Dazed and Confused distinguishes itself because it looks upon its characters with understanding—understanding that their foibles come from the fact that they’re at a stage of life when they’re still trying to figure life out.

There is hardly a shot in Orson Welles’ towering achivement that doesn’t employ some sort of ingenious trick involving the camera, editing, sound, staging or production design. Kane didn’t invent all of its techniques, but it’s one of the few pictures I can think of that uses almost every one in the movie playbook. The film is like a dictionary of the cinematic language.

Like Pulp Fiction, Breathless runs on pure movie love, even as its heedless editing and bursts of jazz were redefining the art form. If the picture feels slight for a masterpiece, that’s because Breathless is primarily about itself.

Washington has never been better, capturing the greatly varied phases of Malcolm’s personality while always giving us a full sense of a single man: sharp, smart, with a quick smile but also a simmering, righteous anger.

Part historical document, part character portrait and part art project, The Act of Killing ultimately registers as something altogether more powerful: an exorcism.

If the moral horror of the Holocaust is at once crystal clear and unfathomable, then Son of Saul exists in that tension, employing the art of cinema to create a singular act of remembrance.

First Reformed manages to be ascetic, poetic, and prophetic. It’s at once centering, thrilling, and disturbing.

Holy Moses! (No need to desecrate this with any more words.)

Like much of the filmmaker’s work (not to mention Bergman’s), The Sacrifice is haunted by the gap between human yearning and ultimate understanding, between the way things are and the way we long for them to be.

The Passion of Joan of Arc is, in essence, a masterpiece of ingeniously edited reaction shots.

The bitter has not yet overpowered the sweet in this early film from writer-director Ingmar Bergman.

Part post-apocalyptic Western, part midnight motorcycle flick and part Rocky Horror Picture Show, Mad Max 2: The Road Warrior is, when you add it all up, a nutty, B-movie masterpiece.

Sansho the Bailiff stands as a humanist landmark alongside something like Satyajit Ray’s Pather Panchali, which would come out a year later.

This is a movie that’s not only singular to the filmmaker behind it, but to the moment it’s in.

The Remains of the Day belongs in the same conversation as Wong Kar-wai’s lush, masterful In the Mood for Love. Both swoon in secret.

Ultimately, Jeanne Dielman registers not as a condemnation of domesticity, but a document of the exhaustion that comes from caring for others and never receiving care in return.

Given a hurtling pace by director Howard Hawks, His Girl Friday might just offer the highest laugh-to-minute ratio in film, considering there are jokes in the dialogue, delivery and actors' expressions coming at you all at once.

Nostalghia is further evidence that Andrei Tarkovsky might not be a filmmaker, but a sorcerer.

Haenel, who also appeared in Sciamma’s debut film, Water Lilies, is mesmerizing, conjuring a full person using little more than stillness and a direct stare.

A tender miracle, Tender Mercies presents itself as a parable—though one of those tricky ones where you’re not quite sure of the takeaway. The biblical allusion is apt, because the movie is faith-soaked, yet not sopped. Immersed in religion, it nevertheless resists pandering to either touchy religious audiences or scoffing irreligious ones.

The People’s Joker feels less like the work of someone who wants to watch the Batman burn and more like a refashioning of a modern myth for personal purposes. It’s the ultimate kill-the-author gesture, one that ironically gives birth to another author. No, even better: a community of authors, working together to create something wholly new and true.

Playfulness is the defining characteristic of Jules and Jim, even if what it largely entails is a tragic gender gap of fatal proportions.

Au Hasard Balthazar has the transcendent beauty of a Renaissance painting and the inspiring fire of a sermon. It’s one of those rare movies that could change your life, by making you rethink how you live it.

The original Scared Straight!

Under the direction of Wyler, who is working from a novel by Jan Struther and won a Best Director Oscar for his efforts, this ultimately becomes a portrait of a community.

Cumberbatch makes every moment he’s onscreen mesmerizing—entertaining and terrifying at the same time.

