Wednesday, December 5, 2018

Movie tweets to December 5, 2018 (4 of 4)

Ismael’s Ghosts (2017) – Desplechin may be dancing on the spot, but the choreography and rhythms remain uniquely beguiling and stimulating

The Royal Hunt of the Sun (1969) – Lerner’s quite compelling opening out of Shaffer’s fascinating sun-drenched, humanity-stained quest

Fado majeur et mineur (1994) – a grave yet playfully confounding fragment from Ruiz’s bottomless cinema of echoes, layers and dreams

Telefon (1977) – an effective thriller for Siegel’s assured tone and pacing and the anxious subtext, although with muted ultimate impact

Victoria (2016) – Triet’s end-of-her-tether comedy seems to aspire to a wilder, more tempestuous tone than its cutes and clutter allow

The Seventh Victim (1943) – Lewton and Robson’s quietly threat-laden devil worshipper drama leaves a complexly troubled aftertaste

Un mauvais fils (1980) – an astutely-measured, searching study of incremental renewal, a peak illustration of Sautet’s more intimate mode

The Choirboys (1977) – the material should surely sing of a messed-up America more scabrously and roughly than it does in Aldrich’s hands

Orly (2010) – Schanelec sets out pleasingly innovative routes into the well-established existential possibilities of airport departures

Topaz (1969) – Hitchcock’s late film at times seems stolid and artificial, at other times almost experimental in its shifts and abstractions

A Confucian Confusion (1994) – Yang’s sharply genial study of a society where economic growth outpaces the emotional and intellectual kind

Hardcore (1979) – a strong, inherently diverting film, but for Schrader, something of a missed moral, sociological and stylistic opportunity

La loi de la jungle (2016) – Peretjatko’s satire of unprincipled development is mostly a goofy slog, with little real bite or panache

The Man in the White Suit (1951) – Mackendrick’s smart, sure-footed comedy, cleverly foreseeing the looming fragility of industrial society

Eaux profondes (1981) – Deville’s Highsmith adaptation falls a bit short overall, despite striking stylistic, tonal and structural moves

Pass Over (2018) – Lee’s exemplary filming of vivid theatrical material, a Godot-like expression of America’s complex culture of oppression

Les nouveaux messieurs (1929) – Feyder’s silent drama stirringly contrasts the promise of the left & the practiced persistence of the right

Blue Black Permanent (1992) – Tait’s wonderfully measured, alert conversation between generations, and reflection on seeing and recording

Anima nera (1962) – Rossellini ruthlessly deconstructs the stereotype of male irresponsibility, stripping it down to its outmaneuvered core

I Called Him Morgan (2016) – Collin makes unusually effective use of archival materials, crafting a haunting memoir of thwarted artistry

Ugetsu (1953) – Mizoguchi’s chillingly beautiful tale of earthly tumult & fracture that lets in the ghosts of temptation, & those of comfort

HealtH (1980) – Altman’s thinly allegorical satire is enjoyable enough, but rather too defined by the transient hollowness it observes

A Woman’s Decision (1975) – Zanussi’s study is one of his looser works, but deeply attuned to existential anxieties and social heaviness

Wonder Wheel (2017) – one of Allen’s more sustained late works shifts effectively from easeful period evocation into stark, pitiless tragedy

The Walls of Malapaga (1949) – Clement’s doomed romance endures for its immersion in time and place, despite its familiarly fatalistic core

Surrender (1987) – Belson’s lazily-handled comedy of intertwined emotional and economic anxiety never works up much pace or punch

La punition (1962) – Rouch’s captivating (seemingly Varda-inflected?) meditation on the freedom and limitation of exploration and encounter

Lady Macbeth (2016) – Oldroyd’s chilling drama: superbly sparse and confined, yet infused with an ambiguous air of broader societal shifting

Les amis (1971) – Blain’s calmly radical treatment of potentially transgressive material, carefully evasive and indirect, never merely coy

Tequila Sunrise (1988) – Towne’s film is an able study in structure, mood and light, until plot mechanics ultimately triumph over all else

A double tour (1959) – Chabrol extracts just about every tortured, loathing nuance possible from the ultimately somewhat thin material

War for the Planet of the Apes (2017) – Reeves’ is an impressively conceived and sustained vision, if seldom very conceptually stimulating

Immortal Love (1961) – Kinoshita’s eventful drama of relentless familial pain is rather too dutiful & restrained to penetrate as it intends

Star 80 (1983) – Fosse’s filmography ends in flashy disappointment, extracting little of substance from its unpleasant case history 

The Tenant (1976) – Polanski’s effective if rather over-elaborated tale of paranoia, at its best when evoking anxiety and persecution

A United Kingdom (2016) – Asante’s welcome excavation of a significant historical episode feels a little more stifled than necessary

Zouzou (1934) – Allegret’s atmospherically bustling, often saucy rags-to-riches tale provides an effective showcase for Josephine Baker

Things Change (1988) – a pleasant, well-played trifle, but Mamet’s affinity for such pervasively genre-limited cinema is hard to figure out

Bande a part (1964) – Godard’s legendary film pulsates with the allure of losing oneself in an invented moment, and with its sadness

The Trip to Spain (2017) – a get-together as ingratiatingly familiar by now as any mainstream franchise, but funny and seductive throughout

T. R. Baskin (1971) – a film of modest virtues, since contemporary dehumanization and personal enigma aren’t Ross’s most natural territory

The Nights of Zayandeh-Rood (1990) – wrecked by censorship, Makhmalbef’s family chronicle speaks tremulously to the trauma of revolution

The Devil is a Woman (1935) – von Sternberg/Dietrich’s rather coldly capricious last film lacks the overwhelming allure of its predecessors

A Decent Woman (2016) – Rinner’s well-crafted showdown of nudists and materialists is too straightforward to really stir or challenge

The Rowdyman (1972) – Carter/Pinsent’s film chugs along rather too easily to achieve lasting impact, other than as a marker of time & place

Histoires d’Amerique (1988) – Akerman’s mesh of jokes & testimony is both celebratory & eerie, mirroring the fraught Jewish-American odyssey

Cactus Flower (1969) – the familiarly-honed material neither stings nor blossoms cinematically, but Saks navigates it pleasantly enough

Bird People (2014) – Ferran extends the weary metaphorical possibilities of airports to wondrously extreme, persuasively unfettered heights

The Yin and the Yang of Mr. Go (1970) – Meredith’s jumbled, pseudo-idealistic action-comedy, suffused in dopiness and antiquated attitudes

Sankofa (1993) – Gerima’s always strikingly-conceived, often astounding expression of reborn communion with past culture and injustice

Isle of the Dead (1945) – a modest narrative, but suffused with Lewton’s remarkable shadow-infused play of preoccupation and fragility

The Handmaiden (2016) – likely Park’s best film, if only for obscuring his hermetic limitations with sheer narrative & visual sumptuousness

Mandingo (1975) – Fleischer’s terrifyingly well-realized exploration of slave-owning America’s moral and psychological wretchedness

The Supplement (2002) – Zanussi’s interesting exercise in fleshing out the bones of an earlier film, rather labored on its own terms though

Single Room Furnished (1968) – Mansfield is strikingly plaintive in her last film, which Cimber generally handles with a decent touch

The Square (2017) – Ostlund’s sleek, assured exhibit of a film, an impressively multi-pronged exploration of art-world ethics & absurdities

Blue Collar (1978) – Schrader’s powerful debut remains a key film of its period about labour, race, power and their complex interaction

The Case is Closed (1982) – with understated power and empathy, Sen dissects the bottomless inequalities and injustices of Indian society

The Narrow Margin (1952) – Fleischer’s terse and tight thriller is great viewing, but ranks below film noir’s thematic and sensual peaks

Queen of Katwe (2016) – Nair delivers the expected tale of colourful odds-beating assertion, with an (equally expected) absence of much else

Being Two isn’t Easy (1962) – Ichikawa’s eyes-of-a-child slice-of-life drama is at best trifling, and frequently tedious and/or insipid

9 to 5 (1980) – Higgins’ easy-to-take comedy can be seen now as unnecessarily and counterproductively rigged, and only half-woke at best

The French Way (1945) – De Baroncelli’s low-energy farce makes poor use of Josephine Baker, largely pushed to the narrative’s bland margins

The Killing of a Sacred Deer (2017) – Lanthimos’ imposing if knowingly alienating exercise in ominous, mythologically-informed displacement

Slap the Monster on Page One (1972) – Bellocchio’s dark study of establishment hypocrisy remains potent, for all the territory’s familiarity

Iceman (1984) – notwithstanding its Sorkin-ish science chatter, Schepisi’s drama just gets increasingly silly, contrived and clumsy

Les enfants terribles (1950) – a mesmerizing, disruptive amalgam of Cocteau’s poetic extremity & Melville’s skeptical, unsparing observation

I, Daniel Blake (2016) – near-vanishing-point Loach, the weight of injustice reducing a quietly worthy man to a dying assertion of identity

The Structure of Crystal (1969) – Zanussi’s understated reflection on relative freedoms, a very subtle posing of the personal as political

Lookin’ to Get Out (1982) – the movie sustains a superficial, raucous energy, but it all matters far less than Ashby’s enduring earlier work

Torso (1973) – the impact of Martino’s lascivious, committed fluidity is rather limited by the film’s thematically sparse narrative

The Florida Project (2017) – Baker’s sociologically, morally & stylistically rich study walks an immaculate line between cute & troubling

L’argent (1928) – L’Herbier’s milestone silent drama, epically grappling with the unequal power and morality of man and financial markets

Rough Cut (1980) – a passable caper, but would be low-energy, textureless stuff from anyone, let alone a film notionally signed by Siegel

Jaguar (1968) – Rouch’s dizzyingly stimulating country-to-city African odyssey throbs with incident and underlying social implication

Paterson (2016) – Jarmusch’s masterful observation of inner lives, an implicit rebuke to the prevailing brainlessness of dominant culture

The Tree of Wooden Clogs (1978) – Olmi’s moving chronicle of peasant life, encompassing generous humanism and quiet political indictment

Dreamscape (1984) – Ruben’s thriller falls short of Pakula on one hand and Ken Russell on the other, but is good, lightly-implicating fun

The Silence (1963) – Bergman’s highly arresting study of conflict and flight is one of his most sensuous, implication-laden enigmas

Girls Trip (2017) – Lee’s energetic movie doesn’t flag, but the narrative & moral trajectory & sexual frankness are predictably calibrated

It (1927) – Bow still radiates - if not all of “it” - at least a big piece of it, showcased by Badger’s admiring, fleet-footed narrative

Dog Day (1984) – Boisset’s injection of the iconic Marvin into a raucously bawdy French rustic context shambolically fails to come off

Justine (1969) – Cukor’s formally impressive but distant film feels too inertly classical to tap the material’s rich potential complexities

Antiporno (2016) – Sono at once creates candy-porn, jerks off to it and blows it up, in formally impressive if ideologically suspect style

The Klansman (1974) – Young’s film stimulates for its wretched sociological background, more than for its ploddingly ugly foreground drama

Une etrange affaire (1981) – Granier-Deferre’s elegant, mysterious but precise fable of charismatic leadership and its reality-bending orbit

The Whole Town’s Talking (1935) – an enjoyably fast-paced if never biting comedy, a fluent adjunct to Ford’s primary cinematic achievement

Mountains may Depart (2015) – Jia’s limitlessly fascinating straddling of experiences, of personal and societal shifts and displacements

Time after Time (1979) – Meyer’s high-concept film appeals most for its pleasant incongruities, before fraught plot mechanics take over

Purple Butterfly (2003) – Lou’s historical reverie/thriller is frequently dreamily enveloping, at other times rather murkily disorienting

The Queen’s Guards (1961) – a pageantry-seeped military memoir, with Powell fitfully engaged by its more skeptical and anguished elements

Cezanne et moi (2016) – for better & worse, Thompson scenically observes her epochal protagonists more than she stylistically channels them

Cisco Pike (1972) – Norton’s loose-limbed drug-dealer drama, a great little time capsule of in-the-moment presences and interactions

Chronicle of a Death Foretold (1987) – Rosi’s only superficially engaging adaptation is heavy with over-deliberation and over-prettification

Battling Butler (1926) – a pleasant but relatively subdued Keaton comedy, not equaling the cinematic and physical grace of his best works

Roxanne Roxanne (2017) – Larnell’s intuitively-shaped, empathetic chronicle, emphasizing Shante’s perseverance against chronic male weakness

