By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
Come for the dirty words and bong hits, stay for the trenchant observations—no, seriously. Sure, it's the one-liners that linger ("You look like a cholo dressed up for Easter"), but even they barely obscure life's biggest truth, which is: "Marriage is like a tense, unfunny version of Everybody Loves Raymond, only it doesn't last 22 minutes. It lasts forever." —R.W.
The opener of Jennifer Baichwal's beautiful documentary, a tracking shot that takes about eight minutes to roam from one end of a Chinese electronics factory floor to the other, tells you all you need to know about modern labor, our disposable world and who will own the global economy. —E.T.
Private Fears in Public Places
Directed with light-fingered mastery by Alain Resnais, now 84 and fully indulging his delight in golden-age cinematic gloss, this exquisite ensemble comedy-drama about the perils of seeking love late in life resembles a Vincente Minnelli musical with the songs elided, leaving only the persistent ache of unexpressed desires. —J.R.
Honorable Mentions: Into the Wild, Black Book, West of the Tracks, No Country for Old Men, Syndromes and a Century, My Kid Could Paint That, Grindhouse, Offside, Day Night Day Night, Away From Her, Once, Paprika, Lars and the Real Girl, The Host, The Assassination of Jesse James by the Coward Robert Ford, Honor de Cavalleria, The Band's Visit, Lake of Fire, No End in Sight, The Bourne Ultimatum, Terror's Advocate, The Savages, I Now Pronounce You Chuck and Larry, Music and Lyrics
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