In "Here," what matters is not what is offered, but the act of offering itself.

By fashioning a kinetic work that pulls together references and sources from Black literature, music, politics, and meme culture, “BLKNWS: Terms & Conditions” stands as a seismic intellectual awakening.

As magnificent as the movie looks, sounds, and feels, this cut expands upon and unpeels the movie’s weaknesses both as story and meditation on Vietnam.

It’s that honesty that makes The Florida Project so powerful. This is a remarkable film, one of the best of the year.

A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, Timbuktu is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.

To enjoy Days, you have commit to its earthy dream logic. It is an extraordinary movie; it is not an easy sit.

This masterpiece about propaganda, cinema and vanity as instruments of power and terror ends on an excruciatingly sustained, righteous money shot: a monster who could have been a good man suffocates on the truth.

These caretakers are all too human. The movie somehow turns that into a reason to admire them all the more.

With stunning performances from two completely genuine young leads, this is a movie people will talk about all year.

It’s a disturbing work, guided by a discomforting sense of immaculateness that chills the viewer. It is the sanitation the film performs, which speaks to the now, in a way few Holocaust films have done before.

Ultimately Leviathan may divide viewers between those who find its possible meanings too numerous and inchoate and others who welcome the challenges of helping create its meaning.

For me, The Souvenir is perhaps the most empathetic movie to capture that kind of bad romance, the way it seeps into every aspect of your life, the way it changes your behavior, how you hold onto the memories of good times when things get rough and how after it ends, you're a changed person.

One of the most influential science fiction films that most people haven't seen, Jean-Luc Godard's 1965 Alphaville is a combination film noir, social satire and riff on tough-guy movies, set in a world of nearly nonstop night.

Post-Holocaust discourse frequently used the phrase “Never Again” as a slogan, specifically referring to persecution of the Jews but also denoting a prohibition against barbarism; the events under consideration in these films are dispiriting reminders that human progress in this area has been meager at best.

Tower is explanatory journalism and history, but also personally expressive, and the two impulses never cancel each other out.

If you’re willing to bend with the story, The Secret Agent will take you places movies rarely go.

It's a great film, engrossing, suspenseful, and strange.

A thoughtful and tearful ride in which the destination is a spiritual confrontation with oneself, Drive My Car devastates and comforts through its vehicular poetry of the sorrow from which we run, the collisions that awaken us, and the healing gained from every bump in the road.

Through cinematographer Amin Jafari’s sense of environment, the script’s agile tonal changes, and the attentive cast, we are enthralled from minute one until the end of an intense thriller that operates quietly but with no less punch.

Looking at the picture’s mostly sun-drenched and drolly cheerful surface layer, one marvels at Rohmer’s unerring sense of what drama kings and queens young people can be.

Alice Diop understands how silence, when allowed to exist, vibrates with echoes, and it is these echoes that are trying to speak to us. They have a lot to say. "Saint Omer" shows us how to listen.

With these scenes highlighting growth and resilience, Time refuses to be some kind of tragedy porn. Sibil and her brood demand justice, not pity. Her strength carries the film and elevates her sons toward success.

The most surprising and challenging thing about Part Two is how it takes one of the central ideas from Part One—art's ability help us understand and express ourselves in everyday life—and externalizes it, so that creativity that might otherwise have been confined to the stages of the arts centers erupts into the world outside.

The word that occurs to me in describing Kubrick's approach to Johnny and the film, is "control." That may suggest the link between this first mature feature and Kubrick's later films, so varied and brilliant.

This is a terrific document and a testament.

Röhrig has the tricky task of carrying this story on his shoulders—and us along with him—without the benefit of being able to emote or even say much. It’s a physical performance as much as it is a quietly emotional one; he has to establish who this man is mainly through his gestures, demeanor and energy.

Her remains one of the most engaging and genuinely provocative movies you're likely to see this year, and definitely a challenging but not inapt date movie.

Little Women solidifies Gerwig’s one-of-a-kind voice on the page and behind the camera, opening up the classic in a blissful and innovative screen adaptation that feels ageless and vastly of today.