As wonderful as Fantastic Mr. Fox is, Isle of Dogs represents a leap forward for Anderson and his extensive team of stop-motion animators.

There is nothing like nostalgia here, but in the quiet consideration of how these days actually passed—what was dear about them, what was dangerous, and what has been irrevocably lost since then—A Brighter Summer Day gives early teen life, in all its complexity, a burnished reverence.

It’s propaganda, yet of the most artistic variety.

Pixar’s 23rd animated feature is an exercise in psychedelic existentialism that astonishingly increases in inventiveness as it goes along. Then, before you’re overwhelmed, it shifts into a lower gear, eventually arriving as a stirring and relatively simple meditation on what it means to be alive.

Directed by Howard Hawks, Rio Bravo has its fair share of gunfights and saloon showdowns (including a bravura opening confrontation that unfolds with barely any words). Yet the film resembles other Westerns less than it does Hawks’ snappy romances, such as Bringing Up Baby, His Girl Friday, and To Have and Have Not.

Nothing that occurs is out of the realm of ordinary experience—there is a wedding, a grandmother’s stroke, money troubles, a funeral—yet it all reverberates with meaning because of the camera’s careful attention and the sensitive performances by every actor in the ensemble cast.

The Night of the Hunter is nearly as demented as its lead villain, and I mean that as a compliment.

Still ahead of its time.

The genius of Akira Kurosawa’s Ikiru is the way this deeply sentimental film continually deflates sentimentality.

The movie manages both senses of scale—the intimate and the expansive—with equal majesty, merging them into something moving, mesmerizing, and poetic, in a way only Lean movies could really manage.

No film since Sunset Boulevard has better captured the spotlight’s cruel, heartless glare.

As more of the pieces of the puzzle are revealed, the movie never exploits them. Instead, they fall into place the way memories do. Indeed, the way the best movies do: as revelations that are nevertheless mysterious.

It’s nearly an apotheosis, in that the movie synthesizes his greatest achievements into a stirring, standalone work of art.

If Fury Road wound its way, through much pain and violence, to a vision of a new “green place,” Furiosa leaves us in a place of tension, one caught between mercy and wrath, hope and despair. It’s the rare prequel that nearly feels necessary.

In Forman’s hands, McMurphy becomes more than a rebel in this specific time and place. He becomes mythic—a symbol for irrepressible Life.

Black Girl gathers a forceful and lasting emotional power.

You watch the film feeling as if life is precious—that every moment holds the chance for great wonder or great tragedy, even if, on most days, we live somewhere in between.

If Mel Brooks has a masterpiece, it’s this homage to the Universal horror movies of the 1930s and ’40s.

Frankenheimer guides all of it with the loopy logic of one of Marco’s nightmares – you’ll certainly never look at ladies’ gardening clubs the same.

How Green Was My Valley thrums with an indomitable confidence in a better day, one that’s rooted in the memory that life in this valley – before the mine hollowed things out – was once very good.

If Swing Time isn’t the pinnacle film in the Fred Astaire-Ginger Rogers partnership, it surely has their pinnacle production number: Never Gonna Dance, with music by Jerome Kern and lyrics by Dorothy Fields.

This is a creature flick, yes, but Alien is also on par with a genre masterpiece such as Jaws. The craftsmanship is that sound, the inventiveness that clever, the characterization that strong. And then there is the not-small matter of Alien being a seminal feminist action flick.

Shockingly modern in sensibility, construction, and execution, Brief Encounter is very different from what one thinks of as a David Lean movie, whose historical epics have come to define posh, mid-century, cinematic excellence.

For much of The Conversation you think you’re watching a person unraveling, but then the horrifying ending—where the editing and sound design become really sinister—reveals that the movie has been deconstructing the audience as well.

In the end, After Yang is less interested in excitedly speculating on the inner life of its title character than it is interested in what we homo sapiens do with the lives we’ve been given.

