Like the character she portrays rules her evening talk show, Thompson towers over this movie with a stunning magnificence that’s extraordinary, and when I watch Late Night again in the future I will do so entirely because of her.

Fletcher is channeling All That Jazz and Absolute Beginners but with a Hairspray meets Mamma Mia! high-gloss glittery shimmer, the grit and angst of the tortured artist juxtaposed against a Technicolor milieu that’s been art directed and costumed within an inch of its rockabilly heart.

Photograph is a beautiful snapshot of romantic longing and human understanding that’s nothing less than glorious, watching it a rapturously intimate pleasure I didn’t want to end.

This movie is just a heck of a lot of fun to watch. It’s very entertaining. While the director’s cut that is also included here doesn’t really change anything substantive (the running time for both versions is identical), it is interesting from the standpoint of seeing some of the minor tweaks that had to be made for the film to receive a PG-13 rating.

The Sun is Also a Star is definitely a case study in how a terrible ending can lead an otherwise fine motion picture down the road to disaster, and the more I continue to think about it the angrier I seem to get.

Shadow is a masterful spectacle of human frailty and intellectual dishonesty that only grows in resonance as it goes along, its haunting final image of a pained decision in the process of being made one that will stick with me for quite some time to come.

Sunset is a daring, thought-provoking motion picture that overflows in disturbing resonance, Nemes drawing parallels between the personal saga of a woman looking for answers to questions she didn’t even initially know, the birth of WWI and the groundwork for the fascist resurgence we’re seeing in the United States and several European countries right this very second here in the 21st century over a hundred years after this story is set.

Centered around a superb performance from Fanning and featuring a number of superlative musical numbers (including bravura covers of “Dancing On My Own,” “Little Bird” and “Don’t Kill My Vibe”), Teen Spirit is a consistent joy first frame to last.

Long Day’s Journey Into Night is a piece of cinematic poetry where every syllable, every beat, has wormed its way into my soul and has aggressively refused to release its vice-like grip. It is a divine exercise in acrobatic filmmaking eccentricity, seeing this film in all its theatrical glory a feat of storytelling legerdemain few who witness it firsthand will soon forget.