
The Dark Knight
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.

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.

Pixar's bravest film: the first forty minutes have almost no dialogue at all, and a robot with two expressions carries more feeling than most live actors manage.

Petit walked a wire between the Twin Towers in 1974 and Marsh tells it as a heist: the planning, the break-in, and forty-five minutes in the air.

Mickey Rourke had been out of serious work for fifteen years and walked straight back into this: a broken-down wrestler working autograph shows in New Jersey, filmed like a documentary from behind.

Boyle shot Mumbai on small digital cameras in real streets and Rahman's score carried it around the world: a contestant from the slums is detained for cheating, and each question opens a memory.

Garrone filmed the Camorra with no glamour, no arc and mostly non-actors from the neighborhood: five strands in a Naples housing block, and organized crime looks like a bad job.

Clint Eastwood cast Hmong non-actors from open auditions across the country and put his own screen history on trial: a widowed Korean War veteran hates his new neighbors and runs out of reasons.

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.

Donnie Yen plays Bruce Lee's future teacher and does his own fighting throughout: Wing Chun filmed at full speed with long takes, in a Foshan under Japanese occupation.