Post #600: FAQ / the worst films / complete index

It’s already been nearly two and a half years since our last milestone post, which closely coincided with a radical change in the rate of posting here and with the beginnings of the canon project that’s mostly overtaken the narrative at this point. These changes had two interesting impacts: fewer long reviews being posted, and yet conversely, far more films being reviewed, with the result that in going back over this blog’s nearly six-year history, there’s quite a lot to index. The links at the top of this screen, of course, take you to a complete index of short capsules for every film I’m aware that I’ve seen, but that goes back eons and serves a different purpose, really, than our day to day business — more reference than readability. What we have here is a complete listing of every feature film I have reviewed formally here or informally at Letterboxd since December 2011, which also means every film I have seen since that date. The films are gathered in rough chronological order, by year and then by director. (I debated listing them by precise release date but decided this would make the list far more difficult to update in a few years.)

This is a good time for a short FAQ about my general procedures here, how things have changed since the blog’s inception, etc. so here we go. (FAQ is a bit of a misnomer, because traffic’s not exactly booming, but these are the questions I speculate you may have if you happen upon this site.

There used to be a lot more long, essay-length reviews being posted here; in fact, for the first three years it was three per week without fail. Now it’s more like, to paraphrase Annie Hall, two or three times a month. Why is that?
I was still in my twenties when I started Slices of Cake and had very ambitious plans to write an essay on each film with a place in the unofficial “canon,” so to speak, and many without one, using various polls and lists as my starting point. As time went on, the joy I found in analyzing and breaking down perceived classics started to fade, especially when it led to me spending a lot of time writing about movies I didn’t really care about, which is not something I’m keen on doing for free. However, I’m kind of stubborn about my personal projects and I let the original concept go on longer than it should have. This is an example of the conflict between my love of writing and my love of lists and organization — even when I didn’t enjoy writing long pieces about, say, Tootsie, I loved the fact that I could say I’d written about every film in the AFI 100, and it was a bit hard for me to give up that distinction and similar ones. In the end I switched to a system of drafting rough, somewhat informal short pieces for each film I watch at Letterboxd, and posting a full-length review only when I felt I had enough to say to warrant one. (Generally, if I type two full paragraphs at Letterboxd and feel I can keep going, I switch to a full essay here.) I had already been logging everything I watched over there, and this just helped me integrate that site into my day-to-day habits for maintaining SOC.

How do you choose what films receive full reviews?
From 2012 to early 2015, the vast majority of movies I watched were reviewed in full. But starting in February 2015, the pace slackened considerably as described above. For the most part I shy away from writing at great length about movies I’ve just seen for the first time ever; the only exceptions are if I consider something a masterpiece out of the gate (recent examples would be The Scarlet Empress and Sisters of the Gion) or if I find that a film triggered so many thoughts that I need the space to sprawl around and explore it. That doesn’t necessarily mean I liked it. Contemporary examples are Blue Valentine, which I hated; The One I Love, which I liked; and Wiener-Dog, which I absolutely adored. Eventually my intent is for any film I love to be fully reviewed in this space, some more than once. Right now, because I was doing things differently early on, you may find in the index below a strange imbalance whereby films I champion — say, We Are the Best! or Moonlight or The Heiress or Finding Nemo — have not been examined beyond short capsules at LB, but you can click through to reviews of The Quiet Man and the Lord of the Rings movies and other films that don’t seem to merit such deep analysis, at least not from these quarters. Over time this will change. There are many examples of films for which I posted complete reviews at the time but wouldn’t now; some of these are nevertheless pieces of writing I’m happy with, but many are not. Another reason some films that weren’t a great use of my time once received long reviews is because I made some missteps in terms of the viewing projects I was taking on. More on that in a moment.

What is Letterboxd and why/how do you use it?
Letterboxd is a wonderful social network dedicated to movie watching and reviewing that wasn’t available to me when I started this blog; if it had been, there’s a not-insignificant chance I would have made it my primary outlet for film reviewing. What I like about it: its visual appeal, its ease of use, its many helpful tools, its readability, and its social aspect, which is so much more appealing in many ways than the comparatively quarantined culture of this weblog. I began logging and writing up all films I saw there at the beginning of 2013 when I received an invite (registrations became fully open soon after that); this, incidentally, is why the first year’s worth of reviews here are the only ones that do not have LB capsules linked. I also imported the full list of films I had previously seen, although to date I have not added any pre-2013 reviews or capsules to the site and don’t expect I will. Up to the point when I changed the format here at SOC, I used my immediate Letterboxd responses as a “first draft” for the reviews I would later post here, which proved a handy alternative to extensive note-taking. (It also helps me keep a “bigger picture” in mind when I write; if I take detailed notes I tend to get constantly sidetracked by nuances.) Now, Letterboxd is really my main venue for film writing, with certain more polished thoughts making their way here.

The only drawback to using LB is the possibility of internet non-permanence; whereas I have full control of what you see at this blog (apart from the ads, which disappear if you log in), Letterboxd is of course a third party. However, I back up my work there regularly and could always switch to some alternative method of posting that material if necessary. But I would greatly miss the interactions with friends and other film lovers there, and I don’t have much confidence in my ability to engage people in quite the same way here.

Some of the old posts look different from the new posts.
That’s not a question, but anyway, yeah. When I started I was pretty ambitious, as we’ve seen, and was determined to make this blog extremely visually striking. One of my pet peeves with a lot of professional movie reviewers (which I am not, and I want you to know I have no illusions otherwise) is that they may as well be writing about novels much of the time, and I think it’s important to communicate the visual properties of cinema, which are the majority of its appeal. One way I thought I could reinforce that was with multiple illustrations in each post. As time went by and internet trends changed I came to feel that this made the posts look cluttered. Additionally, I did not want to rely on what stills I could dig up on the web and wanted to be able to choose the screenshots myself, which for a good while was the most time-consuming and annoying part of maintaining all this. So I simplified for a time to just putting a one-sheet at the top of the post, then to a representative still. These are also now stored on WordPress’ server, so they show up as icons and thumbnail images when blog posts are linked. I’m in the process of switching all of the old posts to this format; however, it’s rather a long project and there’s not really a timeframe on it, just something I work on when it strikes me. (Don’t tell anyone but I am also making minor edits and alterations to the reviews themselves. I can’t change the fact that me writing an essay about The Lion in Winter is a dumb idea, but maybe I can make that Million Dollar Baby review a little less cringey.) So for the time being, certain posts are better looking than others, and that’s life isn’t it.

You also may notice that the blog entries are supposed to have hyperlinked cross references. In other words, if a review makes reference to another film I’ve reviewed in full, there should be a link to the relevant post. This is true of all of my new posts and I’m adding the feature to the old ones as I move through and revise them.

Is all of the stuff you write here brand new and totally original and fresh and unknown to the world outside?
Alas, no! One of the original goals of this blog was to streamline and organize my messy archive of movie review posts from my old personal blog. Any time a review I post here is a revision of something older, it’s noted at the bottom in a different font. As years pass, this is becoming less and less common, both because I’ve mostly cleaned out my archive and because it’s now rare for me to read something I wrote that long ago that I still think is good enough to share.

Why do you post a dry rundown each month of how many movies you’ve watched and what they were?
Mostly for my own benefit (which is also the reason for everything else here, quite honestly); I enjoy tracking my progress this way. It’s a good way to keep a rundown of how the projects I’m working on are going. And for the hypothetical reader who follows this blog and uses the Movie Guide but doesn’t read my constant Letterboxd updates, it’s a good way to see what’s been newly added. The monthly capsules are generally edited versions of the LB posts, though there are occasionally exceptions. I try to keep the entries in the Movie Guide very short and simple, so they are generally less conversational and detailed.

About that Movie Guide…
It’s the centerpiece of this site, but I haven’t really addressed it here today. Any questions you have about it should be answered here.

Why did the lists projects you were working on change and what can we expect in the future?
Because I’m an idiot.

But the longer answer is, I first took on some sort of “movie canon” project back in 2006 and swiped a list of lists off various places on the internet, vaguely intending to run down the list in order. It started with the AFI 100, then went to the IMDB Top 250, then I forget what next (most nightmarishly, one item was a complete list of domestic top-grossing titles; I don’t know that there’s enough alcohol in the world to make me actually do that). For some bizarre reason, whether a misplaced commitment to my own past ideas for how to spend time or whatever else, in 2011 when I was preparing SOC I elected to use the same list of source canons from which to draw material / movies. The AFI list was relatively easy and handy since I had already written at least a little about most of the films on it. The IMDB list became a slog for lots of reasons and eventually I had to agree with some observers that attempting to tackle it here was misguided and pointless. More and more I realized I wasn’t actually doing what I’d built the blog to do, and decided to scrap everything and start over with what actually interested me; while I will still be exploring certain published and even populist lists, I’ve switched instead to a chronological listing of cinephile-beloved titles I’ve wanted to see for years, using the polls regularly voted on by users at the Criterion Forum, a fine resource.

In my defense, the goal had at one time been for the Movie Guide to cover every kind of popular and famous film, and maybe eventually it will have a lot of that, but since I’m the only one really paying attention to all this, I’m going to stick to the movies I have genuine curiosity to see. Among other things, it stops me from pissing people off quite as much because I just don’t like… let’s just say, a lot of what is beloved of most of my peers, movie-wise. It’s not deliberate contrarianism, but I’m skeptical it does anyone any good for me to talk about that stuff anymore.

(None of this affects my Oscars project. Despite the fact that you could argue this too sends me down avenues that are less than fascinating, I think seeing the winners and nominees does serve a certain interesting purpose, both as a damning of this weird avenue of consolidated, commodified movie culture and as a way of seeing films I love that I never would have expected to, like Tender Mercies.)

As for future projects, I will continue moving through the decade canons, hopefully at a rate of one per year. The interludes I’ve scheduled — the Sight & Sound and They Shoot Pictures lists — will inject a bit of variety without altering my course. I do have one rather large project that may interrupt the pace temporarily, but I’m not ready to talk about that yet, mostly because it may change or be delayed; it’s a slightly counterintuitive choice but one I’ve decided will serve an important purpose here.

