
High Sierra
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.

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.

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.

Guy Ritchie raised the money out of favors and cast a professional footballer who had never acted: four London friends owe half a million pounds by Friday, and five plots collide getting it.

Dassin was blacklisted out of Hollywood and made this in France for almost nothing: the half-hour robbery at its center plays in near-total silence, and the genre has been imitating it since.

Scorsese's Las Vegas is a machine for taking money and the film shows you every gear: three hours of narration, costumes and a system that eats everyone inside it.

No film has been quoted by more rappers: De Palma and Stone made a Miami cocaine epic so excessive that it turned into a genuine American myth.

The Coens wrote it in the voice of a 1930s crime novel and never break character once: a hat blowing through woods is the famous image, and nobody explains it.

France spent a year arguing over it and the government screened it for ministers: twenty-four hours with three young men in a Paris suburb after a riot.

American distributors cut ninety minutes out of it and destroyed the reviews: restored to full length, Leone's fifty-year gangster elegy drifts between decades like an opium dream.

Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.

Coppola did what almost nobody manages, and made a sequel with a real claim to surpassing the original: two eras of one family run side by side, and the colder one wins.

The summit of the American crime film: Coppola turned an immigrant family's rise and rot into the country's own epic, and made damnation look like a coronation.