It's apparently why they like director Steve McQueen's films even if they fail some of the criteria.
Intelligent critics understand McQueen's films as trash. His newest film is receiving the most praise yet due to, of course, increasingly difficult subject matter, but all signs indicate it's a bad film. I really enjoy Adam Nayman's review of it:
http://www.reverseshot.com/article/12_years_slave
I actually love several movies in both of these lists. However, their degree of cultness vary greatly.
Is one of them Playtime? I think that movie is tremendously entertaining. When I first saw it I watched it 5 times in 3 days I was so intrigued and interested.
I partially disagree. I notice that the recent films critics praise the most are the ones that feel more like old movies (recent movies praised by the critics include stuff like The Tree of Life, Uncle Boonmee, Cache, The White Ribbon, Spirited Away, Mulholland Drive, all these movies are quite old formulas if you ask me: The Tree of Life and Uncle Boonmee are just a pair of mediocre art films, Cache and The White Ribbon are quite standard thrillers, Spirited Away feels like a legendary story that has been told for thousands of years, MD is a typical Lynch product, already available in the market since the 1970's). All these movies follow formulas that already existed in the 1970's or earlier.
I'm interested in what makes you think that Uncle Boonmee (I corrected it for you) is a formula film. Apichatpong Weerasethakul is such an interesting filmmaker because his influences and inspirations are such mysteries and his films have a very different language than any working director.
I'm still not sure what art film you're referring to The Tree of Life being derivative from. Besides montage cinema (which Malick differs from as it's less formally structured, or so it seems) and particularly Murnau, Malick is also a radical of modern film. Maybe I'm wrong, but saying these are just typical art films doesn't say anything about the films because of the massive range of style of this "genre."
I'm interested in what thrillers you think Cache is similar to, I think it's more of a horror film anyways.
What doesn't seem to be considered here is form. Each of these films (with the exception of Spirited Away and Mulholland Dr., I'd argue) differ greatly from their possible progenitors formally. For example, what other thrillers have a similar visual scheme with Cache (I think this is the film that probably has the most explainable history)?