Speaking of projects, you’ve never properly explained the “2010s catchup.”
It’s a private list because it’s fluid and my priorities, plus the films’ availability, constantly change. Once again I’ve plundered the Criterion Forum, whose user swo17 regularly catalogs and organizes the other users’ favorite films of each year, and have used that along with Metacritic as a basis for deciding what new films to seek out, since the number of releases is truly overwhelming and — while my heart lies firmly in the past — I don’t want to entirely lose touch with modern cinema. Much as I loathe Hollywood blockbusters, I’m quite out of touch when it comes to arthouse as well, as I don’t seem to care much for the stylistic or story choices being made by a lot of younger directors, but just as an illustration of how much more choice we have now (at home, not, for heaven’s sake, at the theater, at least not if you don’t live in a major city), I’ve still seen more than eighty films in the current decade that I thought at least brushed greatness. My intention is to continue to keep up and then concentrate for a few months on seeing as many of the major works from the current decade as possible in 2019, so that I can throw together a list of my top films from 2010 to now, because that could be fun.

Enough of this shit. What are the worst movies you’ve ever seen in your life, ever?
I’m glad you asked because I have prepared just such a list for the occasion, going temporarily against my resolution not to expound so much on the negative. What’s interesting is I found that the films I hate the most can be placed in one of a few categories: painfully unfunny comedies, shining examples of egomania at work, wrongheaded didactics, maudlin shit designed to make kids covertly accept their own slow biological demise at the hands of capitalism, awful movies (usually painfully unfunny comedies) my dad rented, awful movies I rented because they had dogs in them, sheer boring incompetence, or just personally offensive stuff; based on how I impulsively ranked this, I seem to be especially bothered by remakes of or sequels to films I love. Please note that this list includes six Academy Award winners for Best Picture. Also please give a hand to the MVPs, two-time listees Gus van Sant and Brad Silberling; and shouts out to Amy Heckerling, Carol Reed and Robert Zemeckis for having made some of my most beloved films of all time as well as some of my absolute bottom-of-the-barrel nightmare movies.

1. JFK (1991, Oliver Stone)
2. Scarface (1983, Brian De Palma)
3. Psycho (1998, Gus van Sant)
4. Crash (2004, Paul Haggis)
5. City of Angels (1998, Brad Silberling)
6. 2010 (1984, Peter Hyams)
7. Casper (1995, Brad Silbering)
8. All Dogs Go to Heaven (1989, Don Bluth)
9. Super Size Me (2004, Morgan Spurlock)
10. The Adventures of Ford Fairlaine (1990, Renny Harlin)
11. The Danish Girl (2015, Tom Hooper)
12. Oliver! (1968, Carol Reed)
13. Problem Child 2 (1991, Brian Levant)
14. Captain Ron (1992, Thom Eberhardt)
15. Dennis the Menace (1993, Nick Castle)
16. Bingo (1991, Matthew Robbins)
17. My Fair Lady (1964, George Cukor)
18. Forrest Gump (1994, Robert Zemeckis)
19. Give My Regards to Broad Street (1984, Peter Webb)
20. Gigi (1958, Vincente Minnelli)
21. Look Who’s Talking Too (1990, Amy Heckerling)
22. My Science Project (1985, Jonathan R. Betuel)
23. Armageddon (1998, Michael Bay)
24. Gladiator (2000, Ridley Scott)
25. Elephant (2003, Gus van Sant)

If you require justification for any of these, you have my permission to read the corresponding Movie Guide entry and then file a complaint with Central Services.

***

Two notes about the index, which I’ve tried to make as comprehensive, illuminating and easy to browse as possible. You’ll notice that there’s a considerable dropoff in the number of films covered after the 1930s, and then a huge uptick in the 2010s; that’s because the ’20s and ’30s are the canon projects I’ve completed thus far, and because as noted above, I’ve tried to devote myself to monitoring new movies when I can. In 2013 I even managed to see all of the Best Picture nominees theatrically, a fun stunt that I wouldn’t do again.

Secondly, there will be — increasingly, and probably by post #700 — a need for a shorts index. When shorts come up, as many of them did in the silent era canon and as many will again in future projects, I formally review them in my monthly posts even though I don’t log them on LB and don’t include them in the Movie Guide. TV shows, music videos, etc. probably won’t ever be covered here (I review them as well as, once in a while, DVD releases at my personal blog; if something seems especially relevant to our purposes here I’ll mention it in a monthly roundup), but shorts are a true, vital and underreported segment of actual cinema; the founding segment, in fact. For now, almost all of the shorts I’ve reviewed were covered and indexed in the Silent Era Canon writeup; World of Tomorrow, for the 2010s canon, and The Red Balloon, for the Best Screenplay project, are the biggest exceptions. Before long I wager there will be enough to justify a full linked list in this space.

At any rate, here goes. Note that there are six films reviewed in 2011 at my personal blog that I include with the full reviews; I may or may not eventually move those over here.

***

1913
LETTERBOXD CAPSULES:
Ingeborg Holm (Victor Sjöström)

1914
LETTERBOXD CAPSULES:
Cabiria (Giovanni Pastrone)

1915
FULL REVIEWS:
The Birth of a Nation (D.W. Griffith)
LETTERBOXD CAPSULES:
The Cheat (Cecil B. DeMille)
Regeneration (Raoul Walsh)

1916
FULL REVIEWS:
Intolerance (D.W. Griffith)
LETTERBOXD CAPSULES:
Hell’s Hinges (Charles Swickard)

1917
LETTERBOXD CAPSULES:
Bucking Broadway (John Ford)

1919
LETTERBOXD CAPSULES:
Broken Blossoms (D.W. Griffith)

(cap)

1920
LETTERBOXD CAPSULES:
The Golem (Carl Boese & Paul Wegener)
The Parson’s Widow (Carl Theodor Dreyer)
Way Down East (D.W. Griffith)
The Cabinet of Dr. Caligari (Robert Wiene)

1921
LETTERBOXD CAPSULES:
The Kid (Charles Chaplin)
Destiny (Fritz Lang)
The Phantom Carriage (Victor Sjöström)
The Ace of Hearts (Wallace Worsley)

1922
LETTERBOXD CAPSULES:
Häxan (Benjamin Christensen)
Nanook of the North (Robert J. Flaherty)
The Toll of the Sea (Chester M. Franklin) [revisited]
Dr. Mabuse, the Gambler (Fritz Lang)
Nosferatu (F.W. Murnau) [revisited (theatrical)]
Foolish Wives (Erich von Stroheim)

1923
LETTERBOXD CAPSULES:
A Woman of Paris (Charles Chaplin)
Our Hospitality (Buster Keaton & John G. Blystone)
Safety Last! (Fred C. Newmeyer & Sam Taylor)

1924
FULL REVIEWS:
The Last Laugh (F.W. Murnau) [+ cap]
LETTERBOXD CAPSULES:
Michael (Carl Theodor Dreyer)
The Iron Horse (John Ford)
Sherlock, Jr. (Buster Keaton)
The Navigator (Buster Keaton & Donald Crisp)
Die Nibelungen [both parts] (Fritz Lang)
The Marriage Circle (Ernst Lubitsch)
The Chechahcos (Lewis Moomaw)
He Who Gets Slapped (Victor Sjöström)
Greed (Erich von Stroheim)
The Thief of Bagdad (Raoul Walsh)

1925
FULL REVIEWS:
The Gold Rush (Charles Chaplin) [+ cap]
Strike (Sergei M. Eisenstein) [+ cap]
The Pleasure Garden (Alfred Hitchcock)
Seven Chances (Buster Keaton) [+ cap]
LETTERBOXD CAPSULES:
Lazybones (Frank Borzage)
Battleship Potemkin (Sergei M. Eisenstein)
The Phantom of the Opera (Rupert Julian)
Joyless Street (G.W. Pabst)
The Big Parade (King Vidor)

1926
FULL REVIEWS:
The Lodger (Alfred Hitchcock) [+ cap / revisited (Criterion)]
The General (Buster Keaton & Clyde Bruckman) [+ cap]
Faust (F.W. Murnau) [+ cap]
LETTERBOXD CAPSULES:
Flesh and the Devil (Clarence Brown)
A Page of Madness (Teinosuke Kinugasa)
The Black Pirate (Albert Parker)
Mother (Vsevolod Pudovkin)

1927
FULL REVIEWS:
7th Heaven (Frank Borzage) [+ cap / revisited]
The Unknown (Tod Browning) [+ cap / revisited]
The Jazz Singer (Alan Crosland) [+ cap]
Downhill (Alfred Hitchcock) [+ cap]
Metropolis (Fritz Lang) [+ cap / revisited (longer cut)]
Two Arabian Knights (Lewis Milestone) [+ cap]
Sunrise (F.W. Murnau) [+ cap / revisited (Czech version) / revisited]
Underworld (Josef von Sternberg) [+ cap]
Wings (William A. Wellman)
LETTERBOXD CAPSULES:
It (Clarence G. Badger)
Napoleon (Abel Gance)
The Love of Jeanne Ney (G.W. Pabst)
The End of St. Petersburg (Vsevolod Pudovkin)
Bed and Sofa (Abram Room)
Berlin: Symphony of a Great City (Walter Ruttmann)

1928
FULL REVIEWS:
Street Angel (Frank Borzage) [+ cap / revisited]
The Circus (Charles Chaplin) [+ cap]
The Passion of Joan of Arc (Carl Theodor Dreyer) [+ cap]
The Wind (Victor Sjöström) [+ cap]
The Last Command (Josef von Sternberg) [+ cap]
The Crowd (King Vidor) [+ cap]
LETTERBOXD CAPSULES:
Laugh, Clown, Laugh (Herbert Brenon)
In Old Arizona (Irving Cummings)
October (Sergei M. Eisenstein & Grigori Aleksandrov)
A Girl in Every Port (Howard Hawks)
Steamboat Bill, Jr (Buster Keaton & Charles Reisner)
Spies (Fritz Lang)
The Man Who Laughs (Paul Leni)
The Docks of New York (Josef von Sternberg)
The Wedding March (Erich von Stroheim)
Beggars of Life (William A. Wellman)

