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121. Children of Heaven, 1997

After third-grader Ali loses the only pair of shoes his sister Zahra owns, the siblings agree to share Ali's sneakers for school. Zahra uses the tattered, ill-fitting footwear in the morning, and in the afternoon, she hands them over to Ali, who then races to get into school in time. The siblings wait for things to get better at home before they mention anything to their already-burdened parents, but in the meantime, they persevere, scooping up every bit of silver lining they find, whether it's popping soap bubbles or taking in the city's ultramodern sights.

In this way, Children of Heaven is neither cynical nor cheesy. It presents the harsh reality of Tehran's poor without robbing them of hope and agency, giving the movie the right amount of self-aware and feel-good that elevates it into a classic. Thanks to this masterful balance, plus many awe-inspiring shots and lines, it should come as no surprise that Children of Heaven is the first Iranian film to be nominated for Best Foreign Language Feature at the Oscars.

Genre: Drama, Family, Kids

Actor: Amir Farrokh Hashemian, Bahare Seddiqi, Kamal Mirkarimi, Mohammad Amir Naji, Reza Naji

Director: Majid Majidi

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122. Anatomy of a Fall, 2023

	
You would expect a courtroom drama to be built around damning pieces of evidence, passionate speeches, or certain social issues lending weight to the investigation. But what makes Justine Triet's Palme d'Or-winning Anatomy of a Fall so remarkable is how direct it is. Triet doesn't treat this case like a puzzle for the audience to participate in solving; instead she fashions this trial into a portrait of a family being eroded by even just the suggestion of distrust. It ultimately has far less to do with who's responsible for the death of a man, and more to do with the challenge of facing the reality that the people we love are capable of being cruel and callous to others.

Which isn't to say that Anatomy of a Fall doesn't still possess qualities that make it a great courtroom drama—doubt only continues to pile up with every new piece of information that's revealed to the audience, until we begin to interpret characters' expressions and actions in a contradictory ways. But the way Triet executes these reveals is just so skillful, choosing precisely how to let details slip and obscuring everything behind faulty memory, intentional dishonesty, or any other obstacles that usually come up during an investigation.Genre: Crime, Drama, Mystery, Thriller
Actor: Alexandre Bertrand, Anne Rotger, Anne-Lise Heimburger, Antoine Bueno, Antoine Reinartz, Arthur Harari, Camille Rutherford, Christophe Devaux, Cyril Karenine, Emmanuelle Jourdan, Florent Chasseloup, Iliès Kadri, Isaac Abballah, Jean-Pierre Bertrand, Jehnny Beth, Judicaël Ajorque, Kareen Guiock, Laura Balasuriya, Maud Martin, Milo Machado-Graner, Nesrine Slaoui, Nicholas Angelo, Nola Jolly, Pierre-François Garel, Saadia Bentaïeb, Sacha Wolff, Samuel Theis, Sandra Hüller, Sandrine Chastagnol, Savannah Rol, Sophie Fillières, Swann Arlaud, Wajdi Mouawad
Director:  Justine Triet
Rating: R

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123. After Love, 2021

After Love is a beautifully powerful and quietly moving outing by emerging British filmmaker Aleem Khan. It follows Mary (Joanna Scanlan), a white Muslim convert who discovers a life-changing secret her husband has managed to keep from her all these years.

Without spoiling anything, I will say that After Love is charged with the sort of deep-seated emotion we sometimes don’t know how to express. It’s also a powerful reminder that there’s no one way to love or grieve or celebrate the people around us; sometimes, there’s just feeling. And Scanlan does a wonderful job of restraining then conveying all of that in devastating and commanding moments throughout the film, a feat that earned her the much-deserved best actress award at the 2021 BAFTAs.

Genre: Drama

Actor: Aaron Chawla, Adam Karim, Elijah Braik, Jabeen Butt, Jeff Mirza, Joanna Scanlan, Narayan David Hecter, Nasser Memarzia, Nathalie Richard, Nisha Chadha, Subika Anwar-Khan, Sudha Bhuchar, Talid Ariss

Director: Aleem Khan

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124. Upgrade, 2018

This film really satisfied my craving for an original thriller, despite the fact that I spent most of it thinking about how Logan Marshall-Green looks like a budget Tom Hardy.

He plays a guy whose wife is killed during a violent mugging that also leaves him paralyzed in the aftermath. When a billionaire approaches him with an Artificial Intelligence solution that would "upgrade" his body, he has a chance to take vengeance.

