Best Movies of 2. So Far)Fall is upon us, meaning it’s now definitely time to begin celebrating the finest movies that have so far made their way to the multiplex and the art house. After nine months, moviegoers have been gifted with a bounty of great blockbusters, indies and documentaries, proving that filmmakers are continuing to find new ways —both big and small—to entertain, excite and enlighten. Advertisement - Continue Reading Below. No doubt there are numerous gems to come in the months ahead, given that by the holidays, we’ll have the latest works from acclaimed directors like Paul Thomas Anderson and Steven Spielberg (to name just two). For now, however, these are our current picks for the best films of 2. Advertisement - Continue Reading Below.

Get Out. Be it the early sight of a car pulling up alongside an African- American man, or a photo of an angry dog being held on a tight leash, the color white spells doom in Jordan Peele's social- commentary horror hit Get Out—albeit ultimately in unexpected ways. Surrounded by his white girlfriend Rose's (Allison Williams) Obama- loving family and their friends during a weekend getaway at their rural estate, Chris (Daniel Kaluuya) finds himself increasingly uncomfortable, especially after a series of encounters with fellow African- Americans (the household's staffers, a young boyfriend of a much older white woman) make him suspect that something is scarily amiss. The story's climactic revelations are indebted to The Stepford Wives, Invasion of the Body Snatchers, and Rosemary's Baby, and yet are given a fresh of- the- moment twist by Peele's razor- sharp script, which cleverly locates the means by which liberals' pro- black attitudes function as a type of appropriation- esque intolerance. As impressive as its racial- dynamics critique, however, is its formal dexterity; from its malevolent pacing to its terrifying imagery (especially of "The Sunken Place"), Peele's directorial debut is a first- rate cinematic nightmare. Rent/buy on Amazon and i. Tunes. Advertisement - Continue Reading Below.

Advertisement - Continue Reading Below. The Beguiled Sofia Coppola's adaptation of Thomas P. Watch Phantom Online Forbes.

Cullinan's novel (which was previously made into a 1. Clint Eastwood) is a sweltering hothouse thriller guided by its director's precise, penetrating evocation of female rivalry and pent- up desire. In Virginia during the Civil War, a group of women living at a remote boarding school have their sleepy existence interrupted by the discovery of a wounded Union soldier (Colin Farrell), whose arrival—and sexual magnetism—does much to upset their delicate domestic balance. From Nicole Kidman's regal headmistress, to Kirsten Dunst's unhappy teacher, to Elle Fanning's reckless student, the women soon struggle to control themselves (in more ways than one) in scrupulously designed sequences in which sideways glances and furtive gestures indicate the roiling emotions hidden beneath their refined facades.

Building toward eruptions of ecstasy and horror, The Beguiled finds Coppola tilling familiar thematic terrain through an enchanting period- piece prism. Rent/buy on Amazon and i. Tunes. Advertisement - Continue Reading Below. The Lure. La La Land's award- season triumphs may have heralded the return of the Hollywood musical, but in terms of ingenuity, flair and sheer eye- popping weirdness, it can't hold a candle to The Lure. Polish director Agnieszka Smoczynska's wackadoo import is a familiar drama about a young couple torn between individual dreams and professional desires, the twist being that these protagonists (Marta Mazurek and Michalina Olszanska) are mermaid cannibals sashaying through the seedy cabaret underbelly of 1.

Warsaw. Like the dreamy love child of Amèlie's Jean- Pierre Jeunet and The Fly's David Cronenberg—except with quite a bit more singing and dancing from its fantastical femme fatales—Smoczynska's knockout debut charts its aquatic fairy tale creatures as they make a name for themselves as a pop duo known as "The Lure," along the way falling in love and chomping on unsuspecting (male and female) victims. A bisexual Little Mermaid- by- way- of- vampire horrorshow scored to original New Wave- y tunes, it really is like nothing you've ever seen before. Rent/buy on Amazon and i.

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The Villainess. It’s been an exceptional year for action epics featuring formidable female warriors, and none are as out- and- out insane as The Villainess, South Korean director Jung Byung- gil’s aesthetically frenetic revenge saga. Opening with a first- person hallway- gym skirmish that has to be seen to be believed, this blood- drenched import concerns a young assassin (Kim Ok- vin) who’s enlisted—and given a new identity—by a shadowy intelligence organization. Nonetheless, she remains throughout an independent soul determined to track down and murder the man responsible for killing her father years earlier. Trying to keep up with the film’s convoluted narrative requires a Herculean effort, but being confused has rarely been this exhilarating, thanks to a series of set pieces that—defying the odds—manage to continually one- up their predecessors, from a motorcycle fight in which the camera does as many impossible things as Jung’s protagonist, to a finale that leaps between multiple speeding vehicles. It’s the cinematic equivalent of an adrenaline shot to the heart. Advertisement - Continue Reading Below.

Split. Even if it didn't conclude with a gasp- inducing twist that forces one to reconsider everything that's come before it, Split would stand as a triumphant return to form for director M. Night Shyamalan, the former The Sixth Sense wunderkind who'd lately fallen on tough studio- for- hire times. Unlike his sturdy 2. The Visit, Shyamalan's latest boasts the menacing, meticulous widescreen beauty of his signature hits.

Here, his sinister style is used in service of a story about three young girls (Anya Taylor- Joy, Haley Lu Richardson, and Jessica Sula) who are kidnapped by James Mc. Avoy's Kevin—and then learn that they actually have many captors, considering that Kevin boasts 2. Worse still for them, Kevin is convinced that a supernatural 2. The Beast" is on the verge of emerging—a development that provides plenty of breakneck- momentum suspense to go along with Mc. Avoy's mesmerizing lead turn as the monstrous madman.

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The B- Side: Elsa Dorfman's Portrait Photography. Errol Morris is one of cinema's all- time great documentarians, and for The B- Side, he lavishes his acute, empathetic gaze on Elsa Dorfman, a Massachusetts photographer famed for using a giant (and now discontinued) Polaroid camera to snap 2. Its title referring to the alternate pictures her customers reject (and which she keeps), the film begins as a casual study of an eccentric artistic personality, only to blossom into a larger examination of more profound themes, including the transience of life and art, the twisty- turny relationship between an artist, their art, and the technology employed to create it. Though it does little more than spend time with Dorfman in her studio, telling stories about each new photograph she discovers in her archives, the film is only modest on its surface; with a canny eye and an inquisitiveness about the way we see—and interact with—the world at large, it's a profound inquiry masquerading as a pleasant tribute to an peculiar individual. Rent/buy on Amazon. Advertisement - Continue Reading Below.

Hounds of Love. Putting a rugged twist on the serial- killer subgenre, Australian director Ben Young's stellar debut concerns a young girl in 1. Perth named Vicki (Ashleigh Cumming) who, after another row with her mother about her parents' separation. Emma Booth and Stephen Curry) that, it turns out, has deviant plans for her.