The reason for the asterisk is the same as my reason for delaying this year’s list of best films. I can’t remember a year in which I’ve missed as many critically-acclaimed movies, through a combination of inattentiveness earlier in the year and bad weather during the end-of-year rush. Included among the unseen are American Sniper; Mr. Turner; Only Lovers Left Alive; Selma; Still Alice; The Theory of Everything; Two Days, One Night; and Under the Skin. I’m probably not going to see any of these films for a while, so I’ll go with what I have. On the plus side, thanks to Pittsburgh’s film festivals, I’ve managed to include some obscure but excellent films.

• The Babadook (Australia). A literate haunted house movie and commentary on family dynamics. It’s good to have a horror film back in the dirty dozen.
• Boyhood. You have to admire the risks director Richard Linklater took in shooting a film over 12 years. The consensus choice of film critics, it probably fell short during award season because of its lack of emotional highs and lows.
• Citizenfour. There’s very little technique in this documentary. Laura Poitras simply pointed the camera at Edward Snowden and let Glenn Greenwald interview him. But this is an essential film about the willingness of an individual to stand up against illegal state action.
• Confession of Murder (Korea). After the statute of limitations expires, a man confesses to murder and becomes an instant celebrity. The detective who conducted the original investigation searches for the truth. Koreans have made some great cop flicks.
• The Dark Valley (Austria). Although it’s set in the snowy mountains of Austria in winter, the film has the plot structure and presentation of a revenge-themed spaghetti Western. Very entertaining genre film.
• Human Capital (Italy). On the surface, a mystery involving a hit-and-run accident. The facts are filled in as the same events are told from the perspectives of three different characters. The subtext is social inequality in Italy; specifically, the question of how much a human life is worth.
• Ida (Poland). As beautifully shot in black and white as any film I’ve seen lately, it has an intriguing premise: In 1962, a young orphan raised in a convent is about to take her vows when she discovers that she’s Jewish. But the ending, while probably realistic, was a major disappointment.
• The Imitation Game (UK). My choice for best film of the year. The central irony is that Alan Turing, who saved the collective British derriere during WWII, was hounded to his death for being gay. Another great performance by Benedict Cumberbatch.

• A Most Wanted Man. This film of a John Le Carre spy novel involving the hunt for a terrorist went almost unnoticed despite the excellent acting of Philip Seymour Hoffman as a German secret agent.
• Nightcrawler. Not only does this action movie satirize the sleazy ethics of TV news, the main character (well-played by Jake Gyllenhaal) has internalized the ridiculous self-help messages taught by motivational speakers to naive business students.
• Stranger by the Lake (France). In this thriller, a man thinks he may have witnessed a murder at a gay swimming place, but he lets his libido overrule his judgment and winds up in real danger. The film is sexually explicit.
• Unforgiven (Japan). An extremely faithful remake of Clint Eastwood’s 1992 film, but the main characters are all samurai. The lead actor is exactly who you’d want in the Eastwood role–Ken Watanabe.

Here are two flawed honorable mentions.

• Snowpiercer (Korea) has a terrific premise: Runaway global warming, followed by a failed attempt at geoengineering, leaves the survivors stranded on a moving train (“Snowpiercer”) in a below-freezing world. Living arrangements on the train replicate the extreme inequality that preceded the Apocalypse, and the film is about the on-train revolution that follows. Unfortunately, some plot points make little sense, and the film lapses into mindless violence.
• Whiplash is a well-made, well-acted film with a great soundtrack, but is based on the flawed premise that the way to teach a young man to be a skilled jazz musician is to humiliate him, arousing both anger and fear. Reviews I’ve read suggest that many otherwise bright people accept this premise, which is not empirically supported.

My take on Birdman is that I agree that Alejandro Inarritu’s camera work is outstanding, but I had a hard time identifying with the self-indulgent pseudo-problems of actors under stress. This is one of the world’s most overpaid and underworked professions, so spare me, please.

My best actor is Benedict Cumberbatch for the second year in a row (last year, for The Fifth Estate). Best actress goes to Valeria Bruni Tedeschi, the beleaguered upper-class wife in Human Capital.