My Favorite Movies

Mike Leigh's controversial masterpiece is by turns sardonic, hideous and exhilarating. It is both a scorching social commentary and a character study, but unconventional in both respects. Naked opens on its hero sexually abusing an unknown woman in a dark alley, thereby introducing us to a cold and desperate landscape unlike anything we are likely to have seen. While retaining a sense of irony and humor, it is underlined by an ominous musical score and depictions of brutal sexual violence. All the acting is good, but David Thewlis makes this movie his own. With his portrayal of this picture's anti-hero, he gives us one of the most astonishing modern screen performances. His acting never misses a mark, and it is his character interpretation that keeps viewers engaged, even when we want to turn away. To dismiss Naked because it's hard to watch is an injustice. This is a great film.

Often reduced to an erotic movie for reasons unknown to me, I would go so far as to say Last Tango is anything but erotic. Bertolucci crafts a bleak and profoundly unnerving picture, accentuated by Vittorio Storaro's dimly lit and uniquely characterized camerawork. This is a movie about detached sex between an irreparable middle-aged man and a confused, eccentric young woman. The man is played by Marlon Brando, and I couldn't even begin to express my admiration for his work here. He conveys this character with such insight and honesty that, as an audience, we find ourselves studying him rather than passively watching him. Brando's performance is my personal favorite of all time, a piece of acting that hurls agonizing truth at us in ways that no other actor has ever touched on. Maria Schneider achieves a great thing by holding her own opposite the greatest screen performer in history. Her bizarre and sexually perplexed character is unforgettable. Bertolucci shapes a queasy, dark movie with his out-of-the box composition, unforgiving imagery and examination of impersonal sex.

This is a transcendent piece of art that verifies the status of a master storyteller. The exquisite marriage of sound and imagery is far from being its only achievement, despite the critical responses. Coppola has been exploring the dynamics and complexities of family relationships throughout the course of his career, and he may have brought perfect closure here. He is a brave artist who disregards the confines of commercial American moviemaking and infuses his masterpiece with something as original as it is exciting. Vincent Gallo is someone whose work I am fairly unfamiliar with, but he delivers an Oscar-worthy, enigmatic piece of acting here that blew me away. The rest of the players are ideally cast as well, with Maribel Verdú holding her own opposite Gallo. This is a haunting, heart-wrenching cinema experience that needs to be seen. It pains me that a mediocre work like Inglourious Basterds gets praised to death while a legend's return to form is ignored. See this film.

Huge dramatic themes are the foundation of On the Waterfront - redemption, corruption, the nature of morals and introspection. The subject matter is stripped down to its most simplistic form. This is a movie full of grit and physical violence that charts the struggle of an everyman living in unforgiving surroundings. Nobody else could have taken on this character. Marlon Brando's performance explodes with visceral power, but it is always exemplified by his naturalism and aptitude. The supporting players are terrific as well - Karl Malden, Lee J. Cobb, Rod Steiger and Eva Marie Saint leave lasting impressions. This is a searing, sometimes brutal crime-drama that still maintains an aura of tenderness and earnest sympathy for the conflicts of its protagonist. It's a polished piece of work. Backing the unanimously solid acting is Kazan's fiery direction and an impassioned screenplay by Budd Schulberg. Marlon Brando is my favorite actor, and I am not the first to say I would rank this particular performance among the finest of his commendable acting career.

Describing the greatness of this film is an impossibility. This is a crime-drama masterpiece, a Shakespearean character study and a cinematic landmark in every sense of the term. This is a tense, intriguing examination of family ties and treachery. This is quite possibly the greatest cast ever compiled - Brando, Pacino, Duvall and Caan are all at the top of their game here. Films like this remind us why we go to the movies. Coppola brings an ideally dark aura to the story, employing the use of underexposed footage and painstakingly perfect pace. Pacino's most understated character work is in this film - he portrays Michael in all the tortured complexity that Puzo wrote him.

Truffaut's allegedly semi-autobiographical portrait of angst and young rebellion is one of the most accurate I've seen. Its structural originality helps to illustrate all the aspects of a confused, pained boy feebly attempting to make his mark. There is no way to articulate what this movie does for me as a viewer. Its effects have to be felt, not described. It is a heart-wrenching, suitably unsentimental and beautifully made film, emphasized by an intelligent lead performer and realized writing. Truffaut directs the film in a compelling manner that sheds the convention of traditional storytelling but maintains a precise and distinct vision. This is a picture full of feeling and truth, a piece of art that says a lot to me.

This is a more complex and darker film than its predecessor. Gordon Willis' contrasting cinematographic methods for the flashbacks and main story work incredibly, and the screenplay provides us with detailed, vivid characters who are acted to perfection. Although we are distanced emotionally from Michael Corleone in this film, Pacino's performance ensures that we are still fascinated with him. Although Pacino is undoubtedly the stand-out, there is an abundance of remarkable supporting performances here, particularly from John Cazale.