Porte des lilas (1957) – Clair’s late film feels like a settling for less, but finds some darker veins within its small-scale observation

The First Deadly Sin (1980) – Hutton handles the weary procedural aspect solidly enough, but flails at the apparent broader intentions

Mother Kusters goes to Heaven (1975) – Fassbinder’s stylistically restrained but utterly fascinating exercise in frustration and venality

Norman (2016) – Cedar’s nimble film, at its best in exploring the textures of connection, ultimately leaves a softer impact than one hopes

Amore et rabbia (1969) – five varied provocations, most notably Bertolucci’s possessed performance art and Godard’s interrogative beauty

Battle Beyond the Stars (1980) – Murakami delivers some colorfully goofy visions of community, stranded among much anonymous space padding

La beaute du diable (1950) – Clair’s fine treatment of Faust, propelled throughout by exquisite narrative fluidity and directorial elegance

Last Flag Flying (2017) – Linklater’s knowingly old-fashioned Vietnam reunion odyssey sinks easefully into contradictory American attitudes

Petit a petit (1970) – beneath its loose, often goofy surface, Rouch’s film reflects on the delights & limitations of cultural interchange

Suburbia (1984) – Spheeris’ super-cool, attitude-heavy vision of (inevitably doomed) alternative community amid a hostile & clueless society

Liliom (1934) –  a rather draggy supernaturally-infused tale of redeemed brutishness, notable though as an uncharacteristic Lang work

Free Fire (2016) – Wheatley tightly concocts a carnage-strewn, no-way-out, near-vanishing-point of genre cinema, to somewhat unclear ends

The Condemned of Altona (1962) – despite its heavy-footedness, De Sica’s brooding Sartre adaptation wades in fascinating moral waters

Dreamchild (1985) – Millar and Potter’s reverie nimbly spans ages and registers, but the calculated restraint and taste limits its impact

Bellissima (1951) – Visconti’s neo-realist grounding is merely an intermittent anchor for choreographic flourishes and actorly histrionics

Obvious Child (2014) – of course, the (modest yet meaningful) virtue of Robespierre’s abortion-centered comedy is its very ordinariness

Kleinhoff Hotel (1977) – Lizzani’s erotic drama is calculatingly exploitative, and yet not without a striking commitment and preoccupation

Max Dugan Returns (1983) – Ross/Simon’s low-impact comedy would be a grim study of moral and material surrender, if it meant anything at all

Fraulein Doktor (1969) – hints of decadence & a powerful final battle scene aside, Lattuada’s war drama is largely mechanical & passionless

Gold (2016) – Gaghan’s Bre-X fictionalization maintains interest, but one often wishes for the hand of a Mann or Pakula (or Eureka’s Roeg!)

Portrait of Madame Yuki (1950) – another calmly potent Mizoguchi study of toxic gender relations, ultimately all but conflating sex & death

Track 29 (1988) – Roeg/Potter’s mostly underwhelming drama layers rather strained elaborations on top of a central psychological enigma

Irezumi (1966) – Masumura’s bloodily devouring, desirous melodrama; one of his more straightforward works, but utterly gripping throughout 

Manifesto (2015) – Rosefeldt’s unique high-concept piece is a near-marvel of organization, imagination, pedagogery and pure performance

Lust for Life (1956) –  Minnelli’s expressive powers are ironically constrained by fidelity to Van Gogh’s; but Douglas compels throughout

La naissance du jour (1980) – Demy’s small-scale literary adaptation most intrigues for fleetingly complex glimpses of his unique sensibility

The Getaway (1972) – a decent thriller on its own terms, although a minor, morally weightless work in the context of Peckinpah’s cinema

Wet Woman in the Wind (2016) – Shiota ventilates the brisk soft-porn material with an appealingly deadpan, lightly absurdist sensibility

The Magnificent Ambersons (1942) – at its frequent finest, a transporting, sensitive, evocative record of Welles’ immense cinematic fluency

Decoder (1984) – Muscha’s brooding drama is appealingly dated in its punkish analog trappings, very little so in its broader preoccupations

Leo the Last (1970) – Boorman’s peculiar, voyeuristic sociological parable/channeling of revolutionary desires/chaotic provocation

Journey to the West (2014) – Tsai’s (slowly!) dreamy and gracefully funny short film, seemingly carrying a subtext of understated indictment

Madigan (1968) – Siegel’s tough, propulsive detective thriller; impeccably weaving moral contrasts and shadings and shifting perspectives

Marseille (2004) – Schanelec’s impressively considered film crafts a most unusual alchemy of person & place, & expression of new beginning

No Blade of Grass (1970) – Wilde’s environmental collapse thriller is at best a brash visual assault, at (frequent) worst unhinged & jarring

Informe general II (2016) – Portabella’s clear-eyed if genteel charting of the gulf between small-group awareness and state-wide torpor

The Leopard Man (1943) – Lewton/Tourneur’s brilliantly-sustained classic, a haunting, seldom-equaled marriage of delicacy and pained gravity

Salto nel vuoto (1980) – for all Bellocchio’s acuity, this repression-laden, corroded-establishment drama is a bit too heavy & unsurprising

Lost Lost Lost (1976) – but also vibrantly and permanently found; in Mekas’ absorbing survey of exile, arrival, evolution and community

Journey to the Shore (2015) – Kurosawa’s calm rewriting of our metaphysical universe, studiously free of conventional genre trappings

The Bronze Buckaroo (1939) – Kahn’s bare-bones all-black Western carries its unstated otherness with shambling charm, but few fireworks

The Constant Factor (1980) – Zanussi’s almost mathematically powerful study of pervasive corruption and the limits of a moral response to it

Colossal (2016) – could Vigalondo have foreseen that his out-there movie would so resonate as a remarkable allegory of Trumpian menace?

Come Drink with Me (1966) – vividly enjoyable but not yet full-throttle Hu, in terms of both raw technique and underlying sensuousness

Superstar (1988) – Haynes’ Karen Carpenter bio-pic is at once an eerily multi-faceted investigation, and a negation of any such possibility

Ossessione (1943) – hard not to think of Visconti’s adaptation primarily in earthier, hungrier contrast to its Hollywood counterparts

Alien: Covenant (2017) - Scott sure knows how to punch it out, but the feeling of repetition, redundancy and overreach is insurmountable

Birds in Peru (1968) – Gary’s ritualistic, sun-baked ceremony of sex, death & fate taps (albeit rather strenuously) a sparse elemental power

Working Girl (1988) – Nichols’ overvalued comedy, heavily dependent on reality-obscuring simplifications, feels now like a dusty relic

I Will Buy You (1956) – Kobayashi’s (rather strenuously) heavy-hearted baseball scouting drama is among the most somber of sports films

Fences (2016) – Washington does right by the (inherently not so cinematic) play, such that you lose yourself in the language and evocation

The Garden of the Finzi-Continis (1970) – De Sica’s rather familiarly, elegantly rarified, but nonetheless moving drama of looming Holocaust

Galaxina (1980) – Sachs’ genre parody is perplexing in most ways, hardly aiming for quality yet drearily tentative in its raunchy cheesiness

Letters by a Novice (1960) – an artful mixture of austere investigation and calculating decadence, seemingly entirely up Lattuada’s alley

The Beguiled (2017) – Coppola’s restraint and feeling for female community serves here to push the material toward virtual invisibility

The Music (1972) – Masumura/Mishima’s astonishingly-rendered, pained erotic extremity, conflating psychoanalysis & transgressive invention

Revolution (1985) – Hudson’s film is mostly effective when channeling chaotic mass experience, much less so in its narrative contrivances

Mammy Water (1953) – Rouch’s brief but teeming study exuberantly straddles eye-filling actualities and respectfully-presented myths

Christine (2016) – Campos renders a sad real-life tale as a case study in pervasive discomfort, and in coping mechanisms taken and spurned

Michael Kohlhass (1969) – Schlondorff’s tale of injustice and rebellion, its impact rather muddied by its attempt to channel the sixties

Maria’s Lovers (1984) – Konchalovsky’s minor post-war drama feels mostly trivial and arbitrary, not tapping its actors’ considerable powers

The National Health (1973) – Gold/Nichols’ carefully-gauged hospital comedy, its diagnosis both directly scathing and challengingly evasive

Marguerite & Julien (2015) – Donzelli’s period-bending treatment of transgressive material, intriguingly straddling history & romantic myth

A Woman of Paris (1923) – its modest sensitivity to female perspective & desire aside, Chaplin’s drama is of limited cinematic interest now

Mourir a 30 ans (1982) – Goupil’s memoir of 1968, somberly but piercingly contrasting all-consuming activism & subsequent directionlessness

The Night Visitor (1971) – Benedek’s ingenious thriller delivers fascinating logistics, although its echoes of Bergman are merely frost-deep

Raw (2016) – at its harrowing best, Ducournau’s vivid film is a startling expression of the scorching, perilous power of female desire

Tom Jones (1963) – occasional pell-mell interest aside, Richardson’s relentless opportunism now seems mostly tiring and alienating

Lost Persons Area (2009) – Strubbe’s representation of Europe’s shifting order is highly well-conceived, but carries a muted overall impact

The Reckoning (1970) – Gold’s super-meaty class-conscious drama, anchored by Williamson’s sensationally contemptuous, possessed presence

Une jeunesse allemande (2015) – Periot’s absorbing film conveys the turbulent passing of a very era-specific melding of culture and action

Raw Deal (1948) – under Mann’s alert handling, a thriller narrative of hard-driving visual eloquence, suffused with unfulfilled longing

Kung-fu master! (1988) – no director can bridge loveliness and social transgression as easefully yet meaningfully as the incomparable Varda

Julia (1977) – Redgrave’s moving presence aside, Zinnemann’s lead-footed memory piece seldom feels fully-inhabited or very evocative

The Future Perfect (2016) – Wohlatz’s beguiling study of a young immigrant’s multiple aspirations, navigating self-assertion & assimilation

Station Six-Sahara (1963) – superficially a potboiler, but infused by Holt with substantial behavioral relish & subtle structural mysteries

A Cat in the Brain (1990) – pure immersive cinema of a kind, although Fulci’s show of anguished self-reflection is only semi-persuasive

Story of a Love Story (1973) – Frankenheimer’s all-but-lost film is ceaselessly if strenuously investigative, and surprisingly rewarding

A Ghost Story (2017) – Lowery’s extraordinarily well-judged amalgamation of tangibly-depicted myths and sparse, searching ambiguities

The Mascot (1934) – Starewicz’s remarkable stop-motion adventure is an early spanning of Toy Story & Tim Burton, of the cute & the freaky

Goya’s Ghosts (2006) – the narrative contrivances of Forman’s blandly handsome film seriously weaken its historical and cultural impact

La terra trema (1948) – Visconti’s searching emphasis on realism is moving, yet highly mediated, arguably undermined by wider ambitions

Snowden (2016) – Stone applies relative directorial restraint to potentially paranoia-strewn material, with respectable but limited results

The Corruption of Chris Miller (1973) – Bardem’s expressively visualized semi-elevation of a lurid killer narrative, with a dash of Persona!

