
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.

Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.

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.

Rihanna sings the hook, Elton John plays piano, and West spent two years stacking fourteen singers behind the horns.
If you guys were the inventors of Facebook, you'd have invented Facebook.

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.

A maid hid 264 Japanese carvings in her mattress while the Nazis stripped the Vienna palace of the Ephrussi bankers. De Waal, their descendant, follows the objects through his family's rise and ruin.

Cut in Aaron Dessner's Brooklyn garage, a horn part stripped out late, leaving that rolling drum pattern and Berninger's baritone.

The marble Washington was a performance: Chernow finds a man of hot temper, sharp ambition, and constant calculation underneath, and follows him from surveying to Mount Vernon's slave quarters to the presidency.

Cut at Wondaland with Big Boi guesting, a horn-driven groove Monae wrote about staying level under praise and criticism.

Bonnie McKee rewrote it repeatedly until Benny Blanco suggested studying a Teenagers single, and one word cracked the chorus open.

Ratatat cut the beat before Cudi arrived, MGMT added vocals, and Steve Aoki's remix made a song about intoxication ubiquitous.

Twinkling piano, bumping bass, the Smeezingtons doing sixties Motown, and a typography video that went viral on release day.

Alex da Kid's beat, Skylar Grey's demo hook, Rihanna's vocal cut in Dublin, seven weeks at No. 1.

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.

A rolling piano, Butler's boyhood in The Woodlands outside Houston, and an album he called a letter from the suburbs.

Bangladesh built the beat around Harry Belafonte's Day-O, and Wayne released it six weeks after leaving jail.

Every instrument played by Mars and Ari Levine at Levcon Studios, and a Grammy for male pop vocal followed.

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.

Cancer gets a full biography, traced from an Egyptian physician's papyrus to the leukemia ward where Mukherjee treats a young kindergarten teacher. He makes the invention of chemotherapy read like a war.

Recorded in a converted church in upstate New York, and built almost entirely from an organ, a drum machine and a slide guitar.

Win Butler and his brother grew up outside Houston, and the record is built around driving through places like it as teenagers.

Cut in New York, finished by Sandy Vee in Paris, and Rihanna's ninth Hot 100 number one; euphoria on demand.

Boi-1da's beat, Resto's keyboards, and Eminem setting the Slim Shady mask aside; it debuted at number one.

Patti Smith and the photographer Robert Mapplethorpe met in 1967 New York, broke and twenty, and held each other to the promise of becoming artists. She wrote it at his dying request.

Stargate's synth organ, Drake's first number one, and Rihanna turning a chorus of nonsense syllables into flirtation.

Bradford Cox, the singer, wrote the last song for a friend who had just died, and it ends by simply stopping partway through.

Jed Martin, an artist, makes his name photographing Michelin road maps and painting people at their trades. Houellebecq writes himself into the novel, has himself murdered, and gives Jed a dying father.

Funkadelic's Can You Get to That, looped and sweetened, under the one Sleigh Bells song that whispers.

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.

Perry's West Coast answer to Empire State of Mind, the misspelling saluting Big Star, six weeks at number one.

Michael Burry, a one-eyed doctor turned investor, read the mortgage documents no one else opened and bet against American housing. Lewis turns credit default swaps into a thriller about who saw it coming.

Rebuilt two days before the album was due, its surf-pop guitars gone, and Mars sings it like a wound.

Three rappers, one T-Pain hook, and a brass fanfare Obama walked out to at the 2013 correspondents' dinner.

Stargate's beat, a yellow Challenger with black stripes, and a Pittsburgh hometown chant that reached number one.

A leak forced its release nearly two weeks early, and Swift's lead Speak Now single still debuted at number three.

The Black Keys took two people and a lot of noise to Muscle Shoals, and came out with the record that filled the arenas.

Mercer and Burton met at Roskilde in 2004, then recorded in secret; the result shuffles beautifully toward resignation.

Two minutes long, given away to fans who posted flyers, and jangling its way toward something like salvation.

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.

Drake had been a teenage actor on a Canadian school drama, and made a record that raps and sings without marking where one stops.

Kimberly Perry wrote it alone, and banjo, fiddle and mandolin carry her meditation on mortality across fifty-three Hot 100 weeks.

A Joe Tex drum break under a Smeezingtons hook, and Bruno Mars stepping out from behind the songwriting desk.

Filmed among Aston Martins in Miami, with J.U.S.T.I.C.E. League's beat and Drake turning Ross's luxury boast wistful.

Jim Jonsin and Rico Love built the beat, and Nelly took the heartbreak to number three.

A leaked demo forced its own release, and an Annie Lennox sample gave Minaj eight weeks atop the rap chart.
I am going to consume all of this at the same time because I am a free American.

Three voices, one mixtape: McCall produced and guested, Tyga rapped, and Brown took a breakup to number one R&B.
For the two of us, home isn't a place. It's a person. And we're finally home.

Kane Beatz interpolated Modest Mouse's Float On, Atlantic made it the price of releasing Lasers, and Fiasco got his biggest hit.

Alex da Kid's beat, Hayley Williams on the hook, and a wish on a passing plane that went diamond.

Recorded on cheap gear in a college dorm room, co-written with Big Sean, and a number six hit.

Mercer sang falsetto for the first time here at Burton's urging; Christina Hendricks plays the android in the video.

Ne-Yo and Chuck Harmony built it on a Just the Two of Us sample; Kahn's video parades a century of divas.

Shellback and Max Martin built a toast to outsiders, and it gave Pink her third Billboard number one.

Rihanna's team turned it down for Loud, and Usher took it to number four with Pitbull along for the ride.

DJ Frank E's video-game synths cut at the Record Plant, and Brown's return to pure pop after the mixtape years.

Queens kids who met on Craigslist and busked subway platforms, then made banjo and glockenspiel sound euphoric.
A Dallas dance named after Doug E. Fresh, a cowbell-driven beat from Runway Star, and Inglewood teaching everyone else.
Look, the point is, stop trying so hard to be something you're not.