1929
FULL REVIEWS:
Blackmail (Alfred Hitchcock) [+ cap]
Pandora’s Box (G.W. Pabst) [+ cap]
Diary of a Lost Girl (G.W. Pabst) [+ cap]
LETTERBOXD CAPSULES:
Lucky Star (Frank Borzage)
They Had to See Paris (Frank Borzage)
The River (Frank Borzage)
Arsenal (Aleksandr Dovzhenko)
The Old and the New (Sergei M. Eisenstein & Grigori Aleksandrov)
Disraeli (Alfred E. Green)
The Divine Lady (Frank Lloyd)
Eternal Love (Ernst Lubitsch)
The Love Parade (Ernst Lubitsch)
Queen Kelly (Erich von Stroheim)
Coquette (Sam Taylor)
Man with a Movie Camera (Dziga Vertov)

1930
FULL REVIEWS:
L’Age d’Or (Luis Buñuel) [+ cap]
The Dawn Patrol (Howard Hawks) [+ cap]
The Big House (George W. Hill) [+ cap]
Min and Bill (George W. Hill) [+ cap]
Murder! (Alfred Hitchcock) [+ cap / revisited]
All Quiet on the Western Front (Lewis Milestone)
City Girl (F.W. Murnau) [+ cap]
LETTERBOXD CAPSULES:
Song o’ My Heart (Frank Borzage)
Liliom (Frank Borzage)
Under the Roofs of Paris (René Clair)
Earth (Aleksandr Dovzhenko)
The Divorcee (Robert Z. Leonard)
The Blue Angel (Josef von Sternberg)

1931
FULL REVIEWS:
Bad Girl (Frank Borzage) [+ cap / revisited]
Dracula (Tod Browning) [+ cap]
City Lights (Charles Chaplin)
Rich and Strange (Alfred Hitchcock) [+ cap]
M (Fritz Lang) [+ cap]
Cimarron (Wesley Ruggles)
Skippy (Norman Taurog) [+ cap]
The Champ (King Vidor) [+ cap]
Frankenstein (James Whale)
LETTERBOXD CAPSULES:
A Free Soul (Clarence Brown)
Le Million (René Clair)
À Nous la Liberté (René Clair)
The Smiling Lieutenant (Ernst Lubitsch)
La Chienne (Jean Renoir)
Dr. Jekyll and Mr. Hyde (Rouben Mamoulian)
Portrait of a Young Man in Three Movements (Henwar Rodakiewicz)
The Sin of Madelon Claudet (Edgar Selwyn)

1932
FULL REVIEWS:
Freaks (Tod Browning) [+ cap]
One Way Passage (Tay Garnett) [+ cap]
Grand Hotel (Edmund Goulding)
I Am a Fugitive from a Chain Gang (Mervyn LeRoy) [+ cap]
Trouble in Paradise (Ernst Lubitsch) [+ cap]
LETTERBOXD CAPSULES:
After Tomorrow (Frank Borzage)
Young America (Frank Borzage)
Vampyr (Carl Theodor Dreyer)
Scarface (Howard Hawks)
Love Me Tonight (Rouben Mamoulian)
I Was Born, But… (Yasujiro Ozu)
Boudu Saved from Drowning (Jean Renoir)

1933
FULL REVIEWS:
King Kong (Merian C. Cooper & Ernest B. Schoedsack)
Little Women (George Cukor) [+ cap]
The Private Life of Henry VIII (Alexander Korda) [+ cap]
Cavalcade (Frank Lloyd)
Duck Soup (Leo McCarey)
LETTERBOXD CAPSULES:
The Testament of Dr. Mabuse (Fritz Lang)
Gold Diggers of 1933 (Mervyn LeRoy & Busby Berkeley)
Design for Living (Ernst Lubitsch)
Morning Glory (Lowell Sherman)
Zero de Conduite (Jean Vigo)
The Invisible Man (James Whale)

1934
FULL REVIEWS:
It Happened One Night (Frank Capra) [+ cap]
Waltzes from Vienna (Alfred Hitchcock)
The Man Who Knew Too Much (Alfred Hitchcock) [+ cap]
The Scarlet Empress (Josef von Sternberg) [+ cap]
Manhattan Melodrama (W.S. Van Dyke) [+ cap]
LETTERBOXD CAPSULES:
Man of Aran (Robert Flaherty)
A Story of Floating Weeds (Yasujiro Ozu)
The Black Cat (Edgar G. Ulmer)
The Thin Man (W.S. Van Dyke)
L’Atalante (Jean Vigo)

1935
FULL REVIEWS:
The Informer (John Ford) [+ cap]
The Scoundrel (Ben Hecht & Charles MacArthur) [+ cap]
The 39 Steps (Alfred Hitchcock) [+ cap]
Mutiny on the Bounty (Frank Lloyd)
Bride of Frankenstein (James Whale) [+ cap]
A Night at the Opera (Sam Wood) [+ cap / revisited]
LETTERBOXD CAPSULES:
Dangerous (Alfred E. Green)
Happiness (Aleksandr Medvedkin)
Triumph of the Will (Leni Riefenstahl)
Top Hat (Mark Sandrich)

1936
FULL REVIEWS:
Mr. Deeds Goes to Town (Frank Capra) [+ cap]
Modern Times (Charles Chaplin) [+ cap / revisited]
The Story of Louis Pasteur (William Dieterle) [+ cap]
Secret Agent (Alfred Hitchcock) [+ cap]
The Great Ziegfeld (Robert Z. Leonard)
Sisters of the Gion (Kenji Mizoguchi) [+ cap]
Swing Time (George Stevens) [+ cap]
Dodsworth (William Wyler) [+ cap]
LETTERBOXD CAPSULES:
Come and Get It (Howard Hawks & William Wyler)
My Man Godfrey (Gregory La Cava)
Fury (Fritz Lang)
Anthony Adverse (Mervyn LeRoy)
Osaka Elegy (Kenji Mizoguchi)
The Only Son (Yasujiro Ozu)
The Crime of Monsieur Lange (Jean Renoir)
A Day in the Country (Jean Renoir)
San Francisco (W.S. Van Dyke)

1937
FULL REVIEWS:
The Life of Emile Zola (William Dieterle)
Snow White and the Seven Dwarfs (David Hand) [+ cap]
The Awful Truth (Leo McCarey) [+ cap / revisited]
Make Way for Tomorrow (Leo McCarey) [+ cap]
Grand Illusion (Jean Renoir) [+ cap]
A Star Is Born (William A. Wellman) [+ cap]
LETTERBOXD CAPSULES:
Lost Horizon (Frank Capra)
Captains Courageous (Victor Fleming)
The Good Earth (Sidney Franklin)
In Old Chicago (Henry King)
Nothing Sacred (William A. Wellman)

1938
FULL REVIEWS:
Pygmalion (Anthony Asquith & Leslie Howard) [+ cap]
You Can’t Take It with You (Frank Capra)
Bringing Up Baby (Howard Hawks) [+ cap / revisited]
The Lady Vanishes (Alfred Hitchcock)
LETTERBOXD CAPSULES:
Kentucky (David Butler)
The Adventures of Robin Hood (Michael Curtiz & William Keighley)
Alexander Nevsky (Sergei M. Eisenstein)
La Bête Humaine (Jean Renoir)
Olympia (Leni Riefenstahl)
Boys Town (Norman Taurog)
Jezebel (William Wyler)

1939
FULL REVIEWS:
Mr. Smith Goes to Washington (Frank Capra)
The Wizard of Oz (Victor Fleming) [+ cap]
Gone with the Wind (Victor Fleming) [+ cap]
Stagecoach (John Ford) [+ cap / revisited]
The Rules of the Game (Jean Renoir) [+ cap]
Wuthering Heights (William Wyler) [+ cap]
LETTERBOXD CAPSULES:
Young Mr. Lincoln (John Ford)
Only Angels Have Wings (Howard Hawks)
The Story of the Last Chrysanthemum (Kenji Mizoguchi)
Goodbye, Mr. Chips (Sam Wood)

1940
FULL REVIEWS:
The Great Dictator (Charles Chaplin) [+ cap]
The Philadelphia Story (George Cukor)
The Grapes of Wrath (John Ford)
Rebecca (Alfred Hitchcock) [+ cap]
Foreign Correspondent (Alfred Hitchcock) [+ cap]
Arise, My Love (Mitchell Leisen) [+ cap]
The Great McGinty (Preston Sturges) [+ cap]
Fantasia (various directors) [+ cap / revisited]
LETTERBOXD CAPSULES:
Gaslight (Thorold Dickinson)
The Long Voyage Home (John Ford)
Kitty Foyle (Sam Wood)
The Westerner (William Wyler)

1941
FULL REVIEWS:
How Green Was My Valley (John Ford)
Here Comes Mr. Jordan (Alexander Hall) [+ cap]
Suspicion (Alfred Hitchcock) [+ cap]
The Maltese Falcon (John Huston) [+ cap]
49th Parallel (Michael Powell) [+ cap]
Sullivan’s Travels (Preston Sturges)
Citizen Kane (Orson Welles) [+ cap]
LETTERBOXD CAPSULES:
Crook’s Tour (John Baxter)
The Great Lie (Edmund Goulding)
Sergeant York (Howard Hawks)
Johnny Eager (Mervyn LeRoy)

1942
FULL REVIEWS:
Yankee Doodle Dandy (Michael Curtiz) [+ cap]
Casablanca (Michael Curtiz)
Saboteur (Alfred Hitchcock) [+ cap]
Woman of the Year (George Stevens) [+ cap]
Mrs. Miniver (William Wyler) [+ cap]
LETTERBOXD CAPSULES:
Bambi (David Hand)
The Talk of the Town (George Stevens)

1943
FULL REVIEWS:
Shadow of a Doubt (Alfred Hitchcock) [+ cap]
Princess O’Rourke (Norman Krasna) [+ cap]
LETTERBOXD CAPSULES:
The Human Comedy (Clarence Brown)
The Song of Bernadette (Henry King)
Watch on the Rhine (Herman Shumlin)
The More the Merrier (George Stevens)
For Whom the Bell Tolls (Sam Wood)

