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Korean writer-director Hong Sang-soo made this decade, this beguiling feature was the closest he came to a breakthrough with Stateside audiences. Detailing a set of awkward romantic encounters between a well-known director Jeong Jae-yeong and a budding painter Kim Min-hee , the film is presented in two parts, with the second recapitulating the events of the first, only with innumerable minor variations and an entirely different outcome.

A superhero movie so wonderful and creative, even Martin Scorsese might call it cinema. Swinging in toward the end of a decade dominated by Avengers, this Oscar-winning blast of comic book fun emphasis on the comic, thanks to that signature Lord-Miller touch redeemed an oversaturated genre partially by clowning on endlessly rebooted continuities and overcrowded shared universes. How does Bo Burnham know so much about being a year-old girl? Thankfully, the real Kayla, imbued by Fisher and Burnham with bottomless vulnerability and oddball charm, is a thousand times more compelling.

Sound abstract? The palace intrigue—centered on a backstabbing love triangle among Rachel Weisz, Emma Stone, and the Best Actress-winning Olivia Colman—is rendered with wide angles and fisheye lenses, all the better to make the crackerjack black comedy simultaneously more frantic and claustrophobic. Yet manager Lisa Conroy Regina Hall does her best to instill generosity into the drudgery by elevating her fellow workers at the expense of her job security. It sounds like a tough sell: a deliberately paced fairytale in which the star Casey Affleck is mostly silent and dressed like a Halloween-costumed ghost from Peanuts.

But writer-director David Lowery threads the needle perfectly with A Ghost Story , carefully moving his bed-sheeted apparition through time and a lonely house with precision and poignancy. Nicolas Winding Refn is a fighter, not a lover. But at least once, the Danish director split the difference, crafting a gloriously cool genre pastiche with a heart tuned to FM radio. As an action movie, Drive is ruthless and efficient, speeding from tight getaways to head-stomping elevator brawls to the unexpected menace of Albert Brooks with a straight razor.

Yet it also fancies itself an unrequited love story, perfectly casting Ryan Gosling as an urban-samurai cipher with a storm of emotion brewing behind his baby blues and—via one of the great soundtracks of the decade—synth-pop running through his head. Just imagine being able to enter the subconscious of another person and run around in their wildest dreams.

She, too, is a chaotic force, a figure of malevolent charisma hammering organ keys in the basement, ensorcelling even those she repels. Moss is a marvel, the film wholly in her thrall; when both finally arrive at stillness, it hits like a kick behind the knees. A 21st century Hal Hartley, the writer-director deploys his signature deadpan style to wonderfully comic effect in The Lobster , a fanciful reimagining of society wherein single people have 45 days to find a romantic partner or be turned into an animal of their choosing.

Lanthimos finds satirical targets aplenty, but locates something more profound in his eventual focus on two people trying to love each other in the absence of any outside support or influence. But just when Bong has hooked the audience on this high-spirited and often hilarious caper, he throws in a big twist, and then another, and then another. Who needs Joaquin Phoenix to showboat in clown makeup when he so perfectly encapsulates loneliness in this sci-fi romance from Spike Jonze? But while Her has funny moments, Jonze takes his material seriously—not as a cautionary tale or an indictment of male entitlement, but as a sensitive, open-hearted relationship story about one partner growing beyond another.

After all, the Austrian provocateur dubbed his cruelest act of audience antagonism Funny Games —and to quote Nelson Muntz, we can think of at least two things wrong with that title.


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So the truly shocking thing about this unlikely Oscar winner is that its title is completely sincere. Amour is completely unromantic on the subject of dying, which makes the undying romance at its center all the more powerful. More than that, it offers up, in the relationship between Paterson and his girlfriend, Laura Golshifteh Farahani , a down-to-earth love story about cohabitating artists with opposite personalities. Stories of conflict, heartache, and turmoil invariably dominate lists like these, but Paterson is that rare great film about happiness.

Whether in love or in artistry, Jarmusch suggests that it all comes down to learning patience. Depth of field is the real menace of It Follows. At a certain point, the background of every shot and the unseen area just beyond every frame-line becomes a danger zone, a source of fresh anxiety.

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Denis Villeneuve never settles for less than exceptional, and his perfectionism extends to nearly every aspect of Arrival. He finds it in Amy Adams, delivering a soulfully unflashy performance—and capturing the very spirit of humble idealism—as a troubled linguist trying to solve the mystery of 12 alien spaceships that have touched down on Earth, each containing a pair of seven-armed aliens communicating a complex message that could alter the fate of the world.

The result is science fiction at its best, combining heady conceptual ideas with generous heart, like Spielberg doing Star Trek. But Anderson devotes just as much time to the emotionally insecure adults hot on their trail, including an atypically soft-spoken Bruce Willis.


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    • Some will still resist, but this may be as close to irresistible as WesWorld gets. When Green Room was released in the spring of , its premise felt expertly heightened: Some punk rockers agree to play a Nazi club in the Pacific Northwest, then witness a murder and must fight their way out of a potentially fatal lockdown. Less than a year later, the film looked like a chillingly natural extension of current events. Despite the loathsomeness of his bad guys, no one can accuse writer-director Jeremy Saulnier of trying to notch easy victories; Green Room is vicious, bloody, and harrowing, a genre workout with teeth which are often attached to marauding dogs.

