Post #500: scenes list / index

Due to the change in format here in the last couple of months, the milestone posts no longer serve quite so clear-cut a purpose; new capsules are gathered monthly now, and short films, lost films and other ephemera are commented on within projects relevant to them. (So the one short we’ve covered thus far, The Red Balloon, was for example reviewed briefly in the Best Screenplay roundup.) Perhaps eventually we’ll use these posts to put together an index of such titles, but for now it feels extraneous. I also previously did a sort of “preview” of what films were coming up shortly for review, and although this was fun it was basically frivolous. Just to underline that, we’re about to start up the Best Actor rundown and in fact there’s probably little point in outlining what winners in that category I haven’t seen or haven’t seen in many years, all information you can easily glean in the Guide above if you’re interested, and frankly I rather doubt you are. The more we stick to just discussing the actual content of movies here, I feel, the better.

But I don’t have the kind of restraint that will permit me to post a simple index of full reviews. So below find a bit of fun I worked on for a decent amount of time this week, procrastinating on several other pressing matters in the process. While we’re on the subject, about that index: I decided it was wholly useless to have a chronological one at all. Though I think the Guide is reasonably easy to navigate, I can sort of see how there might be benefits to making a simple alphabetical listing of every essay that’s been posted here. My original thinking had been that a chronological gathering of the reviews could permit myself and maybe even you to breathe a sigh of relief at the knowledge that I’ve gotten slightly better at this over the past (currently) three years. But (a) that may not be true, (b) it seems pointless now that I’ve wiped the schedule and don’t intend to post things in a different order than they’re written. So I’ve gone with a third idea, inspired by Mike D’Angelo’s site, would be to create a year-by-year index of the essays, with every review of a film from 1930 gathered together, etc., though even the benefits of that are a bit dubious with the exclusion of capsules. Your thoughts on this extremely petty matter are welcomed, but I have a feeling the index may be largely superfluous at this point.


This was created non-scientifically, making many of the choices off the top of my head — I was without internet most of the time I worked on it so it’s heavily skewed in favor of films that I’ve either seen many times or have already reviewed at this blog. It’s a near-certainty that I’ve neglected something I like, and it’s not meant to be a definitive statement in any respect, rather entirely an expression of personal preferences. An attempt was made to limit this to one scene per film but that collapsed when it came to Citizen Kane and Notorious (though one of the scenes chosen from the latter didn’t make the final list). Also tried not to duplicate scenes that were mentioned on the list of best endings posted here before. One last caveat: When I went over this I struggled to limit it to sequences that stood out very distinctly as unique or special on their own. This leaves out a lot of beautiful narrative movies with cumulative impact. The last half hour of Vertigo, for example, has a psychological impact on me I’ve never seen duplicated in any other work of art — but there isn’t really one scene I can point to as defining that. And with some exceptions (like The Fisher King), most of the scenes below are integral parts of deeply satisfying wholes, not moments that have maximum impact all on their own. Clips and comments where available.

There is a heavy emphasis on musically-driven sequences here, perhaps by design; it wasn’t wholly conscious. Also, it didn’t make the top fifty, but I wanted to mention that my favorite scene in a film I dislike is almost certainly the Wolfman Jack / popsicles exchange in American Graffiti — in my opinion, the only time anything in that film cuts through the mythological bullshit nostalgia. Thanks, this was fun.

50. “Lucy in the Sky with Diamonds” from Yellow Submarine (1968, George Dunning)
Far from one of John Lennon’s strongest vocals, melodies or (to be sure) lyrics, this innocently psychedelic ditty gains transcendence here in its genuinely romantic dance between Lennon’s animated counterpart and some sort of apparition. Those with deep knowledge of Lennon’s childhood can easily have a field day interpreting this moment, but its exuberance and beauty require no context, overcoming even the crudeness of King Features’ effects animation.

49. the earthquake from San Francisco (1936, W.S. Van Dyke)
Decades of shit CGI haven’t tempered the visceral response to this astonishing disaster sequence, reenacting the San Francisco Earthquake for a lavish MGM picture wherein it serves as the out-of-nowhere climax.

48. “Kung Fu Fighting” from City of God (2002, Fernando Meirelles)
Tensions between various characters come to a violent head in this boisterous party scene; despite the horrible circumstances of this moment, before it all goes south it still makes one long to be there, in that time and that mood.

47. the library sequence from Se7en (1995, David Fincher)
It’s a strange place for something like this to appear, but in a serial killer movie concerned fully with the bleakness of urban life, we find as well an astoundingly beautiful evocation of getting lost in the stacks of a gigantic library, one that seems to beckon and even belong solely to the hero Detective Somerset (Morgan Freeman).

46. plane crash from Foreign Correspondent (1940, Alfred Hitchcock)
Has a slight edge on San Francisco above because it just feels so real, even after you know all of the photographic tricks used to create it.

45. singing “Blue Skies” for Mammy from The Jazz Singer (1927, Alan Crosland)
In a dated, problematic movie primarily seen now only for its historical distinction as the first successful part-talkie, there is nevertheless this unguarded, gorgeous moment of Al Jolson singing to his mom. It’s primitive, human and startlingly personal, like some revision of Edison’s The Kiss.

44. record exchange from The Virgin Suicides (1999, Sofia Coppola)
After the five sisters have their rock records taken away, they communicate by phone with the neighborhood boys using the easy-listening and adult contemporary product that remains. It’s an unexpectedly sweet, affecting expression of adolescent turmoil largely making use of music designed for no such purpose (though the likes of Todd Rundgren, contributed by the boys, help sell it).

43. “Baby Mine” from Dumbo (1941, Ben Sharpsteen)
The greatest character animation in the history of the medium, courtesy of the great Bill Tytla; the emotional impact of this is indescribable.

42. “Good Morning” from Singin’ in the Rain (1952, Stanley Donen & Gene Kelly)
One of the few Hays Code-era threesome scenes, carefully coded but pretty hard to miss. And all joking aside, the purity of the affection between these characters practically saved my life the first time I witnessed it.

41. library thoughts from Wings of Desire (1987, Wim Wenders)
The inner monologues of the patrons studying in a library, as heard by the angels of Berlin.

40. Lecter’s escape [1 / 2 / 3] from The Silence of the Lambs (1991, Jonathan Demme)
Among the most divinely crafted of all suspense sequences, and truly horrifying even after its intensity subsides. Demme positions this well before his film’s climax, so there’s no sense of relief when it’s ended.