1944
FULL REVIEWS:
Marie-Louise (Leopold Lindtberg) [+ cap]
Going My Way (Leo McCarey)
Double Indemnity (Billy Wilder) [+ cap]
LETTERBOXD CAPSULES:
National Velvet (Clarence Brown)
Gaslight (George Cukor)
Wilson (Henry King)
None But the Lonely Heart (Clifford Odets)
Henry V (Laurence Olivier)
The Volunteer (Michael Powell)

1945
FULL REVIEWS:
The Seventh Veil (Compton Bennett) [+ cap]
Dead of Night (Cavalcanti/Charles Crichton/Basil Dearden/Robert Hamer)
The House on 92nd Street (Henry Hathaway) [+ cap]
Vacation from Marriage (Alexander Korda) [+ cap]
The Lost Weekend (Billy Wilder)
LETTERBOXD CAPSULES:
Mildred Pierce (Michael Curtiz)
A Tree Grows in Brooklyn (Elia Kazan)

1946
FULL REVIEWS:
It’s a Wonderful Life (Frank Capra)
Notorious (Alfred Hitchcock) [+ cap]
Great Expectations (David Lean) [+ cap]
The Best Years of Our Lives (William Wyler) [+ cap]
LETTERBOXD CAPSULES:
The Razor’s Edge (Edmund Goulding)
To Each His Own (Mitchell Leisen)

1947
FULL REVIEWS:
Gentleman’s Agreement (Elia Kazan)
The Bachelor and the Bobby-Soxer (Irving Reis) [+ cap]
Miracle on 34th Street (George Seaton) [+ cap]
LETTERBOXD CAPSULES:
A Double Life (George Cukor)
The Farmer’s Daughter (H.C. Potter)

1948
FULL REVIEWS:
Bicycle Thieves (Vittorio De Sica) [+ cap]
The Treasure of the Sierra Madre (John Huston) [+ cap]
Hamlet (Laurence Olivier)
The Search (Fred Zinnemann) [+ cap]
LETTERBOXD CAPSULES:
Key Largo (John Huston)
the snake pit (Anatole Litvak)
Johnny Belinda (Jean Negulesco)

1949
FULL REVIEWS:
Kind Hearts and Coronets (Robert Hamer) [+ cap]
A Letter to Three Wives (Joseph L. Mankewicz) [+ cap]
The Third Man (Carol Reed) [+ cap]
All the King’s Men (Robert Rossen)
Battleground (William A. Wellman) [+ cap]
LETTERBOXD CAPSULES:
Twelve O’Clock High (Henry King)
The Stratton Story (Sam Wood)
The Heiress (William Wyler) [revisited]

1950
FULL REVIEWS:
Seven Days to Noon (John & Roy Boulting) [+ cap]
Panic in the Streets (Elia Kazan) [+ cap / revisited]
Rashomon (Akira Kurosawa) [+ cap]
All About Eve (Joseph L. Mankiewicz)
Sunset Blvd. (Billy Wilder)
LETTERBOXD CAPSULES:
Born Yesterday (George Cukor)
Cyrano de Bergerac (Michael Gordon)
Harvey (Henry Koster)

1951
FULL REVIEWS:
The Lavender Hill Mob (Charles Crichton) [+ cap]
Strangers on a Train (Alfred Hitchcock) [+ cap]
The African Queen (John Huston) [+ cap]
A Streetcar Named Desire (Elia Kazan) [+ cap]
An American in Paris (Vincente Minnelli)
The River (Jean Renoir)
A Place in the Sun (George Stevens) [+ cap]

1952
FULL REVIEWS:
The Greatest Show on Earth (Cecil B. DeMille)
Singin’ in the Rain (Stanley Donen & Gene Kelly)
The Quiet Man (John Ford) [+ cap]
Ikiru (Akira Kurosawa) [+ cap]
The Bad and the Beautiful (Vincente Minnelli) [+ cap]
High Noon (Fred Zinnemann)
LETTERBOXD CAPSULES:
Viva Zapata! (Elia Kazan)
Come Back, Little Sheba (Daniel Mann)

1953
FULL REVIEWS:
The Wages of Fear (Henri-Georges Clouzot) [+ cap]
Shane (George Stevens)
Stalag 17 (Billy Wilder) [+ cap]
Roman Holiday (William Wyler) [+ cap]
From Here to Eternity (Fred Zinnemann)
LETTERBOXD CAPSULES:
Fear and Desire (Stanley Kubrick)
Tokyo Story (Yasujiro Ozu)
Titanic (Jean Negulesco)

1954
FULL REVIEWS:
Dial M for Murder (Alfred Hitchcock) [+ cap]
Rear Window (Alfred Hitchcock)
On the Waterfront (Elia Kazan)
Seven Samurai (Akira Kurosawa) [+ cap]
The Country Girl (George Seaton) [+ cap]
LETTERBOXD CAPSULES:
Broken Lance (Edward Dmytryk)
The Barefoot Contessa (Joseph L. Mankiewicz)

1955
FULL REVIEWS:
Diabolique (Henri-Georges Clouzot) [+ cap]
Marty (Delbert Mann)
Dementia (John Parker) [+ cap / revisited]
Rebel Without a Cause (Nicholas Ray) [+ cap]
Love Me or Leave Me (Charles Vidor) [+ cap]
LETTERBOXD CAPSULES:
Interrupted Melody (Curtis Bernhardt)
Mister Roberts (John Ford & Mervyn LeRoy)
East of Eden (Elia Kazan)
The Rose Tattoo (Daniel Mann)

1956
FULL REVIEWS:
Around the World in Eighty Days (Michael Anderson)
Patterns (Fielder Cook)
The Searchers (John Ford)
Giant (George Stevens) [+ cap]
LETTERBOXD CAPSULES:
The King and I (Walter Lang)
Anastasia (Anatole Litvak)
Lust for Life (Vincente Minnelli)
The Brave One (Irving Rapper)
Written on the Wind (Douglas Sirk)

1957
FULL REVIEWS:
Wild Strawberries (Ingmar Bergman) [+ cap]
Paths of Glory (Stanley Kubrick) [+ cap]
The Bridge on the River Kwai (David Lean)
12 Angry Men (Sidney Lumet) [+ cap]
Designing Woman (Vincente Minnelli) [+ cap]
Witness for the Prosecution (Billy Wilder) [+ cap]
LETTERBOXD CAPSULES:
The Seventh Seal (Ingmar Bergman)
The Three Faces of Eve (Nunnally Johnson)
Throne of Blood (Akira Kurosawa)
Sayonara (Joshua Logan)

1958
FULL REVIEWS:
Vertigo (Alfred Hitchcock) [+ cap]
The Defiant Ones (Stanley Kramer) [+ cap]
Gigi (Vincente Minnelli)
Touch of Evil (Orson Welles) [+ cap]
LETTERBOXD CAPSULES:
Separate Tables (Delbert Mann)
I Want to Live! (Robert Wise)
The Big Country (William Wyler)

1959
FULL REVIEWS:
Shadows (John Cassavetes)
Room at the Top (Jack Clayton) [+ cap]
Pillow Talk (Michael Gordon) [+ cap]
North by Northwest (Alfred Hitchcock)
Anatomy of a Murder (Otto Preminger) [+ cap]
The 400 Blows (François Truffaut) [+ cap]
Some Like It Hot (Billy Wilder)
Ben-Hur (William Wyler)
LETTERBOXD CAPSULES:
The Diary of Anne Frank (George Stevens)
The Nun’s Story (Fred Zinnemann)

1960
FULL REVIEWS:
Elmer Gantry (Richard Brooks) [+ cap]
Psycho (Alfred Hitchcock) [+ cap]
Spartacus (Stanley Kubrick) [+ cap]
Shoot the Piano Player (François Truffaut) [+ cap / revisited]
The Apartment (Billy Wilder)
LETTERBOXD CAPSULES:
Two Women (Vittorio De Sica)
BUtterfield 8 (Daniel Mann)

1961
FULL REVIEWS:
Divorce Italian Style (Pietro Germi) [+ cap]
Splendor in the Grass (Elia Kazan) [+ cap]
Yojimbo (Akira Kurosawa) [+ cap]
West Side Story (Robert Wise & Jerome Robbins)
LETTERBOXD CAPSULES:
The Misfits (John Huston)
Judgment at Nuremberg (Stanley Kramer)
The Hustler (Robert Rossen)

1962
FULL REVIEWS:
The Manchurian Candidate (John Frankenheimer) [+ cap]
How the West Was Won (Henry Hathaway/John Ford/George Marshall) [+ cap]
Lawrence of Arabia (David Lean)
To Kill a Mockingbird (Robert Mulligan)
The Trial (Orson Welles)
LETTERBOXD CAPSULES:
What Ever Happened to Baby Jane? (Robert Aldrich)
The Longest Day (Ken Annakin/Andrew Marton/Bernhard Wicki)
Sweet Bird of Youth (Richard Brooks)
The Man Who Shot Liberty Valance (John Ford)
The Miracle Worker (Arthur Penn)
Dr. No (Terence Young)

1963
FULL REVIEWS:
The Sword in the Stone (Wolfgang Reitherman)
Tom Jones (Tony Richardson)
LETTERBOXD CAPSULES:
The V.I.P.s (Anthony Asquith)
(Federico Fellini)
Lilies of the Field (Ralph Nelson)
Hud (Martin Ritt)
The Great Escape (John Sturges)

1964
FULL REVIEWS:
The T.A.M.I. Show (Steve Binder)
My Fair Lady (George Cukor)
Point of Order (Emile de Antonio)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick)
A Hard Day’s Night (Richard Lester) [+ cap]
Father Goose (Ralph Nelson) [+ cap]
Mary Poppins (Robert Stevenson) [+ cap]
LETTERBOXD CAPSULES:
Zorba the Greek (Michael Cacoyannis)
Topkapi (Jules Dassin)
Becket (Peter Glenville)
The Night of the Iguana (John Huston)
A Fistful of Dollars (Sergio Leone)

