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Tom Cruise is the last movie star. I know, I know, you’re sick of hearing that statement, but I’m emphasizing it because it's undeniably true. In a Hollywood landscape saturated with so-called “spectacle,” no one else working today understands the core of what makes an action movie work. The M:I franchise has long exemplified this clarity of vision, never wasting time, always launching each entry with a sharp, recognizable setup. These movies live off of Cruise’s wildly animated commitment to “accept it,” to one-up each stunt, to push the limits of physical possibility, often to a point where it seems he’s genuinely risking his life for the sake of the scene. This uncompromising, masculine determination once defined Hollywood heroes but has now been forced out by a viciously cynical culture that trades visceral engagement for curated content-clicking reactions and homogenized, “righteous” optics. To me, the beauty of cinema lies in experiencing it directly: emotionally, physically, breathlessly. And despite the familiar structure of the series, each installment delivers a universal gut-punch of adrenaline through its outstanding stunt work and chase sequences, reminding us that even in a dying industry, Cruise’s brand of sincerity and menacingly self-driven artistry remains singular.

I love the ambition this one has. While some may describe it as “overstuffed” or “maximalist,” I frankly resist the negativity—and I denote both of those very positively here. The consuming digital spectacle of today is steeped in a dystopian, immature evil for the entire build-up (which is basically half the movie) and it allows the extremity of the climaxes to feel more thunderous, electric and satisfying. The final air duel may not be as intense as Fallout’s, but it gets pretty fucking close. Yet undeniably the highlight here is the submarine sequence towards the end of the second act that picked me up and slammed me into the ground. Even though it didn’t rely as heavily on Cruise’s signature stunts as some other scenes, there was a grand sense of unaltered, relentless physicality. The breath at the end of it felt poetic to experience and that’s likely due to Cruise’s magical screen presence and behind the scenes excitement for the art. I can’t wait to see it again, AMC stubs a-list is gonna prove dangerous for this one

A solid third of this movie is an audacious 2000s masterpiece but it’s buried under a generic “it’s not what you think” psychological drama and an intriguing but flat romance. None of it is outright bad but I wish the whole thing was the creepy and operatic time-warp thriller with zany saturated sky backdrops and eclectic music. The examination of Cruise’s star persona just ing his first career peak is retroactively fascinating, you get the signature drive and pulse he had from Maverick and Jerry Maguire but Crowe gives this character an Oliver Barrett IV background

Lovely nostalgia piece for war/postwar America. It has that great '90s haze but needed more flashbacks, plus I think Gene Hackman would’ve suited that role better than Tom Hanks. Still, you really can’t go wrong with Geena Davis in her prime and Madonna in a meta performance

This really reveals itself as one of the seminal masterworks of the twentieth century when experienced in a cinema, where its full power and precision become unmistakable. Gritty and raw, yes, but more than that, it's cruel, resilient, and towering in its timeless emotional resonance. The grainy, grimy portrait of 1960s New York dazzles with its unfiltered intensity, each frame packed with visual intrigue. Jon Voight is so remarkably vulnerable, it’s almost jarring to watch, he anchors the chaos with an aching humanity. Schlesinger was New Hollywood’s gay emperor

I never realized how intensely anti-theft this movie is. When Remy leads his whole family into the restaurant pantry, Linguini is mad because they were stealing?… NOT BECAUSE THERE WERE HUNDREDS OF STREET RATS IN THE KITCHEN???

This has, in all seriousness, one of the worst first acts I have ever seen. It doesn’t get much better from there but my god, I’ve never seen such a big production kick off with a setup this jumbled and aimless. The whole “movie” plays out like a montage with surface-level, predictably TikTok-adjacent humor and individual scenes that have virtually nothing to do with each other. Every cool Minecraft item or fact is inserted suddenly as a reference but never to drive an actual storyline. It’s obnoxious. And visually, it looks appallingly ugly. I only saw this because I grew up playing the (genius) game but fuck, it was BAD. I almost walked out! If you’re gonna make a Minecraft movie, why not make it animated?

Why does the 3D animation from a Pixar movie made over 20 years ago look more colorful, vibrant, and exciting than any released this decade?

Even after four watches, I still feel like there are details I’m just now picking up on, which speaks to Tony Gilroy’s genius efficiency and dense subtlety as a writer/director. The almost commercialized, cracking legal thriller at its center never overshadows the familial relationship between Michael and his son or the stirring workplace drama that ultimately erupts in revelation through a powerful, fist-pumping ending. That final confrontation between Clooney and Swinton is electric and deeply, deeply cathartic. DO I LOOK LIKE I’M NEGOTIATING???!!!

