100Once Upon a Time in Hollywood (2019)
Quentin Tarantino’s latest jaw-dropper bumps Kill Bill: Vol 1 off the listing in gloriously irreverent fashion. Leonardo DiCaprio and Brad Pitt superstar as a fading western star and his mutt-loving stunt double in this relaxed and loving roast of bygone Tinseltown. CS
Read the review99Bright Star (2009)
An early lead for Ben Whishaw because the ailing John Keats romancing Fanny Brawne (Abbie Cornish) is the tremulous soul of this underappreciated Jane Campion drama. The butterflies are too tropical for Hampstead, but the rest is spot-on. CS
Read the review98The Dark Knight (2008)
The simplest comedian book film to make the reduce is Christopher Nolan’s style masterpiece: fatalist, bracing and forever the legacy of Heath Ledger, posthumously provided an Oscar for his terrifying overall performance. CS
Read the review97Fahrenheit September 11 (2004)
Michael Moore’s greatest hour: a blazing juggernaut with George W Bush, the Iraq struggle, the media, democracy and us, the gullible loads, in its crosshairs. Agitprop, and vital. CS
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Kathryn Hahn and Paul Giamatti battle to start a family, and to hold their marriage together, in this diffused, humorous and frequently wondrously uncomfortable Netflix comedy written and directed by Tamara Jenkins. CS
Read the review95Call Me By Your Name (2017)
Rarely has summer lust been so headily captured as in Luca Guadagnino’s breakout Italian romance. Transformative leads from Timothée Chalamet and Armie Hammer captured the collective creativeness; Michael Stuhlbarg lightly grounded realities. CS
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Ridley Scott’s deluxe Roman blockbuster is toga soap turned up to absolutely the maximus. Russell Crowe bellows and glowers contrary hyper-evil Joaquin Phoenix and lugubrious Oliver Reed (who died all through manufacturing). Yet there are many grace notes underneath the fire and fury. CS
Read the review93You, the Living (2007)
The second in Roy Andersson’s trilogy of wackily incisive Swedish vignettes comes at you thick and speedy – about 50 micro-sketches, every now and then loosely related – yet sticks like plasticine below your fingernails. CS
Read the review92The Hurt Locker (2008)
Kathryn Bigelow’s fantastic story of a managed explosions crew – headed by using a in no way-higher Jeremy Renner – is extreme, immersive and impossible to shake. CS
Read the review91Etre et Avoir (2002)
Events soured after the shoot but Nicolas Philibert’s sole large hit stays a disarmingly funny study of a swish and kind schoolteacher worrying for a motley crew of under-11s in rural France. CS
Read the review90Eden (2014)
Even non-ravers can’t fail to be shaken by way of Mia Hansen-Løve’s essential tale of love and clubbing, vaguely based on the upward thrust of Daft Punk. Giddy yet gripping. CS
Read the review89The Selfish Giant (2013)
Clio Barnard’s 2nd characteristic doesn’t have the surprise of innovation of her verbatim cinema debut, The Arbor, however the tale of two lads scrapping round junkyards to get away their houses is a masterpiece of lyrical social realism. CS
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Director Matteo Garrone introduced himself big-time with this blazing display treatment of Roberto Saviano’s fearless account of the current sports of Neapolitan mobsters: a thoroughly chilling chronicle of corruption and savagery rendered in top notch style. AP
Read the review87The Wind that Shakes the Barley (2006)
When Ken Loach received the Palme d’Or at Cannes for his movie approximately the Irish rebel towards British rule, the tabloids went on the assault (Daily Mail: “Why Does Ken Loach hate his u . s . so much?”). None of them had without a doubt seen the movie, a effective, compassionate drama starring Cillian Murphy and Padraic Delaney as Republican brothers split through the civil battle that accompanied independence in 1922. CC
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The Coens’ Cormac McCarthy variation is a sizzling look at of benevolence and evil with wealthy and weathered turns from Tommy Lee Jones, Josh Brolin and a glossily terrible one from Javier Bardem. CS
Read the review85Burning (2018)
One of the current move of excellent dramas issuing from South Korea, Lee Chang-dong’s version of a Haruki Murakami story is an elusive, unsettling thriller, wherein a young writer reconnects with a former schoolfriend, most effective to find she mysteriously disappears after a trip away. AP
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A young solider and a feral boy fall in love, dance to the Clash then trek to the jungle looking for a shaman dressed up as a tiger. Thai master Apichatpong Weerasethakul’s hypnotic experimentalism has never been bettered; sorry, Uncle Boonmee. CS
Read the review83The Son’s Room (2001)
Nanni Moretti’s Palme d’Or-triumphing drama about a father crippled via grief after the unintended demise of his infant isn't for the faint-hearted. Yet the Italian creator/director/superstar plays miracles making a film so wrenching also so hopeful. CS
Read the review82Stories We Tell (2012)
Sarah Polley followed Away From Her and Take This Waltz with the aid of turning the digital camera on her own family secrets and techniques on this tricksy and compassionate documentary uncovering the real identity of her father. CS
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Andrea Arnold’s bad mum excessive-upward thrust dance tragedy is singular, sensuous and alive with everyday upset. Actor Katie Jarvis took six years off after shooting; more or less the same as audiences needed to recover from the shake it gave, and the sight of Michael Fassbender. CS
Read the review80Requiem for a Dream (2000)
Hubert Selby Jr’s lacerating novel that lasers in at the exhilaration and tragedy of dependancy is given expansive, elegant remedy by way of the then-rising director Darren Aronofsky. Incredibly glamorous and miserably heartbreaking, this movie gave observe of Aronofsky’s brilliance. AP
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Iranian-French director Marjane Satrapi adapted her very own picture novel on this animated fantasy-memoir approximately a ten-year-antique woman developing up in Tehran after the 1979 revolution. A real original, and it still seems particular. AP
Read the review78Ocean’s Eleven (2001)
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