39. “thanks for the gumdrops” from Life During Wartime (2009, Todd Solondz)
Released from prison, a pedophile confronts his son at the latter’s college dorm in the hopes that he has not inherited his dad’s disease. In a film with an uneven sensibility — it often lurches back and forth between a serious and light tone violently, and probably intentionally — these two characters in this moment feel heartbreakingly, oppressively real, a logical conclusion to their stunning, troubling “would you ever fuck me?” conversation in the picture’s predecessor, Happiness.

38. “they spoke to me” from Fahrenheit 451 (1966, Francois Truffaut)
Allow me to just break the flow briefly to once again proclaim that this is an offensively underappreciated film. It’s often cited as cold and emotionless; I have a hard time believing anyone who says that has sat and watched it and witnessed moments like this, when a woman would rather die than live without her private library.

37. poetry reading from Splendor in the Grass (1961, Elia Kazan)
The weight of unfair sexual competition and shaming falls on Natalie Wood all at once in this wounding moment of her most complex performance.

36. abandoned mansion from Rebel Without a Cause (1955, Nicholas Ray)
The formation of a de facto family, and the perfect articulation of the teenage heart that finds acceptance.

35. Dance of the Vampires from The Fearless Vampire Killers (1967, Roman Polanski)
This movie is largely a spoof, but this particular scene is sheer magic, the cleverly mounted moment when our heroes and impostors are caught and trapped in their lie.

34. “16 Going on 17” from The Sound of Music (1965, Robert Wise)
Except for the delightful marionette sequence, every great moment of this film is in its first half, and this completely enveloping moment of romance stands above all else — neither character resonates except in this scene, which bursts with promise and excitement.

33. dizzy Eiffel Tower chase from The Lavender Hill Mob (1951, Charles Crichton)
A sudden bit of surrealism in this classic black comedy, wherein a frenzied quest for some hidden gold sends us into an unexpected void of spiral laughter.

32. on the beach from The Seventh Seal (1957, Ingmar Bergman)
Every shot of this opening sequence in the film is iconic, and difficult to shake. No other film looks like this.

31. Elsie from M (1931, Fritz Lang)
One of the screen’s most upsetting murders… and we see none of it.

30. Bates vs. Arbogast from Psycho (1960, Alfred Hitchcock)
Psycho is full of rich, unforgettable moments that brand themselves on every viewer’s brain: the two bravura murders, the cleanup after the shower slaying, the tense early scenes of Janet Leigh driving frantically away into the night, and the utterly riveting conversation between Norman Bates and Marion Crane over sandwiches. But the moment that always blindsides me unexpectedly is this maddening, talky sequence of bracing suspense, when the private detective played by Martin Balsam gets under the skin of an increasingly nervous and irritable Bates. Not only is this a perfect example of the exquisitely written dialogue in the script by Joseph Stefano, it offers two brilliant actors the opportunity to define their characters in a frighteningly believable, pure moment of discomfort. It is the most absolutely sublime moment in a soulful, tormented movie.

29. R&R liaison from All Quiet on the Western Front (1930, Lewis Milestone)
The pain of war and the need for escape have seldom found so heartfelt an outlet as this solemn piece of grace amid much ugliness, with a group of promiscuous soldiers enjoying an idyllic evening with some women they meet while swimming. A shot of a bedroom door is accompanied by the anguished confessions of Lew Ayres’ Paul Baumer to his date; for just a moment, at least, he feels free to unload his fears.

28. marital montage from Up (2009, Pete Docter)
A model of silent storytelling and montage covering the entire history of an idiosyncratic relationship from fruition to death.

27. “Shrinking Lover” from Talk to Her (2002, Pedro Almodovar)
Silent film within a film speaks to the larger fairy tale-derived themes of Talk to Her itself but is far superior, a loving and imaginative tribute to the mechanics of pre-sound storytelling.

26. performance from The Red Shoes (1948, Michael Powell & Emeric Pressburger)
The indescribable centerpiece of this film, rife with eye-popping images and boundless beauty.

25. first date with Susan [conclusion] from Citizen Kane (1941, Orson Welles)
This humanizes Kane but also ultimately ruins him; he’s terribly lonely here. There’s a sweetness to this pair’s unlikely meeting, but the emotional complexity of this night really sings with the comedic genius of the great tycoon hiding his dread at his new mistress’s singing voice.

24. bus stop from My Neighbor Totoro (1988, Hayao Miyazaki)
The sole Studio Ghibli moment in my viewing experience that had all the magic attributed to it by by the studio’s rabid fanbase.

23. the farmer’s wife from The 39 Steps (1935, Alfred Hitchcock)
This brief stopping point in Hannay’s treacherous journey across Europe finds him hiding out from his pursuers in rural Scotland, where an unpleasant, coarse farmer puts him up and gets green with envy when his wife starts querying Hannay (Robert Donat) about life in the cities. In even this awful, imprisoned state, Hannay is leading a life longed for by this poor woman (Peggy Ashcroft) — and in his breathless departure is all the urgency of a fleeting glimpse of some glorious, scary larger world.

22. “Sound of Silence”/”April Come She Will” montage from The Graduate (1967, Mike Nichols)
Despite everything that happens after this, the film never fully escapes the melancholy dread of repetition, stagnation illustrated here — the true essence of the life Ben Braddock is destined to lead.

21. chariot race from Ben-Hur (1959, William Wyler)
Probably the greatest action sequence in Hollywood history.

20. abduction from Close Encounters of the Third Kind (1977, Steven Spielberg)
The X-Files owes its existence to this riveting, terrifying moment when a house seems to come alive just to drive a young boy into the waiting arms of a glowing spaceship, to the horror of his mom (Melinda Dillon). That we later learn the aliens are benevolent does nothing to dissipate the raw mystery and horror of this scene.

19. “Molly Malone” air raid from The Deep Blue Sea (2011, Terence Davies)
Of all scenes listed here, perhaps the one most incongruous to the film around it — I can barely remember much of anything about this tragic chronicle of unrequited love, but this brief flashback has haunted me constantly since I saw it three years ago. A detour on a subway platform elicits a stark memory of a hushed singalong in the same place during the war; in one take, Davies takes us there. It’s hard not to be jarred by the return to reality.

18. Ringo’s walk from A Hard Day’s Night (1964, Richard Lester)
A pop movie, yeah, sure. A pop movie that contains this peerless portrait of misfit introspection and aloofness that no one who’s ever felt alone will fail to recognize in some part of him or herself. The scene is difficult to imagine without George Martin’s rearrangement of the Beatles song “This Boy” perfectly complementing its simple, unresolved despair.

