
The Informer
Dublin in 1922, shot entirely on a fogged soundstage: John Ford won his first directing Oscar for it, and a slow-witted man sells out a friend for twenty pounds.

Dublin in 1922, shot entirely on a fogged soundstage: John Ford won his first directing Oscar for it, and a slow-witted man sells out a friend for twenty pounds.

Sidney Poitier and Tony Curtis are chained together at the wrist, which was the entire argument in 1958: two convicts break out of a crash in the South and cannot move separately.

Ida Lupino had top billing and Bogart got the part after George Raft turned it down: John Huston co-wrote it, and an aging gunman takes one last job in the Sierra Nevada.

South Africa's first Academy Award for a foreign language film: a Johannesburg gang member steals a car and finds a baby in the back, and the film gives him no easy way out.

William Burroughs turns up as a defrocked priest and somehow that is not the oddest thing here: Van Sant films a crew robbing pharmacies in 1971 Portland with no lecture attached.

Alfred Hitchcock disguised half the cuts so the film plays like one unbroken take: two students host a dinner party in the apartment where they have done something, and the camera never leaves.

David O. Russell rebuilt the real Abscam sting as a comedy of terrible hair: two con artists are pressed into working for the FBI, and everyone in it is lying about something.

Denzel Washington took an Academy Award playing against everything audiences trusted him with: Antoine Fuqua shot in real Los Angeles neighborhoods, and a rookie narcotics officer gets one day to prove himself.

Philip Seymour Hoffman spent months on the voice and it never sounds like an impression: Truman Capote gets the book of his life out of two condemned men, and knows what that costs.

Affleck filmed in the Charlestown blocks the story is about: bank crews in nun masks, and a robber who wants out of a neighborhood with no intention of releasing him.

The camera drops out of the sky into a packed football stadium and does not cut for five minutes: an Argentine investigator reopens a case he could never leave alone.

Tatum O'Neal was ten and is still the youngest winner of a competitive Academy Award: a Depression-era orphan running a Bible scam alongside someone who may be her father.

Chazz Palminteri turned down large offers for his one-man play until someone would let him star: De Niro directed his first film out of it, about a boy with two fathers competing.

Oliver Stone meant it as an indictment and a generation took it as a recruitment ad: Gordon Gekko's speech about greed is the most misread scene in American film.

Garrone filmed the Camorra with no glamour, no arc and mostly non-actors from the neighborhood: five strands in a Naples housing block, and organized crime looks like a bad job.

De Palma's best film with Pacino, and it took people twenty years to notice: an ex-convict tries to go straight in 1975 New York, and the Grand Central chase is a masterclass.

Edward Norton added thirty pounds of muscle for it and Tony Kaye tried to take his own name off the finished cut: a former neo-Nazi leaves prison and finds his brother following him.

Tarantino named his production company after this film: three young Parisians run through the Louvre in nine minutes and dance the Madison in a cafe, and Godard makes crime look like play.

Poitier refused to film in the Deep South, so Mississippi was recreated in Illinois: a Philadelphia detective is arrested for being Black in a small town and then asked to solve its murder.