Peggy Sue Got Married (1986) – Coppola affectionately makes it all feel more meaningful than it is, aided by seen-the-future-level casting

My Second Brother (1959) – the major impact of Imamura’s engaging and committed early film lies in its bleak social and economic awareness

Wonderstruck (2017) – Haynes’ parallel lives story has the multi-dimensional beauty of a diorama, to be meticulously explored and caressed

L’attentat (1972) – Boisset’s solid, wide-ranging entry into a classic tradition, finding corruption and complacency inside every dark suit

Death Proof (2007) – hard not to admire Tarantino’s artful balance of leisurely good spirits, deceptive finesse, and insistent disposability

Marketa Lazarova (1967) – Vlacil’s turbulent, imposing historical chronicle, both vividly direct & narratively elusive, even hallucinatory

The Bad Batch (2016) – Amirpour’s film becomes increasingly intriguing, as a sly subversion of swaggering post-apocalypse-type cliches

Kill! (1971) –  Gary’s murky drug-trade thriller, fitfully sparked by the tussle between intellectual ambitions and mostly pulpish execution

Wrong is Right (1982) – Brooks’ well-titled farce-attack is both absurd & prescient, stylistically uncertain & (thus) pretty much on target

The Burmese Harp (1956) – Ichikawa’s transcendence-seeking tale of post-war Burma seldom surpasses superficial grandeur and spirituality

Good Time (2017) – the Safdies’ very striking blend of propulsively inventive crime narrative and extraordinary observational directness

The Golden Fortress (1974) – you might view Ray’s handling of the flamboyant material either as overly staid, or as carefully interrogative

Heat (1995) – a modern genre landmark, for Mann’s awe-inspiring, deeply-searching mastery of narrative, visual and thematic geometry

La ligne de demarcation (1966) – Chabrol’s effective Occupation drama emphasizes dogged collective solidarity over individual heroism

Hidden Figures (2016) – Melfi’s bland conventionality leaves little basis for distinguishing inspirational truths from trite exaggerations

Dear Summer Sister (1972) – Oshima’s unusual, oddly troubling layering of an almost naively beaming surface on deeply fractured depths

Mike’s Murder (1984) – Bridges plays observantly and languidly with textures and contrasting milieus, although to limited ultimate ends

Les maitres fous (1955) – Rouch’s unique, often astonishing anthropological record also acts as a savage parody of hollow colonial pomp

Wonder Woman (2017) – Jenkins’ blockbuster is pretty fresh and engagingly literate, when not lost in interminable pyrotechnic abstraction

A Special Day (1977) – Scola’s precisely rendered study of a brief encounter, affectingly contrasting intimate truths and national delusions

Casino (1995) – illustrating Scorsese both at his most technically unimpeachable, and at his most relentlessly & under-rewardingly hermetic

Vie privee (1962) – Malle rather peculiarly extrapolates Bardot’s immense if rather shallow mythology into a fatalistic death ritual

Nocturnal Animals (2016) – Ford’s tiresomely pretentious, airlessly “well-crafted” drama is almost entirely unpleasant and unedifying

The Penal Colony (1970) – Ruiz’s strangely ominous creation almost seems now like a prediction of degrading political & factual objectivity

An Unsuitable Job for a Woman (1982) – Petit’s film is less a detective story than a genre- and gender-defying study in absence and darkness

Mother Never Dies (1942) – Naruse’s moving story of life after loss, rather more sentimental (& ultimately jingoistic) than his finest work

My Cousin Rachel (2017) – Michell’s drama of suspicion and desire avoids Gothic excess, but at the cost of diluted ambiguity and impact

The Silent Partner (1978) – Duke’s pretty nifty, sometimes surprisingly raw thriller, cherishable as an all-time-great Toronto time-capsule

In the White City (1983) – Tanner’s questing cinema finds here its most mythic port of call, experience and memory shimmeringly intertwining

Hud (1963) – the physical and emotional territory of Ritt’s bleak drama frequently evokes stronger, less constrained films, before and since

Frantz (2016) – with customarily precise yet somewhat passionless virtuosity, Ozon navigates post-war misdirections and compromises

Steelyard Blues (1973) – Myerson’s frequently grating drop-out comedy does happily elevate at times (mostly due to the inspired Peter Boyle)

Une vieille maitresse (2007) – Breillat’s brilliant 19th century drama, composed yet destabilizing, of a desire that pushes toward death

Carmen Jones (1954) – Preminger’s all-black musical now seems more like an artificialized denial of black culture than an elevation of it

The Other Side of Hope (2017) – Kaurismaki’s customarily well-honed, wide-ranging and supple survey of multi-cultural dreams and realities

Reminiscences of a Journey to Lithuania (1972) – Mekas’ remarkable, captivating memory film, feeling at once unfiltered and highly mediated

The Girl from Trieste (1982) – Campanile’s undercharged story of obsession does find its way to a strikingly doomed, alienated finale

Hot Thrills and Warm Chills (1967) – for Berry, thrills and chills evidently drive their own unknowable laws of narrative, framing & pacing

Nocturama (2016) – Bonello’s sleekly knowing, trite yet stimulating terrorism drama sleekly rejects conventional representational dilemmas

Real Life (1979) – Brooks’ evasively fascinating, at least semi-premonitory collision of showbiz stylization and documentary-style flatness

Life as a Fatal Sexually Transmitted Disease (2000) – Zanussi’s drama pushes as hard as its title, but attains a sort of cranky magnificence

Veiled Aristocrats (1932) – Micheaux’s clear-eyed, ultimately celebratory assertion of racial identity and (also!) female self-determination

Baby Driver (2017) – for the most part, the film zooms & flies on Wright’s happy cinematic air, infused with barely flagging creative joy

Moderato Cantabile (1960) – one of the period’s memorably doomed enigmatic encounters, hauntingly observed by Brook (& Antonioni’s spirit?)

Phobia (1980) – if only Huston had brought some bleak relish and a greater sense of the absurd to the mechanical serial killer narrative…

The Man who Put his Will on Film (1970) – Oshima’s stark enigma seems to posit cinema as a shifting, almost autonomously malevolent threat

Jackie (2016) – at once highly immersive and dreamlike, Larrain’s precise recreation taps the ambiguities of intimate witnessing of history

Haxan (1922) – Christensen’s unequaled blend of historical pedagogy, lurid fantasy & socially-aware self-reflection remains quite remarkable

Rollover (1981) – few films ever grappled with global financial complexity as Pakula’s does, even fewer with such stylistic audaciousness

Le temps de mourir (1970) – paranoia spawns its own bleak destiny in Farwagi’s enigmatic, occasionally striking drama of predestination

Logan (2017) – Mangold at least brings some modest literacy, cinematic grandeur & emotional frailty to the essentially meaningless material

Moi, un noir (1958) – Rouch’s vastly impactful study of African exile, aspiration & resentment remains ambiguously revelatory & troubling

Mr. Patman (1980) – in various oddly interesting ways, Guillermin’s murky drama symbolizes its strange, displaced era in Canadian cinema

Monsieur Klein (1976) – Losey’s dark case history of the Holocaust’s perversion of fate and rationality, articulated with unforced mastery

La La Land (2016) – Chazelle’s airily pretty but passionless appropriation of classic forms yields only fleeting, if not vapid pleasures

The Champagne Murders (1967) – an enjoyably anxious exercise in highly-designed, ambiguous confinement; second-tier Chabrol at best though

The Color of Money (1986) – Scorsese’s perhaps most underrated movie, placing stark psychological structures within restless cinematic ones

Trois jours a vivre (1957) – Grainger’s rather rushed marriage of backstage theatrics and noir-type tension never satisfactorily coheres

A Quiet Passion (2017) - Davies' outstanding study of Emily Dickinson enthralls with its sensitivity and precise charting of complexities

La memoire courte (1979) – de Gregorio’s increasingly bracing, Rivette-tinged investigation into evasive histories and unreliable narrators

I Dreamt I Woke Up (1991) – Boorman’s loving exploration of his Irish home, both facilitated and cluttered by playfully mythic inventions

Ten Nights in a Bar Room (1926) – Calnek’s tale of lost moral compasses ultimately rather chills for its repurposed imagery of mob justice

I Am Madame Bovary (2016) – Feng’s alert, tragi-comic charting of classically thwarted female determination in an age of dismal bureaucracy

Monterey Pop (1968) – Pennebaker’s (too short!) concert film contains some indelible, almost incomparably vivid images of key performers

Wimbledon Stage (2001) – Amalric’s enigmatic investigation of a non-writing writer balances persuasive mystery & lightly-observed detail

There was a Crooked Man (1970) – Mankiewicz’s late-career slumming exercise maintains its brassy swagger, but it’s all offputtingly coarse

The City Below (2010) – Hochhausler’s quite fascinating immersion in intertwined possibilities – personal & corporate, elevating & ominous

He Ran all the Way (1951) – a modest set-up, boosted by Berry’s expressive direction and Garfield’s hauntingly tortured final performance

Vanishing Point (1984) – like cinematic breath, Ruiz’s film draws in toward its ominous secrets, out toward a world of cryptic possibilities

The Goodbye Girl (1977) – under the narcotic-like patter, Simon’s comedies now seem relentlessly complacent and behaviorally under-engaged

Europe, she Loves (2016) – Gassmann’s observant study of marooned modern youth presses the “Europe is lost” theme rather too single-mindedly

The Nest of the Cuckoo Birds (1965) – Williams’ rediscovered, obsession-ridden oddity is proudly defiant, yet often strangely lovely

The Diary of Lady M (1993) – Tanner’s intimate films with Mezieres are strong and progressive, but more transient than his major works

Murder on the Orient Express (1974) – Lumet’s (indeed) plushly train-like version doesn’t allow the concept or the cast much fresh air

First they Killed my Father (2017) – for all its committed skill, Jolie’s memoir of 1970’s Cambodia feels overly mediated and composed

Bride of Frankenstein (1935) – Whale’s grandly-visualized horror milestone teems with intense repression & feeling, amid wondrous mythology

Cheerful Wind (1981) – Hou’s early film belongs very much to his lighter, even goofy, side, but already hints at the scope of his concerns

The Birth of a Nation (2016) – Parker’s persistent lack of subtlety fortunately doesn’t obscure the film’s central, primally righteous force

Manji (1964) – Masumura’s creepily expansive (if hardly optimistic) vision of desire and fulfilment at once thrills and repels you

Full Metal Jacket (1987) – Kubrick immerses us in soldiering and war as a journey into hermetic, edge-of-madness self-fictionalization

Traffic Jam (1979) – Comencini gradually supplants the initial broad comedy with a bleak portrait of societal paralysis and venality

The End of the Tour (2015) – who knows whether Ponsoldt’s film captures the “real” Wallace, but it’s persuasive on its own intimate terms

Cesar (1936) – Pagnol’s prolonged talkiness increasingly impresses as a form of psychologically and sociologically engaged modernism

War Machine (2017) – Michod’s McChrystal-by-another-name semi-satire is mostly heavy-footed stuff, often seeming tonally all wrong

Camouflage (1977) – Zanussi’s confidently scathing portrait of the multi-faceted rot, if not outright madness, underlying hermetic academia

Cutter’s Way (1981) – Passer’s brilliantly, evasively tortured film seems even more prescient in a fractured, dark-fantasy-ridden America

Charulata (1964) – the perfectly nuanced sensitivity of such genteelly interiorized Ray films is both their majesty and their limitation

Silence (2016) – a luminously immersed testing of faith, in which the relative silence of “Scorsese” may be as prominent as that of God

Joe Bullet (1973) – for all its pulp limitations, de Witt’s apartheid-era drama buzzes with the possibility of unconstrained action

Desert Hearts (1985) – Deitch’s beautiful period story of women in love, a restrained small step & clear-eyed large one for American cinema

La traversee de Paris (1956) – Autant-Lara’s rather grating Occupation comedy increasingly flails around as it grasps at darker resonance

Queen & Country (2014) – a mostly pleasing cinematic withdrawal by Boorman into memoir, dense with calmly-observed anxiety & repression

Ludwig (1973) – a study of anguished royalty, typifying Visconti’s problematic placement between turgidity and genuine tormented grandeur

Mudbound (2017) – Rees’ patient, ultimately traumatizing drama presages the geographic & cultural divides that will all but consume America

Dragon Inn (1967) – Hu’s gorgeous classic sinks with relish into genre skirmishes while increasingly seeming to dream beyond it, toward Zen

To Live and Die in L.A. (1985) – Friedkin’s strangely compelling straddling of vulgar disposability and almost spiritually-infused certainty

Le mouton enrage (1974) – Deville’s evasively peculiar comedy of compromised self-determination, built on bleakly twisted underpinnings

Personal Shopper (2016) – Assayas’ scintillating cinematic tapestry, woven from a myriad of artistic and existential strivings and mysteries

Ten Minutes to Live (1932) – hard to surmount the limitations of Micheaux’s revue/drama, likely the least necessary of his surviving films

Good Men, Good Women (1995) – Hou’s impeccable work of reflective commemoration, spanning generations of national and personal traumas

Escape from Alcatraz (1979) – Siegel’s classic escape film is a tersely vivid tapestry of figurative, spiritual and physical confinements

Jauja (2014) – in Alonso’s beautiful, respectful cinema of discovery and exile, the potentially startling flows as naturally as clear water

Barefoot in the Park (1967) – Simon’s facile writing now seems beyond machine-like, almost monstrous in its faking of human intercourse

On Body and Soul (2017) – Enyedi’s beautifully attentive film, on what our dreams know better than our tired, ritualistic waking minds

Little Murders (1971) – Arkin’s black, black comedy has a highly distinctive angle on contemporary alienation, disarray and screwed-up hope

The Future is Woman (1984) – Ferreri strikingly (if not so subtly) welds an amped-up disco surface onto an elemental, nurturing underbelly