17. “Duck Soup” from Hannah and Her Sisters (1986, Woody Allen)
It’s quite simple: Woody Allen explains to his date (Dianne Wiest) why he changed his mind about killing himself. And it’s not what he says but how he says it, and how it’s shown to us. I tear up every time.

16. Grand Central Station from The Fisher King (1991, Terry Gilliam)
Gilliam’s odyssey of talk radio and Arthurian mysticism takes place in a palpably dirty world, and his misty exploration of a smoke-addled Grand Central before its renovation is no exception. And yet, when Robin Williams spots the love of his life in that bustling crowd, everything — however briefly — changes.

15. the party from Notorious [1 / 2] (1946, Alfred Hitchcock)
In her hand, Ingrid Bergman holds the very key — the key to the wine cellar that in turn holds the key to some sort of plot involving stolen uranium, who cares, what matters is what she and Cary Grant need to find is in that cellar. Nazi husband Claude Rains doesn’t know she has the key. Time’s running out. Time does run out. And what then? This is narrative suspense, defined.

14. “Dance of the Hours” from Fantasia (1940, sequence directed by T. Hee & Norm Ferguson)
A comic ballet designed to send up staid ballet conventions, but it does so much more besides. Hippos, alligators, elephants and ostriches figure in what finally becomes an elegant farce with some of the most phenomenal dancing ever captured on film, never mind that it’s animated.

13. Punch & Judy from The 400 Blows (1959, Francois Truffaut)
Truffaut captures childhood, unfiltered. In a film that also features frank, improvised interviews with a child and footage of several of them enjoying an amusement park ride, this still stands as the most disarming moment.

12. breakfast table from Citizen Kane (1941, Orson Welles)
No one but Welles would have, in 1941, presented the narrative of a society marriage’s breakdown in barely three minutes, using nothing but a run of breakfast table conversations over the course of several years. It’s true cinema, showing rather than telling, even with words — and a good indicator of why Welles was one of the true masters of American filmmaking.

11. birthing scene from Gone with the Wind (1939, Victor Fleming [this sequence directed by George Cukor, uncredited])
The chaos of Atlanta’s burning overtakes this romance’s narrative for nearly an hour in its midsection, and all around the bedlam sits this nightmarish yet beautiful moment of Olivia de Havilland having her child in the midst of all this misery. Cukor wasn’t typically recognized as a major visual stylist, but the use of color and shadow here makes a searing impression.

10. roller skating from Modern Times (1936, Charles Chaplin)
Generally Chaplin’s physicality was no match for his peer Buster Keaton’s, but in this moment inside a closed department store his sense of playfulness collides with his meticulous attention to detail, thus allowing him to demonstrate a kind of go-for-broke prowess unusual in his features. Modern Times never establishes that the relationship between Chaplin’s character and Paulette Godard’s is romantic, which makes this scene even stronger — rather than a typical moment of misguided wooing, it’s a celebratory rapport of a kind not often seen in U.S. cinema.

9. blind man from Bride of Frankenstein (1935, James Whale)
This meeting between two simple, lost souls is deservedly famous, so much so it hardly needs any explanation. But it’s everything: sad, righteous, funny, powerful.

8. transformation [1 / 2] from Black Narcissus (1947, Michael Powell & Emeric Pressburger)
Sister Ruth (Kathleen Byron) finally snaps, overcome with tension and sexual longing, and creates havoc in herself and in the isolated nunnery in the Himalayas where she’s now spent so much of her energy and life. Among the most explosively erotic moments in cinema.

7. Kane’s childhood from Citizen Kane (1941, Orson Welles)
Few moments in Kane aren’t incessantly inventive, but there’s arguably only one that cops wholly to romance — and it’s somehow the defining scene of the picture. Agnes Moorehead’s haunting performance as Charlie’s mother would be reason enough to canonize this, as would the technically staggering deep-focus takes that comprise it, but in the end it’s as beautiful as it is because it simultaneously upholds nostalgia for what can’t be recovered and questions, challenges every trace of it. Bernard Herrmann’s music flawlessly elaborates on such yearning.

6. walk across the horizon from Night of the Hunter (1955, Charles Laughton)
Indescribable. The embodiment of evil. “Don’t he never sleep?”

5. photo montage from Badlands (1973, Terrence Malick)
Of course her circumstances are unique — few teenagers have murderous boyfriends, thank god — but does anyone doubt that the chill down Holly’s spine “at this very moment” speaks for the entire world at a certain age?

4. “why don’t you do it?” from Rebecca (1940, Alfred Hitchcock)
Wherein the lesbian lover of Mrs. de Winter’s predecessor, the late Rebecca de Winter, does her best to persuade the despised new wife to kill herself. The manic emptiness in Judith Anderson’s eyes, the resignation and horror in Joan Fontaine’s — until its spell is suddenly broken by fireworks, it’s about as hypnotic a moment between two people as has been committed to film.

3. mirror confession [1 / 2] from Paris, Texas (1984, Wim Wenders)
Thirteen minutes, the culmination of a journey, the confession of an agony, the temporary bridging of a gulf, the reunion of a mother and child. It doesn’t get any rawer or more devastating, anywhere.

2. disconnecting HAL from 2001: A Space Odyssey (1968, Stanley Kubrick)
The protracted death scene, a staple of melodrama, turned on its head into one of many otherworldly expressions of man’s evolution in this strange, witty masterpiece. This genuinely frightening but mordantly humorous sequence is 2001 in microcosm, a feast of sound and vision.

1. the fairground murder from Strangers on a Train (1951, Alfred Hitchcock)
It feels vaguely cynical to cite a strangulation scene as my favorite extended moment in cinema, but as in so many of his greatest moments, Hitchcock here exposes the sinister lurking inside the innocent — the murderer hiding in a carnival atmosphere of freewheeling sensuality, flirtation, even singing. By seeing this, by somehow even participating in its oozing concoction of fun and dread, we dance on a volcano of risk — we teeter on the edge of life and death like no other medium can let us. It’s cinema, it’s wonderful and horrible, and wholly intoxicating.


Again, alphabetical navigation and order-of-posting navigation are easy to dig up elsewhere. This just gathers all of the full-fledged essays plus stopgaps and meta-posts and such. So let’s us use this thingo to waltz on through the History of Film according to the major canons we’ve gathered up so far, with an assist from the context of the time in which this blog has existed (so: a hell of a lot of representation of the last four years of movies).