1965
FULL REVIEWS:
Doctor Zhivago (David Lean) [+ cap]
Help! (Richard Lester)
Darling (John Schlesinger) [+ cap / revisited]
The Sound of Music (Robert Wise)
LETTERBOXD CAPSULES:
A Thousand Clowns (Fred Coe)
A Patch of Blue (Guy Green)
For a Few Dollars More (Sergio Leone)
Cat Ballou (Elliot Silverstein)

1966
FULL REVIEWS:
The Good, the Bad and the Ugly (Sergio Leone) [+ cap]
Who’s Afraid of Virginia Woolf? (Mike Nichols) [+ cap]
A Man for All Seasons (Fred Zinnemann)
LETTERBOXD CAPSULES:
Persona (Ingmar Bergman)
The Russians Are Coming, the Russians Are Coming (Norman Jewison)
A Man and a Woman (Claude Lelouch)
The Battle of Algiers (Gillo Pontecorvo)
The Fortune Cookie (Billy Wilder)

1967
FULL REVIEWS:
The Producers (Mel Brooks) [+ cap]
In the Heat of the Night (Norman Jewison)
Guess Who’s Coming to Dinner (Stanley Kramer) [+ cap]
The Graduate (Mike Nichols)
Bonnie and Clude (Arthur Penn)
The Fearless Vampire Killers (Roman Polanski) [+ cap]
Cool Hand Luke (Stuart Rosenberg) [+ cap]
LETTERBOXD CAPSULES:
You Only Live Twice (Lewis Gilbert)
Casino Royale (Val Guest/Ken Hughes/John Huston/Joseph McGrath/Robert Parrish)

1968
FULL REVIEWS:
Yellow Submarine (George Dunning) [+ cap]
The Lion in Winter (Anthony Harvey) [+ cap]
2001: A Space Odyssey (Stanley Kubrick) [+ cap]
Once Upon a Time in the West (Sergio Leone) [+ cap]
Oliver! (Carol Reed)
LETTERBOXD CAPSULES:
The Subject Was Roses (Ulu Grosbard)
Charly (Ralph Nelson)
Rosemary’s Baby (Roman Polanski)
Head (Bob Rafelson)
Funny Girl (William Wyler)

1969
FULL REVIEWS:
Butch Cassidy and the Sundance Kid (George Roy Hill) [+ cap]
Easy Rider (Dennis Hopper) [+ cap]
The Wild Bunch (Sam Peckinpah) [+ cap]
Midnight Cowboy (John Schlesinger)
LETTERBOXD CAPSULES:
True Grit (Henry Hathaway)
The Prime of Miss Jean Brodie (Ronald Neame)
They Shoot Horses, Don’t They? (Sydney Pollack)
Women in Love (Ken Russell)
Cactus Flower (Gene Saks)

1970
FULL REVIEWS:
MASH (Robert Altman)
Patton (Franklin J. Schaffner)
LETTERBOXD CAPSULES:
El Topo (Alejandro Jodorowsky)
Ryan’s Daughter (David Lean)
Five Easy Pieces (Bob Rafelson)
Airport (George Seaton)

1971
FULL REVIEWS:
The Last Picture Show (Peter Bogdanovich) [+ cap / revisited]
The French Connection (William Friedkin) [+ cap]
The Hospital (Arthur Hiller) [+ cap]
A Clockwork Orange (Stanley Kubrick) [+ cap]
LETTERBOXD CAPSULES:
McCabe & Mrs. Miller (Robert Altman)
A Safe Place (Henry Jaglom)
Drive, He Said (Jack Nicholson)
Klute (Alan J. Pakula)

1972
FULL REVIEWS:
The Godfather (Francis Ford Coppola)
Cabaret (Bob Fosse) [+ cap]
The Candidate (Michael Ritchie) [+ cap]
LETTERBOXD CAPSULES:
Cries and Whispers (Ingmar Bergman)
Butterflies Are Free (Milton Katselas)
The King of Marvin Gardens (Bob Rafelson)

1973
FULL REVIEWS:
Paper Moon (Peter Bogdanovich) [+ cap]
The Exorcist (William Friedkin) [+ cap]
The Sting (George Roy Hill)
American Graffiti (George Lucas)
LETTERBOXD CAPSULES:
Save the Tiger (John G. Avildsen)
The Paper Chase (James Bridges)
A Touch of Class (Melvin Frank)
Papillon (Franklin J. Schaffner)

1974
FULL REVIEWS:
The Conversation (Francis Ford Coppola) [+ cap]
The Godfather Part II (Francis Ford Coppola)
Chinatown (Roman Polanski) [+ cap]
LETTERBOXD CAPSULES:
Murder on the Orient Express (Sidney Lumet)
Harry and Tonto (Paul Mazursky)
Alice Doesn’t Live Here Anymore (Martin Scorsese)

1975
FULL REVIEWS:
Nashville (Robert Altman)
One Flew Over the Cuckoo’s Nest (Milos Forman)
Barry Lyndon (Stanley Kubrick) [+ cap]
Dog Day Afternoon (Sidney Lumet) [+ cap]
Jaws (Steven Spielberg) [+ cap]
LETTERBOXD CAPSULES:
Shampoo (Hal Ashby)
Monty Python and the Holy Grail (Terry Gilliam & Terry Jones)
The Sunshine Boys (Herbert Ross)

1976
FULL REVIEWS:
Rocky (John G. Avildsen)
Network (Sidney Lumet) [+ cap / revisited]
All the President’s Men (Alan J. Pakula) [+ cap / revisited]
Taxi Driver (Martin Scorsese)

1977
FULL REVIEWS:
Annie Hall (Woody Allen) [+ cap]
Star Wars (George Lucas)
Close Encounters of the Third Kind (Steven Spielberg) [+ cap]
Julia (Fred Zinnemann) [+ cap]
LETTERBOXD CAPSULES:
The Message (Moustapha Akkad)
The Goodbye Girl (Herbert Ross)

1978
FULL REVIEWS:
Coming Home (Hal Ashby) [+ cap]
The Deer Hunter (Michael Cimino)
Midnight Express (Alan Parker) [+ cap]
LETTERBOXD CAPSULES:
Heaven Can Wait (Warren Beatty & Buck Henry)
California Suite (Herbert Ross)

1979
FULL REVIEWS:
Being There (Hal Ashby)
Kramer vs. Kramer (Robert Benton)
Apocalypse Now (Francis Ford Coppola)
Tess (Roman Polanski)
Alien (Ridley Scott) [+ cap]
LETTERBOXD CAPSULES:
All That Jazz (Bob Fosse)
Life of Brian (Terry Jones)
The Man You Loved to Hate (Patrick Montgomery)
Norma Rae (Martin Ritt)
Stalker (Andrei Tarkovsky)
Breaking Away (Peter Yates)

1980
FULL REVIEWS:
Melvin and Howard (Jonathan Demme) [+ cap / revisited]
The Empire Strikes Back (Irvin Kershner) [+ cap]
The Shining (Stanley Kubrick) [+ cap]
The Elephant Man (David Lynch) [+ cap]
Ordinary People (Robert Redford)
Raging Bull (Martin Scorsese)
LETTERBOXD CAPSULES:
Coal Miner’s Daughter (Michael Apted)

1981
FULL REVIEWS:
Reds (Warren Beatty) [+ cap]
Chariots of Fire (Hugh Hudson)
Das Boot (Wolfgang Petersen) [+ cap]
Raiders of the Lost Ark (Steven Spielberg) [+ cap]
LETTERBOXD CAPSULES:
Arthur (Steve Gordon)
On Golden Pond (Mark Rydell)

1982
FULL REVIEWS:
Gandhi (Richard Attenborough)
Sophie’s Choice (Alan J. Pakula) [+ cap]
Tootsie (Sydney Pollack) [+ cap]
Blade Runner (Ridley Scott) [+ cap]
E.T. the Extra Terrestrial (Steven Spielberg)
LETTERBOXD CAPSULES:
Fanny & Alexander (Ingmar Bergman)
The Thing (John Carpenter)
Missing (Costa-Gavras)
An Officer and a Gentleman (Taylor Hackford)
The Verdict (Sidney Lumet)
The Year of Living Dangerously (Peter Weir)

1983
FULL REVIEWS:
Tender Mercies (Bruce Beresford) [+ cap]
Terms of Endearment (James L. Brooks)
LETTERBOXD CAPSULES:
Scarface (Brian De Palma)
Return of the Jedi (Richard Marquand)

1984
FULL REVIEWS:
Amadeus (Milos Forman) [+ cap]
Once Upon a Time in America (Sergio Leone) [+ cap]
Purple Rain (Albert Magnoli)
Paris, Texas (Wim Wenders) [+ cap]
LETTERBOXD CAPSULES:
Places in the Heart (Robert Benton)
The Terminator (James Cameron)
The Killing Fields (Roland Joffé)
A Passage to India (David Lean)
Nausicaä of the Valley of the Wind (Hayao Miyazaki)

1985
FULL REVIEWS:
Witness (Peter Weir) [+ cap]
Back to the Future (Robert Zemeckis)
LETTERBOXD CAPSULES:
Kiss of the Spider Woman (Hector Babenco)
Cocoon (Ron Howard)
Prizzi’s Honor (John Huston)
A Room with a View (James Ivory)
Ran (Akira Kurosawa)
The Trip to Bountiful (Peter Masterson)

1986
FULL REVIEWS:
Hannah and Her Sisters (Woody Allen) [+ cap]
Aliens (James Cameron) [+ cap]
Platoon (Oliver Stone)
LETTERBOXD CAPSULES:
Children of a Lesser God (Randa Haines)
Castle in the Sky (Hayao Miyazaki)
Stand by Me (Rob Reiner)
The Color of Money (Martin Scorsese)

1987
FULL REVIEWS:
Bagdad Cafe (Percy Adlon) [+ cap]
Babette’s Feast (Gabriel Axel) [+ cap]
The Last Emperor (Bernardo Bertolucci)
Broadcast News (James L. Brooks) [+ cap]
Full Metal Jacket (Stanley Kubrick) [+ cap]
LETTERBOXD CAPSULES:
The Untouchables (Brian De Palma)
Moonstruck (Norman Jewison)
The Princess Bride (Rob Reiner)
Wall Street (Oliver Stone)

