
Wayne's World
The car scene put Bohemian Rhapsody back in the American top ten seventeen years after its release: two men broadcast a public access show from a basement and address the camera constantly.

The car scene put Bohemian Rhapsody back in the American top ten seventeen years after its release: two men broadcast a public access show from a basement and address the camera constantly.

Written by John Hughes, with Chevy Chase back as the same hapless father a third time: a man books two weeks off to build the perfect family Christmas out of things that break.

The Black American Graffiti, and better: Chicago teenagers in 1964 with a wall-to-wall Motown soundtrack, and Michael Schultz films a few days of hanging around as if nothing mattered more.

Bob Fosse spent years trying to film his own 1975 stage musical and never did: every number plays inside the head of a woman on trial, and the trial is staged as vaudeville.

Tom Cruise became a movie star in one scene in his underwear: Tangerine Dream scores a suburban comedy that is much colder and stranger than its reputation suggests.

Michael Mann's first theatrical feature, with Tangerine Dream on the score and real ex-burglars advising: a safecracker who has planned his whole future on a diner napkin tries to buy his way out.

Redford directed this before anyone thought he could, and it goes at what American families do not discuss: a Chicago suburb where everyone is fine, and a son in therapy who is not.

Steve James followed former gang members whose entire job is talking people out of retaliation: Chicago violence filmed as something interruptible, one conversation on one corner at a time.

It held the record for cars destroyed on film and works as a music documentary besides: Aretha Franklin, Ray Charles, James Brown and Cab Calloway all get a full number.

Mamet wrote it and Morricone scored it: De Palma stages a shootout on a station staircase in open tribute to Battleship Potemkin, and turns Prohibition Chicago into pure American myth.

Truancy has never looked this appealing: Ferris talks straight to the audience, takes a Ferrari and a parade, and the whole film is completely on his side.

The con is played on the audience as much as on the mark, and every turn is earned: Newman and Redford again, with ragtime that put Scott Joplin back on the charts.

Its exclusion from the documentary Oscar shortlist caused enough outrage that the Academy changed its rules: five years with two Chicago teenagers, and it is barely about basketball.