This bleak and profound meditation on diminishing faculties results in a shattering work of cinema. I was left shaking with the results, drawn in completely to the film’s shifts in tone and character, anchored throughout by Hopkin’s impeccable performance.

Coen shows an understanding of Shakespeare's original play as well as a willingness to go beyond it. His "Tragedy of Macbeth" leans into the staginess of the story, while tapping into the surreal nightmare of the whole thing. It's nothing short of magnificent.

Saint Omer is an intelligent, absorbing drama that had me under its intoxicating spell.

The Holdovers is proof that we need more thoughtful, studied, loving, and irresistible human stories on screen. It certainly helps, however, when Alexander Payne is at the helm.

It’s a beautiful, strange terrarium of a film, inviting us to gaze through the glass and wonder what’s going on underneath. Just as funny and creepy as it needs to be, the film is Kaufman at the top of his game, firing on all cylinders. A master of his own unique, unclassifiable craft.

Blaze is bold, striking, visionary cinema that makes for an astonishing debut. Its magnificent blend of puppetry, animation, and visual effects allows it to stand out from the crowd, but it also allows for an impressive interrogation of the human mind, delivered with tremendous empathy.

Here is a film that, like its source material, treats its characters with care and tenderness, establishing an instant and unbreakable bond with the audience that hits home in scene after scene.

Audacious, heartfelt, and uproariously funny, Hoppers has all the makings of an instant classic for Pixar.

For a debut to be this assured, and for a script to so deftly dance around the obvious challenges and result in a film that’s delightfully, darkly comedic, The Unknown Saint shows that despite all the obvious ways in which this work could have gone horribly, risibly wrong in these rare cases miracles can come true.

Dick Johnson is Dead is both a poetic act of defiance and a portrait of love at the end of a life.

Petite Maman is richer in its simplicity; a lovely slice-of-life tale that knows that loss is so enormous and monumental that we can only linger with it for brief moments.

Though there are certainly moments that will pull at your heartstrings, Still: A Michael J. Fox Movie is more uplifting than sad, and it's also quite funny thanks to Fox's natural charm and the wealth of comedy from his on-screen career.

Joy Ride is the big, broad, studio comedy to beat this year, an incredible directorial debut with one of the funniest scripts in a while, and a cast that should get all the praise in the world because they just became the dynamic quartet to watch.

Feels Good Man is, in some sense, a horror movie about the legacy of images, the ownership of images by their creators, and the lives they take on outside of the artists who make them. In particular, it’s a horror story about the life of one particular image: Pepe.

I'm not saying all movies need to feel this effortless, and deliver such big emotions wrapped in such thoughtful complexity. But I am saying movies like this remind me why I like movies so much in the first place.

There's a big beating heart at the center of the movie that keeps you close to the ground and makes it an absolute triumph of twisted humor and love.

Every aspect of the production is nearly flawless, from the production design to direction to the performances, and it all builds to an absolutely perfect ending that's hinted at from the very beginning. If you're looking to get your heart rate up and your mind racing, there are few better ways to spend an afternoon inside than by checking out Windfall on Netflix.

It manages in a concise and remarkable way to illustrate not only the ravages of this new virus but how its effects continue to resonate no matter the political forces looking to downplay its risks.

Pound for pound, segment for segment, death for death, this is everything we could possibly want from a horror anthology.

This is a story of unlikely triumph. An uplifting coming-of-age tale about embracing whatever it is that makes you different from others, an example of how people can flourish past their inhibitions to thrive and shine when their talents are met with a nurturing environment. It’s a much needed serotonin boost that will have you grinning from start to finish.

Kiss of the Spider Woman is a big kiss of a movie, one so genuinely loving that it's hard not to swoon.

It's What's Inside is one of the funniest, most clever, and narratively ambitious movies I've seen in a long while.

Borat Subsequent Moviefilm is easily the funniest movie of 2020. That’s not exactly difficult in a year when there are barely any new comedies to challenge it for the title, but even in a year with stacked comedies, I’m confident this sequel would undeniably come out on top of the pack.

Through a phenomenal performance, chilling atmosphere and a terrific script, Spiral builds an experience that is as terrifying as it is depressingly timely.

Jazzy can be called many things — a slice-of-life rumination on the things we take for granted, a coming-of-age marvel — but, at its core, it's the simplest and most childlike of statements that echo far beyond the movie's pitch-perfect ending.

Tabsch and Constantini’s documentary is a reminder to thank the people in our lives who believe in us.

This is a great time at the movies, the kind of dark comedy that plays to the crowd and the kind of pseudo-thriller that keeps you guessing as each poor decision made by its lead character introduces a new wrinkle in the ongoing spiral of drama and recklessness.

Kiyoshi Kurosawa’s To the Ends of the Earth encapsulates one woman’s blossoming from a reserved drone into a willing participant with Maeda’s subtle dynamism from a perpetually placid and pouty countenance to a focused visage.