
Notorious
Hitchcock's most grown-up film, and the one where the suspense is entirely about feeling: a woman is sent to seduce a Nazi by the man who loves her.

Hitchcock's most grown-up film, and the one where the suspense is entirely about feeling: a woman is sent to seduce a Nazi by the man who loves her.

Every journalism film gets held up against this one: two reporters chase Watergate through phone calls and parking garages, and verifying a single fact becomes unbearably tense.

It sat out of circulation for fifteen years over a rights dispute, not the assassination myth people repeat: a Korean War veteran cannot shake a dream about his own platoon.

The bleakest comedy ever made about paperwork: Gilliam imagined a state that tortures you politely and misfiles the forms afterward, and had to fight his own studio to release it.

The Marx Brothers at their fastest and most anarchic, and they left Paramount soon after it underperformed: the mirror sequence has been stolen by everybody in comedy since.

Handheld chases got shakier for a decade because of this film: Greengrass films spying as legwork rather than glamour, and the Waterloo Station chase is the most tightly constructed surveillance sequence ever filmed.

Travolta's best performance is in a thriller that flopped and spent forty years being rediscovered: a movie sound man records an accident and hears something that should not be on the tape.

A film that changed federal law: the outcry over Stone's conspiracy case pushed Congress to pass the JFK Records Act, and the editing that sells it remains the most aggressive in American film.

Capra built the most stirring film ever made out of parliamentary procedure: an amateur senator holds the floor with nothing but his voice and the rulebook, and Washington's press corps hated it.

Chaplin attacked Hitler while America was still neutral, in his first talking picture: the two men were born four days apart, and the globe dance is the cruelest joke he ever staged.

Peter Sellers chased this part for years and considered it the best work he ever did: a gardener who has only ever watched television is mistaken for a sage.

Banned by the Greek junta it was made to indict: Costa-Gavras films a political assassination and its cover-up as a procedural thriller, and the pace never lets the outrage go abstract.

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.

Reese Witherspoon has never been better used: a high-school student council election becomes a study of ambition and resentment, and Payne refuses to let a single character off the hook.

John McTiernan solves the language problem with a slow push in on the Russian political officer, and everyone speaks English from then on: submarine cat-and-mouse with almost no violence in it.

Day-Lewis found a high, reedy voice for Lincoln because the historical accounts describe one: Spielberg and Tony Kushner build a whole film out of counting votes for the Thirteenth Amendment.

Van Sant shot in the actual Castro Street storefront where Harvey Milk ran his campaigns: Sean Penn plays the first openly gay man elected to major office in California, and plays him delighted.

Beatty tracked down dozens of surviving witnesses and cut their interviews straight into the film: the Russian Revolution seen through two American radicals who cannot stop arguing.

Michael Moore invented a whole documentary style here, himself as the persistent nuisance: Flint, Michigan after General Motors leaves, filmed by someone who grew up in it.

It opened a month before the Lewinsky scandal broke and eight months before Bill Clinton bombed Sudan, and the title became shorthand: a spin doctor and a producer fabricate a war.