
The Social Network
The film that got the internet age right before anyone else did: Sorkin's dialogue moves faster than you can follow, and the loneliness underneath it has only aged better.

The film that got the internet age right before anyone else did: Sorkin's dialogue moves faster than you can follow, and the loneliness underneath it has only aged better.

Proof that a summer blockbuster can be genuinely difficult: Nolan stacked four levels of dream on top of each other and audiences argued about the last shot for years.

Pixar took a third film in a series somewhere nobody expected it to go: the toys end up far from a toy box, and the last act is genuinely harrowing.

The Coens went back to Charles Portis's actual sentences and rationed contractions almost out of existence: a fourteen-year-old girl hires a drunk marshal to avenge her father.

Aronofsky filmed ballet as body horror and somehow made it work: a dancer's discipline turns on her, and Natalie Portman trained for a year to make it convincing.

Animation has never conveyed the physical sensation of flight this well: Roger Deakins consulted on the lighting, and a Viking boy who cannot fight befriends the creature he was raised to kill.

Jennifer Lawrence was eighteen and unknown when Debra Granik cast her: a girl in the Ozarks has a week to find her father or lose the house, and nobody local will help.

Nearly six hours across eight languages and a dozen countries: Olivier Assayas films a terrorist's whole career as a business, with clients, invoices, expense disputes and a payroll to meet.

Affleck filmed in the Charlestown blocks the story is about: bank crews in nun masks, and a robber who wants out of a neighborhood with no intention of releasing him.

Christian Bale plays the older brother who threw away his own career and cannot stop coaching: Lowell, Massachusetts shot from inside the family, which is the hardest opponent in it.

Boyle built a thriller around someone who cannot move: James Franco is pinned by a boulder in a Utah canyon, and the camera keeps finding movement in a space three feet wide.

Made for eight million pounds and returned thirty times its budget: Colin Firth plays a duke who dreads a microphone, and Geoffrey Rush the unqualified Australian who will not defer to him.

Two comedians play unpleasant versions of themselves and improvise the whole thing: Steve Coogan and Rob Brydon drive around northern England eating well and competing over Michael Caine impressions.