An unparalleled portrait of loneliness, Taxi Driver is also one of the finest character studies ever put to film. Martin Scorsese is the perfect director fpr this piece, because he soaks up the ugliness of the world that the main character (Travis Bickle) inhabits while also constructing a meticulous examination of the man himself. Here is a man who is incessantly exposed to pornography, crime, immorality and beautiful women who torment his insecure mind from a distance. The movie's narrative perspective is tilted in favor of Travis's psychological view, so we can see the sadness of his isolation while also being terrified by the tunnel-vision aggression of his descent. Few actors can wield threatening power while also drawing empathy from their audience. Robert De Niro is one of those actors, and his exploration of Travis Bickle is fully deserving of its spot as one of the iconic American performances. Here is "God's lonely man", a bitter and delusional man lost in the crowds seething through New York. His world is dark and murky, potently underlined by Bernard Herrmann's jazzy score and Michael Chapman's documentary-esque cinematography. The movie inevitably ends in violence, and Travis's killing spree is ferocious in execution. However, the performances and writing are so phenomenal that it is the build-up we remember first and foremost.

A faithful and remarkably moving adaptation, this is up there with the greatest films of all time. Despite the troubling and disturbing context, director Robert Mulligan still brings across a feeling of nostalgia and innocence to this story. Gregory Peck delivers what is arguably the greatest screen performance of all time in this timeless classic about justice and morality. This is an important film, but an important film we can enjoy.

Despite all the hugeness of its achievements and story, Citizen Kane is remembered primarily for its emphasis on the meaning of a dying man's final uttered word: "rosebud". It's a reflective, thoughtful portrait of a man who is in many ways like every other, and that is what makes it so incredible. Writer/director Orson Welles paints this film with technical mastery and innovation, but it never overshadows the resonance of its central study: a man named Charles Foster Kane. Kane is played by Welles himself, with astute observations of his flaws and larger-than-life qualities. We watch Kane's evolution, and in some ways, his downfall, from his childhood until his death. His romantic, financial and even political successes become marred by his psychological problems, and we are left with a rich but irreversibly empty man by the conclusion. As far as narrative goes, this is an exciting and inventive piece. Kane's story is told in flashback as several reporters go about interviewing people he knew to try and distinguish the meaning of his dying proclamation. This is a groundbreaking movie as far as cinematography and structure go, but it is the massive scope of one man's life that grabs me every time I watch it.

This is a masterpiece that captures all the pain and claustrophobia of a crumbling marriage. The story takes place in America during the 1950s and focuses on a particular couple, but it could be about anyone at any point in time. This is an unadulterated illustration of love gone awry, full of psychological violence and inescapable loneliness. Its results are agonizing and tragic due to sure-handed direction, a just adaptation of the brilliant novel and, maybe most importantly, the performances. This is a film full of emotional breakdowns and cruel, hideous conflicts which provide room for theatrical performances. Leonardo DiCaprio's attention to detail is his keenest skill as an actor. His character exploration is the most distinct in the silent moments. His posture, facial subtleties and mental disintegration are even more vivid than the moments when he comes close to striking his wife in a fit of rage. Kate Winslet, playing his self-destructive wife, holds her own opposite one of the great male screen performers. She charts this woman's spiritual decay with all the instinct and power we have come to expect from the unbridled talent she exudes.

Bold screenplay and rich performances make this innovative film a definite classic. Its strength is in the brilliant characterization and its incorporation into the main theme of the story. One of my all-time favorites. This is definitely my kind of movie.

This deserves a top spot among the greatest films of all time. Martin Scorsese's direction is fiercely perfect, and the result is a film that is unique and crushingly powerful. Everything from the gorgeously composed photography to the seamless editing makes this a technical marvel, but it is the honest writing and performing that make it more than great. Robert De Niro is a one-man wrecking crew onscreen; he embodies this role with ferocity and passion, bringing about what is one of the greatest performances in cinema history. This is as good as movies get.

Dark, horrific and mesmerizing, this is without a doubt Coppola's most ambitious directorial project. Providing us with some of the most gorgeous photography and editing around, the film also investigates the potential evil of the human heart. This is the kind of film whose iconic images and ideas stay with you forever - a poignant, disturbing and intriguing classic. The perfect cast delivers perfect performances.

A film that charts the corrosion of four people's souls, the decaying of relationships and the shattering of delusions as the result of human weakness. This story shows us that there are forces more powerful than love and hope. It is a bleak examination of addiction's triumph over the mind and spirit. As opposed to many works from young filmmakers, it isn't experimental and apprehensive. This is a full-fledged, confident directorial vision carried out with utmost precision. Darren Aronofsky fills the story with a frantic energy, making use of everything from hip-hop montages to repetitive Snorri-cam shots. The whole cast is excellent, particularly Ellen Burstyn. I would not hesitate to say she delivers one of the finest female performances in cinema history.