Woman of the Year (1942) – considered at a time of yawning cultural divide, the central conflict of Stevens’ comedy seems all the fresher

The Human Surge (2016) – Williams’ artfully rough-hewn global survey captures cultural parallels & divergences, possibilities & confinements

Child’s Play (1972) – a limited, contrived piece of theater, but lifted by Lumet’s dark shaping and by crackerjack actorly presences

To Die Like a Man (2009) – Rodrigues’ fascinating, melancholy film, rich with unusual representations of performance and self-assertion

The Chase (1966) – Penn’s overstuffed but powerful, premonitory allegory of American delusion, ugliness and societal incoherence

Land of Mine (2015) – an effective depiction by Zandvliet of post-war abstractions, even if it follows familiar emotional and dramatic beats

Just a Gigolo (1979) – Hemmings’ film doesn’t exhibit much relish for the period/setting, the decadence nor (most sadly) its striking cast

L’amant double (2017) – Ozon’s sleek, erotic creepy-twin melodrama is to lasting cinema what phantom pregnancies are to population growth

The Flying Ace (1926) – Norman’s niftily plotted and quite fluid thriller doesn’t mention or hint at race, which fuels its quiet radicalism

Ce jour-la (2003) – Ruiz’s singular comedy progresses from rather grating wackiness to (I think) strangely complex allegorical depths

The Brood (1979) – one of Cronenberg’s less gripping or persuasive creations, at least up to the eye-popping, repulsion-rich final stretch

Toni Erdmann (2016) – Ade’s highly successful serio-comic investigation of our faltering personal and collective spontaneity & connectivity

The Bellboy (1960) – Lewis’ engagingly alienating (if that makes sense) directorial debut, at once formally exacting & conceptually unbound

The State I am in (2000) – Petzold’s coolly allusive drama of modernity possessed by past; endless flight indistinguishable from stasis

Daisy Miller (1974) – Bogdanovich’s pleasant but passionless James adaptation, limited by insufficient tonal and analytical precision

Okja (2017) – Boon’s film feels ultimately like a soft punch, despite all its whimsy, biting satire, technical panache and general oddness

One A.M. (1916) – an impeccable exhibition of dexterity, although feeling now rather as if Chaplin barely sensed the audience beyond himself

Querelle (1982) – Fassbinder’s remarkable, no-way-back meditation; a ritualistic, anguishing enacting of intertwined awakening and death

The Founder (2016) – Hancock’s flavorless McDonald’s origin story doesn’t even hint at the fast food industry’s mostly toxic social legacy

Three Rooms in Manhattan (1965) – clash-of-culture interest aside, Carne’s over-extended study in romantic anguish falls mostly flat

So Fine (1981) – Bergman’s comedy is enjoyable and varied enough but never really sparks, with the central gimmick contributing little

Les maries de l’an deux (1971) – Rappeneau puts together a grand, fast-paced historical romp, little of which seems to matter much now

The Big Sick (2017) – absent its modest contribution to filmic diversity, Showalter’s comedy would be no more than unremarkably pleasant

Letter from Siberia (1958) – Marker at once descends deeply and ethically into his complex subject, and seems to whimsically ascend above it

Pi (1998) – perhaps Aronofsky’s most lasting film, pounding its way to some kind of jittery coherence (if not necessarily persuasiveness)

Flic story (1975) – a largely familiar detective/gangster structure, enhanced by actorly charisma & Deray’s evocation of post-war weariness

Lion (2016) – Davis’ quite offputtingly well-polished, sociologically and otherwise mostly valueless piece of one-in-a-million feel-goodery

Seisaku’s Wife (1965) – Masumura (epically under-celebrated) unflinchingly depicts the repression and meanness at the heart of rural society

Chain Letters (1985) – Rappaport’s distinctive take on contemporary unease feels at once highly stylized and yet near-randomly unearthed

I Am Self-Sufficient (1976) – Moretti’s early film is a bit underpowered, even allowing that dissatisfied lassitude is its main fuel source

Get Out (2017) – Peele’s metaphorically-charged horror comedy is sharp and eerily effective, yet has surely been too generously appraised

My Love has been Burning (1949) – Mizoguchi’s film is an absolute landmark in the cinema of women’s rights, activism and self-determination

Xanadu (1980) – Greenwald’s mostly ill-considered, what-were-they-thinking mishmash at least exhibits a spurting idiosyncratic dreaminess

Elle (2016) – hard to know how to react to Verhoeven’s elegantly calculated displacements, or (beyond admiring Huppert) how much even to try

The Deadly Affair (1966) – Lumet and le Carre’s familiarly solid, unshowy exercise in institutional, ethical and domestic exhaustion

Eden (2001) – Gitai’s evocation of 1940s Israel feels like a boringly missed opportunity, allowing only flashes of insight or identification

Shampoo (1975) – Ashby/Towne’s impeccable utilization, extension and ultimate (transient) hollowing-out of the bottomless Beatty mystique

Sacro GRA (2013) – Rosi’s well-caught quotidian observations seem to hint at an underlying unifying loss, a troubling existential darkness

Sergeant Madden (1939) – about five parts unimportantly enjoyable police drama to one part visually and thematically engaged von Sternberg

13 Tzameti (2005) – Babluani’s tight, unsentimental drama is impressively (if not that consequentially) fully-imagined in every detail

The Seven-Per-Cent Solution (1976) – a Holmes/Freud mash-up more stimulating in Meyer’s concept than in Ross’s blandly rendered actuality

Neruda (2016) – Larrain’s meta-fiction narrative might have seemed strained, in the hands of a less graceful weaver of cinematic tapestries

All Fall Down (1962) – Frankenheimer’s family melodrama has plenty of meat and color, but ultimately lacks emotional and expressive potency

Cobra Verde (1987) – Herzog’s drama piles on eye-filling scenes, while surely grappling inadequately with the representation of slavery

All that Jazz (1979) – Fosse’s cinematic testimony is a whirl of the repellent and the visionary, artistic virtuosity and mere restlessness

Scabbard Samurai (2010) – Matsumoto’s is the most enjoyably Letterman-ish samurai movie we’re likely to see, cutesy sentimentality aside

I Was a Male War Bride (1949) – Hawks’ brilliantly unforced comedy of frustration and denial, soberly building to a classic final stretch

Pars vite et reviens tard (2007) – Wargnier drives an interesting urban paranoia premise toward strictly superficial, convoluted rewards

Dead Pigeon on Beethoven Street (1973) – Fuller’s rather peculiar German thriller is at once classical and chaotic, immediate and abstracted

Julieta (2016) – Almodovar’s sensuous melodrama hardly seems aware of real life’s messy textures, but easily envelops on its own terms

Uptight (1968) – Dassin’s powerful, often anguished informer melodrama, galvanized by the era’s tensions, debates and social realities

Historias extraordinarias (2008) – Llinas’ binge of storytelling, drunk on narrative possibility, while retaining an evenly wry sobriety

Pete ‘n’ Tillie (1972) – Ritt’s episodic, philosophical, often bitter comedy, propelled by beautifully dry writing, directing and acting

Abuse of Weakness (2013) – Breillat’s fascinating, masterfully-controlled case study in the ambiguous exercise of power and exploitation

Birthright (1939) – for all its imperfections, Micheaux’s drama is a deeply-felt expression of anger at persistent belittlement & injustice

Shadows in Paradise (1986) – an emblematic illustration of Kaurismaki’s peculiar melding of gloomy denial and tight-lipped hopefulness

Asparagus (1979) – Pitt’s brief, vivid, sensuous animation drinks/sucks from strange, deep pools/organs of individual & collective desire

It’s only the end of the world (2016) – largely dour & limited family material, but rather interestingly interrogated & ventilated by Dolan

Indecent Desires (1968) – marginally interesting for Wishman’s modestly innovative structure of desire, and for its starkly pitiless ending

Symbol (2009) – Matsumoto’s great tease of a movie, positing utter nonsense as the heart of all meaning & connection (or something anyway…)

The War between Men and Women (1972) – Shavelson’s pretty ambitious Thurber-inspired comedy too often bogs down in tedious wheel-spinning

Potiche (2010) – Ozon’s broad, breezy tale of female awakening plays pretty successfully with garishly outdated attitudes and aesthetics

Eleven P.M. (1928) – Maurice’s drama is often confusingly articulated, but still intrigues for its sad, ultimately other-worldly conviction

Plein sud (1981) – Beraud’s preoccupied drama of erotic collision and chaotic personal reinvention is pleasingly engaged and unpredictable

Arrival (2016) – Villeneuve’s well-crafted alien visitor drama ultimately privileges dreaminess over investigation, rather disappointingly

Farewell, friend (1968) – Herman’s twisty thriller is well-plotted and -paced and has the striking Delon-Bronson team-up, so that’s all good

Until the end of the World (1991) – a great escalation of Wenders’ movie wanderlust, yet a relative stagnation in his artistic expansiveness

Le trio infernal (1974) – Girod’s rather rigidly nasty piece of period decadence makes only a modest satirical or stylistic impact

The Dinner (2017) – more a fussy dog’s breakfast of family anguish, as Moverman unenjoyably and indigestibly burns up the cinematic kitchen

Rififi (1955) – the film now might seem alternatively either conventional or forced, but Dassin finds in it a pained, pessimistic coherence

Author! Author! (1982) – interesting only for stray glimpses of a preoccupied centre, but barely breaking through Hiller’s ineffectual gloss

A Touch of Zen (1971) – Hu’s great epic travels from rich, intimate narrative to an astounding relinquishment of earthly and cinematic bonds

Rules don’t Apply (2016) – Beatty’s fascinating exercise in evasiveness – his subject’s, his own, that of his film’s preoccupied playfulness

I knew her well (1965) – Pietrangeli’s brilliantly observant, assumption-challenging study of a young woman, both celebratory and sobering

Local Hero (1983) – for every nicely observed element of Forsyth’s widely-treasured film, there’s another that seems crass or undercooked

Shock Treatment (1973) – the hedonistic sheen of Jessua’s breezy modern vampirism drama is more striking than the cynical underpinning

The Lovers (2017) – navigating most deftly between lightness and gravity, Jacobs explores ideas of intertwined withering and renewal

Toni (1935) – Renoir’s tragic drama of thwarted desire and ambition; as always, rich in broader, impeccably-seeded social implication

Modern Romance (1981) – one of Brooks’ best & most elusively funny films, at once universal & distinctly, itchily precise (space floor?!)

‘Tis Pity She’s a Whore (1971) – Griffi’s film sustains a suitably pained if somewhat overly prettified air, on the way to its bloody finale

I Am Not Your Negro (2016) – for all its clear strengths, Peck’s film is maybe a less electric interlocutor than Baldwin’s work would merit

Not Reconciled (1965) – Straub’s brief work implicitly rebukes an entire tradition of stale, conventional narrative and representation

He Knows you’re Alone (1980) – a moderately lively slasher, limited by Mastroianni’s lack of cinematic relish, nastiness-wise or otherwise

Two English Girls (1971) – one of the finest illustrations of Truffaut’s navigation between intimacy & distance, whimsicality & formality

Song to Song (2017) – Malick’s immersive new cinema remains both vital & alienating, experience & sensation at once elevated & flattened

Sunday in Peking (1956) – viewing China primarily as bucolic fulfilment of past dreams, Marker could hardly imagine the shape of its future

Swamp Thing (1982) – Craven’s film isn’t very dramatically or thematically imposing, but skips by on bursts of broadly-etched zestiness

Ecce bombo (1978) – Moretti’s early not-quite comedy is a rather interestingly ungraspable exercise in blankness and dissatisfaction

20th Century Women (2016) – for all its vivid sincerity, Mills’ film seems strained & artificial next to, say, Reichardt’s Certain Women

La chamade (1968) – not much in Cavalier’s film penetrates too deeply, albeit that the sense of weightlessness is inherent to the theme

Werner Herzog eats his Shoe (1980) – worth seeing just for the concept, even if the movie is short on actual unambiguous shoe-eating

Shadowman (1974) – Franju’s late, sporadically insinuating thriller provides some elemental narrative pleasures, but limited overall potency

T2 Trainspotting (2017) – strained regrets aside, Boyle’s sequel has a lot of synthetic-feeling energy & conflict, but little real feeling

Utamaro and his Five Women (1946) – Mizoguchi’s captivating, deeply-connected reflection on integrity and self-determination in art and love

The First Monday in October (1981) – time-capsule interest aside, Neame’s plodding semi-comedy doesn’t argue a very stirring case for itself

