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Really, the box office is just mind-blowing: this made $172 million at the domestic box office and $412 million worldwide, in 1988 dollars. In the case of Rain Man, Hoffman's showy performance, made up almost entirely of lines that, because of his clipped, atonal line delivery immediately entered the pop culture lexicon - 'I'm a good driver' 'Definitely' ' minutes to Wapner' 'Hot water burn baby' - look, I don't like the lines, people in 1988 did - was front-and-center in the critical praise, the conversation surrounding the film, and the audience love that led to the astonishing box office.

And there's no sentence of hers I co-sign more eagerly than the one that she used to start her review of Rain Man, the highest-grossing film of 1988 at the domestic box office, and winner of that year's Oscar for Best Picture: ' Rain Man is Dustin Hoffman humping one note on a piano for two hours and eleven minutes.' Everything is there: it's mean, it's dirty & therefore funny & memorable, and it neatly inverts the usual conversation around this kind of film, the kind that's sort of bland and forgettable except that it has one barnburner of a performance that makes everybody talk about it like it's good (these films get nominated for Best Picture all the time Rain Man is one of the few that actually won). The movie is filled with compositions like that, tinged with careful ambiguity and unresolvable tensions.I have a my disagreements with legendary film critic Pauline Kael, some of them fairly intense, but one thing I'll never fault her for: she could write a hell of a sentence. Still, there's an image of Cleo and the family eating ice cream together after a devastating dinner in the foreground while a wedding takes place in the background that you won't be able to shake. What are these different components in the painstakingly composed shots actually saying to each other? That remains harder to parse. CuarГіn's artful pans aren't just layered for the sake of complexity: He's often placing different emotions, historical concepts, and class distinctions in conversation with each other. A technical craftsman of the highest order, the Children of MenВ and GravityВ director has an aesthetic that aims to overwhelm-with the amount of extras, the sense of despair, and the constant whir of exhilaration-and this autobiographical portrait of kind-hearted maidВ Cleo ( Yalitza Aparicio) caring for a family in the early 1970s has been staged on a staggering, mind-boggling scale. Focus Features/StudioCanalДЄlfonso CuarГіn's black-and-white passion projectВ seeks to stun. Confronting race, class, war, and the possibility of unity, Mudbound spellbinding drama reckons with the past to understand the present. The epic patchwork stretches from the Jackson family dinner table, where the youngest daughter dreams of becoming a stenographer, to the vistas of Mississippi, where incoming storms threaten an essential batch of crops, to the battlefields of World War II Germany, a harrowing scene that will affect both families. To capture a multitude of perspectives, Mudbound weaves together specific scenes of daily life, vivid and memory-like, with family member reflections, recorded in whispered voice-over. The Jacksons, a family of black sharecroppers working the land, have their own hopes, which their neighbors manage to nurture and curtail.

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The white McAllans settle on a muddy patch of land to realize their dreams. Director Dee Rees rectifies the overlooked stretch of history with this novelistic drama about two Mississippi families working a rain-drenched farm in 1941.

The South's post-slavery existence is, for Hollywood, mostly uncharted territory. (Laura Dern and Alan Alda rightfully earned praise for their parts, but Ray Liotta's gruff divorce expert deserves his own spin-off.) In showing how divorce ripples outward, Marriage StoryВ complicates its own simple premise as it progresses.

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While Driver and Johansson are both excellent in tricky, emotionally demanding roles, some of the sharpest moments come courtesy of their attorneys, collaborators, and extended families. Instead of watching the two fall in and out of love, the story opens with the separation already in motion, allowing Baumbach to focus on the soul-sucking, money-draining legal shitstorm that follows. This time, the bickering couple-a Brooklyn-dwelling actress and a theater director played with tenderness and anger by Scarlett Johansson and Adam Driver-takes center stage. Like his 2005 film The Squid and the Whale, writer/director Noah BaumbachВ again finds laughter and pain in the often excruciating personal details of ending a relationship.