
12 Angry Men
Nothing beats it as a filmed argument, and it happens in a single room: eleven jurors want to go home, one will not, and the temperature keeps rising.

Nothing beats it as a filmed argument, and it happens in a single room: eleven jurors want to go home, one will not, and the temperature keeps rising.

France stayed uncomfortable enough to keep it out of cinemas for eighteen years: Kubrick tracked the camera down the trenches and staged an injustice that still makes people furious.

No image from any film has been parodied more: a knight plays chess with Death on a beach, and Bergman is completely serious about the question underneath it.

Lean built an epic about the seduction of a job well done: a British colonel in a Japanese prison camp finds a strange satisfaction in building their bridge properly.

Bergman cast the founding father of Swedish cinema as an old man reckoning with his own coldness: a drive across the country, punctuated by dreams that keep ambushing him.

Giulietta Masina gives the performance that everyone remembers from Fellini: a Roman streetwalker keeps hoping harder than her luck deserves, and the film never once pities her.

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.

The closing credits ask the audience not to reveal the ending, and audiences mostly obeyed: Wilder turns an Agatha Christie courtroom into a comedy about a barrister who is supposed to be resting.

Sleepless in Seattle sent an entire generation back to it: Cary Grant and Deborah Kerr agree to meet on the Empire State Building observation deck in six months, and then wait.

Richard Avedon served as visual consultant and shot the photographs himself: Audrey Hepburn is a bookshop clerk turned Paris model, and the darkroom sequence is the most beautiful red ever filmed.