Megalopolis is at once one of the least-accessible films of the year, but the sheer depth and insanity of its accomplishment is one we may never see again.

A film which shows how cinema can bring people together, bond generations over a common interest and capture something timeless along the way.

Piece by Piece, much like its decorated subject, blows right past refusing to play by the rules and straight up doesn't acknowledge them, and it's all the best for it.

In Martin McDonagh's morbidly hilarious meditation on male friendship, Colin Farrell and Brendan Gleeson turn in performances every bit as powerful as in 'In Bruges' and paint a heartbreaking but comic look at one happens when one man doesn't want to be friends with another anymore.

Everything from the acting to the camerawork and the imposing score makes Fall a memorable mark in transcending fiction, making our greatest fears come to life.

Apocalypse Now: Final Cut is a graphic yet gorgeous masterpiece about the Vietnam War. It's also perhaps the best movie ever made about the horrors of war.

Talk to Me is an aculmination of years worth viral content creation, mixed in with Australian storytelling. Together, it transformed a comedic short premise into something that gets your heart racing.

Beyond the perfectly poised storytelling, awe-inspiring visuals and pulsing soundtrack, Maverick also possesses another important intangible. It brings out a feeling that’s arguably been missing from the multiplex for too long, where you will literally be able to hear a pin drop.

Ready Or Not is an exquisite horror comedy heavy on familial dysfunction, heavier on gameplaying brutality, and always a reminder that Samara Weaving deserves to be the biggest of megastars.

Led by a fantastic Michael Keaton, Birdman is a deeply thoughtful and darkly hilarious meta dissection of egotism that satirizes the entertainment business with a compelling visual style that is all its own.

Pivoting gut-punching drama and whip-smart comedy around a career-best turn from Kieran Culkin, 'A Real Pain' is a real treat of the highest caliber.

The Broken Tower is a wonderful labour of passion and love for this incredible artist and his broken life and it could not have been a more perfect way to encapsulate the incredibly obscure and fantastic artist that is Hart Crane.

Forget such questions of whether 'Civil War' is good or bad, fresh or rotten, and any other gradation scale that comes to mind. This film is mandatory.

In spite of a momentous directorial debut and performance from Bradley Cooper, Lady Gaga leaves the lasting impression in A Star Is Born, a beautiful production perfectly suited to re-release the superstar as a top-tier performer; she is nothing short of astounding.

Guardians Of The Galaxy is everything we go to the movies for, as Gunn is able to build an intricate intergalactic world full of multiple races, lush scenery, and maximum escapism through action, romance, comedy, and interstellar drama.

Every typical category of film analysis – the performances, the cinematography, the score, the wit, so on and so forth – needn’t be labeled as anything less than great.

For sheer craftsmanship and watchability alone, Amanda Knox is a must-see offering on Netflix; for its exposure of the workings of justice systems and media culture, it’s an essential piece of work worth sharing and discussing.

Blindspotting is a force to be reckoned with in terms of experience, anger and boiled frustrations that beg anyone watching to lead the charge for change.

Plan C is an emotional journey into American culture, focused solely on one hot topic.

For fans of Presley himself, this is the story you’ve been waiting for, and with “Unchained Melody” in your head, you’ll leave the theatre with more respect for Presley, for those you love, and for anyone who has ever been burnt by the hand that should have shown them comfort.

It’s a movie where even seasoned cinemagoers who feel like or claim to have seen everything are likely to marvel at how director Kenneth Lonergan was able to achieve something new, interesting, painful, hilarious, or beautiful, or some combination of all these things, in every single scene. It’s the type of movie that makes a person reach for the nearest hyperbole to describe it.

The awe-inspiring strength of 'Fancy Dance' is as softly sensational as it is proudly singular, and Gladstone is breathtaking throughout; Indigenous voices are a necessity to filmmaking.

The Blind Man Who Did Not Want to See Titanic is unlike any rom-com ever made, being blessedly free from formula, devoid of meet-cute dynamics, and disarmingly tragic in its set-up. That being said, it is also the most inspired and inspiring piece of bittersweet comedy romance ever made, defined by unwavering optimism and unrivaled hope in the face of God-given adversity.

Ti West's latest slasher 'X' defies all odds and sets itself apart from the crowd as a phenomenal piece of filmmaking that reinvents the overplayed clichés and marks a refreshing turning point for modern horror.

By combining her nostalgic take on formative family holidays with an unflinching portrait of conflicting personal identity, Aftersun intentionally delivers an emotional sucker punch few will soon forget.

With a perfect balance of heart and humor, Toni Erdmann transcends its clichéd premise, becoming one of the most tragic comedies of the decade so far.

This beautiful work pays an immaculate tribute to him, illustrating the legacy of a man whose nature transcended the concepts of knowledge, understanding, age and love. Fifteen years after his death, the heroic and criminally under-appreciated efforts of Fred Rogers are finally being celebrated on the big screen in what may very well be the best documentary of the year.

Moonlight captures the limitations of masculine conventions in an incredibly sympathetic, deeply felt way.