
There Will Be Blood
Day-Lewis builds an American monster out of oil and resentment, and Jonny Greenwood's score scrapes at the nerves for two and a half hours without once letting up.

Day-Lewis builds an American monster out of oil and resentment, and Jonny Greenwood's score scrapes at the nerves for two and a half hours without once letting up.

The Coens made a chase film with almost no music in it at all: Javier Bardem's killer with a cattle gun became the most frightening figure of the decade.

They put it online and let people pay whatever they wanted, including nothing. Some of the songs had been played live for ten years.

Producer Mark Ronson had a Brooklyn soul band play it live to tape like a sixties session. Winehouse wrote about the man she kept leaving.

West cleared the Daft Punk sample through their manager, had Timbaland reprogram the kick drums, and hit number one.

Almost nothing else takes both cooking and criticism this seriously: a rat with a palate steers a hapless human around a Paris kitchen, and the food looks extraordinary.

The Romanian New Wave announced itself with this: an illegal abortion arranged across one day in 1987, filmed in long static takes that give you nowhere to look.

It came out the same day as a 50 Cent album, and the two turned it into a public sales contest. Kanye won by a distance.

DJ Toomp built the beat and bassline, West layered the strings, and Zach Galifianakis lip-synced it on a tractor.

All My Friends is one piano figure repeated for seven and a half minutes while everything else is built up around it.

In 1500 disbelief in God was barely possible. By 2000 it is ordinary. Taylor explains the shift not as science clearing away superstition but as Christian reform building a self sealed against transcendence.

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.

Schnabel put the camera inside a paralyzed man's one working eye and left it there: the memoir it comes from was dictated letter by letter, by blinking, and the film feels weightless anyway.

No chorus, just strings and a rising ache; Kleerup's living-room track became Robyn's first British number one.

Wright's parody is better constructed than most of the films it mocks: a London supercop is exiled to a picture-perfect village, and the final act is staged better than the real thing.

Guha carries India from independence in 1947 to the present and asks why it never broke apart, given partition, famine and insurgency. He calls it an unnatural nation and an unlikely democracy.

StarGate looped Michael Jackson's chant from Wanna Be Startin' Somethin', and Rihanna took it to number one in ten countries.

Sent to the Maine Lobster Festival, Wallace asks whether boiling an animal alive is defensible. The same scruple drives his reports on a porn awards show and Senator McCain's presidential campaign.

Morse tapped the title into the first telegraph line in 1844. Howe's Pulitzer-winning account of antebellum America argues that communications, markets, and revival religion remade the country while Jacksonian politics took the credit.

Sean Penn spent ten years persuading the family to let him film this: a graduate burns his savings and walks into the Alaskan interior, and the film neither mocks him nor canonizes him.

West and DJ Toomp sped up Michael Jackson's P.Y.T. into a Grammy-winning glide, T-Pain's hook floating over it.

Seth Rogen and Evan Goldberg began writing it at thirteen and it shows: one night, a catastrophic fake ID, and a friendship neither boy can say anything about directly.

Nels Cline's lead guitar turns a quiet Tweedy song into the twin-guitar epic Rolling Stone compared to Television.

Justice built it from Michael Jackson song titles and handed the chorus to a London children's choir.

Jon Brion produced this track and no other on the album, adding mariachi-style horns and handclaps to Britt Daniel's warning.

T Bone Burnett chose every song and neither singer had heard most of them. Plant sings underneath Krauss rather than over her.

Diablo Cody won an Oscar for dialogue that no teenager has ever spoken, and it works anyway: a sixteen-year-old handles a pregnancy with more composure than every adult around her.

Auto-Tune used as an instrument rather than a fix, T-Pain producing himself, Yung Joc riding a snap beat.

Denied a visa to work in America, she recorded it instead in India, Trinidad, Liberia and Australia, with whoever was in the room.

Swift wrote it in roughly twenty minutes for a ninth-grade talent show, then spent six weeks atop the country chart.

Elio is seventeen the summer a visiting scholar stays six weeks at his family's house on the Italian coast. Aciman renders desire from the inside, every calculation and humiliation of wanting someone.
The way to stop discrimination on the basis of race is to stop discriminating on the basis of race.

Oscar is an overweight Dominican nerd in New Jersey, desperate for love and buried in fantasy novels. Díaz runs his family through Trujillo's dictatorship in footnotes where history and comic books collide.

Nathan Chapman's production stays hushed while Swift and Liz Rose leave the real classmate's name, Drew, in the lyric.

A 1964 Everly Brothers single, rebuilt by T Bone Burnett into swampy menace, won a Grammy.