I miss these sprawling, post-9/11 character dramas that are about the vastness and fragility of our interconnected world. Yes, it’s Oscar bait, but it’s also executed with genuine ambition and artistic rigor. Iñárritu operates here in broad, emotionally charged strokes, which the film-school-brained liberal arts crowds are trained to believe is heavy-handed or simplistic. Instead of painting AGI as someone who’s trying to speak for entire cultures, I think he, really, is pulling dramatized fragments and moments from across the globe and uses them as parts of a larger, mosaic vision of globalization. The beauty of his work is in its fragmentation, in how it tracks the ripple effects of one seemingly small action across continents and lives. It’s about how chains of causality often unfold beneath our awareness, coincidentally and, often, tragically.

People who don’t like this movie are either a.) not American or b.) have a stick up their ass, actually they’re probably both!

Now this, THIS is a MOVIE!!! Unparalleled energy bursting through the screen ubiquitously, it’s all so indulgent and overwhelmingly over the top and yet somehow concludes more intensely than ever. I felt like a kid in a candy store watching the final 45 minutes, McCruise has a sense of excitement for action filmmaking that I haven’t seen in years.

Watching the opera fight was like watching a Star Wars lightsaber duel on shrooms produced in 2010s Milan

Glorious. Not only does it adapt beautifully from its two predecessors, but it also draws on a wide swath of folkloric adventure tales like Tarzan and Journey to the Center of the Earth, Universal monster films, silent Griffith epics, and vaudeville theatrics—and does it all on steroids. It likely didn’t have the impact of a Titanic or LOTR because it’s clunky as each hour plays out like its own distinct movie, never quite connecting fully. The opening segment could’ve been trimmed by 20–30 minutes, and Jack Black’s final line reading feels miscalculated and goofy. Yet that very messiness is also the product of a real excitement for blockbuster filmmaking and it gives the film its true character. Predictably, Jackson revealed King Kong to be his ion project. It references so much, builds upon itself, creates a wondrous pre-Avatar technological world, and just keeps going on and on with a dooming three-hour runtime.

Loved this one the most so far. The sort of postmodern, self-referential humor that the MCU lavishes on is done actually successfully here and proves to be quietly funny! Brad Bird was such a perfect directorial choice, the showdowns and chase sequences run extensively with playful visual puzzles and ridiculous stakes. The set pieces are cartoonish, the pacing is dramatic, and the glossy new modern-architectural look isn’t bland and corporate but exciting and skillful. Every shot feels full of deft and shiny compositions. The tone effectively balances the expository dialogue with long, gripping action and, ultimately, concludes on a surprisingly emotional note. For being an unabridged genre blockbuster, this deserves more credit for having a little something for every demographic in the audience, it almost reminds me of a ‘50s spectacle or ‘40s postwar melodrama in that sense. Unbelievable control. Throughout this series watch-through, I can’t help but regularly imagine how good Walton Goggins would’ve been as a Mission: Impossible villain!

Seamless transition into the sensibilities of the 2000s. It’s the first of the franchise where Ethan gets vulnerable and Cruise really sells it. The climax is amazing and I love the Shanghai backdrop

It’s not perfect but there are a lot of aesthetic swings that Woo takes which I appreciate. So many sudden zoom-ins and sharp music cuts, it’s the most ‘90s thing ever. Thandiwe Newton is so pretty

Dame. Judi. Dench. She’s only in the movie for two scenes but steals the entire goddamn thing. Biting, funny, witty--just perfect! I miss her

Bombastic, off-key, grand and operatic. The emotions swing high in sparse, naive patterns that culminate in a duel of Shakespearean tragedy. No blockbuster of today would ever have the guts to commit to such a descent into darkness, where Lucas sketches a world that crumbles with obscurity and ion yet still concludes satisfyingly with modernist hope. It’s striking and vibrant like John Martin’s Pandemonium, featuring one of the only successful uses of completely digitized photography in contemporary cinema. Nuts how this looks significantly better than any CGI-fest released within those tepid godawful franchises we’ve gotten since. Star Wars should’ve ended here

“You see? That is just like you, Harry. You say things like that and you make it impossible for me to hate you!”