In a Year with 13 Moons (1978) – among Fassbinder’s most extreme expressions of trauma, querulously balancing intimacy and ungraspability

Loving (2016) – Nichols’ study appeals most for its reticence; its quiet observance of social revolution embodied by unassuming people

Le trou (1960) – Becker’s near-hypnotic prison escape drama builds to a devastating final evaluation of relative freedom and morality

Some Kind of Hero (1982) – Pressman’s overly brisk downward-spiral Vietnam vet movie needed more character, and a far less flimsy redemption

The Outside Man (1973) – a terse, efficient thriller, vastly elevated by Deray’s fascinated immersion in Los Angeles geography and culture

The Meyerowitz Stories (2017) – despite inspired stretches and overall consummate skill, the film doesn’t much extend our sense of Baumbach

Conflagration (1958) – Ichikawa’s hermetic but intensely gripping tale, darkly propelled by barely expressible self-loathing and anguish

Compromising Positions (1985) – Perry’s not-exactly-Lynchian exposure of suburban secrets and discontent plays it a bit too soft throughout

Story of Sin (1975) – Borowczyk painstakingly, almost austerely charts the moral ambiguities underlying his potentially lurid chronicle

The Eyes of my Mother (2016) – hard not to admire Pesce’s straddling of tranquility & malevolence, while also praying for release from it

Red Angel (1966) – Masumura’s amazing study of war’s perverting yet cleansing effects, suffused in physical and psychic damage and suffering

Eyewitness (1981) – beneath its rather conventional surface, Yates’ drama is heavy with the detritus of America’s scarred moral landscape

Sauvage innocence (2001) – a mesmerizingly-executed slow collision with fate, perhaps somewhat conventionally conceived for Garrel though

The Electric Horseman (1979) – a nice little ramble, leaving aside the inherent hypocrisy of its anti-corporate, simplicity-embracing creed

A Man called Ove (2015) – Holm at least brings some decent warmth to his distinctly familiar-feeling melting-of-a-crusty-old-man tale

The Bedford Incident (1965) – Harris navigates a grippingly mirthless course to a highly Strangelove-ian abstract/realist end-point

Amelie (2001) – Jeunet’s notably skillful crowdpleaser no doubt hits every target for which it aims, albeit they’re mostly valueless ones

1,000 Convicts and a Woman (1971) – the title is pretty much the only relish-worthy aspect of this largely joyless British contrivance

Century of Birthing (2011) – Diaz’s mighty reflection on faith, creativity and commitment, encompassing the grotesque and the sublime

It’s Always Fair Weather (1955) – if only Donen/Kelly’s musical could have dug even deeper into the melancholy that tempers its exuberance..

Thomas in Love (2000) – Renders maintains the governing gimmick quite ably, but the film doesn’t leave much lasting impression of any kind

The Mackintosh Man (1973) – a rather plain drama, but lifted by Huston’s seasoned, unshowy pleasure in the life-draining spy machinations

Ruined Heart…(2014) – Khavn’s doomed criminal/whore love story is a strikingly individual, aggressively visualized performance-art piece

Bad Girls go to Hell (1965) – Wishman injects a trace of quiet authorial sympathy into a generally disembodied & mechanical victimhood drama

Danton (1983) – Wajda skillfully navigates historical events & oppositions, yet his film hardly taps the revolution’s complex momentousness

Our Souls at Night (2017) – you wish the still-magnetic stars were in harder-edged material, but a pleasing movie on its own flaccid terms

Casque d’Or (1952) – Becker’s drama of doomed romance might almost embody the huge virtues of the period’s French cinema, & its limitations

The Loveless (1981) – Bigelow/Montgomery’s striking collision, at once direct & evasive, of classic biker aesthetics & small-town repression

Ali: Fear Eats the Soul (1974) – among Fassbinder’s most precise, unerring works; occupying a unique space between reverie & social document

Billy Lynn’s Long Halftime Walk (2016) – Lee’s engaging cavalcade of American idiocies and failings is generally more dutiful than incisive

Record of a Tenement Gentleman (1947) – Ozu’s exquisite portrait, both bleak and hopeful, of a post-war community’s gradual rehumanization

Paris, Texas (1984) – Wenders’ finely weighted, and yet somewhat forced, navigation between old- and new-world connections and ruptures

Police Woman (1973) – an often disengaged-feeling martial arts potboiler, suffused in the kind of mediocrity one can be nostalgic about

The Light between Oceans (2016) –  Cianfrance’s tragi-romance is mostly pleasantly if unremarkably old-fashioned, without being cloying

Odd Obsession (1959) – Ichikawa’s darkly preoccupied family drama might have a racy synopsis, but is a largely monotonous viewing experience

Critical Care (1997) – interesting enough material, not lacking in care, but Lumet needed to give it some extra fire, or kick, or passion…

Turkish Delight (1973) – few films have immersed themselves in gleeful, unashamed animal spirits as boisterously as Verhoeven does here

Berlin Syndrome (2017) – the grimly unappealing core material ultimately proves unworthy of Shortland’s multi-faceted engagement with it

3 hommes a abattre (1980) – Deray’s efficient but rather mechanical man-in-the-wrong-place thriller feels only intermittently engaged

The Girl from Chicago (1932) – its depiction of varying morality aside, one of Micheaux’s weaker, more thematically limited surviving films

Ares (2016) – Benes’ grim vision of a strained future benefits from being viewed in fanciful hindsight as a pumped-up prophecy of Macron!

Rabid (1977) – Cronenberg’s vividly punishing early work effectively occupies the intersection of intimate and collective anxieties

Chungking Express (1994) – perhaps the most purely enjoyable, kinetic, wondrously intuitive expression of Wong’s beautiful cinematic gifts

The Big Clock (1948) – Farrow’s structurally-striking thriller is great to watch, but lacks the thematic & tonal depths of classic noir

John From (2015) – Nicolau’s idiosyncratic, precise deconstruction of teenage dreams & rituals, in the most beguiling of sun-kissed packages

The Driver’s Seat (1973) – Griffi’s odd little jigsaw movie (with Taylor & Warhol!) draws fairly effectively on the era’s multiple anxieties

Oldboy (2003) – no doubt a gift from Park to genre fans, bringing a patina of tragic grandeur to its manipulations and contrivances

The Sorcerors (1967) – Reeves’ great little mind-control drama, seeped in local texture, agonized emotion and overall genre mastery

Evolution (2015) – Hadzihailovic’s eerily precise, mythic tale of ritual and mutation; suffused in alienated, somehow accusatory beauty

Born to Win (1971) – Passer’s sadly under-remembered movie is a distinctive blend of eccentric delight and grim, no-way-out junkiehood

The Factory (2004) – Loznitsa’s short study sets out unchanging brutal realities, couched within semi-abstract, almost wondrous mystery

The Scar of Shame (1927) – some biting thematic elements aside, Perugini’s drama is a bit less notable than other “race film” landmarks

Spetters (1980) – Verhoeven propels the broadly-drawn, often biting material with his swift, brutally frank cinematic, social & moral relish

Barry (2016) – Gandhi’s gentle Obama mythology now seems as far removed as Columbus, given America’s current Presidential atrocities

Investigation of a Citizen above Suspicion (1970) – the orderliness of Petri’s comedy of degraded power may feel weirdly comforting now

Blue Steel (1989) – Bigelow’s minutely alert but short-of-redemptive visualization of a dispiritingly ugly relentless killer narrative

Rome, Open City (1945) – one feels Rossellini methodically constructing, if not yet fully crossing, a bridge to cinematic modernity

Night will Fall (2014) – Singer’s chronicle of recovered Holocaust film is reverent and moving, but can it ever pierce us sufficiently now?

La prisonniere (1968) – Clouzot’s strained last film is most gripped & gripping when immersed in pure cinematic &/or behavioral manipulation

Kicking and Screaming (1995) – Baumbach’s debut lacks much overall punch, but provides many appealing, often quite Stillman-esque fragments

Stavisky (1974) – Resnais’ sumptuous surface incrreasingly yields a study of extraordinary complexity, subtlety and regretful allusiveness

The Girl with all the Gifts (2016) – McCarthy’s impeccable character-driven vision both delivers and transcends zombie-genre pleasures

Touchez pas au grisbi (1954) – Becker’s famous, precisely rendered crime drama, marked throughout by wearily understated observation

Starman (1984) – Carpenter’s basic-feeling alien visitor road movie is generally pleasant, but no great shakes in any department whatsoever

Storm Children (2014) – Diaz’s observation of devastation; a quietly challenging fusion of pictorial mastery and sociological helplessness

The Sandpiper (1965) – pretty insipid stuff in all respects, with Minnelli’s expressive mastery seemingly shamed into timid submission

Trance (2006) – Villaverde’s study of enforced prostitution finds startling, quasi-mythic ways to chart the limits of our identification

The Spy who Loved Me (1977) – a sporadically pretty but hollow & unengaged Bond epic, hardly sustaining the “nobody does it better” branding

Jonas et Lila, a demain (1999) – Tanner’s enthralling late-career investigation is allusive & romantic, but also alert to threats & limits

The Lodger (1927) – Hitchcock’s tightly gripping silent film foretells his later masterly explorations of sexual obsession and trauma

Therese Desqueyroux (2012) – Miller’s careful but unsurprising telling feels far less alive and piercing than Franju’s earlier version

The Shooting (1966) – Hellman’s mythic ambitions can seem rather strained, but the film nevertheless emanates a strange, sparse power

Demain on demenage (2004) – in its own celebratory yet haunted way, Akerman’s comedy is as radically destructive as her epic Jeanne Dielman

Prime Cut (1972) – Ritchie’s should-be classic thriller is sparsely & scenically articulated, on a startlingly weird underlying sensibility

Our Little Sister (2015) – Koreeda’s Ozu-lite tale is overly prettified and hardly momentous, but filled with subtle, satisfying virtues

Hellbound train (1930) – for all its hectoring strangeness, Gist’s film is a raggedly authentic cry of wide-ranging societal anguish

Grenouilles (1983) – Arrieta’s short film plays engagingly (in its minimal, abstracted way) with low-budget genre myths and contrivances

The Accountant (2016) – O’Connor’s weirdly over-stuffed narrative is all debits and few credits, bursts of accounting-talk notwithstanding

Sounds from the Mountain (1954) – Naruse’s masterfully observed, often severely piercing study of faltering relationships and structures

What Women Want (2000) – Meyers’ unmemorable comedy is largely free of complexities, ambiguities or ironies (oh, or of real laughs either)

The Tenth Victim (1965) – Petri’s playful futuristic thriller is diverting and good-looking, but doesn’t have his later forceful bite

The Last Married Couple in America (1980) – beneath the standard contrivances, Cates provides bitter glances at a vast emotional wasteland

Keetje Tippel (1975) – a strikingly expansive chronicle of social and sexual exploitation, well-served by Verhoeven’s unflinching brashness

American Honey (2016) – Arnold’s microcosm of strained capitalism; a lovely, piercingly observant odyssey of cinematic pollen-gathering

The Village Teacher (1947) – initial promise as a character study yields to Donskoy’s dutifully reverent evocation of Soviet achievements

Black Hawk Down (2001) – despite Scott’s exacting focus on immersive authenticity, the film doesn’t really expand the genre’s vocabulary

Description d’un combat (1960) – Marker strains to see Israel’s future, and (of course) fails, even as the most effortless of time travelers

Black or White (2014) – Binder’s tidily balanced conventionality hardly allows his greater thematic ambitions (such as they are) to flourish

Drunken Master (1978) – whatever one’s affinity for the genre, Chan’s almost constant, cleanly-observed ultra-physicality is mesmerizing

Mirror, Mirror (1990) – Sargenti smartly positions the lurid Carrie-like material to reflect female desires, insecurities, bonds and rifts

The 400 Blows (1959) – Truffaut’s film taps a romantically poignant, searching totality that binds and transcends the sum of its parts

Cafe Society (2016) – hardly a fully-achieved Allen film, but appealing for its gorgeous surfaces and quietly regretful, dreamy undertones

Les bas-fonds (1936) – Renoir’s peerlessly varied observation of social complexities culminates in offsetting states of relative liberation

Captive (1986) – Mayersberg’s somewhat detached but resonant reflection on, perhaps, the intertwined confinements of storybook princesses

The Triplets of Belleville (2003) – Chomet’s wonderfully-executed animated treasure, pitched at a previously uncharted angle to the world

Model Shop (1969) – Demy’s treasurably dead-end American film, drifting plaintively at an intersection of drab depression & displaced beauty

