The medium, right now, is a mess. The Bengali great follows young Apu (Apurba Kumar Roy) from boyhood to adult life via schooling and a move from his remote village to the big city, as well as loves and losses. Stylistically, the dark movie (shot by an inspired Darius Khondji, working with a silver-nitrate-retention process) has proven more durable than even The Silence of the Lambs, but it’s that meme-able sucker punch of an ending that still rattles audiences.—Joshua Rothkopf, No one could lob a monkey like Klaus Kinski, as he demonstrates at the end of Werner Herzog’s conquistador epic. Wong Kar-wai guides us through the narrow streets and stairs of ’60s Hong Kong and into the lives of two neighbors (Maggie Cheung and Tony Leung) who discover their spouses are having an affair. The sight of Chaplin literally feeding himself into a massive machine offers a still-germane satire on technological advancement.—Phil de Semlyen, Film critic Jean-Luc Godard’s seismic directing debut is a bravado deconstruction of the gangster picture that also reinvented moviemaking itself. Best Films of 2019, According to IW Critics Poll.
Years later, it’s considered by many to be Kubrick’s masterpiece, and its deliberate, highly aestheticized approach has influenced everybody from Ridley Scott to Yorgos Lanthimos.—Bilge Ebiri, Martin Scorsese’s hallucinogenic biography of the tenacious boxer Jake LaMotta (Robert De Niro) is a bold mash-up of neorealist grit and hyperstylized, gossamer beauty. Women on the Verge of a Nervous Breakdown offers juicy roles for a range of Spain’s finest female actors (plus a charmingly baby-faced Antonio Banderas) and consistently delights with its creative choices in costuming and interior design.
Watch now: Amazon Prime, iTunes, FandangoNow, Redbox. Clarke was actually living in Ceylon (not in India, or a tree), but the pair met, hit it off, and forged a story of technological progress and disaster (hello, HAL) that’s steeped in humanity, in all its brilliance, weakness, courage and mad ambition. Jaws may have set the reputation of those gray-finned creatures back a few centuries, but it took the popular movie thriller to another level, demonstrating that B-movie material could be executed with masterly skill.
Here are the 50 best movies of all time, according to Metacritic reviews: John Lynch contributed to a previous version of this post. Time Out is a registered trademark of Time Out America LLC. Yet, as our yearly lists of favorites attest, great work always happens. Bigelow has never directed movies that were financed by a major studio, though some have released her features.
Completing this vivid psychodrama is Bernard Herrmann’s alarmingly duplicitous score, which twists its way to a towering finale.—Tomris Laffly, Increasingly a giant of world cinema, France’s Claire Denis continues to confound expectations, making movies in sync with her own offbeat rhythms and thematic preoccupations (colonialism, power, repressed attraction). In the movie, he plays a father who learns that his daughter (Abigail Breslin) is infected and will soon turn into a zombie. Many films emerge from Sundance with a deafening buzz; how do you explain a $250 million global box-office gross? The movie has lost none of its relevance or power; if anything, it’s gained some. Oh, and somewhere in there, Thornhill even manages to find his soul.—Phil de Semlyen, You could watch Mulholland Drive, undoubtedly one of the greatest films of a new century, a hundred times and still get something different out of it with each revisit.
That “Avengers: Endgame” and “Joker” broke records at the global box office surely means something, even if the movies themselves don’t. There’s the famously real-looking Julie Christie–Donald Sutherland sex scene (they didn’t do it, honest), the shocking ending and the eerie way the film did for Venice what The Shining did for ski resorts.
Singularly ahead of its time, Daughters mourns the enduring tragedy of enslavement. A perfectly directed movie from one of the greatest filmmakers working today. It’s a template for the swathe of noir flicks that would follow, offering up a jaded-but-noble gumshoe in Humphrey Bogart’s Sam Spade, a femme fatale (Mary Astor), a couple of shifty villains (Sydney Greenstreet, Peter Lorre) and a labyrinthine plot that drags you around by the nose.
This Article is related to: Film and tagged Parasite, Uncut Gems, Year in Review 2019.