So sweet and nostalgic and many tears flow at the end. This is lowkey the most impressive Tom Hanks performance

Frustrating! It’s too slick and clean, wrapped up in a neat little bow, which has become a key trait of 2020s movies (I guess I’ll just have to live with endless skepticism and self-referential structures from now on). Despite combining many genres, I don’t think Coogler takes any big swings tonally or in character dynamics. The very long, horrible meta ending (sorry, I mean the credits) made me roll my eyes. You aren’t Babylon. Plus, Michael B. Jordan is wildly miscast in a dual role. I sense the ambition and the film works when it disengages from its cynical, pseudo-scholarly, film-twitter-pleasing tendencies and delves into the raw, confident, and gory action thriller that it is at its core. The violence, blood, robotic sound effects, contemporary songs, portrait framing, and heightened emotions are exciting but, unfortunately, are also buried deep underneath today’s post-postmodern cinematic self-awareness and desperation to be lauded by critics as “original” and “subversive”

Effective and compelling. The ending is weird but I can excuse it since literally every scene before is as smooth as butter. I absolutely loved Meghann Fahy as Daphne on The White Lotus S2 (best show on TV) and she’s perfectly cast here; sharp, watchable, expressive. She is awesome and really sells the part of someone in a constant catch-22, where the horror comes less from the threats of violence but even more from the awkwardness of the character’s inability to explain her situation while also having to constantly save herself from familial tragedy. The stakes feel genuinely high, and the pacing is immaculate. The horror also comes from the fact that she’s on her phone that much, all of those bombastic electronic texts stamping on the screen was terrifying. Liked!

The OG of OGs! 🍃🚬

Stretches the same gag out for way too long but I love that it’s a classic, the main duo is so funny. Richard Pryor in particular has such vaudevillian, almost Chaplin-esque facial expressions. His eyes communicate so much. He nails the slapstick rule of delayed reactions and they always come from the eyes with that frozen, stilted, hilarious look of horror. The opening dinner scene is also comedic gold. I like that my dad grew up with it, the nostalgia was felt

A bit contrived at times and also feels like it juggles a few too many different tones, but this is experimental and audacious. There are a lot of really commanding technical elements, mostly notably the harrowing repetitive score and uncomfortable, constant jump-cuts. The independent ‘70s cinema grain is on FULL display and it only deepens the dirty, underground, avant-garde underbelly of the time’s culture. And that’s always beautiful

Classic biopic, with a slow, deliberate approach, expressionistic imagery and two riveting physical performances as its central highlight

this movie really libbed out holy shit. relationship between atheist girlboss scientist jodie foster and all american christian boy mcconaughey, religious protestors praising hitler, evil terrorist from utah (morman), MANY bill clinton appearances. it’s sort of a cozy and spielbergian time capsule. love the very 90s visual effects especially toward the end. they’re a blast, i enjoyed

This is an unbelievable, tight, epic action thriller that’s the best game of cat and mouse from ’71 (if you catch my drift…). Why does no one bring this up when mentioning the greatest looking films of all time? I’m serious when saying the cinematography is some of the best I’ll ever see. Gritty, vibrant colors, clever visual gags, unique framing, it’s a lost art. The football field sequence! The cross sequence! The helicopter sequences! What the fuck, why does it look this complex and striking? And that score!!! Don’t even get me started on the center of it all, the ultimate badass of cinema: Clint Eastwood, who is perfectly cast and just so damn good, the newfound hate for him is agonizingly unjustified and proof that evolution can go in reverse. He is the coolest movie star ever besides Tom Cruise, and between the two of them Clint outsells on the most important quality of being a star: the sunglasses. Obsessed with this new fave!

Clever old-school comedy. Simple, unmemorable, fun. It’s well-paced, with fantastic groovy music, hilarious stars, and an action-packed finale. Poitier was a competent director, and his forgotten movies provide a good insight into the middle America ‘70s psyche. Madcap, populist entertainment like this is a lost art!