A solid plot stems off into a whole lot of interesting subplots, with great performances all around. This is a landmark war film. Frank Sinatra is particularly fantastic, and Zinnemann's direction makes this an absolutely breathtaking epic.

I've read a lot of feedback to this film, which is by and large rather negative. I've noticed that people who dislike the characters occupying Hurlyburly often criticize the film itself as a result. We are not intended to embrace the lifestyles of these characters. This is a picture that encompasses a sub-culture and the neuroses of certain types of people. It is an intelligent, articulate piece with a venomous sense of cynicism and blunt sensibility. The men focused on are self-obsessed chauvinists, but they are not reduced to amplification of their flaws. Their pain and dilemmas are familiar, and they serve towards an unnerving portrait of emptiness. I loved this movie because I love great acting. Watching what some of these actors do with the script is so exciting and astonishing, particularly the brilliant Sean Penn. The writing and performances are phenomenal, but this is a movie that probably only appeals to people who like stage-oriented pieces.

Ingmar Bergman conveys the most unspoken elements of the human mind with intimacy and vision, bringing about a vivid cinematic poem that I will not soon forget. As important as this film's subtext and psychoanalytical content is its gorgeous, sometimes disturbing metaphorical imagery. Bergman utilizes every tool he has as a filmmaker, and the result is a piece of art that works simply as an experience, but also as a resonant examination of tortured minds.

The classic representation of a tortured youth is in Rebel without a Cause, where the main character is played out with raw power by James Dean. This is a downright fascinating icon, and a film of undoubted power. The lead performance is absolutely jaw-dropping.

A vibrant character study pulsating with intense performances and sharp dialogue. This film is a landmark filled with energy and passion, packed with Elia Kazan's stunning directorial choices. Above all else, it contains one of Marlon Brando's most phenomenal performances. The man re-invented acting with this blunt, honest and explosive character portrayal. He's the main reason for the picture's greatness, but certainly not the only reason.

This movie is quite far ahead of its time in a lot of ways, so I find it difficult to compare it to the other works of its generation. Like Mike Nichols's The Graduate, this one is groundbreaking in terms of its sexual depictions. But in some ways it's even more powerful than The Graduate. It's laced with Oscar-worthy performances, directed with Nichols's trademark grace and style, and written like a Woody Allen film with grit. Feiffer's script is not overly focused on profound subtext or contemporary examination. Instead, he blatantly depicts two clueless, rather chauvinist men desperately attempting to engage in fulfilling relationships with women. An exciting and absorbing film experience.

Despite its brutal extremity, this is probably one of the most accurate portrayals of marriage to be committed to film. The painful insight and the layers of subtext in virtually every scene ensure that this is not a movie people will forget. Inventive, powerful and profoundly absorbing, this is a film that challenges its audience to face some hideous truths. The performances and the writing are as high-quality as they come. An instant favorite.

A glorious piece of work filled with rich character work, depth and humor. Enormously intelligent and satisfying, it benefits from beautiful black-and-white cinematography and a remarkable cast. A personal favorite, and arguably one of the greatest original screenplays of the decade.

An entirely, genuinely unique study of loss that employs vivid sensory techniques. Director Krzysztof Kieslowski makes it evident in every scene that this is a personal and original film, luring his audience in with the power of subtlety rather than knocking them over the heads. Juliette Binoche delivers a painful, brilliant lead performance that is always enticing and empathetic. This is a masterful piece of work.

A bare, tragic study of the things that make us human. The mastery of this film is in its undercurrents... the hard-hitting implications of the conclusion are not to be forgotten. This is a moving, heart-breaking portrait of a desperate man in an altogether unforgiving environment. One of the essential films.

Steven Soderbergh's masterpiece is a thoughtful dissertation of relationships, a subject which he explores with great insight and sensitivity. The power of this film isn't due to one particular component, but to the marriage of all its strengths. The acting is uniformly superb, Soderbergh's direction is enticing and graceful, and the screenplay is downright brilliant. This is one of the great contemporary films to be released in America.

Released between the first two installments of the Godfather trilogy, The Conversation has somehow gotten lost in the waves of classic films released in the 1970s. It is truly one of the most well-made movies of the decade, a paranoid character study intertwined with a highly unnerving and tightly paced thriller. Master filmmaker Coppola guides a considerably talented cast in what is an instant personal favorite of mine. Riveting from beginning to end.

Director Elia Kazan and actor Marlon Brando were the ideal combination, and this film is just another piece of evidence. Working from a rich screenplay by John Steinbeck that perfectly captures the scope and tragic character arc of Zapata, Elia Kazan gives the picture his own gritty flavor and simplistic visual appeal. Marlon Brando dominates in the lead role, playing a complex and demanding character full of anguished undercurrents. Fast, exciting and brilliantly executed, this is a masterpiece and a definite favorite of mine.

