
Raiders of the Lost Ark
Every adventure film since is measured against it: Spielberg and Lucas built a machine of chases and near misses so efficient that forty years of imitation have not worn it out.

Every adventure film since is measured against it: Spielberg and Lucas built a machine of chases and near misses so efficient that forty years of imitation have not worn it out.

No war film has ever been this claustrophobic: Petersen ran a camera the length of a U-boat again and again until the steel walls start pressing in on you.

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.

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.

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.

John Carpenter turned Manhattan into a prison on a shoestring and it still looks right: Kurt Russell plays a convict given twenty-two hours to retrieve the president, and enjoys none of it.

The Vangelis theme is so famous that people forget the film underneath is about religion: two runners at the 1924 Olympics, one running for God and one against English antisemitism.

Henry Fonda won his only competitive Oscar at seventy-six and died four months later: he and Jane Fonda play an estranged father and daughter, which was not much of a stretch for either.