SILENT ERA (14 reviews)
The Birth of a Nation (1915, D.W. Griffith)
Intolerance (1916, D.W. Griffith)
The Gold Rush (1925, Charles Chaplin)
The General (1926, Buster Keaton & Clyde Bruckman)
The Jazz Singer (1927, Alan Crosland)
Metropolis (1927, Fritz Lang)
7th Heaven (1927, Frank Borzage)
Sunrise (1927, F.W. Murnau)
Two Arabian Knights (1927, Lewis Milestone)
Underworld (1927, Josef von Sternberg)
The Unknown (1927, Tod Browning)
Wings (1927, William A. Wellman)
The Broadway Melody (1929, Harry Beaumont)
Diary of a Lost Girl (1929, Georg Wilhelm Pabst)

1930s (44 reviews)
All Quiet on the Western Front (1930, Lewis Milestone)
The Big House (1930, George W. Hill)
City Girl (1930, F.W. Murnau)
The Dawn Patrol (1930, Howard Hawks)
Murder! (1930, Alfred Hitchcock)
Bad Girl (1931, Frank Borzage)
The Champ (1931, King Vidor)
Cimarron (1931, Wesley Ruggles)
City Lights (1931, Charles Chaplin)
Frankenstein (1931, James Whale)
M (1931, Fritz Lang)
Skippy (1931, Norman Taurog)
Grand Hotel (1932, Edmund Goulding)
One Way Passage (1932, Tay Garnett)
Cavalcade (1933, Frank Lloyd)
Duck Soup (1933, Leo McCarey)
King Kong (1933, Merian C. Cooper & Ernest B. Schoedsack)
Little Women (1933, George Cukor)
It Happened One Night (1934, Frank Capra)
Manhattan Melodrama (1934, W.S. Van Dyke)
Bride of Frankenstein (1935, James Whale)
The Informer (1935, John Ford)
Mutiny on the Bounty (1935, Frank Lloyd)
A Night at the Opera (1935, Sam Wood)
The Scoundrel (1935, Ben Hecht & Charles MacArthur)
The Great Ziegfeld (1936, Robert Z. Leonard)
Modern Times (1936, Charles Chaplin)
Mr. Deeds Goes to Town (1936, Frank Capra)
The Story of Louis Pasteur (1936, William Dieterle)
Swing Time (1936, George Stevens)
The Awful Truth (1937, Leo McCarey)
The Life of Emile Zola (1937, William Dieterle)
Make Way for Tomorrow (1937, Leo McCarey)
Snow White and the Seven Dwarfs (1937, David Hand)
A Star Is Born (1937, William A. Wellman)
Bringing Up Baby (1938, Howard Hawks)
The Lady Vanishes (1938, Alfred Hitchcock)
Pygmalion (1938, Anthony Asquith & Leslie Howard)
You Can’t Take It with You (1938, Frank Capra)
Gone with the Wind (1939, Victor Fleming)
Mr. Smith Goes to Washington (1939, Frank Capra)
Stagecoach (1939, John Ford)
The Wizard of Oz (1939, Victor Fleming)
Wuthering Heights (1939, William Wyler)

1940s (44 reviews)
Arise, My Love (1940, Mitchell Leisen)
Fantasia (1940, various directors)
The Grapes of Wrath (1940, John Ford)
The Great Dictator (1940, Charles Chaplin)
The Great McGinty (1940, Preston Sturges)
The Philadelphia Story (1940, George Cukor)
Rebecca (1940, Alfred Hitchcock)
Foreign Correspondent (1940, Alfred Hitchcock)
Citizen Kane (1941, Orson Welles)
49th Parallel (1941, Michael Powell)
Here Comes Mr. Jordan (1941, Alexander Hall)
How Green Was My Valley (1941, John Ford)
The Maltese Falcon (1941, John Huston)
Sullivan’s Travels (1941, Preston Sturges)
Suspicion (1941, Alfred Hitchcock)
Casablanca (1942, Michael Curtiz)
Mrs. Miniver (1942, William Wyler)
Saboteur (1942, Alfred Hitchcock)
Woman of the Year (1942, George Stevens)
Yankee Doodle Dandy (1942, Michael Curtiz)
Princess O’Rourke (1943, Norman Krasna)
Shadow of a Doubt (1943, Alfred Hitchcock)
Double Indemnity (1944, Billy Wilder)
Going My Way (1944, Leo McCarey)
Marie-Louise (1944, Leopold Lindtberg)
Dead of Night (1945, Cavalcanti / Charles Crichton / Basil Dearden / Robert Hamer)
The House on 92nd Street (1945, Henry Hathaway)
The Lost Weekend (1945, Billy Wilder)
The Seventh Veil (1945, Compton Bennett)
Vacation from Marriage (1945, Alexander Korda)
The Best Years of Our Lives (1946, William Wyler)
It’s a Wonderful Life (1946, Frank Capra)
Notorious (1946, Alfred Hitchcock)
The Bachelor and the Bobby-Soxer (1947, Irving Reis)
Gentleman’s Agreement (1947, Elia Kazan)
Miracle on 34th Street (1947, George Seaton)
Bicycle Thieves (1948, Vittorio De Sica)
Hamlet (1948, Laurence Olivier)
The Search (1948, Fred Zinnemann)
The Treasure of the Sierra Madre (1948, John Huston)
All the King’s Men (1949, Robert Rossen)
Battleground (1949, William A. Wellman)
A Letter to Three Wives (1949, Joseph L. Mankiewicz)
The Third Man (1949, Carol Reed)

1950s (46 reviews)
All About Eve (1950, Joseph L. Mankiewicz)
Panic in the Streets (1950, Elia Kazan)
Rashomon (1950, Akira Kurosawa)
Seven Days to Noon (1950, John & Roy Boulting)
Sunset Blvd. (1950, Billy Wilder)
The African Queen (1951, John Huston)
An American in Paris (1951, Vincente Minnelli)
The Lavender Hill Mob (1951, Charles Crichton)
A Place in the Sun (1951, George Stevens)
The River (1951, Jean Renoir)
A Streetcar Named Desire (1951, Elia Kazan)
The Bad and the Beautiful (1952, Vincente Minnelli)
The Greatest Show on Earth (1952, Cecil B. DeMille)
Ikiru (1952, Akira Kurosawa)
High Noon (1952, Fred Zinnemann)
The Quiet Man (1952, John Ford)
Singin’ in the Rain (1952, Stanley Donen & Gene Kelly)
From Here to Eternity (1953, Fred Zinnemann)
Roman Holiday (1953, William Wyler)
Shane (1953, George Stevens)
The Country Girl (1954, George Seaton)
On the Waterfront (1954, Elia Kazan)
Rear Window (1954, Alfred Hitchcock)
Seven Samurai (1954, Akira Kurosawa)
Dementia (1955, John Parker)
Love Me or Leave Me (1955, Charles Vidor)
Marty (1955, Delbert Mann)
Rebel Without a Cause (1955, Nicholas Ray)
Around the World in Eighty Days (1956, Michael Anderson)
Giant (1956, George Stevens)
Patterns (1956, Fielder Cook)
The Searchers (1956, John Ford)
The Bridge on the River Kwai (1957, David Lean)
Designing Woman (1957, Vincente Minnelli)
Paths of Glory (1957, Stanley Kubrick)
12 Angry Men (1957, Sidney Lumet)
Witness for the Prosecution (1957, Billy Wilder)
The Defiant Ones (1958, Stanley Kramer)
Gigi (1958, Vincente Minnelli)
Vertigo (1958, Alfred Hitchcock)
Ben-Hur (1959, William Wyler)
North by Northwest (1959, Alfred Hitchcock)
Pillow Talk (1959, Michael Gordon)
Room at the Top (1959, Jack Clayton)
Shadows (1959, John Cassavetes)
Some Like It Hot (1959, Billy Wilder)