Bertolucci's blatant, unique film is anchored by his strikingly passionate vision and a trio of superb performances. This is an extremely strong, intelligent film in terms of writing. There's something classical and beautifully edgy about this story. On top of being a very involving experience for the audience, it is also a challenging piece of cinema that gives us characters we haven't seen and explores areas rarely explored. Meticulously shot and cast with a sure hand, this is a gorgeous film to look at. This is a spectacularly original, heartbreaking depiction of the power of love and cinema. Everything about The Dreamers oozes beauty. This is the film that got me interested in Michael Pitt as an actor, and he is now one of my all-time favorites.

Oh my God, we may have the next Robert De Niro. Leonardo DiCaprio is mindblowing in this highly ambitious masterpiece from legendary director Martin Scorsese. The precision behind this piece is indescribable - an epic character study that still manages to fit into the mold of modern commercial films. One of my favorite leading male performances of all time.

This visionary burst of artistic expression is one of the strongest installments in Coppola's directorial canon. Rumble Fish is one of his most unique and compelling works, a film that pulsates with crazy energy and bold ideas. Beautifully shot.

François Truffaut structures this movie ideally, finding a precise turning point that shifts the dynamic and alters the characters altogether without betraying them. This is an audacious piece of filmmaking full of feeling and beautiful images, played out wonderfully by the entire cast. Although the movie is vibrant, funny and vividly sexual, it ends things on a tragic note that seems unavoidable. A stunning masterwork.

For some reason, this spectacular film has gone unnoticed by a lot of people. As a director, Anthony Minghella has a keen visual sense - this is an extremely handsome looking movie, fully utilizing the beauty of its locations, sets and actors. The story itself is so engrossing and tense, and structurally the movie works very well to bring about the power of the nerve-jangling climax. Matt Damon is outstanding in the title role, playing his character as understated as needed without ever reaching the realm of detachment. He is surrounded by numerous other talented actors who are all at the top of their game, and the result is a potent piece that I enjoyed through and through.

There are very few directors whose films consistently garner such contrasting responses as Bernardo Bertolucci. David Lynch comes to mind as being another, and Darren Aronofsky may work his way into the same category as his career progresses. I am one of Bertolucci's enthusiastic admirers. Novecento is a gargantuan labor of love whose 315 minute length brings about labels ranging from "self-indulgent" to "ingenious ambition". Regardless of its flaws, this is one of the most visually astonishing pieces of cinema available. Full of majestic camera movement and stunning wide-lens composition, it is a gorgeously painted piece of art. Throughout the course of its running time, the narrative clarity fades considerably, but it never fails to mesmerize. It is an exciting, operatic experience full of unforgettable set pieces and theatrical performances. This picture has brought about divided feedback for decades, and it probably always will, but I am on the side of its supporters. As Roger Ebert (who dislikes the movie) said in his review, this is something that film buffs should see.

I'm in awe. The combination of Elia Kazan's fierce direction and James Dean's formidable acting proved to be quite the force. This is a layered, painful and deeply troubling film that fully deserves its status as a classic. The story is beautiful, but it's James Dean's landmark performance that struck me the hardest. Everyone should see this.

This is, quite simply, the most visually stunning film I have ever seen. Terrence Malick employs his trademark cinematographic genius and poetic voice-over narration to The New World. The result is a film that is truly beautiful - a dreamlike, achingly gorgeous epic with unique narrative flow. This is a pitch-perfect film from a directorial standpoint. Everything from the sound editing to the casting to the plot structure is immaculate.

This masterful finale to Kubrick's career is a great one - a beautifully crafted and chilling film full of passion and aggression. This is a remarkably strong piece directorially, but there are also fantastic performances by Cruise and Kidman to take into account. A unique masterpiece that gets better on every viewing. In terms of tone and pacing, I think this is the strongest piece from the director's career. It's haunting and eerily beautiful at the same time.

My Own Private Idaho is a film about a damaged man who has no place in the surreal world he inhabits. It's an abstract story about longing for love and a place to call home. One thing that is essential to mention when reviewing this film is River Phoenix's crushing, emotionally resonant performance. Although Van Sant's experimentation could be construed as overwhelming, this is a truly original work peppered with haunting and lyrical moments. There are arguably issues resulting from some of the stylistic choices made, but I think this is a wholly original piece whose out-of-the-box qualities work ultimately to its benefit. Moody, visceral and completely unforgettable, this is, in my eyes, a true masterwork.

This is extreme art, but its focus is always on the quality, never on the shocks. Kubrick's direction is stronger than ever - this is a vivid, horrifying cinematic nightmare of undeniable power and resonance. Quite possibly the most original film ever made, and certainly the most shocking film I've ever seen. I love every insane moment of it.