1988
FULL REVIEWS:
Rain Man (Barry Levinson)
Die Hard (John McTiernan) [+ cap]
Cinema Paradiso (Giuseppe Tornatore) [+ cap]
LETTERBOXD CAPSULES:
A Fish Called Wanda (Charles Crichton)
Dangerous Liaisons (Stephen Frears)
The Accused (Jonathan Kaplan)
The Accidental Tourist (Lawrence Kasdan)
My Neighbor Totoro (Hayao Miyazaki)
Grave of the Fireflies (Isao Takahata)

1989
FULL REVIEWS:
Driving Miss Daisy (Bruce Beresford) [+ cap]
Meet the Feebles (Peter Jackson) [+ cap]
Do the Right Thing (Spike Lee) [+ cap]
Indiana Jones and the Last Crusade (Steven Spielberg)
Born on the Fourth of July (Oliver Stone) [+ cap]
LETTERBOXD CAPSULES:
My Left Foot (Jim Sheridan)
Dead Poets Society (Peter Weir)
Back to the Future Part II (Robert Zemeckis)
Glory (Edward Zwick)

1990
FULL REVIEWS:
Dances with Wolves (Kevin Costner) [+ cap]
Misery (Rob Reiner) [+ cap]
Goodfellas (Martin Scorsese) [+ cap]
LETTERBOXD CAPSULES:
Reversal of Fortune (Barbet Schroeder)
Ghost (Jerry Zucker)

1991
FULL REVIEWS:
Terminator 2: Judgment Day (James Cameron) [+ cap]
The Silence of the Lambs (Jonathan Demme) [+ cap / revisited]
LETTERBOXD CAPSULES:
The Fisher King (Terry Gilliam)
Picture This (George Hickenlooper)
Thelma & Louise (Ridley Scott)
Beauty and the Beast (Gary Trousdale & Kirk Wise)
City Slickers (Ron Underwood)

1992
FULL REVIEWS:
Unforgiven (Clint Eastwood) [+ cap]
A Midnight Clear (Keith Gordon)
The Crying Game (Neil Jordan) [+ cap]
Reservoir Dogs (Quentin Tarantino) [+ cap]
LETTERBOXD CAPSULES:
Scent of a Woman (Martin Brest)
Howards End (James Ivory)
My Cousin Vinny (Jonathan Lynn)

1993
FULL REVIEWS:
The Piano (Jane Campion) [+ cap / revisited]
The Snapper (Stephen Frears) [+ cap]
Schindler’s List (Steven Spielberg)
The Thief and the Cobbler (Richard Williams) [+ cap]
LETTERBOXD CAPSULES:
The Fugitive (Andrew Davis)
Philadelphia (Jonathan Demme)
Groundhog Day (Harold Ramis)
In the Name of the Father (Jim Sheridan)
Jurassic Park (Steven Spielberg)

1994
FULL REVIEWS:
Bullets Over Broadway (Woody Allen) [+ cap]
The Lion King (Roger Allers & Rob Minkoff) [+ cap]
Léon (1994, Luc Besson) [+ cap]
Ed Wood (Tim Burton) [+ cap]
The Shawshank Redemption (Frank Darabont) [+ cap]
Heavenly Creatures (Peter Jackson) [+ cap]
Pulp Fiction (Quentin Tarantino) [+ cap]
Forrest Gump (Robert Zemeckis) [+ cap]
LETTERBOXD CAPSULES:
Blue Sky (Tony Richardson)

1995
FULL REVIEWS:
Se7en (David Fincher) [+ cap]
Braveheart (Mel Gibson) [+ cap]
Toy Story (John Lasseter) [+ cap]
Before Sunrise (Richard Linklater) [+ cap]
The Usual Suspects (Bryan Singer) [+ cap]
LETTERBOXD CAPSULES:
Mighty Aphrodite (Woody Allen)
Leaving Las Vegas (Mike Figgis)
Twelve Monkeys (Terry Gilliam)
La Haine (Mathieu Kassovitz)
Sense and Sensibility (Ang Lee)
Heat (Michael Mann)
Babe (Chris Noonan)
Dead Man Walking (Tim Robbins)
Casino (Martin Scorsese)

1996
FULL REVIEWS:
Bottle Rocket (Wes Anderson) [+ cap]
Trainspotting (Danny Boyle) [+ cap]
Fargo (Joel Coen) [+ cap]
Mother Night (Keith Gordon)
Beavis and Butt-head Do America (Mike Judge) [+ cap]
The English Patient (Anthony Minghella) [+ cap]
Sling Blade (Billy Bob Thornton) [+ cap]
LETTERBOXD CAPSULES:
Jerry Maguire (Cameron Crowe)
The Craft (Andrew Fleming)
Shine (Scott Hicks)
Secrets & Lies (Mike Leigh)
Eskiya (Yavuz Turgul)

1997
FULL REVIEWS:
Life Is Beautiful (Roberto Benigni) [+ cap]
Titanic (James Cameron) [+ cap]
L.A. Confidential (Curtis Hanson) [+ cap]
Wild Man Blues (Barbara Kopple) [+ cap]
Jackie Brown (Quentin Tarantino) [+ cap]
LETTERBOXD CAPSULES:
As Good as It Gets (James L. Brooks)
Children of Heaven (Majid Majidi)
Princess Mononoke (Hayao Miyazaki)
Affliction (Paul Schrader)
Good Will Hunting (Gus van Sant)

1998
FULL REVIEWS:
Gods and Monsters (Bill Condon)
American History X (Tony Kaye) [+ cap]
Shakespeare in Love (John Madden) [+ cap]
Saving Private Ryan (Steven Spielberg) [+ cap]
LETTERBOXD CAPSULES:
The Big Lebowski (Joel Coen)
Lock, Stock and Two Smoking Barrels (Guy Ritchie)
The Truman Show (Peter Weir)

1999
FULL REVIEWS:
The Green Mile (Frank Darabont) [+ cap]
Fight Club (David Fincher) [+ cap]
Eyes Wide Shut (Stanley Kubrick)
American Beauty (Sam Mendes) [+ cap]
The Sixth Sense (M. Night Shyamalan) [+ cap]
The Matrix (Lana & Lilly Wachowski) [+ cap]
LETTERBOXD CAPSULES:
All About My Mother (Pedro Almodóvar)
The Virgin Suicides (Sofia Coppola) [+ revisited]
The Cider House Rules (Lasse Hallström)
Girl, Interrupted (James Mangold)
The Insider (Michael Mann)
Election (Alexander Payne)
Boys Don’t Cry (Kimberly Peirce)

2000
FULL REVIEWS:
Requiem for a Dream (Darren Aronofsky) [+ cap]
Almost Famous (Cameron Crowe) [+ cap]
Songcatcher (Maggie Greenwald) [+ cap] {NOTE: Letterboxd has the wrong release year at this writing}
Memento (Christopher Nolan) [+ cap]
Snatch (Guy Ritchie)
Gladiator (Ridley Scott) [+ cap]
Traffic (Steven Soderbergh) [+ cap]
LETTERBOXD CAPSULES:
Amores perros (Alejandro González Iñárritu)
Pollock (Ed Harris)
Snatch (Guy Ritchie)
Erin Brockovich (Steven Soderbergh)
In the Mood for Love (Wong Kar-wai)

2001
FULL REVIEWS:
A Beautiful Mind (Ron Howard) [+ cap]
Lord of the Rings: The Fellowship of the Ring (Peter Jackson)
Amélie (Jean-Pierre Jeunet) [+ cap]
Spirited Away (Hayao Miyazaki) [+ cap]
Ghost World (Terry Zwigoff) [+ cap]
LETTERBOXD CAPSULES:
Gosford Park (Robert Altman)
The Man Who Wasn’t There (Joel Coen)
Harry Potter and the Sorcerer’s Stone (Chris Columbus)
Monsters, Inc. (Pete Docter)
Iris (Richard Eyre)
Monster’s Ball (Marc Forster)
Training Day (Antoine Fuqua)
Lagaan (Ashutosh Gowariker)
Donnie Darko (Richard Kelly)

2002
FULL REVIEWS:
Talk to Her (Pedro Almodóvar) [+ cap]
Lord of the Rings: The Two Towers (Peter Jackson) [+ cap]
Adaptation (Spike Jonze) [+ cap]
Chicago (Rob Marshall) [+ cap]
City of God (Fernando Meirelles) [+ cap]
The Pianist (Roman Polanski) [+ cap]
Secretary (Steven Shainberg)
Catch Me If You Can (Steven Spielberg) [+ cap]
LETTERBOXD CAPSULES:
Harry Potter and the Chamber of Secrets (Chris Columbus)
The Hours (Stephen Daldry)
Infernal Affairs (Andrew Lau & Alan Mak)

2003
FULL REVIEWS:
Lost in Translation (Sofia Coppola) [+ cap]
My Architect (Nathaniel Kahn) [+ cap]
Lord of the Rings: The Return of the King (Peter Jackson) [+ cap]
Oldboy (Park Chan-wook) [+ cap]
Kill Bill: Vol. 1 (Quentin Tarantino) [+ cap]
Dogville (Lars von Trier) [+ cap]
LETTERBOXD CAPSULES:
Memories of Murder (Bong Joon-ho)
Mystic River (Clint Eastwood)
Monster (Patty Jenkins)
The Saddest Music in the World (Guy Maddin)
Cold Mountain (Anthony Minghella)
Finding Nemo (Andrew Stanton)
Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski)

2004
FULL REVIEWS:
Million Dollar Baby (Clint Eastwood) [+ cap]
Hotel Rwanda (Terry George) [+ cap]
Eternal Sunshine of the Spotless Mind (Michel Gondry) [+ cap]
Crash (Paul Haggis) [+ cap]
Downfall (Oliver Hirschbiegel) [+ cap]
Before Sunset (Richard Linklater) [+ cap]
LETTERBOXD CAPSULES:
Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón)
Ray (Taylor Hackford)
Howl’s Moving Castle (Hayao Miyazaki)
Sideways (Alexander Payne)
The Aviator (Martin Scorsese)