This is Robocop meets Ex Machina meets Blade Runner. It's original, low-budget without feeling low-budget, and honestly just so thrilling. It gives the genre of sci-fi a much needed upgrade.

Genre: Action, Drama, Science Fiction, Thriller

Actor: Abby Craden, Arthur Angel, Benedict Hardie, Betty Gabriel, Christopher Kirby, Clayton Jacobson, Douglas Embry, Emily Havea, Harrison Gilbertson, James Ao, Kai Bradley, Kenny Low, Liam Howarth, Linda Cropper, Logan Marshall-Green, Melanie Vallejo, Michael M. Foster, Ming-Zhu Hii, Puven Pather, Renah Gallagher, Ri-Jie Kwok, Richard Anastasios, Richard Cawthorne, Rosco Campbell, Sachin Joab, Simon Maiden, Steve Danielsen, Yuki Nagashima, Zia Kelly

Director: Leigh Whannell

Rating: R

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125. The Wackness, 2008

A period comedy set in New York in the summer of 1994, the Wackness is a coming of age story about Luke Shapiro (Joshua Peck), as he deals with family trauma, love, and economic hardship while selling pot to his strange psychologist. Rescued from a somewhat typical bildungsroman plot by sharp character acting, a firm directorial hand and an absolutely fitting soundtrack that evokes the golden age of rap music.

Genre: Comedy, Drama

Actor: Aaron Yoo, Alexander Flores, Ben Kingsley, Bob Dishy, David Wohl, Famke Janssen, Jane Adams, Joanna Merlin, Josh Peck, Mary-Kate Olsen, Method Man, Olivia Thirlby, Roy Milton Davis, Shannon Briggs, Talia Balsam

Director: Jonathan Levine

Rating: R

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126. The Remains of the Day, 1993

The visceral pain at the center of this adaptation from period drama powerhouse Merchant-Ivory comes not from fading or unrequited love but unrealized affection. Try as he might to repress his feelings, devoted butler Mr. Stevens (Anthony Hopkins) can’t stifle the blossoming attachment he shares with housemaid Miss Kenton (Emma Thompson). And yet, at every opportunity she gives him to do something about it, he balks, squandering the potential for something truly beautiful — something that actually belongs to them, not their aristocratic employer.

The Remains is partly told in flashbacks to the period leading up to the Second World War. From his stately home, Stevens’ master Lord Darlington and his peers play at international relations and try to avoid another war by pandering to the Nazis, but find they’re woefully under-equipped to decide the fate of Europe in this changing world. One of the many brilliant things about The Remains is the way this political drama doubles the devastation of Stevens’ die-hard commitment to his job — because now, he’s sacrificing his one chance at love for something that won’t even survive the decade. Sublime filmmaking and performances turn Stevens’ every minute choice into a pillar of profound tragedy, giving us a maddeningly heartwrenching life lesson for the ages.

Genre: Drama, Romance

Actor: Abigail Hopkins, Anthony Hopkins, Ben Chaplin, Brigitte Kahn, Caroline Hunt, Christopher Brown, Christopher Reeve, Emma Thompson, Hugh Grant, Ian Redford, James Fox, Jeffry Wickham, Jo Kendall, John Haycraft, John Savident, Lena Headey, Michael Lonsdale, Miles Richardson, Patrick Godfrey, Paul Copley, Paula Jacobs, Peter Cellier, Peter Eyre, Peter Halliday, Peter Vaughan, Pip Torrens, Rupert Vansittart, Steven Beard, Terence Bayler, Tim Pigott-Smith, Tony Aitken, Wolf Kahler

Director: James Ivory

Rating: PG

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127. The Hours, 2002

	
Why do we stay alive? Do we owe it to people to stay alive? Not everyone thinks about these existential questions, and even less are obsessed with them. But the characters in The Hours, who span centuries, do. It’s one of the few things that tie them together, along with female malaise and a love for literature. The film is so seamlessly stitched together, you barely notice when it slips into another era, or speaks to us through another character. It feels natural to jump into different timelines and collect all these different memories and observations, in the same way it feels natural for everything to happen all at once in life. Some reviews claim that, because of the dark themes the film covers, it can be hard to watch, but I don’t think I’ve had an easier time watching anything. The script is poetic, the performances heart-wrenchingly good (what a trio!), and the editing so smooth. This is a thoughtful film through and through, not just in content but in delivery too.Genre: Drama
Actor: Allison Janney, Charley Ramm, Christian Coulson, Claire Danes, Colin Stinton, Daniel Brocklebank, Ed Harris, Eileen Atkins, Jack Rovello, Jeff Daniels, John C. Reilly, Julianne Moore, Linda Bassett, Lyndsey Marshal, Margo Martindale, Meryl Streep, Michael Culkin, Miranda Richardson, Nicole Kidman, Sophie Wyburd, Stephen Dillane, Toni Collette
Director: Stephen Daldry
Rating: PG-13