This one just never loses its power; it's an old-fashioned romantic epic that is a triumph on a great number of levels. It is a jaw-dropping technical marvel. It is also an intriguing, heart-felt love story. This is a spectacle of remarkable visual effects and art direction that contribute beautifully to a truly heartbreaking story. DiCaprio and Winslet are absolutely great, as usual - without their excellent performances, the film would be a shell. Definitely a landmark of the '90s, and arguably one of the greatest filmmaking achievements ever.

One of the best films of the 2000s, bursting with originality and incredibly entertaining. Funny, perceptive and captivating, this is one hell of a film. Rarely do you find screenplays of this quality and ambition, or direction with this much intensity. Carrey and Winslet are both remarkable.

An example of an experimental film that works. Suspenseful and impressive in presentation, Rope is one of Hitch's best.

This darkly brilliant piece of cinema history is notable for its contributions to the art of cinematography and stylish lighting. Beautifully directed and incredibly engaging, this examination of public hysteria is brilliantly paced and riddled with innovative suspense-building techniques. The Citizen Kane of German films.

Terrence Malick's most acclaimed film is a fantastic one. I don't quite enjoy it as much as Badlands, but very close. The cinematography is out of this world. Beautiful movie.

Lumet intertwines an intense character study with cutting social commentary in this gritty classic. Pacino is at the top of his game here, delivering an absolutely mesmerizing performance that is among his best. Lumet's direction is undeniably precise, and the screenplay is among the best of the '70s.

Dreamlike, visually stunning and downright brilliant, this is my favorite Terrence Malick film to date, and Martin Sheen's best performance. Who ever knew that a story about a killing spree could be subtle and poetic?

An essential, haunting piece of cinema whose legendary status is heightened by the largeness of its production story. Herzog's approach to this story is bold, painting it with an organic visual quality and abandoning conventional narrative format. With spare use of music and emphasis on imagery, this film is a disturbing portrait of a warped mind. Klaus Kinski's performance is built largely on physical tendencies, and the things he does with movement and facial expressions are astonishing. This is a breathtaking masterpiece and a truly great example of acting.

A languid, contemplative film about the profound unhappiness of a suicidal man. Louis Malle's direction and Maurice Ronet's understated performance dissuade the film from ever acquiring the tired cliche of romanticized misery. It's a stark, bleak picture with plenty of empathy for the state of its protagonist, but it doesn't shy away from the ugliness of the subject matter or bask in cinematic manipulation. Crisp, fluid photography and a sparse but beautiful score by Erik Satie are so perfectly condusive to the tone of the character's descent, and by the end the poignancy plays itself out naturally rather than forcing itself upon the audience. An instant favorite of mine. Highly recommended.

This is among the most outstanding films I have ever seen. Kurosawa's portrait of a man on the brink of death takes no easy routes, thematically or narratively speaking. Its artistic bravery is something to be admired, but more importantly, this film deserves to be labelled as profound. Not only did it stimulate me emotionally without being manipulative, but by the end I felt like I had been bestowed with some greater insight. This is a movie to be cherished... it sheds some light on the topic of what it means to be alive without preaching or delving into useless melancholy. I wasn't just touched by Ikiru. I was moved more than I can possibly explain.

One of the great American crime movies, The Roaring Twenties steers away from the easy mold of cautionary tale, providing a rich and multilayered character drama instead. Employing periodic segments of newsreel footage and narration, director Raoul Walsh gives the characters and situations a sense of something larger. The technique lends itself to the time and place the picture intends to encompass. The performances are strong across the board, with James Cagney dominating in a somewhat complex lead role. Tightly directed and endlessly entertaining, this is a must-see for fans of gangster movies.

This is a huge, meticulously crafted story about a strong friendship that spawns murder, rape and robbery. It's Sergio Leone's most masterful film, directed with an almost ridiculous amount of precision and acted by one of the greatest casts I've ever seen. This is, without a doubt, among the greatest gangster epics of all time.

Undoubtedly one of the most powerful films I have ever seen. This film excels on every level - an inspiring, funny and even unsettling story that I know I will revisit many times. Instant favorite.

Instead of focusing on one genre's specifications, this film transcends the styles of numerous genres. The result is a masterpiece. This is a dark, painfully human film filled with fantastic performances and striking uniqueness. Inspired filmmaking.

This subtle, adult ensemble piece is one of the most polished films I have ever seen. Outstanding direction, superb acting from everyone and a gut-wrenchingly powerful script. Every scene is filled with undertones of rising tension and sadness, and the mood is established beautifully through some ingenious lighting and shot composition. Filmmaking at its most daring.

