Parasite

South Korean filmmaker Bong Joon-ho already has an impeccable track record, but he's stepped up his game with this brilliant, powerfully revealing social satire. Certainly Parasite might feel uneven to some audiences because of its radical shifts in tone -- from clever comedy to violent, dark tragedy -- but it's more likely that Bong has executed everything as planned. Each insignificant detail, from the young boy Da-song's love of Native Americans to a peach allergy to the Kim family's sad little half-basement apartment, has been planted for some specific, exacting reason.

Cleanly and slickly constructed, Parasite takes perverse pleasure in scamming the rich during its leisurely, funny first half, and that pleasure is contagious. When the second half comes, it's not only a narrative shock, but it also forces viewers to ask hard questions about why the first half was so enjoyable. In earlier films like The Host, Snowpiercer, and Okja, Bong slyly explored the impact that humans have had on our environment. In Parasite, he looks at an even bigger picture. He wonders why humans tend to look away from, or insulate themselves from, others' troubles and suffering. In this movie, reaching the high ground is certainly desirable, but those occupying the low ground aren't going anywhere.