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128. Smoke, 1995

Like a long, slow drag of a cigar, Smoke is a patient pleasure. Adam Holender’s leisurely lingering camera and the film’s relaxed editing allow us to savor the actors’ performances and the thoughtful script uninterrupted, trusting in their ability to captivate us. And captivate us is exactly what novelist Paul Auster’s screenplay and the film’s superlative ensemble do.

The film kicks off in Auggie Wren’s (Harvey Keitel) Brooklyn smoke shop, where myriad customers linger to chat and unexpected friendships form. The serendipitous network around which Smoke revolves unfurls gradually, like a curling wisp of smoke: Auggie’s patron Paul (William Hurt), a writer's block-struck novelist grieving the violent death of his pregnant wife some years ago, has his life saved by Harold Perrineau’s Rashid, the estranged 17-year-old son of a struggling mechanic (Forest Whitaker). Ashley Judd and Stockard Channing also feature in Auggie’s portion of the film, one of its five loose vignettes (although the film flows much more fluidly than a chapterized structure suggests). Auster’s contemplative, dialogue-driven screenplay — along with the film’s unhurried editing and luxuriating cinematography — make Smoke a gorgeous example of the art of savoring, which is exactly what you want to do with this wonderful movie.

Genre: Comedy, Drama

Actor: Ashley Judd, Baxter Harris, Clarice Taylor, Deirdre OConnell, Erica Gimpel, Forest Whitaker, Giancarlo Esposito, Harold Perrineau, Harvey Keitel, Howie Rose, Jared Harris, José Zúñiga, Malik Yoba, Mary B. Ward, Mel Gorham, Michelle Hurst, Murray Moston, Stephen Gevedon, Stockard Channing, Victor Argo, William Hurt

Director: Wayne Wang

Rating: R

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129. Punch-Drunk Love, 2002

Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler's hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson's incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.

Genre: Comedy, Drama, Romance, Thriller

Actor: Adam Sandler, David H. Stevens, Don McManus, Emily Watson, Hazel Mailloux, Jason Andrews, Joji Yoshida, Jonathan Loughran, Karen Hermelin, Karen Kilgariff, Kerry Gelbard, Larry Ring, Luis Guzman, Mary Lynn Rajskub, Nathan Stevens, Nicole Gelbard, Philip Seymour Hoffman, Rico Bueno, Robert Smigel, Shelley Waggener

Director: Paul Thomas Anderson

Rating: R

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130. Past Lives, 2023

The concepts of roads not taken and domino effects have received plenty of cinematic attention in their showier forms by way of multiverse comic book movies and dimension-hopping films like Everything Everywhere All At Once. But, though there’s no hint of sci-fi in Past Lives, Celine Song’s gentle film can count itself as one of the best treatments of that universe-spawning question: “what if?”

When her family moves from Seoul to Canada, teenage Na Young bids a loaded farewell to classmate Hae Sung and changes her name to Nora. Years later, they reconnect online and discover the spark still burns between them. This is no idealistic romance, though: Past Lives is told with sober candor. Song acknowledges real obstacles standing in the way of a relationship between the two — those pragmatic (distance) and, more painfully, personal (evolving personalities, American husbands).

Those two threads — unrealized romance and the transmutation of identity that so often takes place after migrating — are expertly entwined in Past Lives to produce a sublime, aching meditation on memory and time, practical love and idealistic romance, and all the complex contradictions that exist in between. That Song communicates so much and so delicately in only her first film makes Past Lives all the more stunning.