There are no ifs, ands or buts about it - this is one of the best films of all time. David Lean's passionative, fierce film swallows the beauty and vastness of the desert like no other. The epic story of courage and morality is the basis for fantastic character development. It's impossible to put in words how great this film is. It's technically perfect. The most prominent feature is its breathtakingly sharp cinematography.

This is the definition of huge scope and big-scale moviemaking as far as production and direction go. Fleming's enormous Technicolor epic is uanabashedly, hugely, completely romantic in every sense of the word. Iconic performances fill every scene in this film that almost any cinema buff will adore for one reason or another.

Every so often, a film of vast importance and quality is overlooked by critics and audiences. The Fountain is one of those films. This is beautiful, visionary filmmaking with bright ideas about the future of cinema. Aronofsky writes and directs this masterpiece with skill and grace, weaving a complex tale full of emotional and metaphorical fibres. He tackles the universal topics of love, life and death with full-fledged vision, producing a gorgeous web of stories that everyone can relate to. The combination of Mansell's music and Aronofsky's images has a sort of poetic perfection to it, and this is some of the most incredible cinematography I have ever seen. Libatique literally conjures an original visual roadmap that subtly transitions along with the film's central theme of death. Remarkable performances all around, especially from Jackman and Weisz. There are scenes in this film that are outright heartbreaking. It cut to the core of me, and I will not soon be forgetting it. This is a step above anything I've ever seen - a visceral, passionate visual poem full of brilliant originality and timeless intrigue. Flawless.

A stunning, incredibly acted piece of movie history that still wows audiences with its crushing depiction of true love. Michael Curtiz's direction is remarkable, bringing to life a visionary love story with grace and style.

The exceptionally offbeat psychology of this film's protagonist is a huge factor that contributes to its status. However, it is James Cagney's iconic and fascinating performance that immortalizes the character. This is a riveting, lightning-fast gangster thriller fuelled by strong direction and a memorable screenplay. Although it admittedly may have some holes in the logic department and the character dynamics won't work for all viewers, I embraced the bizareness of Cagney's character and the film is so entertaining that I was happily blind to its flaws. A complete pleasure to watch.

A uniquely structured character piece powered by Pacino's flawless acting abilities and an intriguing story, this is an icon of '70s cinema. It's raw, it's gritty, and it has a unique narrative flow. Al Pacino has delivered consistently brilliant work throughout his career, but this performance is among his best. One of my favorite films.

Moody, dark and fascinating, this nifty art house film shows us that Adam Sandler is a damn good actor. Unique screenplay and beautiful visuals rank this among the best of 2002.

One of the biggest achievements in cinema to be released in the 1960s, Breathless is a briskly paced, fearlessly exhibited film that palpitates with ideas and life. Excellent performances and charismatically bizarre characters populate this masterwork, keeping the audience entranced at all times. This is an unforgettable masterwork.

Nicholson is at his best here, nailing a role full of nuance and depth while also making us laugh. This is a subtle, at times crushing story about an existential man who has lost himself in all the pain and injustice of life. Written with intelligent flair and confidently directed, this is a film that will entertain the masses while striking a chord with the perceptive few.

This film throbs with queasily brutal power; gritty, real and completely depressing, it's directed with distinct style and vision. Al Pacino's debut performance is like the rest of his work: too great to put into words. He is quite simply one of the greatest actors in cinema history. I loved this film.

This film's jumbled narrative is a beautiful mosaic of human agony, threaded with an unflinching atmosphere of doom. Alejandro González Iñárritu imbues this masterwork with a gritty, bleak aesthetic quality, which serves well to the grim melodrama of the screenplay. This is a painful, intricate ensemble piece full of unsettling insight and stirring character dynamics, but none of it would have amounted to what it does without the performances. To pinpoint any of the actors in this film as being a standout would be unfair. The three lead actors (Sean Penn, Benicio Del Toro, Naomi Watts) do work here that is so explosively convincing that it's hard to watch. The entire supporting cast is excellent as well, in a film that I would be hard-pressed to indentify any flaws in. This is instantly one of my favorites.

One of the best original screenplays ever written - a complex, deep film that weaves character studies and mystery together incredibly well. The film is shot gorgeously and the characters are vibrant with detail.

A cold and detailed look at life in the Mafia, GoodFellas is defined by its witty screenplay, precise direction and convincing performances. Scorsese's direction crackles with fierce energy. There isn't a moment of GoodFellas that isn't oozing with excitement and undertones of violence. The story is disturbing and brutal, but there is somehow a sense of style and even fun underneath it all.

Sideways finds a rare balance between the heavy and the humorous due to a terrifically intelligent screenplay. Great performances all around, but Giamatti is the stand-out with his heart-wrenchingly human portrayal.

The vibrantly unique visual flair and precise direction of this film are what drive it into the realm of being a masterpiece. Gorgeously shot, lit and edited. Orson Welles does so much for the movie with a small supporting role.