Directed by Michael Curtiz, Captain Blood is much more than a showcase for one of Hollywood’s legends. The action sequences at sea crackle with excitement (and surprisingly intricate special effects), while the well-navigated narrative, based on a book by adventure novelist Rafael Sabatini, has the fatalistic scope of Charles Dickens.

The Wizard of Oz is frantic, enchanting and spookily surreal.

There may have been better made movies starring Crawford (she’s working with director Vincent Sherman here, not Otto Preminger, Michael Curtiz, or George Cukor), but I don’t know if she ever had a richer opportunity to click on all of her intimate, melodramatic, and camp cylinders.

Disorientingly glorious and thrilling, it’s a beguiling mixture of believability and artifice, of the sort that only the movies can manage.

The movie’s morality lies in its form.

Lovers Rock is a work of freedom. Freedom from narrative, freedom from main characters, freedom from whiteness, freedom from discrimination. It’s about creating a space to dance, flirt, argue, smoke, breathe.

Does Close-Up reveal the truth? I’d prefer to say it reveals the beauty of distortion.

The movie stands apart from the French New Wave in that it is very much the story of a woman, not about a woman.

If Spielberg’s account of the Holocaust is not his greatest movie, it is still the defining moment of his career, the point where his yearning to be taken seriously (The Color Purple, Empire of the Sun) finally fully merged with his filmmaking talents.

Crime may not pay, but The Public Enemy was one of the first pictures to recognize that it sure can be exciting to watch.

Andersson catalogs misery of many kinds, and aside from the moments of humor in the film he offers no balm.

The incessant, rhythmic swishing of the chain gang’s scythes burrows into your brain – and then adds Newman’s supernova performance. It’s a gulag melodrama, if such a thing is possible.

The only thing I can imagine anyone offering in complaint about Roma is that the movie delivers an uncomplicated depiction of a secular saint. That’s true, to an extent, and yet it’s also what I love about this full-hearted, exquisitely crafted, deeply grateful film.

Train to Busan is a cleverly concentrated shot of zombie terror.

Farrow admirably bears the burden of carrying the movie’s dread, portraying Rosemary as sharp and wary, but with too many social forces arrayed against her for her to have a fighting chance.

Diane is brutally honest about the losses that can define this stage of life.

Kenneth Lonergan, who wrote and directed Margaret, deserves credit for the framework and dialogue he provides, but it’s Paquin who channels the roiling surges of that age with a startling combination of unpredictability and precision.

Passing is an impressionistic experience, much like the Emahoy Tsegué-Maryam Guèbrou piano piece that composer Devonté Hynes incorporates into the score, a portrait of an identity that refuses to be pinned down, for better and for worse.

Little context beyond that narration is provided, a wise choice that provides the sort of self-imposed restrictions that a good biopic—fictional or documentary—needs.

There is no denying that for most of its substantial running time (including a haunting post-credits sequence), Sinners sings.

The moral burden of wealth weighs heavily on Knives Out, a dexterously cunning, immensely entertaining whodunit that has more than catching the killer on its mind.

Written by David Koepp, who also penned Soderbergh’s Kimi and Presence, Black Bag displays the twists and intrigue you’d expect from a top-rate spy flick, along with some scintillating dialogue. But it’s the movie’s intellectual provocation and formal invention that marks it among Soderbergh’s best work.

You know those countless slasher flicks in which a psychotic maniac slices his way through horny teenagers, only to be thwarted by the virginal heroine in the end? Halloween is the fountainhead. Despite countless imitators, however, few have been able to match the level of craft and psychological depth on display here. Halloween is a landmark, and a legitimately enduring classic.

By far the highlight is Astaire and Rogers’ impossibly fluid routine to Cole Porter’s “Night and Day,” in which even that formidable song knows its place and quiets down for a portion of their dance. The two are so elegantly in sync that the ill-fitting conventions of The Gay Divorcee simply melt away.

During much of Black Mother, the top of the next frame can be seen peeking from the bottom of the current one. The effect is a certain cinema verite bleariness, but also the suggestion that the person upon whom the camera is focused has a story that not only matters in this moment, but will go on.

