
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.