind of hardships and sacrifices his immigrant parents had to endure. In the process, he creates a riveting drama about hope, family, and the difficulties of change.

Equal parts fun and stressful, Marty Supreme combines the chaotic directing style of Josh Safdie with the charisma of Timothée Chalamet to make a one-of-a-kind ping pong movie that is, without a doubt, one of the year’s best films.

Jane Campion serves up a nervy psychodrama set against an astonishing cattle country backdrop with impressive performances from Benedict Cumberbatch and Kirsten Dunst, but an obvious plot trajectory that dulls the storytelling impact.

Romero’s zombies are terrifying in black and white, but one could even argue who was the true monster in the movie: the undead or the living?

Paddington 2 goes all in on the charm and wit established in the first film and comes up with yet another winner.

Three Billboards Outside Ebbing, Missouri is Martin McDonagh’s most emotional and profound film to date.

Train Dreams is a gentle but poignant pastoral Western chronicling a life lived over many years. Joel Edgerton and Felicity Jones are excellent, Adolpho Veloso’s cinematography is gorgeous, and Clint Bentley’s direction is far more careful and considered than you might expect for a filmmaker with so few features under their belt.