1960s (43 reviews)
The Apartment (1960, Billy Wilder)
Elmer Gantry (1960, Richard Brooks)
Psycho (1960, Alfred Hitchcock)
Shoot the Piano Player (1960, Francois Truffaut)
Spartacus (1960, Stanley Kubrick)
Divorce Italian Style (1961, Pietro Germi)
Splendor in the Grass (1961, Elia Kazan)
West Side Story (1961, Robert Wise & Jerome Robbins)
Yojimbo (1961, Akira Kurosawa)
How the West Was Won (1962, Henry Hathaway / John Ford / George Marshall)
Lawrence of Arabia (1962, David Lean)
The Manchurian Candidate (1962, John Frankenheimer)
To Kill a Mockingbird (1962, Robert Mulligan)
The Trial (1962, Orson Welles)
The Sword in the Stone (1963, Wolfgang Reitherman)
Tom Jones (1963, Tony Richardson)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, Stanley Kubrick)
Father Goose (1964, Ralph Nelson)
A Hard Day’s Night (1964, Richard Lester)
My Fair Lady (1964, George Cukor)
Point of Order (1964, Emile de Antonion)
Darling (1965, John Schlesinger)
Doctor Zhivago (1965, David Lean)
Help! (1965, Richard Lester)
The Sound of Music (1965, Robert Wise)
The Good, the Bad and the Ugly (1966, Sergio Leone)
A Man for All Seasons (1966, Fred Zinnemann)
Who’s Afraid of Virginia Woolf? (1966, Mike Nichols)
Bonnie and Clyde (1967, Arthur Penn)
The Fearless Vampire Killers (1967, Roman Polanski)
The Graduate (1967, Mike Nichols)
Guess Who’s Coming to Dinner (1967, Stanley Kramer)
In the Heat of the Night (1967, Norman Jewison)
The Lion in Winter (1968, Anthony Harvey)
Oliver! (1968, Carol Reed)
Once Upon a Time in the West (1968, Sergio Leone)
The Producers (1968, Mel Brooks)
2001: A Space Odyssey (1968, Stanley Kubrick)
Yellow Submarine (1968, George Dunning)
Butch Cassidy and the Sundance Kid (1969, George Roy Hill)
Easy Rider (1969, Dennis Hopper)
Midnight Cowboy (1969, John Schlesinger)
The Wild Bunch (1969, Sam Peckinpah)

1970s (34 reviews)
MASH (1970, Robert Altman)
Patton (1970, Franklin J. Schaffner)
A Clockwork Orange (1971, Stanley Kubrick)
The French Connection (1971, William Friedkin)
The Hospital (1971, Arthur Hiller)
The Last Picture Show (1971, Peter Bogdanovich)
Cabaret (1972, Bob Fosse)
The Candidate (1972, Michael Ritchie)
The Godfather (1972, Francis Ford Coppola)
American Graffiti (1973, George Lucas)
The Exorcist (1973, William Friedkin)
The Sting (1973, George Roy Hill)
Chinatown (1974, Roman Polanski)
The Godfather Part II (1974, Francis Ford Coppola)
Dog Day Afternoon (1975, Sidney Lumet)
Jaws (1975, Steven Spielberg)
Nashville (1975, Robert Altman)
One Flew Over the Cuckoo’s Nest (1975, Milos Forman)
All the President’s Men (1976, Alan J. Pakula)
Network (1976, Sidney Lumet)
Rocky (1976, John G. Avildsen)
Taxi Driver (1976, Martin Scorsese)
Annie Hall (1977, Woody Allen)
Close Encounters of the Third Kind (1977, Steven Spielberg)
Julia (1977, Fred Zinnemann)
Star Wars (1977, George Lucas)
Coming Home (1978, Hal Ashby)
The Deer Hunter (1978, Michael Cimino)
Midnight Express (1978, Alan Parker)
Alien (1979, Ridley Scott)
Apocalypse Now (1979, Francis Ford Coppola)
Being There (1979, Hal Ashby)
Kramer vs. Kramer (1979, Robert Benton)
Tess (1979, Roman Polanski)

1980s (37 reviews)
The Elephant Man (1980, David Lynch)
The Empire Strikes Back (1980, Irvin Kershner)
Melvin and Howard (1980, Jonathan Demme)
Ordinary People (1980, Robert Redford)
Raging Bull (1980, Martin Scorsese)
The Shining (1980, Stanley Kubrick)
Chariots of Fire (1981, Hugh Hudson)
Das Boot (1981, Wolfgang Petersen)
Raiders of the Lost Ark (1981, Steven Spielberg)
Reds (1981, Warren Beatty)
Blade Runner (1982, Ridley Scott)
E.T. the Extra Terrestrial (1982, Steven Spielberg)
Gandhi (1982, Richard Attenborough)
Sophie’s Choice (1982, Alan J. Pakula)
Tootsie (1982, Sydney Pollack)
Tender Mercies (1983, Bruce Beresford)
Terms of Endearment (1983, James L. Brooks)
Amadeus (1984, Milos Forman)
Once Upon a Time in America (1984, Sergio Leone)
Purple Rain (1984, Albert Magnoli)
Back to the Future (1985, Robert Zemeckis)
Witness (1985, Peter Weir)
Aliens (1986, James Cameron)
Hannah and Her Sisters (1986, Woody Allen)
Platoon (1986, Oliver Stone)
Babette’s Feast (1987, Gabriel Axel)
Bagdad Cafe (1987, Percy Adlon)
Full Metal Jacket (1987, Stanley Kubrick)
The Last Emperor (1987, Bernardo Bertolucci)
Cinema Paradiso (1988, Giuseppe Tornatore)
Die Hard (1988, John McTiernan)
Rain Man (1988, Barry Levinson)
Born on the Fourth of July (1989, Oliver Stone)
Driving Miss Daisy (1989, Bruce Beresford)
Do the Right Thing (1989, Spike Lee)
Indiana Jones and the Last Crusade (1989, Steven Spielberg)
Meet the Feebles (1989, Peter Jackson)