Anyone who’s seen Beau Travail knows that Denis is a master of color. Here she uses the ship’s lighting system to shift between cool, medical blues and warm, arousing reds. And in the “garden,” a lush conservatory space where the crew grows their food, the deep greens evoke a primordial Eden, a place where nakedness carried no shame. The goings-on in High Life—including two instances of sexual assault—are like a crash landing into the Fall.

A Clockwork Orange ultimately asks: how deep is sin’s hold—on Alex, and on us? This being a Kubrick film—and considering that it leaves us with Beethoven’s Ninth triumphantly, transgressively ringing once more in Alex’s ears, after a fall from a window knocks the Ludovico out of him—the movie doesn’t seem to think humanity is worthy of an answer. To A Clockwork Orange, we’re all droogs at heart.

Mostly the movie registers as a comedy flag being planted, a claim being made. Anything your average clown could do, Chaplin could do better.

Time takes on a different tenor in Train Dreams, in which the life of an early 20th-century logger in Idaho both flits by in a blink and makes an eternal mark.

Honeymoon in Vegas is a bit corny and contrived, but the movie gradually levitates above its limitations thanks to its three leads, whose performances count among the best in their careers.

Asteroid City might be Anderson’s bleakest film, bordering, at times, on nihilistic. His comedies have always had a mordant edge—both The Royal Tenenbaums and The Darjeeling Limited directly address suicide and grief—yet they usually employ despair as a starting point, from which the characters move toward healing of some kind. In contrast, Asteroid City—like the rumbling reverberations of those atomic explosions—quivers with disquietude throughout.

It’s as if Moss is directing the movie through her performance.

As in the nature documentaries of Werner Herzog, there is grandeur and servility to be found here. Like the Kraffts, Fire of Love demonstrates a brazen humility.

It’s probably unwise to come to Leone looking for too much in the way of feminism. Instead, Once Upon a Time in the West offers quintessential examples of the things he was better known for, including another blustery Ennio Morricone score. Visually, he mostly vacillates between extreme close-ups of intense faces and vast widescreen compositions, a technique that is lurching but also luridly beautiful.

Paris is Burning crackles because of its subjects, almost all of whom are natural performers in some way.

Collette anchors all of this supernaturality with a powerhouse performance.

BlacKkKlansman is a joke that sticks in your throat, as well as a necessary examination of blight history (those shameful marks on the American record when “white history” and “black history” awfully intersect).

When it’s clicking—and it mostly clicks—Athena balances aesthetics with import, even interweaving the two into something that has the grave intimacy of Son of Saul and the political potency of The Battle of Algiers.

Broadcast News would be nearly perfect, except for its final few minutes.

Gently yet urgently, Flee gives intimate attention to one refugee’s story, while reminding us that Amin also stands in for millions upon millions of others across the globe who are subject to dehumanization as they simply seek a safer life.

As for Hopkins, he gives a precisely observed performance, capturing Anthony’s confusion without limiting the character to that single quality. He’s dazzling, for example, when turning on the charm for a potential new caregiver.

Vitalina Varela is a work of astonishing visual richness, boasting a depth of dark and light, a fullness of color, and an exquisite care for composition.

It takes a special sort of confidence to make a quiet movie, and that’s exactly what director Fernanda Valadez displays in her debut feature, Identifying Features.

A tender, fictionalized memoir anchored by two stellar performances.

The ingeniousness of screenwriter William Goldman and director Alan J. Pakula’s film is that it’s framed as a detective mystery.

Pattinson and Kravitz bring real heat to their scenes together—there’s a great moment where he holds her against his chest as they’re hiding from a pursuer and their breathing slowly, erotically falls into rhythm. Even at three hours, the movie could use more of her.

Strange and vaporous, The Eternal Daughter confirms Hogg as a filmmaker who knows how to transmute her most intimate ruminations in cinematically provocative ways.