Marilyn Monroe's lead performance is far from being impressive, but to my surprise it has no negative impact on the film overall. Her performance is one note - all wistfully whispered dialogue and forced pauses; but she serves well as a vessel for the audience to meet the other characters vicariously through. Clark Gable's final role is beautifully played, with visible undercurrents of pain in almost every scene. Eli Wallach is fantastic too, with Montgomery Clift turning in the kind of haunting interpretation that makes him a legend. Miller's screenplay falls for very few conventional Hollywood traps, delivering instead a quiet rumination on lost souls and a yearning for a better time. John Huston's familiarity with the visual element of film is always evident, with expertly crafted scenes that remind us of the importance of pacing.

Martin Scorsese's first collaboration with Robert De Niro is also his first masterpiece. The subtle, original plot development of this film is brought on mostly by Scorsese's passionate direction. I love it.

This intriguing, dark and bitingly clever film draws most of its power from style and direction. The story works both as a tragic human drama and as a nail-biting suspense. There is definitely a certain depth to this film that is a little rare in the genre.

For the most part, this methodically constructed anti-war film manages to stray away from sappiness, maintaining a feeling of genuine sentiments throughout. It's a very well-made, intriguing film with standout performances from Marlon Brando and Montgomery Clift.

This film contains everything you would expect from a top-notch Scorsese feature. A complex, engaging suspense film driven by an intelligent screenplay and fierce direction, this is a genuinely great film. The entire cast is stupendous, but DiCaprio stands out in one of his best performances to date. This is one of Scorsese's grandest feats - he makes this intricate story work beautifully and keeps things moving at a perfect pace. Although Monahan's script is an adaptation, The Departed is completely a Scorsese picture. It's bursting with his trademarks and directorial signatures. One of the best films of the year, and instantly one of my all-time favorites. This is undoubtedly going to be remembered as one of the great films of our time.

When you see Alfred Hitchcock working at his best, you see the ideal movie. This isn't just a great suspense film - it is technical perfection and artistic brilliance. Paced remarkably and absolutely chilling, Psycho is a milestone of a film on any scale.

What could have been an overwrought melodrama is instead a painfully real depiction of family dysfunction and divorce. Benton crafts the picture with great skill, adding no unnecessary fire to a fantastic screenplay and allowing his talented actors the room for some exceptional acting. Both Hoffman and Streep deliver Oscar-worthy performances, and all the actors surrounding them are convincing as well. I think the real triumph of this work is that it avoids the potentially sappy potential of its subject matter, and instead bares the tragic truth of its moral implications.

This is a movie that breaks so many rules, its reactions are naturally divisive. By asking his audience to follow a character who isn't easy to like or even tolerate, Gallo is doing a brave thing. Photographically speaking, the unconventional approach to the material will turn off traditional cinema purists too. On the other hand, I love this story, and I love this movie. I love the way the character arc doesn't plot out neatly, I love the bizarre composition and editing. Gallo's performance, both in front of and behind the camera, make this an essential indie classic.

Orson Welles is impressive both in front of and behind the camera in this incredibly stylish movie. It is an elaborate murder-mystery with a distinct visual flair, filled with brilliant camera trickery and fantastic lighting. In terms of technical landmarks, Welles is the master with Citizen Kane and Touch of Evil alone.

This is an example of a perfectly executed thriller. Taut, finely directed film noir filled with great performances and memorable dialogue. An instant favorite, and one of Hitch's best.

Although it may not have the graceful structure of a masterpiece like Gone with the Wind, I consider Giant to be a great film in its own right. The scope of the picture is enormous, and although it isn't always ideally handled, the strength of the material radiates through its flaws. Making powerful statements about racial intolerance, sexism and class differences, this is a film that touches on a lot of themes. It's a piece full of rapturous visual appeal, filled with memorable set pieces and performances. As a finale to his three-picture career, James Dean is particularly brilliant. For fans of classic Hollywood epics, this is a must-see.

This is a phenomenally crafted drama that avoids almost every possible cliche of the genre. It explores morally gray areas, and the story is suitably occupied with characters who are not written as "good" or "bad". James Stewart, as usual, is phenomenal in the lead role, providing the undoubtedly long film with the energy it needs. This is just about as close to perfect as movies get.

A unique and entertaining film about a young man's sexual and psychological confusion, this one jumpstarted Hoffman's career and sparked a new genre. It's a beautiful film, aided by the timeless songs by Simon & Garfunkel and an absolutely incredible screenplay.

An audacious, colorful film that finds potent metaphors in the bridge between the psychological and professional lives of artists. Masina is brilliant at achieving the delicate art of genuine charm and Anthony Quinn brings one of the most authentically cruel brutes I have ever seen in a film. Fellini's direction is engaging and beautifully expressive.