always a blast. my MAN De Palma was the perfect choice to direct this, at first i didn’t see it but all those dutch angles and funky needle drops! in that train sequence i saw some vfx backdrops and cuts that reminded me of the swarm chases in the birds… yeah it’s so him. i could look at Mr. Cruise all day he’s so handsome and weird and talented and larger than life despite being 5’7”

i almost pissed myself from laughing in the first half… this is hilarious and we will never seee this type humor again on screen. the silent comedy section was the best! love that my mom saw this in middle school with her friends for a birthday party

definitely better than the first, i like all the stuff with khan himself and the tension is more fun and palpable but i still don’t think it commits to being anything distinctive or unique tonally. too airy and sparse for me

didn’t like it. there’s a fantastic score of course and it’s fun to engage with all the extensive, colorful non-dialogue space sequences but the characters and emotional beats always come across as soulless and secondary. a space opera should be OPERATIC not neutral and self-serious

Marilyn Burns should’ve been a STAR!!!

all these cold war mccarthyism sci fi thrillers essentially have the same plot but the unbelievable, imaginative artistry on display is what makes them dazzling. truly some of the best art direction and colors ever, it’s pop art

i really, really love this movie but i also hate the cult that it brought along. so many mainstream movies now try to emulate its exact tone and style when, truthfully, Fincher and Sorkin crafted something so idiosyncratic and brazen that should be left on its own. just proves how tone deaf the industry has become

I wanna be him and I wanna be with him

Core.

moved me to tears on multiple occasions, one of the most emotionally investing docs i’ve probably ever seen. carefully worded and structured, amazing score, heartbreaking stories told with such ion and warmth. no woe-is-me bullshit here, just a powerful, personal showcase. i appreciate the emphasis on the equal detriment this epidemic had on straight people, children, hemophiliacs, etc, it’s all astonishing. we are so lucky

got flashbacks to middle school spanish class

the ending speech unexpectedly moved me a lot… nice patriotic and warm-hearted lifelong crusade biopic. not a baseball person but I am a yankees person (obvs) so there was enough here

my favorite part of this is how intuitive the conversations feel, each character is framed very broadly as a preconceived biblical player and Bergman is so assured as a director that he never dwells in thinly veiled, underlying ‘subtle’ messaging. in many ways it veered into a full-on satire. perfect shot composition with incredible poussin references so instilled in our media and culture… what more is there to do besides sit in awe at these images and their brooding, immaculate beauty

floaty 50s melodrama with that loose vignette structure and a gorgeous eastmancolor french riviera presentation too. it felt like watching the birth of a real STAR which is so cool, Bardot was seductively playful and so sexy

SO good. I forgot how stellar it looks and sounds, the apocalyptic blue tint lighting and bombastic synthesizer score are beautiful. I might just see similarities in all of James Cameron’s badass female leads because Linda Hamilton reminds me of Zoe Saldaña, she is that perfect combination of emotionally vulnerable and physically alert. 80s excess action films were awesome and this is the zenith. the final shot of the storm-ridden desert with a mountainous backdrop makes me especially excited to rewatch the sequel. YOU’RE TERMINATED, FUCKER!

reagan-era feminism as a supernatural force. crazy that this was up for six oscars and the screenplay was not among them, it’s witty, endlessly quotable and still hysterical

i adored this it’s spellbinding as a fairytale and my favorite Kurosawa so far. i can’t get over the presence of Mifune and his imagined caricature. it is so charismatic and uncompromising but completely broken once we’ve reached the climax as you see him squirming around in the dirt like an insect trying to cling on to an inch power. such a disturbingly jarring image that reveals so much about the nature of truth and capitalizes on all of the inventive storytelling moments that precede in the film

an off-kilter revenge story that reverses the premise of technological advancements while embracing ‘70s social progress. the title is strangely deceiving but i like how the frogs represent some earthly observer, almost a bystander to the natural world’s broad overconsumption of man and the raw horror associated with that. the sequences of violence and death are all individualized and personal which makes the tone evocative and deep-seated in a childlike realm of fear. it’s so trashy with noticeable sound chops and fragmented storytelling but the score is piercing and I’ve never seen a movie that looks this green. also all the woman are so so beautiful especially judy pace who’s a show stopper

a top 3 coming of age comedy that nails the offbeat, quirky, deadpan vibe of the late 90s and early 2000s. i spoke about it with bryan on his podcast HERE so please listen!

mild rom-drom flighty WWII stuff, nothing we haven’t seen before but I like the jean arthur character she was funny and lesbian-coded in a subversive way

HOW MARVELOUS! HOW DO THEY GET THE PASTRY SO CRISP?!

awesome 90s monster trash, had a blast. best ing actress betty white

1. Mission: Impossible – Fallout
2. Mission: Impossible – Ghost Protocol
3. Mission: Impossible – Dead Reckoning
4. Mission: Impossible – The Final Reckoning
5. Mission: Impossible – Rogue Nation
6. Mission: Impossible III
7. Mission: Impossible
8. Mission: Impossible II

• Man with a Movie Camera
• Un Chien Andalou
• The Invisible Man
• Duck Soup
• The Awful Truth
• Gone with the Wind
• Fantasia
• Brief Encounter
• The Heiress
• Sunset Boulevard

...plus 95 more. View the full list on Letterboxd.