Genre: Drama, Romance

Actor: An Min-yeong, An Min-young, Chang Ki-ha, Chase Sui Wonders, Choi Won-young, Emily Cass McDonnell, Federico Rodriguez, Greta Lee, Hwang Seung-eon, Isaac Powell, Jack Alberts, Jane Yubin Kim, Jay Karales, John Magaro, Jojo T. Gibbs, Kristen Sieh, Moon Seung-a, Moon Seung-ah, Park Jun-hyuk, Seo Yeon-woo, Shin Hee-cheol, Teo Yoo, Yim Seung-min, Yoon Ji-hye

Director: Celine Song

Rating: PG-13

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131. Pain and Glory, 2019

	
This is the latest Oscar-nominated movie by Spain's highest-regarded director, Pedro Almodóvar. It's his most personal work to date, being a slightly fictionalized account of his youth and then the last couple of years. He is mostly portrayed by Antonio Banderas, who was also nominated for an Oscar for this role; while another star performance comes from Penélope Cruz who plays his mother in the flashback scenes. Pain and Glory is about life in the arts: how a tormented artistic personality is formed, the days of focusing on work over relationships, and dealing with the consequences later in life. It begs the question: in Almodóvar's life, was the glory that got him to making as great of a movie as this one worth the pain?Genre: Drama
Actor: Agustín Almodóvar, Antonio Banderas, Asier Etxeandia, Asier Flores, Cecilia Roth, César Vicente, Constancia Céspedes, Esperanza Guardado, Esther García, Eva Martín, Fernando Iglesias, Julián López, Julieta Serrano, Leonardo Sbaraglia, Nora Navas, Paqui Horcajo, Pedro Casablanc, Penélope Cruz, Raúl Arévalo, Rosalía, Susi Sánchez, Xavi Sáez
Director: Pedro Almodóvar
Rating: R

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132. Nebraska, 2013

Nebraska is a poem distilled into a film. Peter Travers from Rolling Stone says "is it a comedy or a drama? Both at the same time, as life itself." Everything about it is perfect: the acting, the photography, the story. In case that's not enough and you need to know the plot to get convinced, I'll tell you that it's a road movie about a senile old man and his son. If you still want more information, you can Google it, but come on! You'll just be wasting time that would be better spent on watching this masterpiece.

Genre: Adventure, Drama

Actor: Angela McEwan, Anthony G. Schmidt, Bob Nelson, Bob Odenkirk, Bruce Dern, Devin Ratray, Franklin Dennis Jones, June Squibb, Mary Louise Wilson, Missy Doty, Rance Howard, Stacy Keach, Tim Driscoll, Will Forte

Director: Alexander Payne

Rating: R

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133. Living, 2022

Adapted from the Japanese film Ikiru, which in turn was adapted from the Russian story The Death of Ivan Ilyich, Living is a parable about, well, living. Specifically, it's about the importance of wonder and the magic of the mundane. It's also about legacy and the stories we leave in our wake, which live on long after we're gone. This familiar premise could have very easily been turned into another trite and cheesy movie that warns you to make the most out of your life, but thanks to a lean script, assured camerawork, and powerfully restrained performances, Living is elevated into something more special than that. It’s a technically beautiful, well told, and profoundly moving film, with Bill Nighy giving a career-best turn as a repressed man aching for meaning in his twilight years.

Genre: Drama, History

Actor: Adrian Rawlins, Aimee Lou Wood, Alex Sharp, Barney Fishwick, Bill Nighy, Celeste Dodwell, David Summer, Edward Wolstenholme, Eunice Roberts, Ffion Jolly, Grant Gillespie, Hubert Burton, Jamie Wilkes, John MacKay, Jonathan Keeble, Lia Williams, Mark James, Matilda Ziegler, Michael Cochrane, Michael James, Nichola McAuliffe, Nicky Goldie, Oliver Chris, Patsy Ferran, Richard Cunningham, Robin Sebastian, Rosie Sansom, Thomas Coombes, Tom Burke, Zoe Boyle

Director: Oliver Hermanus

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134. Kneecap, 2024

	
When we think of biopics, we think of underdogs overcoming all odds just through the magnetic power of one’s voice or mastery of their instrument, with the accolades a natural reward for all they’ve been through. Kneecap is not that. The biopic about the titular Belfast hip hop act acknowledges the Troubles, but right off the bat, they would rather tackle that through the actual music. With a low budget, Kneecap dresses themselves in neon tracksuits, reliving their beginnings with stylized camera movements, scribbled out lyrics and action lines, and an impeccable energetic score sync from their usual music video director Rich Peppiatt. It’s an exciting new portrait of the band and Ireland today.Genre: Comedy, Drama, Music
Actor: Adam Best, Cathal Mercer, DJ Próvai, Emily Lamey, Fionnuala Flaherty, Jessica Reynolds, Josie Walker, Kerri Quinn, Lalor Roddy, Michael Fassbender, Mo Chara, Móglaí Bap, Niall Cusack, Simone Kirby
Director: Rich Peppiatt
Rating: R