1990s (42 reviews)
Dances with Wolves (1990, Kevin Costner)
Goodfellas (1990, Martin Scorsese)
The Silence of the Lambs (1991, Jonathan Demme)
Terminator 2: Judgment Day (1991, James Cameron)
The Crying Game (1992, Neil Jordan)
A Midnight Clear (1992, Keith Gordon)
Reservoir Dogs (1992, Quentin Tarantino)
Unforgiven (1992, Clint Eastwood)
Schindler’s List (1993, Steven Spielberg)
The Snapper (1993, Stephen Frears)
The Thief and the Cobbler (1993, Richard Williams)
Forrest Gump (1994, Robert Zemeckis)
Heavenly Creatures (1994, Peter Jackson)
Leon (1994, Luc Besson)
The Lion King (1994, Roger Allers & Rob Minkoff)
Pulp Fiction (1994, Quentin Tarantino)
The Shawshank Redemption (1994, Frank Darabont)
Braveheart (1995, Mel Gibson)
Se7en (1995, David Fincher)
Toy Story (1995, John Lasseter)
The Usual Suspects (1995, Bryan Singer)
Beavis and Butt-head Do America (1996, Mike Judge)
Bottle Rocket (1996, Wes Anderson)
The English Patient (1996, Anthony Minghella)
Fargo (1996, Joel Coen)
Mother Night (1996, Keith Gordon)
Sling Blade (1996, Billy Bob Thornton)
Jackie Brown (1997, Quentin Tarantino)
L.A. Confidential (1997, Curtis Hanson)
Life Is Beautiful (1997, Roberto Benigni)
Titanic (1997, James Cameron)
Wild Man Blues (1997, Barbara Kopple)
American History X (1998, Tony Kaye)
Gods and Monsters (1998, Bill Condon)
Saving Private Ryan (1998, Steven Spielberg)
Shakespeare in Love (1998, John Madden)
American Beauty (1999, Sam Mendes)
Eyes Wide Shut (1999, Stanley Kubrick)
Fight Club (1999, David Fincher)
The Green Mile (1999, Frank Darabont)
The Matrix (1999, Andy & Lana Wachowski)
The Sixth Sense (1999, M. Night Shyamalan)

2000-08 (48 reviews)
Almost Famous (2000, Cameron Crowe)
Gladiator (2000, Ridley Scott)
Memento (2000, Christopher Nolan)
Requiem for a Dream (2000, Darren Aronofsky)
Snatch (2000, Guy Ritchie)
Songcatcher (2000, Maggie Greenwald)
Traffic (2000, Steven Soderbergh)
Amelie (2001, Jean-Pierre Jeunet)
A Beautiful Mind (2001, Ron Howard)
Ghost World (2001, Terry Zwigoff)
Lord of the Rings: The Fellowship of the Ring (2001, Peter Jackson)
Spirited Away (2001, Hayao Miyazaki)
Chicago (2002, Rob Marshall)
City of God (2002, Fernando Meirelles)
Lord of the Rings: The Two Towers (2002, Peter Jackson)
The Pianist (2002, Roman Polanski)
Secretary (2002, Steven Shainberg)
Talk to Her (2002, Pedro Almodovar)
Dogville (2003, Lars von Trier)
Lord of the Rings: The Return of the King (2003, Peter Jackson)
Lost in Translation (2003, Sofia Coppola)
My Architect (2003, Nathaniel Kahn)
Oldboy (2003, Park Chan-wook)
Crash (2004, Paul Haggis)
Downfall (2004, Oliver Hirschbiegel)
Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
Million Dollar Baby (2004, Clint Eastwood)
Batman Begins (2005, Christopher Nolan)
Brokeback Mountain (2005, Ang Lee)
The Constant Gardener (2005, Fernando Meirelles)
The Departed (2006, Martin Scorsese)
Jesus Camp (2006, Heidi Ewing & Rachel Grady)
Jonestown: The Life and Death of Peoples Temple (2006, Stanley Nelson)
The Lives of Others (2006, Florian Henckel von Donnersmarck)
Little Miss Sunshine (2006, Jonathan Dayton & Valerie Faris)
The Prestige (2006, Christopher Nolan)
Scoop (2006, Woody Allen)
Shortbus (2006, John Cameron Mitchell)
No Country for Old Men (2007, Joel & Ethan Coen)
The Curious Case of Benjamin Button (2008, David Fincher)
The Dark Knight (2008, Christopher Nolan)
Frost/Nixon (2008, Ron Howard)
The Hurt Locker (2008, Kathryn Bigelow)
Let the Right One In (2008, Tomas Alfredson)
Milk (2008, Gus Van Sant)
Rachel Getting Married (2008, Jonathan Demme)
Slumdog Millionaire (2008, Danny Boyle)
WALL-E (2008, Andrew Stanton)

2009 (11 reviews)
[Years with 10 or more essays posted warrant a fuller exploration here.]
Antichrist (Lars von Trier)
Enter the Void (Gaspar Noe)
The Informant! (Steven Soderbergh)
Inglourious Basterds (Quentin Tarantino)
Life During Wartime (Todd Solondz)
Moon (Duncan Jones)
A Serious Man (Joel & Ethan Coen)
Up (Pete Docter)
Up in the Air (Jason Reitman)
Whatever Works (Woody Allen)
White Material (Claire Denis)
+ [CAPSULED: Precious (Lee Daniels); 3 Idiots (Rajkumar Hirani)]
+ [NEED REVISITS: Adventureland (Greg Mottola); Away We Go (Sam Mendes); Cloudy with a Chance of Meatballs (Phil Lord & Chris Miller); Coraline (Henry Selick); Fantastic Mr. Fox (Wes Anderson); The Hangover (Todd Phillips); Where the Wild Things Are (Spike Jonze)]
+ [NOTABLE GAPS: Angels & Demons (Howard); Avatar (Cameron); The Blind Side (Hancock); A Christmas Carol (Zemeckis); Crazy Heart (Cooper); District 9 (Blomkamp); An Education (Scherfig); Fish Tank (Arnold); (500) Days of Summer (Webb); Funny People (Apatow); The Girlfriend Experience (Soderbergh); Ice Age: Dawn of the Dinosaurs (Saldanha); The Imaginarium of Dr. Parnassus (Gilliam); In the Loop (Iannucci); Invictus (Eastwood); Julie & Julia (Ephron); The Last Station (Hoffman); The Lovely Bones (Jackson); Mary and Max (Elliot); The Messenger (Moverman); Monsters vs. Aliens (Vernon & Letterman); Police, adj. (Porumboiu); Ponyo (Miyazaki); The Princess and the Frog (Clements & Musker); Public Enemies (Mann); The Secret in Their Eyes (Campanella); Sherlock Holmes (Ritchie); A Single Man (Ford); Star Trek (Abrams); Taken (Morel); Tetro (Coppola); Watchmen (Snyder); The White Ribbon (Haneke)]

