It feels like a long time since Brazilian director Fernando Meirelles gave us City of God (2002) and The Constant Gardener (2005-- the single worst title for a film in film history?)—but he’s back with

From 1973 to 2011 Malick made only 5 films—all of them masterpieces—and all were rather simple narratives set in the past. Malick then made three more modern day films (To the Wonder, Knight of Cups,

There are some redeeming moments here that make it worthy of the archives but I do feel like it’s the worst of the three Star Wars films from the 2010’s and it doesn’t exactly leave

A four-part drama about a contented couple (Ruth Sheen and Jim Broadbent) with those in their orbit (the depressing Lesley Manville the main character) set to the four seasonsThere’s great work by Leigh and his

So I thought about a comparison for watching Cuaron direct this film--- it’s a very good film—but it feels a bit like watching the world’s greatest opera singer do a pop song. I was going

A roller-coaster, a time bomb, a heart-attack—you pick the analogy--- the Safdie brothers have confirmed their arrival as major auteurs, in a big way, with Uncut Gems. Their specific brand of narrative propulsion is their

The third and final film in Rossellini’s War Trilogy—the first two films are Rome, Open City and PaisanTracking shots of the post WWII ruins in Berlin during the credits with a horror film-like score from

I’m not IMDB’ing what else Richard Thorpe directed by this is a solid adaptation of Twain with the perfect casting (even if he’s actually 19 years old) of Mickey Rooney as the titular heroRooney is

It is not on that level of an artistic achievement but I think Mike Leigh’s Happy-Go-Lucky (probably more of a triumph for Sally Hawkins—who is wonderful here-- than Leigh himself) makes for an interesting pairing

Trey Edward Shults’ Waves feels like something big. It is Shults’ third film—at the age of 31. Waves is a breakthrough for Shults’—it looks and feels like Krisha (Shults has an identifiable aesthetic—the mark of

There are 3 previous archiveable versions of Louisa May Alcott’s Little Women-- but Gerwig’s version is utterly distinct and cinematically spectacular—the only one close (and they’re all in the archives) is Cukor’ s 1933 version

Kevin Bacon and Kenny Loggins give this film just enough to sneak into the archives. The entire soundtrack (most of it original for the film) is perfect. Loggins, as mentioned, does much of it- but