2005
FULL REVIEWS:
Brokeback Mountain (Ang Lee) [+ cap]
The Constant Gardener (Fernando Meirelles) [+ cap]
Capote (Bennett Miller) [+ cap]
Batman Begins (Christopher Nolan) [+ cap]
Sin City (Robert Rodriguez & Frank Miller) [+ cap]
LETTERBOXD CAPSULES:
Syriana (Stephen Gaghan)
Walk the Line (James Mangold)
Harry Potter and the Goblet of Fire (Mike Newell)
V for Vendetta (James McTeigue)

2006
FULL REVIEWS:
Scoop (Woody Allen) [+ cap]
Little Miss Sunshine (Jonathan Dayton & Valerie Faris) [+ cap]
The Lives of Others (Florian Henckel von Donnersmarck) [+ cap]
Jesus Camp (Heidi Ewing & Rachel Grady)
Shortbus (John Cameron Mitchell)
Jonestown: The Life and Death of Peoples Temple (Stanley Nelson) [+ cap]
The Prestige (Christopher Nolan) [+ cap]
The Departed (Martin Scorsese) [+ cap]
LETTERBOXD CAPSULES:
Casino Royale (Martin Campbell)
Dreamgirls (Bill Condon)
Pan’s Labyrinth (Guillermo del Toro)
The Queen (Stephen Frears)
Babel (Alejandro González Iñárritu)
The Last King of Scotland (Kevin Macdonald)
Old Joy (Kelly Reichardt)

2007
FULL REVIEWS:
There Will Be Blood (Paul Thomas Anderson) [+ cap]
No Country for Old Men (Joel & Ethan Coen) [+ cap / revisited]
LETTERBOXD CAPSULES:
Control (Anton Corbijn)
La Vie en Rose (Olivier Dahan)
Michael Clayton (Tony Gilroy)
The Bourne Ultimatum (Paul Greengrass)
Like Stars on Earth (Aamir Khan)
Into the Wild (Sean Penn)
Juno (Jason Reitman)
Atonement (Joe Wright)
Harry Potter and the Order of the Phoenix (David Yates)

2008
FULL REVIEWS:
Let the Right One In (Tomas Alfredson)
Vicky Cristina Barcelona (Woody Allen) [+ cap]
The Hurt Locker (Kathryn Bigelow)
Slumdog Millionaire (Danny Boyle)
Rachel Getting Married (Jonathan Demme)
The Curious Case of Benjamin Button (David Fincher)
Frost/Nixon (Ron Howard)
The Dark Knight (Christopher Nolan) [+ cap]
WALL-E (Andrew Stanton) [+ cap]
Milk (Gus Van Sant) [+ cap]
LETTERBOXD CAPSULES:
The Reader (Stephen Daldry)
Gran Torino (Clint Eastwood)
Ip Man (Wilson Yip)

2009
FULL REVIEWS:
Whatever Works (Woody Allen)
A Serious Man (Joel & Ethan Coen)
White Material (Claire Denis)
Up (Pete Docter) [+ cap]
Moon (Duncan Jones)
Enter the Void (Gaspar Noé)
Up in the Air (Jason Reitman)
The Informant! (Steven Soderbergh)
Life During Wartime (Todd Solondz)
Inglourious Basterds (Quentin Tarantino) [+ cap]
Antichrist (Lars von Trier)
LETTERBOXD CAPSULES:
Fish Tank (Andrea Arnold)
The Secret in Their Eyes (Juan José Campanella)
Crazy Heart (Scott Cooper)
Precious (Lee Daniels)
Mary and Max (Adam Elliot)
About Elly (Asghar Farhadi)
Hachi (Lasse Hallström)
The Blind Side (John Lee Hancock)
3 Idiots (Rajkumar Hirani)
Harry Potter and the Half-Blood Prince (David Yates)

2010
FULL REVIEWS:
You Will Meet a Tall Dark Stranger (Woody Allen)
Black Swan (Darren Aronofsky)
Carlos (Olivier Assayas)
Submarine (Richard Ayoade) [+ cap]
Exit Through the Gift Shop (Banksy)
Greenberg (Noah Baumbach) [+ cap]
127 Hours (Danny Boyle)
The Kids Are All Right (Lisa Cholodenko)
The Illusionist (Sylvain Chomet)
Blue Valentine (Derek Cianfrance) [+ cap]
True Grit (Joel & Ethan Coen)
Somewhere (Sofia Coppola)
Inside Job (Charles Ferguson)
The Social Network (David Fincher)
Strange Powers: Stephin Merritt and the Magnetic Fields (Kerthy Fix & Gail O’Hara)
Winter’s Bone (Debra Granik)
Cave of Forgotten Dreams (Werner Herzog) [+ cap]
The King’s Speech (Tom Hooper)
Certified Copy (Abbas Kiarostami)
Poetry (Lee Chang-dong)
Another Year (Mike Leigh)
Marwencol (Jeff Malmberg) [+ cap]
Beginners (Mike Mills) [+ cap]
Inception (Christopher Nolan)
The Ghost Writer (Roman Polanski)
Meek’s Cutoff (Kelly Reichardt)
Mysteries of Lisbon (Raúl Ruiz)
Shutter Island (Martin Scorsese)
Toy Story 3 (Lee Unkrich) [+ cap]
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
Scott Pilgrim vs. the World (Edgar Wright)
LETTERBOXD CAPSULES:
Kaboom (Gregg Araki)
The American (Anton Corbijn)
The Strange Case of Angelica (Manoel de Oliveira)
Le Quattro Volte (Michelangelo Frammartino)
Biutiful (Alejandro González Iñárritu)
Nostalgia for the Light (Patricio Guzmán)
Restrepo (Sebastian Junger & Tim Hetherington)
My Joy (Sergey Loznitsa)
Rabbit Hole (John Cameron Mitchell)
Four Lions (Chris Morris)
Tabloid (Errol Morris)
Never Let Me Go (Mark Romanek)
The Fighter (David O. Russell)
How to Train Your Dragon (Chris Sanders & Dean DeBlois)
The Autobiography of Nicolae Ceausescu (Andrei Ujica)
Incendies (Denis Villeneuve)
Harry Potter and the Deathly Hallows: Part 1 (David Yates)

2011
FULL REVIEWS:
Super 8 (J.J. Abrams)
Tinker Tailor Soldier Spy (Tomas Alfredson)
The Skin I Live In (Pedro Almodóvar)
House of Pleasures (Bertrand Bonello) [+ cap]
Another Earth (Mike Cahill) [+ cap]
Footnote (Joseph Cedar)
Once Upon a Time in Anatolia (Nuri Bilge Ceylan)
Attack the Block (Joe Cornish) [+ cap]
A Dangerous Method (David Cronenberg)
The Kid with a Bike (Jean-Pierre & Luc Dardenne)
The Deep Blue Sea (Terence Davies) [+ cap]
A Separation (Asghar Farhadi) [+ cap]
Bridesmaids (Paul Feig)
The Girl with the Dragon Tattoo (David Fincher)
Killer Joe (William Friedkin) [+ cap]
The Artist (Michel Hazanavicius) [+ cap]
Le Havre (Aki Kaurismäki)
Alps (Yorgos Lanthimos) [+ cap]
Margaret (Kenneth Lonergan) [+ cap]
The Tree of Life (Terrence Malick)
Take Shelter (Jeff Nichols) [+ cap]
The Descendants (Alexander Payne) [+ cap]
Drive (Nicholas Winding Refn)
Young Adult (Jason Reitman) [+ cap]
Hugo (Martin Scorsese)
Contagion (Steven Soderbergh) [+ cap]
Dark Horse (Todd Solondz) [+ cap]
Damsels in Distress (Whit Stillman) [+ cap]
The Turin Horse (Béla Tarr) [+ cap]
Melancholia (Lars von Trier)
Rango (Gore Verbinski)
Hanna (Joe Wright) [+ cap]
LETTERBOXD CAPSULES:
Midnight in Paris (Woody Allen)
Wuthering Heights (Andrea Arnold)
Margin Call (J.C. Chandor)
Martha Marcy May Marlene (Sean Durkin)
The Day He Arrives (Hong Sang-soo)
I Wish (Hirokazu Koreeda)
Bernie (Richard Linklater)
The Iron Lady (Phyllida Lloyd)
Warrior (Gavin O’Connor)
This Is Not a Film (Jafar Panahi)
The Help (Tate Taylor)
Faust (Alexander Sokurov)
The Intouchables (Eric Toledano & Olivier Nakache)
Oslo, August 31st (Joachim Trier)
Pina (Wim Wenders)
Harry Potter and the Deathly Hallows: Part 2 (David Yates)