2010 (30 reviews)
Another Year (Mike Leigh)
Beginners (Mike Mills)
Black Swan (Darren Aronofsky)
Carlos (Olivier Assayas)
Cave of Forgotten Dreams (Werner Herzog)
Certified Copy (Abbas Kiarostami)
Exit Through the Gift Shop (Banksy)
The Ghost Writer (Roman Polanski)
Greenberg (Noah Baumbach)
The Illusionist (Sylvain Chomet)
Inception (Christopher Nolan)
Inside Job (Charles Ferguson)
The Kids Are All Right (Lisa Cholodenko)
The King’s Speech (Tom Hooper)
Marwencol (Jeff Malmberg)
Meek’s Cutoff (Kelly Reichardt)
Mysteries of Lisbon (Raul Ruiz)
127 Hours (Danny Boyle)
Poetry (Lee Chang-dong)
Scott Pilgrim vs. the World (Edgar Wright)
Shutter Island (Martin Scorsese)
The Social Network (David Fincher)
Somewhere (Sofia Coppola)
Strange Powers: Stephin Merritt and the Magnetic Fields (Kerthy Fix & Gail O’Hara)
Submarine (Richard Ayoade)
Toy Story 3 (Lee Unkrich)
True Grit (Joel & Ethan Coen)
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
Winter’s Bone (Debra Granik)
You Will Meet a Tall Dark Stranger (Woody Allen)
+ [CAPSULED: Le Quattro Volte (M. Frammartino); My Joy (Sergei Loznitsa); The Strange Case of Angelica (Manoel de Oliveira)]
+ [NOTABLE GAPS: Alice in Wonderland (Burton); All Good Things (Jarecki); The American (Corbijn); And Everything Is Going Fine (Soderbergh); Animal Kingdom (Michod); Biutiful (Gonzalez Inarritu); Blue Valentine (Cianfrance); Death at a Funeral (LaBute); Despicable Me (Coffin & Renaud); The Fighter (Russell); Film Socialisme (Godard); Hereafter (Eastwood); How Do You Know (Brooks); How to Train Your Dragon (Sanders & DeBlois); The Last Airbender (Shyamalan); Megamind (McGrath); Never Let Me Go (Romanek); Nostalgia for the Light (Guzman); Rabbit Hole (Mitchell); Restrepo (Junger & Hetherington); Senna (Kapadia); Shrek Forever After (Mitchell); Tangled (Greno & Howard); Tiny Furniture (Dunham); The Town (Affleck); Tron Legacy (Kosinski); Valhalla Rising (Refn); Wild Grass (Resnais)]

2011 (29 reviews)
Alps (Yorgos Lanthimos)
Another Earth (Mike Cahill)
The Artist (Michel Hazanavicius)
Attack the Block (Joe Cornish)
Bridesmaids (Paul Feig)
Contagion (Steven Soderbergh)
A Dangerous Mind (David Cronenberg)
Dark Horse (Todd Solondz)
The Deep Blue Sea (Terence Davies)
Drive (Nicholas Winding Refn)
Footnote (Joseph Cedar)
Hanna (Joe Wright)
House of Pleasures (Bertrand Bonello)
Hugo (Martin Scorsese)
The Kid with a Bike (Jean-Pierre & Luc Dardenne)
Killer Joe (William Friedkin)
Le Havre (Aki Kaurismaki)
Margaret (Kenneth Lonergan)
Melancholia (Lars von Trier)
Once Upon a Time in Anatolia (Nuri Bilge Ceylan)
Rango (Gore Verbinski)
A Separation (Asghar Farhadi)
The Skin I Live In (Pedro Almodovar)
Super 8 (J.J. Abrams)
Take Shelter (Jeff Nichols)
Tinker Tailor Soldier Spy (Tomas Alfredson)
The Tree of Life (Terrence Malick)
The Turin Horse (Bela Tarr)
Young Adult (Jason Reitman)
+ [REVIEWED ELSEWHERE: The Descendants (Alexander Payne); The Girl with the Dragon Tattoo (David Fincher)]
+ [CAPSULED: Bernie (Richard Linklater); The Intouchables (Nakache & Toledano); Midnight in Paris (Woody Allen); Tabloid (Errol Morris); This Is Not a Film (Jafar Panahi); Wuthering Heights (Andrea Arnold)]
+ [NOTABLE GAPS: The Adventures of Tintin (Spielberg); Albert Nobbs (Garcia); Arthur Christmas (Smith); Carnage (Polanski); Cars 2 (Lasseter); A Cat in Paris (Felicioli & Gagnol); Essential Killing (Skolimowski); Extremely Loud & Incredibly Close (Daldry); 50/50 (Levine); The Future (July); The Green Hornet (Gondry); Harry Potter and the Deathly Hallows Part 2 (Yates); Haywire (Soderbergh); The Help (Taylor); Hop (Hill); Horrible Bosses (Gordon); The Ides of March (Clooney); The Interrupters (James); The Iron Lady (Lloyd); J. Edgar (Eastwood); Kung Fu Panda 2 (Nelson); Margin Call (Chandor); Martha Marcy May Marlene (Durkin); Mission: Impossible – Ghost Protocol (Bird); Moneyball (Miller); The Muppets (Bobin); My Week with Marilyn (Curtis); Oslo, August 31st (Trier); Pina (Wenders); Puss in Boots (Miller); Rio (Saldanha); Rise of the Planet of the Apes (Wyatt); Shame (McQueen); The Smurfs (Gosnell); War Horse (Spielberg); Warrior (O’Connor); We Bought a Zoo (Crowe); Weekend (Haigh); We Need to Talk About Kevin (Ramsay)]