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135. Killers of the Flower Moon, 2023

	
Martin Scorsese’s Killers of the Flower Moon isn’t a whodunnit; in fact, it’s closer to a who-didn’t-do-it. We know from the very beginning who is responsible for committing the brutal serial murders of wealthy Osage Native Americans in 1920s Oklahoma that the film chronicles: pretty much every single one of their white neighbors, spearheaded by William Hale (a skin-crawling Robert De Niro). Scorsese, most often associated with mafia stories, stealthily suggests here that the most dangerous gang of all is the one into which all these perpetrators have been born. That’s an idea he investigates through the confused loyalties of Leonardo DiCaprio’s Ernest Burkhart, the Judas-like husband of Mollie (movie-stealer Lily Gladstone), an Osage woman who owns lucrative oil headrights that William wants to fatten his own pockets with. This searing epic — based on a harrowing chapter of real American history — is an unsparing and self-implicating look at complicity and greed in the eye, a monumental movie that cements its maker as one of the greatest to ever do it.Genre: Crime, Drama, History
Actor: Adam Washington, Addie Roanhorse, Alexandria Toineeta, Alexis Ann, Alexis Waller, Barry Corbin, Beau Smith, Ben Hall, Bravery Nowlin, Brendan Fraser, Brent Langdon, Brian Shoop, Bronson Redeagle, Candice Costello, Cara Jade Myers, Carl Palmer, Chance Rush, Charisse Satepauhoodle, Charlie Musselwhite, Chase Parker, Christopher Cote, Clint Rohr, Craig 'Radioman' Castaldo, Dana Daylight, Danny Frost, David Born, David Fields, Delani Chambers, DJ Whited, Dolan Wilson, Ed Yellowfish, Elden Henson, Elisha Pratt, Elizabeth Waller, Eric Parkinson, Everett Waller, Gabriel Casdorph, Garrison Panzer, Gary Basaraba, Gene Jones, Gregory Fallis, Harrison Shackelford, J. C. MacKenzie, Jack White, Jackie Wyatt, Jacob Johnson, Jacob Lux, James Carroll, James Healy Jr., JaNae Collins, Jarad Looper, Jason Isbell, Jay Paulson, Jeffrey Stevenson, Jennifer Moses, Jennifer Rader, Jeremy Goodvoice, Jerry Logsdon, Jerry Wolf, Jesse Plemons, Jessica Harjo, Jezy Gray, Jillian Dion, Jo Harvey Allen, Joe Chrest, Joey Oglesby, John Gibbs, John Lithgow, Johnny Baier, Joseph Spinelli, Joshua Close, Julia Lookout, Justin France, Karen Garlitz, Katherine Willis, Kristin Keith, Kyle Dillingham, Larry Fessenden, Larry Jack Dotson, Larry Sellers, Lee Eddy, Leland Prater, Leonardo DiCaprio, Lily Gladstone, Louis Cancelmi, Lucas Ross, Lynette Satepauhoodle, Mahada Sanders, Mamie Cozad, Marc Phaneuf, Margaret Gray, Mark Landon Smith, Mark Lopeman, Marko Costanzo, Martin Scorsese, Mary Buss, Mason Bighorse, Mason Cunningham, Matt Tolentino, Melissa Tiger, Michael Abbott Jr., Mike Cook, Moe Headrick, Moira Redcorn, Nathalie Standingcloud, Nathaniel Arcand, Nicholas White, Nick W. Nicholson, Nokosee Fields, Norma Jean, Norris Bighorse, Pat Healy, Patrick Bubert, Paul Woodiel, Penny Potts, Pete Yorn, Peter Yarin, Randy Houser, Rayna Gellert, Reignen Yellowfish, River Rhoades, Robert De Niro, Ron McMahan, Sam Bardfeld, Samuel French, Samuel Gray, Sarah Spurger, Scott George, Scott Shepherd, Seth Buckminster, Shonagh Smith, Silas Satepauhoodle, Stephen Berkman, Steve Eastin, Steve Routman, Steve Witting, Sturgill Simpson, Tahlee Redcorn, Tanner Brantley, Tantoo Cardinal, Tatanka Means, Ted Welch, Terry Allen, Tom Ashmore, Tommy Schultz, Ty Mitchell, Vann Bighorse, Victor McCay, Vince Giordano, Vinny Raniolo, Wally Welch, Welker White, William Belleau, Xavier Toehay, Zachary Hokeah
Director: Martin Scorsese
Rating: R

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