The romance in Wall-E is still one of the best of all time. The planet has been sent into space, but Wall-E and Eve still interact on Earth, and their relationship grows like a plant in a waste. You'll laugh, you'll cry, and you'll need more tissues, so you'll head to the kitchen.
This is the film that made Wong Kar-Wai a name to watch in the industry. Of course, it's a new romance. It's another meet-cute, yes. It is, however, among the best of the group. In the Mood for Love is so much more than simply another casual encounter, much as how David Lean's Brief Encounter carried the genre to darker realms.
In many ways, Mad Max: Fury Road is the antithesis of In the Mood For Love. There is a lot of action and a sizable budget. The camera lingers on enormous fireball explosions while the movie is crowded with stars. Although George Miller's first attempt at Mad Max was good, this time he kicks it up a notch. He makes Driving Miss Daisy look like Fast 9.
Alfonso Cuaron's lavish reminiscence of his childhood and the housekeeper who looked after him, the masterpiece his entire career seemed to be building towards, combines elements from all of his previous works—the scale of Gravity, the humanity of Children of Men, and the intimacy of Y tu mama tambien—into one regal package.
The Turin Horse's story isn't all that dissimilar from Satantango's. The Turin Horse is a protracted, never-ending trek into the winds of fate, as opposed to that film's waltz with death. This fable, which centres on a father and daughter waiting through a storm, combines elements of Chekhov, Beckett, and Revelation. The outcome is a work of existentialist art.
We have Will Ferrell's finest work in terms of comedy. It's conceivably the most "Will Ferrell" film ever created. That indicates that you are either avoiding it or are extremely thrilled about it (and have likely already seen it ten times). It's absolutely hilarious in either case.
Another film on growing up children? Sounds dubious, especially after two decades of mediocre entertainment (I still can't tell the difference between Eighth Grade and St. Vincent). Beasts of the Southern Wild, fortunately, achieves all of its potential.
This is the spookiest movie of the twenty-first century, in our opinion. This breakout song from Ari Aster tops the list for unadulterated dread—and then slashes it in half. Aster's modern classic, a bloody, tear-stained remake of Rosemary's Baby, mines cries not just through jump scares but also something much more terrifying: a mother (Toni Collette) who is on the edge of breaking down.
David Lowery's level-up with The Green Knight is not something you see every day. The filmmaker went from being unknown to being well-known, going from 6th man to all-star, and going from rookie of the year to MVP. Last year, he offered us one of the greatest fantasies of all time, in which a knight journeys into a mythical forest to battle a woodland demon.
Hero films aren't considered to be works of art? Even so, did Scorsese see The Dark Knight? The portrayal of the Caped Crusader by Christopher Nolan may be the most cinematic film of the twenty-first century; it's large, bold, and Holy Batman, have you seen the performances.
One of those indies that feels 100 percent real is this one. There's something great about watching someone you can identify to, even though the storyline is straightforward—a teenage girl experiences her senior year of high school. The heroine's character is so masterfully created that even if she is nothing like you, you will still laugh when she laughs, cry when she cries, and exclaim "yes!" whenever she raises her voice.
This movie is a bit smaller and was more of a festival mainstay in 2014. However, it had a significant effect. Both the film and Richard Linklater were awarded Best Director honours. Additionally, despite deteriorating results, several directors have attempted to imitate Linklater's 12-year-long notion.