I don’t hate modern cinema but having to endure so many things like big-budget action flicks and sappy romances has left me a bit cynical about the future of Hollywood. That’s why I’m so grateful for films like James Gray’s “The Immigrant,” whose melodramatic tone fondly echoes that of classical cinema and makes for a suitably refreshing experience.

The phrase “they don’t make ‘em like this anymore” has some weight here and you’d be hard-pressed to find anything today to compare it with. In fact, the only thing that would have made it better was if they had shot it in black-and-white, which would have made the effect complete.

Set in 1921, two Polish Catholic sisters, Ewa (Marion Cottiard) and Magda (Angela Sarafyan) arrive at Ellis Island in hopes of finding better lives in America. Magda is quarantined for tuberculosis. However, Ewa is forced to work as a prostitute for a mysterious man named Bruno (Joaquin Phoenix) to prevent herself from being deported and earn money for her sister.

She later meets an illusionist named Emil (Jeremy Renner), who falls in love with her and wishes to help her escape. However, Bruno does not want her to leave and Ewa finds herself trapped in a conflict between the two men that will change all their lives forever.

From an aesthetic standpoint, “The Immigrant” is artistry of the highest caliber. Early 1920s New York is recreated with careful attention to detail in a superb display of craftsmanship, complete with fanciful costumes and colorful sceneries that makes the visuals of the recent “The Great Gatsby” appear wanting, even with the advantage of 3D. Combine that with Darius Khondji’s cinematography and it’s like being immersed in the performance of an extravagant play.

But there’s more to it than that. In the manner of many classic films, “The Immigrant” has a largely melodramatic tone that tells a character-driven story in a historical setting while delving into important themes human nature. Many films these days try to replicate that effect but this one is among the few to succeed. There’s plenty of mature content that gives the narrative a hardened edge for realism but it’s never used for exploitation and maintains a sense of self-respect even during the most disturbing moments. At its core, the film tells a noble story of redemption and forgiveness that stands in stark contrast to modern ideas of cynicism and never has to manipulate the viewer’s emotions to elicit reactions. Gray drives the narrative at a consistent pace that allows the characters to develop with the plot while clearly conveying its themes and using them for emotional effect.

Cottiard’s performance as Ewa is absolutely amazing and has an almost hypnotic quality that makes her irresistible as her emotions are put on display. Phoenix is suitably devious and makes for an intimidating presence but still manages to convey signs of humanity underneath the rough exterior, while Renner’s liveliness and on-screen energy actors bring some comic flair to the proceedings that injects some well-needed humor into an otherwise serious tone. All three actors display great chemistry with each other and it’s hard to imagine anyone else filling their roles.

I must admit, “The Immigrant” is hard to review because of the way it structures itself and conveys its themes. However, it also represented the rare time where I found myself completely mesmerized enough to enjoy it without putting my critical thinking into overdrive. It doesn’t insult the viewer but welcomes everyone to admire it as a work of art and relish the experience of doing so. Films like this are the reason to love movies and appreciate what they are capable of accomplishing. I would highly recommend watching it as soon as possible.