
Hamburger Hill
The least mythologizing Vietnam film anyone made: ten days in May 1969 taking one hill that the army abandoned immediately afterward, filmed as almost pure exhaustion and mud.

The least mythologizing Vietnam film anyone made: ten days in May 1969 taking one hill that the army abandoned immediately afterward, filmed as almost pure exhaustion and mud.

Miramax delayed releasing it after September 11 because the politics looked unpatriotic: Graham Greene's novel about American certainty in 1952 Saigon, with Michael Caine giving his best late performance.

Linda Hunt is the only person ever to win an Oscar for playing someone of another sex: Jakarta in 1965, and an Australian correspondent who understands almost nothing about it.

Robin Williams was handed a microphone and the cameras simply ran: an armed forces disc jockey lands in Saigon in 1965, and everyone above him wants the broadcast back the way it was.

Ron Kovic wrote the book and then the screenplay with Oliver Stone, who had been to the same war: a Long Island boy enlists in 1967, and Tom Cruise abandons his own image.

The funeral scene used around three hundred thousand extras, more than any film before or since: Richard Attenborough spent twenty years raising the money, and Ben Kingsley disappears completely.

A Paris cinema showing it was firebombed and Scorsese needed years to get it financed: Christ imagined as someone who could refuse, with Peter Gabriel's score sounding like the actual Middle East.

Christian Bale was thirteen and carries the entire film: Spielberg follows an English boy separated from his parents in occupied Shanghai, and never lets the war become an adventure.

Donnie Yen plays Bruce Lee's future teacher and does his own fighting throughout: Wing Chun filmed at full speed with long takes, in a Foshan under Japanese occupation.

It made Chow Yun-fat a superstar and started an entire Hong Kong genre: two brothers on opposite sides of the law, and a gunman in a trenchcoat lighting a cigarette with money.

Russell shot it on bleached film stock so the desert looks radioactive: four American soldiers go looking for Kuwaiti gold in the days after the Gulf War stops, carrying a stolen map.

The CIA really did produce a fake science fiction movie to get six Americans out of Tehran, and kept it classified until 1997: Affleck plays the operation completely straight.

Huston tried to make this for twenty years and finally got Connery and Caine: two British soldiers walk into Kafiristan intending to be crowned as gods, and the joke gets serious slowly.

The Chinese government let Bertolucci shoot inside the Forbidden City, the first Western production ever allowed in: a child emperor is crowned before thousands and then history keeps rearranging him.

Haing Ngor had never acted in his life and won an Academy Award for this: Roland Joffe films the fall of Phnom Penh through an American reporter and the Cambodian colleague beside him.

Boyle shot Mumbai on small digital cameras in real streets and Rahman's score carried it around the world: a contestant from the slums is detained for cheating, and each question opens a memory.

Scorsese's The Departed is a remake of this, and the Hong Kong original is fifty minutes tighter: two moles assigned to find each other, and a plot that never stops to explain itself.

Lucas took the two bickering peasants and turned them into R2-D2 and C-3PO: Kurosawa's first widescreen film tells an escape story from the point of view of its most useless characters.

The outdoors has never felt this hostile on film: Boorman shot in sequence and made his actors run the whitewater themselves, and a weekend canoe trip turns into something much older.

Miyazaki's most beautiful machine is a walking house held together by magic and bad temper: underneath the wonder is an angry anti-war film, made while he watched the invasion of Iraq.

Zhang Yimou shot each retelling of one assassination attempt in a different color: Christopher Doyle's photography is so beautiful that the film's politics start an argument every single time.

Shakespeare's Macbeth moved to sixteenth-century Japan with every line of the poetry gone: Kurosawa substitutes fog, Noh masks worn as faces, and a forest that seems to be watching the castle.

Woo shoots gunfights the way other directors shoot musical numbers: two pistols, slow motion, doves, and underneath it a straight-faced story about honor between a hitman and the cop hunting him.

Altman's overlapping dialogue turns up fully formed: army surgeons in Korea behave appallingly in order to stay sane, and the film was really about Vietnam all along.

Miyazaki announced his retirement with it, a retirement he later took back: a young man designs beautiful aircraft that become weapons, and nothing about that is resolved.

Eastwood made two films about the same battle, and the Japanese one is the better: shot almost entirely in Japanese, with a general nobody in America had heard of.

It will alter how you think about doing one thing for an entire lifetime: an eighty-five-year-old sushi master in a Tokyo subway station, still not satisfied with himself.

Malick came back after twenty years and made a war film about grass, light and the voices in men's heads: Guadalcanal, filmed as though the island were the subject.

Bigelow filmed a decade-long manhunt as pure procedure and let the audience sit with what it cost: the torture scenes started an argument that has never been settled.

Oliver Stone served in Vietnam and made this to correct everyone else's version: no glamour, no clarity, and a platoon that splits between two sergeants and stays split.

Bigelow made war feel like an addiction rather than a duty: a bomb disposal sergeant works without much fear, and every defusal is stretched until the room turns physical.

Councils across Britain banned it and Norway would not show it at all: the Pythons went after zealotry rather than faith, which is exactly why it still works.

Korean cinema broke through in the West on the strength of this: fifteen years locked in a room without explanation, and a corridor fight staged in one take.

It won four Academy Awards and remains the highest grossing foreign language film ever released in America: wire work so graceful that gravity stops being a consideration.

Oppenheimer asked the men who carried out Indonesia's mass killings to restage them as movie scenes, and they agreed gladly: no documentary has ever been braver or harder to sit through.

Kurosawa spends the entire first hour inside one house and it is unbearable: a rich man learns the kidnappers took the wrong child and still want his money.

Cimino spends a whole first act on a steel town and a wedding, so that when the war arrives it lands on people you already know by name.

It held the Japanese box office record until Titanic arrived: Miyazaki staged a war between an iron town and the forest gods and refused to name a villain.

Kiarostami blurred documentary and fiction so completely that nobody has quite untangled it since: a man caught impersonating a director, with everyone involved playing themselves on camera.

Bong made a serial killer film in which the police are the problem: it is based on a real case, and rural Korea itself ends up looking like the suspect.