A superb companion piece to the director’s 2022 biopic Elvis, it’s a feat of showmanship both by Presley on stage and Luhrmann behind the camera.

A scathing portrait of Jones and the vile misinformation he spread about the Sandy Hook tragedy.

An alternately (and sometimes simultaneously) harrowing and hallucinatory story of an OB-GYN who discovers that her every attempt at nurturing life leads only to more death.

A story about home, inheritance, and fiction’s ability to reveal truths capable of bringing alienated individuals together, it’s a tumultuous, moving triumph.

A caustic portrait of the rat race as legitimately killer, and another feather in the cap of one of world cinema’s true maestros.

Together, [Culkin and Eisenberg] make for a winning pair, balancing each other in a variety of ways that speak to the material’s larger concerns about loss, grief, remembrance and regret.

A Nice Indian Boy is filled with enough novel truth to transcend its predictable elements, leaving viewers with a film that feels like a genuine love story, instead of an idealistic imitation.

The lessons of The Wild Robot are simple, but the artistry it uses to get there is anything but. It’s the kind of kids movie that feels all too rare with its painterly backdrops and genuine earnestness. The whole family is likely to fall in love.

A sumptuous period-piece celebration of sensory delights—both culinary and otherwise—infused with all manner of complex, intoxicating flavors.

A small-scale tragedy about arrogant intolerance and self-centeredness that’s at once highly specific and, more depressing still, universal.

A steamy, sad, and amusing snapshot of desire and identity.

When it comes to sleek, stylish genre movies, Soderbergh remains a maestro at the top of his game.

A beautiful and bountiful bite-size film, it stands as Anderson’s second triumph of 2023 (following June’s Asteroid City) and a mini-masterwork in its own right.

Pulsates with harsh, anguished emotion, thanks in no small part to splendid visuals that make it the most beautiful film of the year.

A peerless example of using exacting form to not simply inform and enhance content, but to create a profound link between movie and moviegoer.

A testament to the vitality and fragility of memory that itself serves as an act of preservation—of a prized past, a fraught present and an everlasting devotion.

Never coherently articulates (or draws connections between) its various concerns, proving a handsomely horrific vampire bloodbath that, ahem, bites off more than it can chew.

Though its real-life story ultimately proves a little too one-note, it makes up for its thinness with a powerhouse lead turn from Sydney Sweeney as a woman caught in a nerve-wracking mess of her own making.

An unforgettable portrait of the search for unity at the edge, and end, of the world.

Rasoulof’s film damns Iran for its fanatical, corrupting, chauvinistic tyranny, all while generating breakneck suspense and, ultimately, resolving its tale with a disaster that contains within it a measure of hopefulness.

A work of tremendous look-at-me energy: all prolonged close-ups and studied master shots of actors weeping, screaming, laughing, longing, and freaking out with sweaty, grimy intensity.

Modest and moving, it’s a new sports-movie classic, as sneakily effective as the pitch which gives it its title.

An off-kilter creation that feels like the wacko offspring of Aki Kaurismäki and Abbas Kiarostami’s cinemas.

Though there are times when the material could be tighter, Newnham’s latest film is a compelling celebration of the revolutionary Hite.

Sing Sing is a revelation.

Provides a remarkable snapshot of the war crimes that—as the daily news reminds us—are still being perpetrated today

Initially teasing a condemnation, only to come away with something less certain and more fascinating, it straddles various lines, and perspectives, with impressive confidence.

A masterful film that invites contemplation and, in return, delivers lyrical beauty, haunting mystery, and more than a bit of unexpected terror.