Florentina Hubaldo, CTE (2012) – Diaz’s ultimately devastating investigation of the cruel contours and legacy of extreme personal trauma

Scum (1979) – Clarke’s unsparing portrait of callous institutional uselessness ultimately verges on draining, Kubrickian horror fantasy

Ashik Kerib (1988) – less satisfying than his earlier works, Parajanov’s fantasy spans both painstaking conservation and hermetic denial

The Exile (1931) – Micheaux’s film groundbreakingly digs into racial constructs and perceptions, technical limitations notwithstanding

Big Man Japan (2007) – Matsumoto wittily spins his superhero mumbo-jumbo-mythmaking to absurd lengths, & yet finds a rumpled grandeur there

Magnificent Obsession (1954) – Sirk immaculately renders the astounding plot contrivances  & settings as confining as they are transcending

Fire at Sea (2016) – Rosi’s suprising, quietly audacious approach to the migrant crisis draws out sharply tragic parallels and oppositions

They’re a Weird Mob (1966) –  a proficient if often toothless romp, elevated by Powell’s playfully brutal observations of masculinity

Brotherhood of the Wolf (2001) – it’s hardly worth recalling the nominal plot, but Gans’ escalating abandon makes some kind of impression

The Spook who sat by the Door (1973) – Dixon’s remarkable, incendiary blend of biting satire and deadly serious revolutionary quasi-prophecy

In a Glass Cage (1985) – for all Villalonga’s exacting skill with challenging material, there’s little to be gained from watching the film

Dirty Gertie from Harlem U.S.A. (1946) – Williams’ rather under-realized melodrama teems with interesting, sometimes provocative fragments

Denial (2016) – any contribution to the cinema of rationality is ever-timely and valuable, despite Jackson’s overly conventional instincts

Two Women (1960) – De Sica’s ending largely retains its bleak power, but much of the film’s querulous suffering feels strenuously calculated

A Beautiful Mind (2001) – Howard’s highly watchable (of course), not unmoving movie is laden with predictable simplifications & limitations

Le Amiche (1955) – Antonioni’s early masterpiece, suffused with spiritual misalignment beneath its ceaselessly observant, probing surface

James White (2015) – a film of essentially small parameters, but deftly seeded by Mond & the fine actors with unusual hurts & grace notes

Pointilly (1972) – Arrieta’s fragment of preoccupation (and abuse?), both watchful and mythic, is intriguing enough that you wish for more

The Last Days of Chez Nous (1992) – Armstrong’s modest but vividly, expansively observed drama of familial transitions and displacements

Menilmontant (1926) – Kirsanoff’s supremely haunting narrative is a glory of cinema’s expressive power, both as disruption and as comforter

Certain Women (2016) – Reichardt’s exquisitely observed and geographically rooted, deeply-felt study in circumscribed but meaningful lives

That Man from Rio (1964) – de Broca’s pantheon-worthy romp, its underlying coldness mightily offset by the epically charismatic Belmondo

Unrelated (2007) – Hogg demonstrates a superb, sometimes quietly heartbreaking feeling for the shifts in human connection, and their victims

O Henry’s Full House (1952) – Hawks’ sequence aside, the use of five directors doesn’t prevent a frequent feeling of sanitized repetition

Sogni d’oro (1981) – Moretti’s incident-filled 8 ½-type self-mythology is at once sort of unsummarizably brilliant, yet mostly uninteresting

Nude on the Moon (1961) – hard to imagine whose erotic reveries would exactly have been satisfied by Phelan/Wishman’s perplexing fantasy

Dog Days (2001) – Seidl’s unique deployment of cinema’s inherent voyeurism opens up knowingly problematic yet oddly expansive sexual terrain

Puzzle of a Downfall Child (1970) – Schatzberg’s study of a fashion model taps both the industry’s modish surfaces and its enervating heart

The Salesman (2016) – Farhadi’s well-honed investigative method again probes rewardingly into Iran’s distinct yet very human hypocrisies

The Thing from Another World (1951) – it’s true - Nyby’s classic yarn most enthralls for the constantly masterful Hawksian group dynamics

Le cent et une nuits de Simon Cinema (1995) – Varda’s goofy, ramshackle star-studded homage teems with defiantly elemental creative pleasure

Dr. Strangelove (1964) – a lasting achivement, if frequently a stifling one, for Kubrick’s visual grandeur and structural cleverness

The Tribe (2014) – Slaboshpitsky’s stylization is arguably overdone, but the film is still something of a startling triumph on its own terms

Christopher Strong (1933) – Arzner’s fascinating study of intertwined female capacity and (both self- and externally-imposed) limitations

The Settlement (2002) – Loznitsa crafts his film almost as strange displaced science fiction, but challenges us to see the humanity within

De Palma (2015) – Baumbach and Kasdan deliver just about as effective and illuminating a survey as one can imagine in the time allotted

The New Land (1972) – the second part of Troell’s fine saga, as eerily well-attuned to the new life’s isolation as to its grand belonging

Married to the Mob (1988) – on its own terms, capable only of demonstrating Demme to be a proficient enhancer of largely turgid material

Jack Frost (1964) – Rou’s charmingly tangible musical fantasy evokes its magical rustical world with beguiling, knowing primitivism

Equity (2016) – Menon’s control and the well-worked-out script make for gripping viewing, despite the project’s narrow, hermetic nature

Listen to Britain (1942) – Jennings and McAllister bring diverse observations of a challenged nation into precise, watchful equilibrium

The Legend of Suram Fortress (1985) – Parajanov/Abashidze’s film is an alluring, somewhat weary emissary from a far-off aesthetic tradition

The Last Picture Show (1971) – Bogdanovich’s haunting film merits its reputation, even if its poetic desolation can feel over-calculated

An Investigation on the Night that Won’t Forget (2012) – Diaz’s commemoration could hardly be cinematically simpler, or more vastly human

Year of the Dragon (1985) – Cimino’s provocatively flawed but often brashly scintillating expression of America’s escalating tribal madness

La carriere de Suzanne (1963) – Rohmer’s second moral tale, dense with deeply considered relationships, is among the most rawly complex 

The Sea of Trees (2015) – an increasingly depressing slog through the forest, as the full depth of Van Sant’s insipidity blooms into view

Double Indemnity (1944) – a fascinating noir web, with Wilder’s snappy perfection almost entering a zone of spiritually-drained abstraction

Cemetery of Splendour (2015) – as always, Apichatpong’s exquisite perceptions seem to open up wondrous new spiritual and narrative spaces

The Fabulous Baker Boys (1989) – Kloves’ film poses at being harder-edged than it is, but is pleasingly seeped in taciturn charisma

Requiem for a Vampire (1971) – Rollin seems rather lacking in conviction here, leaden plotting somewhat undercutting his erotic ritualism

Pride (2014) – Warchus’ calculating film is hardly hard-edged, but is pleasing & persuasive in its evocation of community & shared struggle

Wind Across the Everglades (1958) – hardly as focused as Ray’s best work, but increasingly propelled by a central relish and intensity

Italian for Beginners (2000) – Scherfig unproductively applies the minimal ‘Dogme’ style to a contrived piece of romantic wish-fulfilment

White Girl (2016) – somewhat familiar territory, greatly ventilated by Wood’s alert direction and Saylor’s fascinatingly vital fragility

Los Olvidados (1950) – Bunuel’s grimly indelible landmark, its severe sociological potency magnified through constant expressive mastery

Psycho II (1983) – Franklin references the original’s general form and assorted content with aplomb, but can’t revive its potent substance

The Man who Shot Liberty Valance (1962) – Ford’s film remains a key if subdued reference point in exploring America’s founding myths & lies

Under the Shadow (2016) – much in Anvari’s “ghost” story feels overly generic, for all its powerful metaphoric and social elements

eXistenZ (1999) – a fascinating, if relatively more rigid expression of Cronenberg’s magnificently unsettled, premonitionary sensibility

Belladonna of Sadness (1973) – Yamamoto’s weirdly lovely submission to narrative and artistic iconoclasm, stoked by recurrent erotic frenzy

I Smile Back (2015) – Palky’s film is most interesting for Silverman’s complex presence, and for hints of a broader critique of domesticity

The Frozen North (1922) – enjoyable, relatively low-key Keaton short is somewhat harder-edged than expected, until its dreamy final reveal

The Asthenic Syndrome (1990) – Muratova’s remarkable, overspilling expression of our screwed-up, deadened societal train to nowhere

The Shipping News (2001) – Hallstrom’s adaptation feels frosted, distant and overly compressed, achieving little of lasting interest

Andrei Rublev (1969) – Tarkovsky’s inexhaustible, daunting recreation; cinema as teeming, immersive, cruel and transcendent pilgrimage

A Hologram for the King (2016) – it’s enjoyable and sociologically diverting, even if Tykwer’s crisp proficiency doesn’t yield much depth

Suddenly, Last Summer (1959) – Mankiewicz’s lugubrious drama warrants no more than a minor place in the museum of cinematic repression

JLG/JLG (1994) – Godard’s beguiling self-mythology, possessed by mourning and retrenchment while (of course) restlessly investigative

Sausage Party (2016) – as craftily polished as a supermarket tomato, Tiernan & Vernon’s (let’s say) liberation fantasy is tirelessly amazing

The Emigrants (1971) – Troell’s steady, entirely persuasive chronicle draws its power from wondrous faith, rooted in stark necessity

The Last of England (1987) – Jarman’s scorching evocation of a death-spiraling Britain; perhaps overdone but forgivably and masterfully so

The Last Vacation (1947) – Renoir might have found vitality in this family vignette; Leenhardt assembles pretty, undistinguished mechanics

A Bigger Splash (2015) – not ultimately a major film, but galvanized by Guadagnino’s ravishing taste in cinematic and emotional architecture

The Age of the Medici (1973) – Rossellini’s unerring rationality and measured clarity sustains a mesmerizing historical representation

The Crying Game (1992) – Jordan’s singular fusion of political and romantic destinies; fascinating despite its soft, unresolved heart

A Quiet Place in the Country (1968) – the narrative’s generic aspects fetter Petri’s fine madness, notwithstanding its anti-consumerist bite

The Childhood of a Leader (2015) – Corbet audaciously & painstakingly represents our futile desire to trace back evil to explicable origins

Wedding in Blood (1973) – a straightforward Chabrol drama, with all his practiced skill but little of narrative or psychological distinction

Moonlight (2016) – Jenkins’ utterly enveloping, structurally impeccable study carries a wondrous sense of elevation, immersion and destiny

Le Testament d’Orphee (1959) – Cocteau’s farewell film, a marvelously strange but enraptured assertion of restless poetic sensibility

Body Double (1984) – one’s assessment would drown in reservations, if not for De Palma’s often ravishing, utterly spellbinding scenemaking

The Sidewalk is Gone (2002) – but even in such a relatively minor diversion, Tsai’s peculiar deadpan poetry of absences remains alluring

Villain (1971) – Tuchner’s slab of British gangland nastiness; only modest surprises, but should satisfy most cravings for red meat

Divines (2016) – Benyamina’s deeply-rooted yet transcendent drama of young female overreach radiates thrilling cinematic and human energy

The Wild Bunch (1969) – in its chilling nihilistic perfection, Peckinpah’s tirelessly orchestrated epic remains an astonishment to behold

Cafe Lumiere (2003) – Hou pays beautiful tribute to Ozu’s complex grace and mild quirks, while noting Japan’s subsequent social evolution

The Big Sky (1952) – a work of grand spectacle and classic Hawksian human structures, tapping the faultlines of the nation’s harsh formation

The Innocents (2016) – Fontaine’s stark drama is moving and well-told, if ultimately slightly lacking in cinematic and moral distinctiveness

Winter Kills (1979) – Richert plays drolly with America’s unquenchable, helplessly romantic obsessions with conspiracy, power & myth-making

Demons (1985) – Bava’s gorily concentrated relish-fest may be, if nothing else, the movie a Billy Idol/Motley Crue et al soundtrack needs

You Only Live Twice (1967) – the fifth Bond film is already a largely ponderous experience, visual excellence & skin-deep “exoticism” aside

High-Rise (2015) – Wheatley’s fearsomely well-orchestrated, tightly-packed adaptation encompasses epochs of social delusions and faultlines

The Third Generation (1978) – Fassbinder’s pitiless diagnosis of post-war Germany as little more than a political and behavioral toilet

The Mirror has Two Faces (1996) – the movie’s vaguely affirmative core gets smothered by Streisand’s gooey, superficial manipulations