The dialogue is snappy and delicious; the morals are as empty as Times Square at dawn—Dave Calhoun, This German Expressionist masterpiece came out in 1920, a long time before the invention of the spoiler warning. The appeal of the familiar is one way powerful entertainment companies turn ardent viewers into brand loyalists, reaching fans with a cradle-to-grave consumer strategy. (I myself prefer the Italian pronunciation.) Watch now: Netflix, iTunes, FandangoNow, Redbox, Schwarzenegger gets trippy in this look at a man trying to understand whether he's living in reality or just some fantasy created by a corporation. Share Share Tweet Email.
It’s largely a matter of personal taste, of course. The Best Movies of 2019 What a year 2019 has been for movies. “Looks like I picked the wrong week to quit amphetamines.”—Phil de Semlyen, Hypnotic, bewitching, thought-provoking, disturbing, horrifying: However you react to it, you won't forget Jonathan Glazer's startling adaptation of Michel Faber's woman-who-fell-to-earth novel. But the film’s ice-cold paranoia, uncut and pharma-grade, has been its most lasting legacy: a template of perfection for all since.—Joshua Rothkopf, Writer-director Julie Dash should have become an Ava DuVernay–level success after her poetic feature debut, an achievement of otherworldly beauty. Most wonderfully, this comedy best celebrates the rule of wit: He—or, more often, she—with the sharpest tongue wins. But there once was a moment when he needed to get serious, and this is it.—Joshua Rothkopf, Forget The Artist—sorry Uggie—and relish instead the sheer, serotonin-enhancing verve of MGM’s glorious epitaph to cinema’s silent era. In March, it finalized its purchase of 21st Century Fox, effectively destroying a Hollywood pillar. But Alien claims masterpiece status with its subversive gender politics (this is a movie that impregnates men), its shocking chestburster centerpiece and industrial designer H.R. Trust us, it’s loco-motional.—Phil de Semlyen, There are countless movies about romantic relationships, yet few explore the subject more creatively than Michel Gondry’s breakthrough, scripted by Charlie Kaufman (who was then becoming a household name with Being John Malkovich and Adaptation).
In this movie machines takedown, human race and humans need superhuman. Members of the aggrieved superhero-loving community — some of whom draw Disney paychecks — tut-tutted Scorsese for being old, out of touch, overrated and, most of all, elitist. And who could blame them?
A rescue mission? During its theatrical run—which stretched into a summer that also saw the white-supremacist Charlottesville rally—Get Out felt like the only movie speaking to a deepening divide.—Joshua Rothkopf, We asked actors for the best movies of all time, from comedies and classic romances to blockbusters and foreign gems. Account active IndieWire published the full critics poll earlier this week, but now we’re giving readers a bigger look at the Best Film category.
Hilarity ensues as he's up against a classroom full of rambunctious kids. And the anti-elitist argument is at bottom a matter of numbers, of quantity trumping quality. When Hiccup discovers Toothless isn't the only Night Fury, he must seek "The Hidden World", a secret Dragon Utopia before a hired tyrant named Grimmel finds it first. Happily, Alfred Hitchcock’s thriller broke new ground in other ways, too, from offing its heroine within the first third to diving deeper into a crazed mind (bravo, Anthony Perkins) than Hollywood had yet managed before. Not when you consider the low-budget sensation in a larger context.
His Spanish soldier, Don Lope de Aguirre, finds himself with only these furry friends for company, his dreams of finding the mythical El Dorado in tatters. Shut up! Bruce Willis versus the Gimp? At the end of every year, IndieWire gathers together film critics from around the world and invites them to pick the best movies and performances of the last 12 months. We already have this email. Chaplin, reticent to give up the visual techniques he’d mastered, insisted on making his new comedy a silent film even as viewers were growing thirsty for sound. The genius is in Denis’s technique, manifesting itself in images of shattering emotional precision: sinewy silhouettes of soldiers, abstract tests of will in the desert and, most ravishingly, the euphoria of breaking into dance, courtesy of a loose-limbed Denis Lavant and Corona’s “Rhythm of the Night.”—Joshua Rothkopf, John Ford’s searing Western casts John Wayne as Ethan Edwards, a pathological racist and, yet, the enduring template for today’s modern antihero.
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