
Chinatown
Screenwriters still take this one apart scene by scene to see how it works: Towne and Polanski built a mystery about stolen water that ends without a shred of mercy.

Screenwriters still take this one apart scene by scene to see how it works: Towne and Polanski built a mystery about stolen water that ends without a shred of mercy.

Adults started arguing about superhero films because of this one: Ledger's Joker is so unnerving that the Academy gave a posthumous Oscar to a man in clown makeup.

It flopped, then quietly redesigned the future: every rainy neon city of the last forty years is borrowing from Ridley Scott, and the mood still outlasts the plot.

Lynch built a Hollywood that runs entirely on dream logic and trusted the audience to assemble it: the whole thing feels like a half-remembered dream, and people keep returning.

Modern film noir does not get better than this: three Los Angeles cops with nothing in common, and a plot so tightly wired people rewatch it to follow the connections.

Every filmmaker who has ever shot a hitman putting on a hat is quoting this: Melville stripped the crime film down to ritual, silence and a trench coat.

The studio wanted the ending changed and Fincher refused, and studios then spent a decade trying to reproduce the atmosphere: a procedural so bleak the rain never stops.

Nolan told it backwards and the trick is not a trick: the reverse order strands you exactly where its amnesiac protagonist lives, knowing only the last five minutes.

Lynch invented his own genre here and the word Lynchian dates from it: a severed ear in a field leads into the underside of an ordinary American town.

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.

Almost nobody guesses where it is going the first time: five criminals meet in a police lineup, and the whole story reaches you secondhand from an interrogation room.

Altman dropped Chandler's detective into 1973 Los Angeles and let him be completely out of step with it: Elliott Gould mumbles through a city that has stopped caring.

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.

Sayles moves between past and present without a cut, panning from one decade into another: a Texas border town excavates a forty-year-old murder and finds the whole town's history attached.

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.

Rodriguez shot the whole thing on green screen and used Frank Miller's comic panels as storyboards: monochrome with single splashes of color, and Miller got a co-director credit for it.

Paul Verhoeven made the decade's most notorious mainstream thriller and never once blinked: an interrogation scene everyone still knows, and a novelist who may be writing what happens next.

Laurence Olivier and Michael Caine were both up for Best Actor, which has happened only a handful of times: a mystery writer invites his wife's lover to a country house full of games.