Reagan-Era Movies. American films made during Ronald Reagan’s presidency. Main qualities include the following: an idealized America imagined by the time's right—muscular, individualistic, and triumphant. Glazed in the neon gloss of '80s excess, where life often feels like a high-budget cheesy commercial. Techno-futurist yet deeply nostalgic, these films pulse with synthesizers, corporate aesthetics, and dystopian undertones. The dream of American upper-middle class capitalism, packaged as heroism. Not always strictly ideological but more vibes-based: mall culture meets military fetishism, wrapped in cinematic spectacle. Feel free to comment suggestions

• WarGames
• Flashdance
• Ordinary People
• Back to the Future
• Red Dawn
• The Right Stuff
• Field of Dreams
• Working Girl
• Top Gun
• Wall Street

...plus 15 more. View the full list on Letterboxd.

2000s movies with multiple, seemingly separate storylines that eventually intersect or resonate through shared events, themes, or characters. Often emphasizing human chance, fate, or government systems, they portray the interconnectedness of individuals across geography, class, culture, or time, and reflect a growing sense of globalization, fragmentation, and emotional dislocation in a post-9/11 world. Visually and structurally, these movies tend to have nonlinear timelines, ensemble casts, parallel editing, and cross-cutting to show the simultaneity and interdependence of operatic human experiences. Feel free to comment any suggestions

• Babel
• Traffic
• Crash
• Syriana
• Gosford Park
• 21 Grams
• The Hours
• Requiem for a Dream
• Lantana
• The Edge of Heaven

...plus 12 more. View the full list on Letterboxd.

• 12 Angry Men
• 2001: A Space Odyssey
• 20th Century Women
• The 39 Steps
• The 400 Blows
• 61*
• 8 Mile
• 8½
• About a Boy
• Ace Ventura: Pet Detective

...plus 664 more. View the full list on Letterboxd.

copied for list stats

• 12 Angry Men
• 12 Years a Slave
• 13 Lakes
• 20,000 Leagues Under the Sea
• 2001: A Space Odyssey
• 20 Feet from Stardom
• 3:10 to Yuma
• 42nd Street
• 4 Little Girls
• 7th Heaven

...plus 909 more. View the full list on Letterboxd.

cloned from jake for stats

• The Birds
• 8½
• A Clockwork Orange
• The Lady from Shanghai
• Auntie Mame
• Who's Afraid of Virginia Woolf?
• Persona
• All About Eve
• Star Wars: Episode III – Revenge of the Sith
• BUtterfield 8

...plus 158 more. View the full list on Letterboxd.

All of the winners for the Academy Award for Best Actress ranked.

1. Gone with the Wind

   Vivien Leigh

2. La Vie en Rose

   Marion Cotillard

3. The Prime of Miss Jean Brodie

   Maggie Smith

4. Cabaret

   Liza Minnelli

5. Funny Girl

   Barbra Streisand

6. Misery

   Kathy Bates

7. Network

   Faye Dunaway

8. Annie Hall

   Diane Keaton

9. Who's Afraid of Virginia Woolf?

   Elizabeth Taylor

10. The Heiress

    Olivia de Havilland

...plus 90 more. View the full list on Letterboxd.

• Koyaanisqatsi
• Babylon
• First Man
• Atonement
• Phantom Thread
• Notes on a Scandal
• Mishima: A Life in Four Chapters
• The Fog of War
• Titanic
• Carol

...plus 13 more. View the full list on Letterboxd.

