
12 Years a Slave
The first Best Picture from a Black director, and the least evasive film ever made about American slavery: McQueen holds shots long past comfort and refuses to look away.

The first Best Picture from a Black director, and the least evasive film ever made about American slavery: McQueen holds shots long past comfort and refuses to look away.

The third film is the one that hurts: Linklater and his two actors let nine more years pass, then take it somewhere the first two politely refused to go.

The Coens made the saddest film about failure that anyone has managed to make funny: a folk singer plays beautifully, sleeps on couches, and gets absolutely nowhere at all.

Three hours of pure excess that never once slow down: Scorsese was seventy-one years old, and it moves faster than films made by directors a third his age.

Nothing else has made space feel this physically dangerous: Cuaron opens on a shot running almost thirteen minutes, and ninety minutes later you notice you stopped breathing.

The closest anyone has come to remaking La Dolce Vita and surviving it: an aging Roman journalist drifts through parties and ruins, and the city has never looked better.

Miyazaki announced his retirement with it, a retirement he later took back: a young man designs beautiful aircraft that become weapons, and nothing about that is resolved.

Barkhad Abdi had never acted and was cast out of a Minneapolis open call: he holds the screen against Tom Hanks through the last hour on a lifeboat off Somalia, and never blinks.

Payne wanted monochrome and the studio fought him over it: an old man believes a sweepstakes letter and sets off walking toward Nebraska, and his son drives him rather than argue.

Cate Blanchett plays a Manhattan wife whose husband's fraud has taken everything, arriving in San Francisco with nothing but luggage and manner: Allen's harshest film, and she is unsparing in it.

Ron Howard made the best racing film by making it about two men who need each other: James Hunt and Niki Lauda in 1976, and the engines were recorded from the actual cars.

David O. Russell rebuilt the real Abscam sting as a comedy of terrible hair: two con artists are pressed into working for the FBI, and everyone in it is lying about something.

They shot it in twenty-five days for five million dollars and won two acting Oscars: a Texas electrician starts importing unapproved drugs for himself and ends up supplying half the city.

The backing vocals everyone can sing were recorded by people nobody could name: Darlene Love, Merry Clayton and Lisa Fischer finally get the camera, and the singing is extraordinary.