Stanley Kubrick's technically flawless horror masterpiece is absolutely brilliant. Vividly memorable due to fantastic use of color and remarkable performances, this is a landmark of the genre.

A tough, influential gangster film founded on simplistic morals. This film is an ideal showcase for James Cagney's iconic performance and presence, and he commands every scene he's in. Although some may argue that this picture is dated in many regards, it is still an engaging piece of cinema that manages to establish a great deal of development in its brisk running time.

A ferocious and transfixing film, Gangs of New York boasts incredible performances by Daniel Day-Lewis and Leonardo DiCaprio as well as huge directorial ambition. One of the best films of 2002, and one of Scorsese's most solid pieces of work.

A flawless love story. Full of humor we can all relate to and painful moments that truly hit home, this is a cinematic masterpiece. Powered by charismatic actors at their best and a great script.

A stunningly well-made docudrama that was undeniably far ahead of its time. One of Stewart's best performances, and a huge milestone of its time. Consistently gripping and believable, it disregards the somewhat melodramatic standards of 1940s cinema drama.

A tense, inventive thriller that brings new ideas to the film noir genre. The picture benefits from Kazan's trademark realism, shot on location in a documentary-esque style. The director's unique style of guiding actors is beneficial too; every player is convincing and highly effective. It's a tough, expertly crafted movie that leaves the audience satisfied.

Funny, moving and thought-provoking - one of the greatest movie love stories ever made. Woody Allen's writing is fresh, exciting and innovative, but it always sticks close to its core, which is that of a well characterized story.

What could have been a cliched and dull story is original, vibrant and fantastically acted. This inspired me in ways that almost no other movies have. Perceptive, intelligent and beautifully written.

One of Gus Van Sant's most impressive works, Drugstore Cowboy is a film that burns with energy and poetic subtext, permanently imprinting its dark story into the audience's minds. The performances are as energetic and fascinating as the direction, and it's all held up by a beautifully written screenplay. A masterpiece, and instantly one of my favorite films.

What could have been a formula-based film noir is instead a somber, unnerving character study featuring what is possibly Bogart's career-finest performance. This film identifies a side of Bogart that challenges him and surprises viewers, and the decision to cast him was a wise one. It's a tightly structured movie that provides ample amounts of emphasis on the mystery and romance at its foundation, while also infusing frank sexuality and violence. This is a movie with an edge, and the conclusion seals its greatness.

John Huston handles this project with masterful grace, structuring it in such a way that emphasizes the themes without being overly forceful. It's a beautifully directed film that makes full use of its locations, imbedding the audience in a gritty atmosphere. The photography is exquisitely composed, and the screenplay is full of powerful dialogue. Humphrey Bogart delivers one of his finest and most unsettling performances here, standing out in a cast of solid actors. This movie is constantly praised as one of the best American pictures in history, and I have to say it lives up to its status.

An intricate, stylish film inhabited with loads of richly detailed characters. The cast is splendid, and the technical aspects are defined by their precise tone setting and mood. Huston's crafty approach to presenting his vison is inspiring.

Aronofsky gives modern cinema a needed kick in the ass with his ingenious, madhouse vision. A dizzying film about obsession, it makes extraordinary use of a shoestring budget and brings about some of the most important visual concepts of our time. Absolutely mindblowing.

I wanted a new favorite out of this movie, and that's exactly what I got. A riveting juggernaut of witty screenwriting and top-notch acting, this comedy-drama is reminiscent of such masterpieces as 12 Angry Men. James Foley directs this stage adaptation with a sure hand - he leaves it up to the remarkable cast to chew up the dialogue without throwing any technical stand-outs into the mix. Pacino is a marvel - yet again, he shows us just how good acting can get.

Christian Mungiu's stark, brilliantly neutral drama heightens the tension and unease of its subject matter through ingenious visual choices and grim realism. Almost all of the scenes in this film are presented in one shot, which makes for some truly unique composition and refined movement. The performances are so phenomenally convincing that we can feel the pressure building on a visceral level. Anamaria Marinca is particularly astounding - her performance is composed of nuances and psychological understanding. A staggering, masterfully conceived movie.

This film was my introduction to director Lars von Trier, and I'm sure by the time a lot of people have read this review I will have explored more of his work. This film is more than just a passive experience - it's relentlessly tense, visceral and mentally involving. The direction is expertly executed, consuming the audience in the picture's nightmarish world from the moment it begins. It centers on only two performances, and they are both excellent. Willem Dafoe is truly brilliant here, but it is actress Charlotte Gainsbourg who commands the film. Her performance is fearless, taking the idea of intense devotion to a new level. This is one of the great demonstrations of acting to be released this decade. It is also the most violent film I have ever seen, and that's no exaggeration. Lars von Trier has crafted a masterpiece of warped, agonizing beauty.