Hour of the Wolf (1968) – with ruthless concision, Bergman extrapolates the preoccupations of the artistic sensibility into pure horror film

Dog Eat Dog (2016) – Schrader impressively ventilates and transcends his paltry material, but the film still feels way beneath him

The Phantom of the Moulin-Rouge (1925) – Clair’s central dream of mischievous transcendence just about wins out over stodgy plotting

Second-Hand Hearts (1981) – one hopes Ashby’s angle was affectionately sociological more than raucous condescenion, but it’s tough to tell

Fellini’s Casanova (1976) – maybe Fellini’s most undervalued film, weary with the toll of such relentless pursuit and climax and aftermath

Danny Collins (2015) – in the absence of much else, Fogelman’s film feels as if everyone involved was basically just enjoying Pacino’s act

The Games of Angels (1964) – Borowczyk’s brief animation of industrialized destruction lies among his most precisely calculated visions

The Postman always Rings Twice (1981) – the mild erotic charge aside, Rafelson’s interest in the dated material remains a little mysterious

Wet Dreams (1974) – best known for Nick Ray’s (hauntingly wrecked) piece, but diverting throughout as a giddy/dirty conceptual time capsule

Little Men (2016) – another fine, minutely calibrated work from Sachs, deeply sympathetic to practical, economic and human limitations

La belle et la bete (1946) – Cocteau’s delightfully articulated, emotionally vivid myth, suffused in magic both as facilitator & as barrier

Winter of our Dreams (1981) – almost every scene of Duigan’s modest but precise drama feels possessed by some form of loss, lack or absence

Aquarius (2016) – Filho’s film teems with exquisitely measured social and personal observation, indelibly anchored by the incredible Braga

The Owl and the Pussycat (1970) – Ross’s drab comedy now looks like a time capsule for a particular strain of ugliness and coarseness

Une femme de menage (2002) – Berri’s film has all the prototypical virtues of French cinema, even if nothing about it is too surprising

Private Property (1960) – Stevens’ rediscovered class-conscious drama has a pretty effective angle on catastrophic envy and desire

The Wave (2015) – Uthaug’s throwback fjord disaster movie is just about passably watchable, as long as you can shut out the dialogue

The Trouble with Harry (1955) – for all its dark-sounding premise, Hitchcock’s comedy is mostly a trifling diversion from his major work

The Official Story (1985) – Puenzo’s solid study of political awakening is perhaps more conventionally executed than its theme requires

The Terminal Man (1974) – modestly cautionary "mind control" drama, enhanced by Hodges’ chilly, astute, deliberately-paced precision

Elegy to the Visitor from the Revolution (2011) – Diaz’ shimmering lament, suffused with loss, yet powered by the hope inherent in creation

Go Down, Death! (1944) – Williams’ morality tale remains startling for its potent conviction in the intervening reality of heaven and hell

The Oberwald Mystery (1980) – an unusual expression of Antonioni’s pervasive disquiet, emphasizing its technical modernity, yet lost in time

Sleeping Giant (2015) – Cividino ventilates his simple tale through superb feeling for youthful behaviour, morality and environment

Juste avant la nuit (1971) – Chabrol’s eerily well-controlled examination of transgression, guilt and morality; among his strongest works

Manchester by the Sea (2016) – Lonergan’s film isn’t without humour, but makes its mark as a rare sustained study of the contours of sadness

A Simple Story (1959) – aptly named, and yet the meticulousness and purity of Hanoun’s observation is its own kind of aesthetic complexity

Cannery Row (1982) –  Ward’s desired mythic artifice never entirely gels, but I may never forget the Nolte/Winger dancing scene at least

Nathalie Granger (1972) – Duras’ film is calm and almost narrative-free, yet seems to draw on a world of individual and systemic trauma

Lost River (2014) – Gosling’s strikingly weirdo directorial effort is strangely haunting, for all its stylistic and narrative excesses

Le roman de Werther (1938) – Ophuls’ eloquent, emotionally gripping tragic love story pulsates with his empathetic cinematic elegance

I Am Sam (2001) – Nelson’s film is such obvious nonsense that it’s best to treat the whole thing as an absurd parody, which mostly works

Salut les cubains! (1971) – Varda’s joyous (if arguably underly-politicized?) creativity renders still photographs as breathless as dance

Joy (2015) – perhaps the most straightforwardly satisfying example of Russell’s facility for effortless-seeming, intuitive organization

Onibaba (1964) – Shindo’s striking dark tapestry; perhaps not a work of great depth, but one of memorably needy, lusty, fearful texture

That’s Entertainment! III (1994) – a workmanlike compilation overall, distinctly lifted by some striking previously unseen material

Les intrigues de Sylvia Couski (1975) – Arrieta’s intriguingly elusive film; a highly fluid, open exercise in identity and performance

The Search (2014) – Hazanavicius provides some strikingly bleak recreations, but his narrative structure is overly limiting and unpersuasive

The Tiger of Eschnapur (1959) – almost at career-end, Lang concocts his most exotically ravishing expression of his ensnaring narrative

The Verdict (1982) – Lumet positions familiar material as a gripping wintery vision of light in the personal and institutional darkness

Business is Business (1971) – beneath the brash shenanigans, Verhoeven’s film is a somewhat wistful survey of a bleak sexual landscape

Hell or High Water (2016) – Mackenzie reaches a bit too strenuously for broader resonance, but it’s still a super-solid, loss-seeped drama

What did the Lady Forget (1937) – Ozu’s mildly provocative early sound film has all his smooth facility with distinctive family structures

I Ought to be in Pictures (1982) – hardly feels like Simon or Ross were really trying, but weary old-time know-how holds it together

The President (2014) – Makhmalbaf’s deeply-felt odyssey constitutes a desolately resonant reference point for Trump-fueled despair

Eldridge Cleaver (1970) –  Klein’s punchy portrait should strike our politically destitute era as hard as ever, as iconography & as attitude

Fruits of Passion (1981) – Terayama’s committed but inherently rather detached film of intense erotic presences within structuring absences

The Revolt of Mamie Stover (1956) – Walsh’s provocative deconstruction of women and/as currency, presented with suitably brassy polish

Rams (2015) – Hakonarson’s film is surprisingly satisfying both as quirky sociological window and as cornerstone of the sheep-film pantheon

Out of Season (1975) – Bridges’ meaningless, glumly-acted drama feels like observing a turgid funeral march toward a well-signposted grave

Lessons of Darkness (1992) – Herzog’s relatively conventional pictorial mastery communicates reverence but too, at times, unexpressed horror

49th Parallel (1941) – Powell’s Nazis-in-Canada epic still excites with its ambition and commitment, despite its over-emphatic aspects

Life of Riley (2014) – a perfect end point for Resnais: a magnificent artificiality, suffused with dreamy yet intricate cinematic mystery

Score (1974) – Metzger’s full-bodied, fairy-tale-inflected, cinematically & verbally quite well-articulated celebration of bisexual hedonism

Melancholia (2008) – Diaz’s enormously striking, anguished, necessarily fractured expression of relentless personal and national trauma

Grass (1925) – Cooper and Schoedsack’s documentary odyssey falls a little short of cinematic grandeur, for all its many stunning images

Maggie’s Plan (2015) – the Miller/Gerwig brand names feel to be severely flagging in this unaccountably mechanical, low-insight effort

Courage for every day (1964) – Schorm’s fluidly observed but not greatly distinctive study of escalating (righteous) rage against the system

Mistress (1992) – Primus’ love/hate Hollywood vignette occasionally spins its general flatness into something more interestingly dark

Perceval le gallois (1978) – tonally & structurally, one of Rohmer’s most distinctive works, but no less morally & sociologically bracing

Knight of Cups (2015) – hard to assess whether Malick is trapped in cinematic affectation, or in some sense truly artistically liberated

The Sorrow and the Pity (1969) – Ophuls’ milestone film is (true to the history it addresses) as pervasively unsatisfying as it is imposing

Heat (1986) – the movie has hints of something darker and dreamier, but Richards’ sometimes appealing rhythms aren’t enough to get there

The Ghost that Never Returns (1930) – Room’s drama is just about as hauntingly evocative as its title, with terrifically visualized moments

Captain Fantastic (2016) – the film’s weaknesses are easily forgiven, given Ross’s genial skill and the inherent appeal of non-conformity

The Exterminating Angel (1962) – Bunuel’s brilliantly strange expression of the corrupt stasis at the heart of the ruling establishments

Time out of Mind (2014) – Moverman’s largely effective study of homelessness, drawing on both immersed realism and resourceful artifice

The Demons (1973) – on paper it sounds like a feverish trash explosion, but in practice Franco renders it plodding, flat and repetitive 

Viva (2007) – Biller’s immensely pleasurable, perfectly designed and sustained 70’s evocation/parody/critique/lament/you name it…

Mr. Freedom (1969) – Klein’s remarkable piece of pop-art distills American grandstanding to a hyperactive, brightly coloured junkyard

Swiss Army Man (2016) – just when you think there can be no new love stories, Kwan and Scheinert’s dank yet delicate oddity proves otherwise

The Ballad of Narayama (1958) - Kinoshita’s grim tale has a sustained beauty, but one of sustained artificiality, and inherent distance

Ornette: Made in America (1985) – Clarke’s strategically eccentric approach perfectly complements Coleman’s genially iconoclastic power

Bang Gang (2015) – Husson’s study of “modern love” is accomplished and searching in some respects, overly posed and perfunctory in others

The Front (1976) – Ritt’s blacklist comedy is rather too sparse and unatmospheric to leave much of an impression, beyond dutiful admiration

Love Battles (2013) – Doillon & the actors arrive at some memorably erotic physical & emotional architecture, which must count for something

Primary (1960) – Drew’s alert and stimulating time-capsule study of the low-tech drudgery and mundanity on the road to ultimate power

Ashes (2012) – Apichatpong dreams briefly, turbulently of pushing his cinema away, but ultimately it returns, in all its elemental beauty

Pat Garrett and Billy the Kid (1973) – perhaps Peckinpah’s greatest, most epically rueful film, seeped in a decay both romantic and terrible

City of Women (1980) – only Fellini could rattle around deep inside his own ass with such sustained, unbound, happily problematic brilliance

The Spy in Black (1939) – Powell’s well-paced film certainly points toward the confidence and scope of his soon-to-follow masterworks

Green Room (2015) – hard to give much of a damn about Saulnier’s drama, for all its attention to detail and engagingly naturalistic aspects

The Marquise of O (1976) – Rohmer’s striking case study of tangled proprieties & impulses provides a strong adjunct to his core achievement

Big Trouble (1986) – feels most like Cassavetes when the messy narrative yields to an eccentric observance of life as actorly improvisation

Liebelei (1933) – not as glorious as Ophuls’ later works, but demonstrating all the elements of his expansive, empathetic cinematic mastery

Born to be Blue (2015) – Budreau’s Chet Baker film benefits from Hawke’s performance, but feels overly formal and emotionally distanced

L’ange et la femme (1977) – Carle’s strange, sparse, isolated fantasy somehow seems to draw on Quebec’s politically-charged otherness

Short Term 12 (2013) – Cretton’s film is deft and often quite moving, even if driven by a familiar form of narrative over-compression

The Pumpkin Eater (1964) – striking when at its most rawly, despairingly Pinteresque; at other times it feels forced in its icy alienation

11 Minutes (2015) – Skolimowski’s exercise in connection & causation is skillful, but certainly more limited & mannered than his best work

Sudden Impact (1983) – Eastwood’s brash portrayal of America as crime-ridden cesspit; one hopes the intention was at least quasi-satiric

Oyuki the Virgin (1935) – Mizoguchi’s study of female self-determination against society’s disdain; not as potent now as his greatest works

Sunset Song (2015) – Davies’ beautiful, intimate deeply-rooted rural chronicle holds a wealth of sociological and philosophical complexity

Blood and Black Lace (1964) – Bava at lurid play in his perfect stylized milieu; the results are often ravishing, if only fleetingly

Money Monster (2016) – Foster’s movie is to an impactful topical commentary as a bunch of tweets are to an eloquently reflective essay

Le chat (1971) – Granier-Deferre’s sober tale, somewhat more enduring than the clapped-out lives it depicts; Gabin/Signoret obviously help

The Lobster (2015) – Lanthimos’ unique comedy expresses with superb elegance the desperate tyranny of our social and cultural ideologies

The Battle of the Sexes (1928) – one perhaps detects Griffith most keenly when the battling yields to depicting stupidity and suffering

