These are three movies that I've seen recently that blew me away.

Porco Rosso
by Hayao Miyazaki

It's by Hayao Miyazaki, who is well known for Princess Monoke and Spirited Away. He did Porco Rosso in 1992, prior to Princess Monoke. His animation is sublime. From Amazon:

Porco Rosso (The Crimson Pig, 1992) ranks as Hayao Miyazaki's oddest film: a bittersweet period adventure about a dashing pilot who has somehow been turned into a pig. Miyazaki once said, "Initially, it was supposed to be a 45-minute film for tired businessmen to watch on long airplane flights... Why kids love it is a mystery to me." The early 1930s setting enabled Miyazaki to focus on the old airplanes he loves, and the film boasts complex and extremely effective aerial stunts and dogfights. In the new English dub from Disney, Michael Keaton as Porco delivers lines like "All middle-aged men are pigs" with appropriate cynicism, but his voice may be too familiar for some Miyazaki fans. Susan Egan makes a curiously distant Gina, the thrice-widowed hotel owner bound to Porco by years of friendship; Kimberly Williams is more effective as the irrepressible young engineer Fio. Porco Rosso may be an odd film, but Miyazaki's directorial imagination never flags.

The Producers
by Susan Stroman and Mel Brooks

I'm not a big musical fan but I am a big Mel Brooks fan and this is pure Mel Brooks. I didn't realize he wrote music. Not only did he write the music for this but he wrote the music for all his movies. Nathan Lane and Matthew Broderick are hysterical and a supporting cast to match. It reprises the successful stage play which was based on the original Mel Brooks movie. And it contains such memorable tunes as "Springtime for Hitler."

The trend is to convert movies into stage musicals, but The Producers goes a step further: making a feature film of the smash-hit stage musical that was adapted from the 1968 film. The chief drawing card, of course, is Nathan Lane and Matthew Broderick reprising their roles from the stage. Lane plays Max Bialystock, a legendary Broadway producer who hasn't had a hit show in a long time. Enter nebbish accountant Leo Bloom (Broderick), who tells Bialystock he could actually make more money with a flop than a hit. So the two set out to produce the worst Broadway musical of all time, one guaranteed to close on opening night, with the collaboration of an outrageous cast of characters: Will Ferrell as sieg heil-ing author Franz Liebkind, Uma Thurman as Swedish bombshell Ulla, Gary Beach as director Roger De Bris, and Roger Bart as his assistant, Carmen Ghia, among others. As directed and choreographed by Susan Stroman (who did the same honors on Broadway) and co-written by Mel Brooks, The Producers is laugh-out-loud funny. It's also a relentlessly over-the-top, shamelessly bawdy, stereotype-ridden comedy that may turn off its audience just as much as its centerpiece, Springtime for Hitler, was intended to. But Broadway fans who are used to larger-than-life figures who play to the back row while showering the first row with spit, are likely to forgive and just enjoy the famous granny-walker dance, a supporting cast dotted with Broadway performers (playing a taxi driver is Brad Oscar, who originated the role of Liebkind on Broadway then later played Bialystock), or the mere spectacle of seeing Lane and Broderick memorializing the performances that millions never got a ticket to see. (For maximum laughs, stick around through the closing credits.)

Buena Vista Social Club
by Ry Cooder

I saw this when it first came out. It's still great. Amazing music. A classic. From Amazon:

In 1996, composer, producer, and guitar legend Ry Cooder entered Egrem Studios in Havana with the forgotten greats of Cuban music, many of them in their 60s and 70s, some of them long since retired. The resulting album, Buena Vista Social Club, became a Grammy-winning international bestseller. When Cooder returned to Havana in 1998 to record a solo album by 72-year-old vocalist Ibrahim Ferrer, filmmaker Wim Wenders was on hand to document the occasion. Wenders splits the film between portraits of the performers, who tell their stories directly to the camera as they wander the streets and neighborhoods of Havana, and a celebration of the music heard in performance scenes in the studio, in their first concert in Amsterdam, and in their second and final concert at Carnegie Hall. The songs are too often cut short in this fashion, but Buena Vista Social Club is not a concert film. Wenders weaves the artist biographies with a glimpse of modern Cuba remembering its past, capturing a lost culture in music that is suddenly, unexpectedly revived for audiences in Havana and around the world. Wenders makes his presence practically invisible, as if his directorial flourishes or off-screen narration might deflect attention from the artists, who do a fine job of telling their own stories through interviews and music. It's a loving portrait of a master class in Cuban music, with a vital cast of aging performers whose energy and passion belie their years.