    While nervously attempting to give a child welfare agent a positive impression of his parenting skills, playwright Charlie Adam Driver inadvertently slices his arm open. The hostility gradually slinks out from a cordial divorce, just another manifestation of the love the two will never fully relinquish. The vicious disputes about custody of their son and coastal relocation only mask the truer and rawer feelings that make up this tender, sensitive film: selfishness, resentment, insecurity, and finally humility.


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    Made on marathon shooting shifts with a whole fleet of digital cameras—all of which seem to know no bounds, not least the GoPros flung overboard like life buoys—the film lays bare the nature-versus-man mythos to which the modern-day fishing industry is anchored. Channing Tatum and his gang of lovable male strippers take a road trip toward an erotic dancing convention, spreading good cheer, self-confidence, and respectful sexuality everywhere they go.

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    If that sounds didactic, know that XXL is a true blast: an inclusive comedy where all are welcome. Paul Verhoeven and Isabelle Huppert joined forces to deliver this wicked little thriller, a spitting cobra that wriggles out of the grasp of political critique with a sneaky grin on its fangs. Her vicious psychology affirms the complexity of both female sexuality and the effects of trauma. A depressed, alcoholic B-list actor Leonardo DiCaprio and his best friend, a stuntman Brad Pitt, rarely better who may have gotten away with murder, cross paths with the Manson family and their most famous victim, Sharon Tate Margot Robbie.

    If the initial mood of this world of Cadillacs, Cinerama marquees, and whiskey sours is one of nostalgic twilight, the undercurrents are chiefly sadness and latent violence.

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    These two may never know, but everyone else is going to have to deal with it. Working from his own script, Chazelle unerringly captures the obsessive drive that pushes so many artists past the boundaries of normal behavior, sacrificing everything in pursuit of greatness. Hard as it is to parse, Upstream Color pulses with purpose and confidence, due in no small part to Carruth commanding every aspect of the film, from the direction and writing to its score and distribution.

    Take a cue from our initial review and just let it wash over you.

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    The film will be remembered as a needle-moving moment both for the horror genre and for Black creatives in Hollywood. But beyond its historical significance, Get Out is also first-rate entertainment: suspenseful, surprising, and satirical. Without question, the most moving film ever made about being a power bottom. When a relationship has a giver and a taker, even when the giver takes pleasure in giving, that dynamic eventually gets pushed to its limits as the taker continues taking.

    This is the rare love story about compatibility and calibration, as two adults reestablish the terms of their partnership to find a new normal.

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    For them, it involves getting peed on. Initially playing as a low-key character study, Burning slowly metamorphoses into a highly unconventional thriller, built around a mysterious disappearance. But she definitely made a strong impression in her first major movie role, playing Ree Dolly, a year-old high school dropout forced to become an amateur detective to save her desperately poor Ozark Mountains family. Half hilltop noir and half mythological odyssey, the film follows Ree as she antagonizes all the dangerous drug-dealers in her extended family, turning over every slimy rock in the region in order to find her fugitive father and keep the cops from seizing her home.

    Each decade gets the Before movie it deserves. While the first two films hinged on variations on the question of whether Jesse Ethan Hawke and Celine Julie Delpy would see each other again, Before Midnight introduces a different set of stakes. By turns darkly funny and shockingly violent, the breakthrough feature by Greek director Yorgos Lanthimos who would go on to make The Lobster and The Favourite , cited above follows in the footsteps of pull-no-punches directors Michael Haneke and Lars von Trier.

    Outside influence creeps in via painfully awkward sex and surreptitious smuggling of Hollywood movies on VHS, but any lighthearted moments are punctuated by awful fits of aggression, all the more brutal for how mundane they are. Indelible sci-fi imagery and a searing exploration of depression are strange and rare bedfellows.

    No stranger to depictions of depression , von Trier makes his most transcendent meditation on the paralyzing pains of the condition—and the inescapable frustration of loved ones trying to confront it. Of the many fiendish tricks director Park Chan-wook pulls off in The Handmaiden , the most potent and least expected is that the film turns out to be, at heart, quite a sweet love story. The plot, pulled from a Sarah Waters novel, appears to follow a young pickpocket Kim Tae-ri hired to help a nefarious con artist Ha Jung-woo seduce a seemingly fragile aristocrat Kim Min-hee.

    But even the ulterior motives have ulterior motives in this kinky, opulent, blackly funny thriller.

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    Park and his winsome co-conspirators, the two Kims in particular, expertly deceive their audience again and again, pulling the rug out with obvious enjoyment. A Jewish singer Nina Hoss survives the horrors of Auschwitz, returning with a new face built from the wreckage of her old one. Following her Oscar-winning performance as Edith Piaf in La Vie En Rose , Marion Cotillard decamped to Hollywood for nearly a decade, before taking her most unglamorous and most remarkable role to date.

    Two Days, One Night casts her as Sandra, a woman fighting for dignity and against severe clinical depression. Remember , when Martin Scorsese held a magnifying glass up to the unhinged id of Reagan-era capitalism and everyone nodded in complete understanding, laying to rest all analysis of the film for the remainder of the decade? But the darkest moments betray this as an American horror story of addiction, to drugs or money or power, all of which are the same thing. For a film that runs nearly three hours, Toni Erdmann goes down easy, deceptively breezy as it considers the inexhaustible complexities of parenting and the alienated state of modern relationships, while proposing humor as an antidote to the scourge of objective-oriented behavior.