2012
FULL REVIEWS:
Argo (Ben Affleck) [+ cap]
To Rome with Love (Woody Allen)
The Master (Paul Thomas Anderson) [+ cap]
Moonrise Kingdom (Wes Anderson) [+ cap]
Frances Ha (Noah Baumbach) [+ cap / revisited]
Zero Dark Thirty (Kathryn Bigelow) [+ cap]
Frankenweenie (Tim Burton)
Holy Motors (Leos Carax) [+ cap]
Leviathan (Lucien Castaing-Taylor & Verena Paravel) [+ cap]
The Cabin in the Woods (Drew Goddard) [+ cap]
Tabu (Miguel Gomes) [+ cap]
Amour (Michael Haneke) [+ cap]
Looper (Rian Johnson)
Like Someone in Love (Abbas Kiarostami) [+ cap]
Spring Breakers (Harmony Korine) [+ cap]
Life of Pi (Ang Lee) [+ cap]
To the Wonder (Terrence Malick) [+ cap]
Skyfall (Sam Mendes)
The Dark Knight Rises (Christopher Nolan) [+ cap]
The Act of Killing (Joshua Oppenheimer) [+ cap / revisited]
Stories We Tell (Sarah Polley) [+ cap]
Silver Linings Playbook (David O. Russell) [+ cap]
Magic Mike (Steven Soderbergh) [+ cap]
Lincoln (Steven Spielberg)
Berberian Sound Studio (Peter Strickland) [+ cap / revisited]
Django Unchained (Quentin Tarantino) [+ cap]
Cloud Atlas (Lana Wachowski/Lilly Wachowski/Tom Tykwer) [+ cap]
Much Ado About Nothing (Joss Whedon) [+ cap]
Beasts of the Southern Wild (Benh Zeitlin) [+ cap]
Flight (Robert Zemeckis)
LETTERBOXD CAPSULES:
The Comedy (Rick Alverson)
Brave (Brenda Chapman & Mark Andrews)
Blancanieves (Pablo Berger)
The Perks of Being a Wallflower (Stephen Chbosky)
Museum Hours (Jem Cohen)
Cosmopolis (David Cronenberg)
Killing Them Softly (Andrew Dominik)
It’s Such a Beautiful Day (Don Hertzfeldt)
Les Misérables (Tom Hooper)
Arbitrage (Nicholas Jarecki)
No (Pablo Larraín)
A Hijacking (Tobias Lindholm)
In the Fog (Sergey Loznitsa)
Beyond the Hills (Cristian Mungiu)
Mud (Jeff Nichols)
Barbara (Christian Petzold)
Post Tenebras Lux (Carlos Reygadas)
The Hunger Games (Gary Ross)
The Hunt (Thomas Vinterberg)
Sightseers (Ben Wheatley)
The Avengers (Joss Whedon)
Anna Karenina (Joe Wright)
Compliance (Craig Zobel)

2013
FULL REVIEWS:
Blue Jasmine (Woody Allen) [+ cap]
Upstream Color (Shane Carruth) [+ cap]
All Is Lost (J.C. Chandor) [+ cap]
Inside Llewyn Davis (Joel & Ethan Coen) [+ cap]
The Bling Ring (Sofia Coppola) [+ cap]
Blackfish (Gabriela Cowperthwaite) [+ cap]
Gravity (Alfonso Cuarón) [+ cap]
Philomena (Stephen Frears) [+ cap]
Captain Phillips (Paul Greengrass) [+ cap / revisited]
Enough Said (Nicole Holofcener) [+ cap]
Rush (Ron Howard) [+ cap]
Her (Spike Jonze) [+ cap]
Blue Is the Warmest Color (Abdellatif Kechiche) [+ cap]
Gloria (Sebastián Lelio) [+ cap]
Before Midnight (Richard Linklater) [+ cap]
12 Years a Slave (Steve McQueen) [+ cap]
Nebraska (Alexander Payne) [+ cap / revisited]
The Spectacular Now (James Ponsoldt) [+ cap]
American Hustle (David O. Russell) [+ cap]
Monsters University (Dan Scanlon) [+ cap]
The Wolf of Wall Street (Martin Scorsese) [+ cap]
Nymphomaniac: Vol. I (Lars von Trier) [+ cap]
Nymphomaniac: Vol. II (Lars von Trier) [+ cap]
Dallas Buyers Club (Jean-Marc Vallée) [+ cap]
The Conjuring (James Wan) [+ cap]
The World’s End (Edgar Wright) [+ cap]
LETTERBOXD CAPSULES:
The Double (Richard Ayoade)
Snowpiercer (Bong Joon-ho)
Computer Chess (Andrew Bujalski)
The Strange Color of Your Body’s Tears (Hélène Cattet & Bruno Forzani)
Bastards (Claire Denis)
Norte, the End of History (Lav Diaz)
Camille Claudel 1915 (Bruno Dumont)
The Past (Asghar Farhadi)
Jealousy (Philippe Garrel)
Under the Skin (Jonathan Glazer)
Stranger by the Lake (Alain Guiraudie)
Exhibition (Joanna Hogg)
Only Lovers Left Alive (Jim Jarmusch)
A Touch of Sin (Jia Zhangke)
Like Father, Like Son (Hirokazu Koreeda)
Ain’t Them Bodies Saints (David Lowery)
We Are the Best! (Lukas Moodysson)
Child’s Pose (Călin Peter Netzer)
Ida (Paweł Pawlikowski)
Only God Forgives (Nicholas Winding Refn)
Blue Ruin (Jeremy Saulnier)
Side Effects (Steven Soderbergh)
Behind the Candelabra (Steven Soderbergh)
The Tale of the Princess Kaguya (Isao Takahata)
Stray Dogs (Tsai Ming-liang)
Prisoners (Denis Villeneuve)
The Grandmaster (Wong Kar-wai)

2014
FULL REVIEWS:
The Grand Budapest Hotel (Wes Anderson) [+ cap]
Gone Girl (David Fincher) [+ cap]
Boyhood (Richard Linklater) [+ cap / revisited]
The One I Love (Charlie McDowell) [+ cap]
LETTERBOXD CAPSULES:
Magic in the Moonlight (Woody Allen)
A Girl Walks Home Alone at Night (Ana Lily Amirpour)
Inherent Vice (Paul Thomas Anderson)
Clouds of Sils Maria (Olivier Assayas)
While We’re Young (Noah Baumbach)
Lucy (Luc Besson)
A Most Violent Year (J.C. Chandor)
Whiplash (Damien Chazelle)
A Most Wanted Man (Anton Corbijn)
Two Days, One Night (Jean-Pierre & Luc Dardenne)
Mommy (Xavier Dolan)
Selma (Ava DuVernay)
Virunga (Orlando von Einsiedel)
Ex Machina (Alex Garland)
Nightcrawler (Dan Gilroy)
Still Alice (Richard Glatzer & Wash Westmoreland)
Goodbye to Language (Jean-Luc Godard)
Birdman (Alejandro González Iñárritu)
Guardians of the Galaxy (James Gunn)
The Babadook (Jennifer Kent)
Mr. Turner (Mike Leigh)
The Theory of Everything (James Marsh)
Calvary (John Michael McDonagh)
Foxcatcher (Bennett Miller)
It Follows (David Robert Mitchell)
Interstellar (Christopher Nolan)
The Look of Silence (Joshua Oppenheimer)
Phoenix (Christian Petzold)
Love & Mercy (Bill Pohlad)
Beyond the Lights (Gina Prince-Bythewood)
Life of Riley (Alain Resnais)
Timbuktu (Abderrahmane Sissako)
The Duke of Burgundy (Peter Strickland)
Wild Tales (Damián Szifrón)
The Imitation Game (Morten Tyldum)
What We Do in the Shadows (Taika Waititi & Jemaine Clement)
The Guest (Adam Wingard)
Leviathan (Andrey Zvyagintsev)

2015
LETTERBOXD CAPSULES:
Room (Lenny Abrahamson)
The Force Awakens (J.J. Abrams)
Irrational Man (Woody Allen)
Mistress America (Noah Baumbach)
Shaun the Sheep Movie (Mark Burton)
Inside Out (Pete Docter)
The Witch (Robert Eggers)
Spy (Paul Feig)
The Revenant (Alejandro González Iñárritu)
45 Years (Andrew Haigh)
Carol (Todd Haynes)
The Diary of a Teenage Girl (Marielle Heller)
The Fits (Anna Rose Holmer)
The Danish Girl (Tom Hooper)
Magic Mike XXL (Gregory Jacobs)
Anomalisa (Charlie Kaufman & Duke Johnson)
The Lobster (Yorgos Lanthimos)
Spotlight (Tom McCarthy)
The Big Short (Adam McKay)
Mad Max: Fury Road (George Miller)
Green Room (Jeremy Saulnier)
The Martian (Ridley Scott)
Bridge of Spies (Steven Spielberg)
Sicario (Denis Villeneuve)

2016
FULL REVIEWS:
Wiener-Dog (Todd Solondz) [+ cap]
LETTERBOXD CAPSULES:
La La Land (Damien Chazelle)
Hail, Caesar! (Joel & Ethan Coen)
The Edge of Seventeen (Kelly Fremon Craig)
Lion (Garth Davis)
One More Time with Feeling (Andrew Dominik)
The Lost City of Z (James Gray)
Eight Days a Week: The Touring Years (Ron Howard)
Moonlight (Barry Jenkins)
Manchester by the Sea (Kenneth Lonergan)
Hell or High Water (David Mackenzie)
Deadpool (Tim Miller)
Zootopia (Rich Moore & Byron Howard)
Moana (John Musker & Ron Clements)
I Am Not Your Negro (Raoul Peck)
Finding Dory (Andrew Stanton)
Arrival (Denis Villeneuve)
Fences (Denzel Washington)

2017
LETTERBOXD CAPSULES:
Get Out (Jordan Peele)

***

COMPLETED PROJECT PAGES
Best Picture Oscar winners
Best Director Oscar winners
AFI 100 Movies
Best Screenplay Oscar winners
Best Actor Oscar winners
IMDB Top 250
Best Actress Oscar winners
Silent era canon 1.0 [were I to pick one entry as my favorite piece of writing I’ve posted here, I think it would be this one]
Best Supporting Actor Oscar winners
Best Supporting Actress Oscar winners

MILESTONES
Post #100: shots list
Post #200: directors list
Post #300: title sequences list
Post #400: endings list
Post #500: scenes list

META-POSTS
Introductions & explanations (now outdated)
format change (explains thought process behind the slowdown of regular full-length reviews)
announcement of canon projects (also a regular monthly post)

REGULAR MONTHLY POSTS
These won’t have much continued utility since most of their content is integrated into the Movie Guide, but I do sometimes editorialize a bit and review some non-feature content, so they’re worth collecting here.
2012-15 capsule dump: part 1 / part 2
2015: February/March/April/May/June/July/August/September/October/November/December
2016: January/February/March/April/May/June/July/August/September/October/November/December
2017: January/February/March/April/May/June/July/August/September

OTHER
For the first two years, I managed to see enough films theatrically to make a crude first-draft top ten. I’ve since dropped this idea, don’t go to the movies much anymore (too frustrating), and have no intention of trying again.
Best of 2012
Best of 2013

600 posts and almost six years in — I’m still here, and I intend to stay here, and we’re gonna have a real good time together.

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