The most remarkable part of a mostly unremarkable movie year is that fine films continue to get made in spite of structural changes (like shunting independent features online) and the increasing popularity of quality TV. My choice of the year’s best film seemed to choose itself by simultaneously saluting and enhancing the movie medium. I’m talking about Damien Chazelle’s the sort of movie you either love or love.

Here are my other choices, in alphabetical order:

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