2012 (31 reviews)
The Act of Killing (Joshua Oppenheimer)
Amour (Michael Haneke)
Argo (Ben Affleck)
Beasts of the Southern Wild (Benh Zeitlin)
Berberian Sound Studio (Peter Strickland)
The Cabin in the Woods (Drew Goddard)
Cloud Atlas (Andy Wachowski / Lana Wachowski / Tom Tykwer)
Damsels in Distress (Whit Stillman)
The Dark Knight Rises (Christopher Nolan)
Django Unchained (Quentin Tarantino)
Flight (Robert Zemeckis)
Frances Ha (Noah Baumbach)
Frankenweenie (Tim Burton)
Holy Motors (Leos Carax)
Leviathan (Lucien Castaing-Taylor & Verena Paravel)
Life of Pi (Ang Lee)
Like Someone in Love (Abbas Kiarostami)
Lincoln (Steven Spielberg)
Looper (Rian Johnson)
Magic Mike (Steven Soderbergh)
The Master (Paul Thomas Anderson)
Moonrise Kingdom (Wes Anderson)
Much Ado About Nothing (Joss Whedon)
Silver Linings Playbook (David O. Russell)
Skyfall (Sam Mendes)
Spring Breakers (Harmony Korine)
Stories We Tell (Sarah Polley)
Tabu (Miguel Gomes)
To Rome with Love (Woody Allen)
To the Wonder (Terrence Malick)
Zero Dark Thirty (Kathryn Bigelow)
+ [CAPSULED: Anna Karenina (Joe Wright); Arbitrage (Nicholas Jarecki); The Avengers (Joss Whedon); Beyond the Hills (Cristian Mungiu); Brave (Mark Andrews & Brenda Chapman); Cosmopolis (David Cronenberg); The Hunger Games (Gary Ross); The Hunt (Thomas Vinterberg); In the Fog (Sergey Loznitsa); Mud (Jeff Nichols); Post Tenebras Lux (Carlos Reygadas)]
+ [NOTABLE GAPS: The Comedy (Alverson); Compliance (Zobel); Dark Shadows (Burton); The Hobbit: Ecks vs. Sever (Jackson); 56 Up (Apted); The Grey (Carnahan); Hotel Transylvania (Tartakovsky); Ice Age: Continental Drift (Martino & Thurmeier); The Impossible (Bayona); John Carter (Stanton); Killing Them Softly (Dominik); Les Miserables (Hooper); The Lorax (Renaud); Madgascar 3 (Darnell/Vernon/McGrath); ParaNorman (Fell & Butler); The Perks of Being a Wallflower (Chbosky); The Pirates! Band of Misfits (Lord); Prometheus (Scott); The Raid: Redemption (Evans); Red Hook Summer (Lee); Rise of the Guardians (Ramsey); The Secret World of Arietty (Yonebayashi); The Sessions (Lewin); Sound of My Voice (Batmanglij); 21 Jump Street (Lord & Miller); Take This Waltz (Polley); This Is 40 (Apatow); Wreck-It Ralph (Moore)]

2013 (26 reviews)
All Is Lost (J.C. Chandor)
American Hustle (David O. Russell)
Before Midnight (Richard Linklater)
Blackfish (Gabriela Cowperthwaite)
The Bling Ring (Sofia Coppola)
Blue Is the Warmest Color (Abdellatif Kechiche)
Blue Jasmine (Woody Allen)
Captain Phillips (Paul Greengrass)
The Conjuring (James Wan)
Dallas Buyers Club (Jean-Marc Vallee)
Enough Said (Nicole Holofcener)
Gloria (Sebastian Lelio)
Gravity (Alfonso Cuaron)
Her (Spike Jonze)
Inside Llewyn Davis (Joel & Ethan Coen)
Monsters University (Dan Scanlon)
Nebraska (Alexander Payne)
Nymphomaniac: Vol. I (Lars von Trier)
Nymphomaniac: Vol. II (Lars von Trier)
Philomena (Stephen Frears)
Rush (Ron Howard)
The Spectacular Now (James Ponsoldt)
12 Years a Slave (Steve McQueen)
Upstream Color (Shane Carruth)
The Wolf of Wall Street (Martin Scorsese)
The World’s End (Edgar Wright)
+ [CAPSULED: Ain’t Them Bodies Saints (David Lowery); Bastards (Claire Denis); Behind the Candelabra (Steven Soderbergh); The Grandmaster (Wong Kar-Wai); Only God Forgives (Nicholas Winding Refn); Stranger by the Lake (Alain Guiraudie); A Touch of Sin (Zhangke Jia); Under the Skin (Jonathan Glazer)]
+ [NOTABLE GAPS: August: Osage County (Wells); Blancanieves (Berger); The Butler (Daniels); Cloudy with a Chance of Meatballs 2 (Cameron & Pearn); Computer Chess (Bujalski); The Congress (Folman); The Croods (DeMicco & Sanders); Despicable Me 2 (Coffin & Renaud); Epic (Wedge); Frozen (Buck & Lee); Goodbye to Language 3D (Godard); The Great Beauty (Sorrentino); The Great Gatsby (Luhrmann); Hard to Be a God (German); The Heat (Feig); A Hijacking (Lindholm); The Hobbit: Last Year at Marienbad (Jackson); Identity Thief (Gordon); In a World… (Bell); Iron Man 3 (Black); Is the Man Who Is Tall Happy? (Gondry); Labor Day (Reitman); Like Father Like Son (Koreeda); Museum Hours (Cohen); Neighboring Sounds (Filho); No (Larrain); Pacific Rim (del Toro); The Past (Farhadi); The Place Beyond the Pines (Cianfrance); Prisoners (Villeneuve); Short Term 12 (Cretton); Side Effects (Soderbergh); Stoker (Park); This Is the End (Rogen & Goldberg); The Unknown Known (Morris); The Wind Rises (Miyazaki)]

2014-present (3 reviews)
Boyhood (2014, Richard Linklater)
Gone Girl (2014, David Fincher)
The Grand Budapest Hotel (2014, Wes Anderson)

catchup 1
catchup 2
February 2015
March 2015
April 2015

Best Picture Oscar winners
Best Director Oscar winners
AFI 100 Movies
Best Writing Oscar winners

post #100 + shots list
post #200 + directors list
post #300 + title sequences list
post #400 + endings list

2012 top ten
2013 top ten
[Didn’t see enough new movies in 2014 to do one of these, alas; and since I’ve moved even farther from any theater that would show features that interest me, I may not be able to in the future either.]

introductions & explanations
format change info

As always, thank you for reading.

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