Vagabond (1985) – Varda’s calmly expansive approach places questions of self-determination vs. victimhood into constant, doomed tension

Trumbo (2015) – I suppose it’s somewhat ironic that Roach’s portrayal of a writer’s fiery defiance should be so safe and pedestrian

Woyzeck (1979) – Herzog’s small-scale film encompasses a wealth of twisted observation, with Kinski’s staggering presence at its fulcrum

Midnight Special (2016) – Nichols brings it a reflective sheen and classy casting, but ultimately it’s just more unilluminating hocus-pocus

Festival panafricain d’Alger (1969) – Klein’s productively exhausting record pulsates with music, incident and hunger for revolution

The D Train (2015) – Mogul/Paul’s comedy of renewal through sexual and social repositioning stops well short of scorching the tracks

Dernier domicile connu (1970) – Giovanni’s solid worn-out-shoe-leather police drama, seeped in disillusionment at societal shortcomings

Neighbors (1981) – Avildsen’s stiff corpse of a comedy, surely one of the more clueless efforts ever turned in by an Oscar-winning director

Coming Home (2014) – Zhang’s drama is no doubt heartfelt, but ultimately a trifling way of dealing with politically charged material

Night Mail (1936) – Watt and Wright’s propulsive portrait of pre-war Britain evokes both industrial ingenuity and menial human confinement

Tale of Tales (2015) – Garrone’s happy if unimportant blend of the inconsequentiality of bedtime stories, & the adult dreams to follow later

Super Fly (1972) – O’Neal’s mountainously iconic presence thrives mightily against Parks’ provocatively textured cinematic rhythms

Le beau marriage (1982) – Rohmer’s merely superficially slight comedy somehow seems to foresee the vexing weightlessness of the online era

45 Years (2015) – Haigh’s wondrously acted (or inhabited) study is a quietly tragic masterpiece of emotional calibration and evocation

The Lickerish Quartet (1970) – Metzger asserts erotica’s reality-bending power, and all but seduces/bludgeons you into believing it

Interior. Leather Bar. (2013) – Franco/Mathews’s film is certainly fascinating, even if marked as much by glibness as by profound reflection

Princesse Tam-Tam (1935) – Greville’s movie would be of little interest, beyond its compromised, contradictory use of Josephine Baker

The Shallows (2016) – Collet-Serra’s concentrated (and, yes, un-deep) woman-in-peril drama does sustain a certain sensationalistic beauty

La rupture (1970) – Chabrol pushes events & characterizations near absurdity, all the better to emphasize the film’s central moral strength

Anomalisa (2015) – the existential despair and inner heaviness may not be so new, but Kaufman’s astounding expression of it certainly is

Un certo giorno (1968) – Olmi’s calmly probing observation of a business executive, musing on the contingencies of success and contentment

Black Widow (1987) – for all its limitations, Rafelson’s drama is perpetually alluring for its immersion in female desire and fascination

All our Desires (2011) – Lioret’s amalgam of modest social crusade & hankie-friendly melodrama; smooth, but rather perplexingly forgettable

The Phynx (1970) – Katzin’s bizarre, leaden attempt at a madcap generation-spanning celebrity-strewn romp evokes near-total bewilderment

By the Sea (2015) – generally interesting but persistently limited attempt by Jolie to occupy the cinematic territory of past masters

The Night Heaven Fell (1958) – Vadim delivers accomplished Bardot-ogling, but his largely bleak film talks of passion more than it evokes it

Roar (1981) –  much as Harrison’s one-of-a-kind movie asserts man/beast harmony, the sense of otherness and threat is often plain terrifying

Messidor (1979) – another sparsely transporting study by Tanner, of the intertwined living & dying fueled by directionless, doomed movement

The Sky Trembles…(2015) – Rivers’ powerfully disquieting drama, seemingly a challenge to underexamined ideas of cinema as cultural leveler

The French (1982) – Klein’s wide-ranging tournament record, free of pumped-up glamour, teeming with solid time capsule-type pleasures now

Yolanda and the Thief (1945) – not the most coherent of musicals, but Minnelli’s expressive mastery compensates for its deficiencies

The Witch (2015) – Eggers’ impressive film navigates with imposingly chilly finesse between disparate occurrences and uncertainties

Nora Helmer (1974) – Fassbinder gives Ibsen’s play a fascinatingly ritualistic tone, eloquently evoking social and psychological constraints

The Neon Demon (2016) – like its subject, Refn’s film of fleetingly alluring surfaces & concepts seems designed to be rapidly disposed of

Mr. and Mrs. Kabal’s Theatre (1967) – Borowczyk’s disquieting, sparse animation, studded with piercing dreams of real-world erotica ahead

Straight Outta Compton (2015) – Gray’s essentially old-fashioned telling often falls a bit flat, excepting when it taps into social currents

La promesse (1996) – emblematic Dardenne brothers work, applying propulsive narrative technique to searching, socially-grounded material

Ill Met by Moonlight (1957) – a well-told yarn, but too narrow in its scope for Powell and Pressburger’s masterful sensibility to flourish

Starstruck (1982) – Armstrong happily delivers the requisite tacky set-pieces, while never losing her sense of social and cultural realities

Mauvaise graine (1934) – Wilder’s debut (!) is an appealing if rather rushed drama, more at ease with the convivial than the hard-bitten

The Forbidden Room (2015) – Maddin/Johnson’s astounding, unprecedented creation, crafted with volcanic relish from cinema’s scrappy margins

Serail (1976) – de Gregorio’s playful and yet deadly serious mystery, drawing ever-inward while suggesting limitless further unpackings

Hail, Caesar! (2016) – with consummate skill, the Coens celebrate both the technical mastery and mythic reach of classic Hollywood

Demons 2 (1986) – the movie races along in its opportunistically haphazard way, seldom providing much basis for rating Bava Jr. as a stylist

Frankenstein must be Destroyed (1969) – Fisher’s study in escalating anguish and doom is intensely focused, if stately by modern standards

Steve Jobs (2015) – Boyle/Sorkin’s highly structured, mannered, repetitive approach falls flat, to the point of near-boredom by the end

The Goalie’s Anxiety…(1972) – from Wenders’ early, questing period; full of smart moves, but not ultimately yielding his richest outcomes

Code 46 (2003) – Winterbottom’s enigmatic semi-thriller, a deadened distillation of elements from similar films, never seems necessary

Full Moon in Paris (1984) – Rohmer’s beautifully structured (albeit highly typical) study of a young woman’s doomed idealistic overreach

Leave her to Heaven (1945) – Stahl paints the prettiest of aspirational postcards, then lets loose Tierney’s sensational malevolence

The Invitation (2015) – Kusama expertly shapes the Purge-like premise into a human exploration as well as a genre-friendly creep-out

Edvard Munch (1974) – Watkins’ rewarding multi-facteted investigation, intimately evocative while insisting on social and historical context

99 Homes (2014) – Bahrani’s film is full of compelling observation, fortunately not too obscured by the labored, unconvincing plot mechanics

Spirits of the Dead (1968) – Malle, Fellini & Vadim execute their respective segments with solidity, tortured razzle-dazzle & shamelessness

Spectre (2015) – Mendes’ digitized spectacle-making often fleetingly dazzles, but the film’s heart feels entirely weary, if not absent

Heremias (2006) – Diaz’ long but monumentally rewarding narrative of wrenching personal evolution in a cruel, unyielding environment

My Brilliant Career (1979) – Armstrong’s eternally pleasurable, well-observed study of a vibrant young woman determined to set her own path

The Treasure (2015) – Porumboiu holds the drudgeries of existence and the possibility of mythic triumph in mysteriously perfect balance

Things to Come (1936) – the film’s strident certainty is hard to warm to now, no less than the oppressive scale of Menzies’ visualizations

Sid and Nancy (1986) – Cox ably charts the relationship’s raucous otherness, but at the (inevitable?) cost of a rather wearying film

The Virgin’s Bed (1969) – even as it utterly strangifies the Biblical references, Garrel’s stark film is carried by revolutionary faith

Creed (2015) – Coogler’s object lesson in renewing familiar devices & structures, through sensitivity to character, & sheer cinematic smarts

The Sunday Woman (1975) – Comencini’s mystery has an appealing cast and playful streak, but just succumbs to endless unilluminating tangles

Last Love (2013) – Nettelbeck’s glossy, deadening sap-odyssey lurches shambolically from one meaningless exchange/confrontation to another

Lightning (1952) – Naruse’s customarily acute observation of family turmoil winds its way to a quiet assertion of self-determination

Suffragette (2015) – much in Gavron’s scrupulous film is stirring, but such a history surely demanded a more radical, wayward presentation

The Strange Affair (1968) – and also just a bit strained, as Greene jazzes up a familiar trajectory through seediness and stained decency

Instructions for a Light and Sound Machine (2005) – Tscherkassky reconfigures violent Western genre pleasures as deep cinematic trauma

Room (2015) – Abrahamson’s affinity for the child’s perceptions, & for the competing confinements of lived experiences, bring it in solidly

May Days (1978) – Klein’s loosely-compiled record of Paris 1968, a wistful/stirring reference point for dreams of counter-Trumpian action?

Paris by Night (1989) – Hare’s sharp modern noir, a politically charged deconstruction of Rampling’s superbly incarnated protagonist

Camille 2000 (1969) – the plot and characters barely register really, but Metzger’s erotic set-pieces are something to contemplate

Hitchcock Truffaut (2015) – Jones’ essay film is a twinkling, maturely-flavoured drink from one of film culture’s inexhaustible fountains

Looking for Mr. Goodbar (1977) – Brooks’ fragmented, impressionistic filming and Keaton’s idiosyncrasy yield a fascinatingly evasive study

Conte d’ete (1996) – Rohmer’s beautiful study of, essentially, behavioural and emotional shallowness, against a setting of quiet continuity

Crimson Peak (2015) – not untypically, the blood all flows through del Toro’s design and imagery, seldom through his pale narrative

Viktor und Viktoria (1932) – Schunzel’s zippy little trifle, not a major entry in the cinema of desire, even less that of queerness

Dirty Pretty Things (2002) – Frears provides plenty to grimly chew over, but sacrifices some penetration for the sake of thriller mechanics

Female Vampire (1972) – the only structuring principle of Franco’s trudging, barely sentient grab-bag is Romay’s perpetually naked body

The Danish Girl (2015) – Hooper’s deadening sensitivity & caution often seem like a denial of the story’s physical & emotional specificity

The Running Man (1963) – Reed’s cat-and-mouse drama trots blandly along, seemingly barely engaged with the material’s possibilities

Trances (1981) – El Maanouni’s multi-faceted exploration of performance & environment; informative & rousing, if not quite deliriously so

Two Men in Town (2014) – Bouchareb’s chronicle of the hateful erosion of new beginnings, most interesting in its wider angle moments

Du cote de la cote (1958) – Varda’s exquisite cataloguing of sights from the Riviera, ultimately as attuned to exclusion as to celebration

Concussion (2015) – Landesman only sporadically rises above soft-centered pedestrianism to evoke, say, the steel and scope of a Michael Mann

Nada (1974) – Chabrol’s brisk terrorism drama often flirts with quasi-absurdity; but then, it seems to ask, what political project doesn’t?

River of Grass (1994) – Reichardt’s not unrewarding but often rather peculiar debut is far from her most unified or fully realized work

The Camp Followers (1965) – Zurlini’s desolate odyssey of war and sexual brutality accumulates in despairing, near-disbelieving power

Every Thing Will Be Fine (2015) – occasionally interesting for its icy dread and regret, but Wenders generally feels rather marooned here

Charley Varrick (1973) – Siegel’s memorable thriller, a beautifully structured abstraction layered with terse observation and texture

Ceremonie d’amour (1987) – Borowczyk’s late return to form, almost like an interrogation held within an erotically-charged private structure

Bright Road (1953) – the sentimental, insulated triviality of Mayer’s film largely undermines the historical significance of its black cast

On my Way (2013) – Bercot plays around with Deneuve’s star image and lasting if wearier allure, to pleasant if not very significant effect

The Warriors (1979) – propelled by Hill’s feeling for edgy confrontations in ominous spaces; civilization out at the margins, if anywhere

Perdida (2009) – a little treat of a movie, albeit rather softball-ish, as Garcia-Besne excavates intertwined family & film industry history

Commandment Keeper Church… (1940) – in their frail endurance, Hurston’s fragmented recordings evoke a quiet sea of reverence, and some fear