The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.
Peter Medak's documentary about his ill-fated 1974 pirate comedy, The Ghost of Peter Sellers, is less bonkers tale of a production gone mad than therapeutic excursion into a traumatic memory.
Russell Rouse's The Oscar is fabulously gaudy and kitschy, with overdone sets and costumes. The film practically hyperventilates in mood, story, and acting. You should see it.
Justin Pemberton's film version of Thomas Piketty's landmark book on the dangers of today's yawning income inequality, Capital in the 21st Century, is more TED Talk than documentary, but it's a handy summary nonetheless.
Told through the voices and movements of the legends and pioneers of the '80s Harlem drag-ball scene, Paris Is Burning is an indispensable look at one of America's most influential subcultures of the last half-century.
After the nymphs wave their diaphanous rags at the camera, the boys parody their terpsichorean poses with a magically appearing ball. These and other delights in Flicker Alley's 3-D Rarities II.
Co-writer and star Alison Brie's unreliable narrator in Jeff Baena's Horse Girl makes for a compelling story about spiraling into mental illness.
If a time traveler from the past wanted to learn how to subvert democracy for a few million bucks, gerrymandering documentary Slay the Dragon would be a superb guide.
The Serpent's Egg bares many of the Bergman's trademark features – the suffocating auras of despair and an underdog's sense of triumph over tragedy – but falls short of a more intelligent rendering of human drama.
The Fan, a gritty stalker-thriller, runs like clockwork, earning a steady momentum toward a stylishly spooky finish.
My Name Is Julia Ross is fast, direct, and easy fun. It never tests the viewer's patience with unnecessary trills.
Yasujiro Ozu's films can often be described as movies in which nothing happens -- nothing except the revelation of a world, its inhabitants, and a deep understanding of their contradictions.
Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.
If we judge a film by keeping us on the edge of our seat, 1971's Someone Behind the Door, starring Anthony Perkins and Charles Bronson, is a success.
A romantic thriller that boasts a contribution from John Carpenter, Eyes of Laura Mars benefits greatly from the gritty '70s Manhattan scenery.
Thanks to Richard Fleischer's Trapped, Lloyd Bridges got the chance to shine in a starring role as unregenerate slimeball Tris Stewart, among the most amoral self-centered leads in noir.
Animals is both a personal and creative coming of age story, and a satisfying yet frustrating tale about avoiding the tragedy of getting left behind.
Noah Baumbach's attention to the daily agonies of divorce in Marriage Story displays love's enduring power—or at least, its residue.
'The Rise of Skywalker' Is a Lightsaber Duel between Good and Evil, Past and Present, Authenticity and Greed
The Rise of Skywalker has been trumpeted as the last in the Skywalker saga. But with Disney's and this trilogy's annoying tendency to resurrect, it may never end.
The Safdie Brothers' nervy ball of tension, #PMPick Uncut Gems, sends a hustler blasting recklessly through a city where everybody is on the make.
Documentary Murder in the Front Row examines the birth, wild life, and eventual plateau of thrash metal in the San Francisco Bay Area.
Set in 18th century France, Céline Sciamma's Portrait of a Lady on Fire applies ravishing historical details to the timeless poetry of forbidden love.
Cynthia Erivo's transcendent turn as Union spy, escaped slave, and Underground Railroad conductor Harriet Tubman shines through Kasi Lemmons' heroic but oversimplified biopic, Harriet.
Recent queer icon films Judy, Bohemian Rhapsody and Rocketman tease their key audience while keeping one foot solidly in straight land. Is this progress?
Director Robert Eggers' emotional powerhouse, The Lighthouse, is a profound allegorical reminder that no man is an island.
Oren Jacoby's richly illustrated documentary on the ups and downs of modern Broadway, On Broadway, is all celebrations and no questions. Whether that's a problem depends on your level of theater mania.
Veteran Spanish director Pedro Almodóvar's pointedly autobiographical film, Pain and Glory, reflects on the power of art in shaping a life and legacy.
In a sci-fi setting with Wild West overtones, Sophie Thatcher's Cee is discovering how far she will go to get what she wants in Prospect.