• Titanic
• Gone with the Wind
• Rocky
• Annie Hall
• The Bridge on the River Kwai
• The Godfather Part II
• Chicago
• Amadeus
• Midnight Cowboy
• Parasite

1. Titanic
2. Gone with the Wind
3. Cabaret
4. The Graduate
5. The Bridge on the River Kwai
6. The Godfather Part II
7. Ben-Hur
8. Annie Hall
9. Parasite
10. Midnight Cowboy

...plus 81 more. View the full list on Letterboxd.

adjusted for inflation (obvs). copied for list stats

1. Gone with the Wind
2. Star Wars
3. The Sound of Music
4. E.T. the Extra-Terrestrial
5. Titanic
6. The Ten Commandments
7. Jaws
8. Doctor Zhivago
9. The Exorcist
10. Snow White and the Seven Dwarfs

...plus 90 more. View the full list on Letterboxd.

1. Star Wars: Episode III – Revenge of the Sith
2. The Empire Strikes Back
3. Star Wars
4. Return of the Jedi
5. Star Wars: Episode II – Attack of the Clones
6. Star Wars: The Last Jedi
7. Star Wars: The Force Awakens
8. Star Wars: Episode I – The Phantom Menace
9. Rogue One: A Star Wars Story
10. Star Wars: The Rise of Skywalker

1. Titanic
2. Avatar: The Way of Water
3. Avatar
4. Terminator 2: Judgment Day
5. Aliens
6. The Terminator

1. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
2. Vertigo
3. Citizen Kane
4. Tokyo Story
5. In the Mood for Love
6. 2001: A Space Odyssey
7. Beau Travail
8. Mulholland Drive
9. Man with a Movie Camera
10. Singin' in the Rain

...plus 254 more. View the full list on Letterboxd.

for stats

1. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
2. Vertigo
3. Citizen Kane
4. Tokyo Story
5. In the Mood for Love
6. 2001: A Space Odyssey
7. Beau Travail
8. Mulholland Drive
9. Man with a Movie Camera
10. Singin' in the Rain

...plus 90 more. View the full list on Letterboxd.

I created this list for my podcast called “And the Oscar doesn’t go to…” where myself and a guest discuss a film that received a Best Picture nomination but not only lost that award but failed to win any awards on Oscar night.

• Past Lives
• Maestro
• Killers of the Flower Moon
• The Fabelmans
• The Banshees of Inisherin
• TÁR
• Elvis
• Triangle of Sadness
• Don't Look Up
• Nightmare Alley

...plus 156 more. View the full list on Letterboxd.

• Avatar: The Way of Water
• Dune
• Nomadland
• Once Upon a Time... in Hollywood
• The Favourite
• Phantom Thread
• La La Land
• The Martian
• The Grand Budapest Hotel
• Her

...plus 25 more. View the full list on Letterboxd.

A list of the films featuring Academy Award-winning performances for Best ing Actor that I’ve seen. Ranked by the performance and not by the movie.

1. No Country for Old Men

   Javier Bardem, 72nd

2. Cabaret

   Joel Grey, 37th

3. They Shoot Horses, Don't They?

   Gig Young

4. Ordinary People

   Timothy Hutton, 45th

5. Everything Everywhere All at Once
6. Ed Wood

   Martin Landau, 59th

7. Inglourious Basterds

   Christoph Waltz, 74th

8. Moonlight

   Mahershala Ali, 89th

9. A Fish Called Wanda

   Kevin Kline

10. Whiplash

    J.K. Simmons, 79th

...plus 58 more. View the full list on Letterboxd.

For personal stats.

• 7th Heaven
• Sorrell and Son
• The Crowd
• Two Arabian Knights
• Speedy
• The Divine Lady
• Madame X
• The Broadway Melody
• In Old Arizona
• Drag

...plus 460 more. View the full list on Letterboxd.

Only copied for personal stats.

• Avatar: The Way of Water
• All Quiet on the Western Front
• The Fabelmans
• The Banshees of Inisherin
• Women Talking
• TÁR
• Elvis
• Triangle of Sadness
• Top Gun: Maverick
• Everything Everywhere All at Once

...plus 581 more. View the full list on Letterboxd.

1. There Will Be Blood
2. Amadeus
3. The Father
4. Marty
5. Network
6. Kramer vs. Kramer
7. Manchester by the Sea
8. American Beauty
9. The Silence of the Lambs
10. The Goodbye Girl

...plus 69 more. View the full list on Letterboxd.

1. The Bridges of Madison County
2. The Devil Wears Prada
3. Kramer vs. Kramer
4. Doubt
5. Silkwood
6. Julie & Julia
7. Sophie's Choice
8. One True Thing
9. A Cry in the Dark
10. Adaptation.

...plus 11 more. View the full list on Letterboxd.

• The Father
• The Favourite