tag:blogger.com,1999:blog-3701706411115118012024-03-12T16:13:25.912-07:00The Film Magazine Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-370170641111511801.post-86103000541671954312020-02-12T00:09:00.000-08:002020-02-12T00:11:45.429-08:00Every Oscar Best Picture Winner, Ranked<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #555555; font-family: "roboto" , sans-serif; font-size: 19.2px;">Consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.</span><br />
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<div class="first-child " style="background-color: white; border: 0px; font-family: "pt serif", sans-serif; font-size: 1.1rem; line-height: 1.55; margin-bottom: 20px; padding: 0px; vertical-align: baseline;">
<span class="cap" style="border: 0px; float: left; font-size: 75px; line-height: 60px; margin: 0px; padding: 4px 8px 0px 3px; vertical-align: baseline;" title="I"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">I</span></span>t’s a rare type of cinephile who wasn’t introduced to the idea of film as more than just idle entertainment by the ritual of the Academy Awards. And it’s an even rarer type of cinephile who didn’t soon thereafter vehemently reject the Oscar as the ultimate barometer of a film’s artistic worth. Those of us who started off with <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">The Godfather</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Schindler’s List</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">All About Eve</em>, or <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Casablanca</em> all eventually got around to <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Out of Africa</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Around the World in 80 Days</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">The Greatest Show on Earth</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em>, and <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cavalcade</em>. First loves being first loves, we still find ourselves regressing if for only one night a year, succumbing to the allure of instant canonization even as it comes in the form of repeated slap-in-the-face reminders of Oscar’s bracing wrongness: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Gladiator</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Braveheart</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Chicago</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Crash</em>. In that sense, consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives. If we had to sit through every one of these movies, the least you can allow us is the chance to show you our scars. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Editor’s Note:</em></strong><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;"> This article was originally published on February 26, 2018.</em></div>
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<img alt="Crash" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_crash.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_crash.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
<h2 style="backface-visibility: hidden; background-color: white; border: 0px; font-family: oswald, sans-serif !important; font-size: 1.8rem; letter-spacing: -0.02em; line-height: 1.4; margin: 10px 0px; overflow: hidden; padding: 0px; vertical-align: baseline; width: 870px;">
92. Crash (2005)</h2>
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<em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Crash</em> is set in Archie Bunker’s world, a nostalgic land where race is at the forefront of every consciousness during every minute of every day, where elaborately worded slurs are loaded into everyone’s speech centers like bullets in a gun, ready to be fired at the instant that disrespect is given. The characters are anachronistic cartoons posing as symbols of contemporary distress. “I can’t talk to you right now, Ma,” says Don Cheadle’s cop, pausing mid-coitus to take a phone call. “I’m fucking a white woman.” “Holy shit,” another character exclaims. “We ran over a Chinaman!” “I can’t look at you,” Matt Dillon’s cop tells a black female paper-pusher, making like Peter Boyle’s character from the 1970 white-man-on-a-rampage melodrama <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Joe</em>, “without thinking of the five or six qualified white men who could have had your job.” Dyno-miiiiiiite! Paul Haggis’s depiction of a world where everyone’s thoughts and words are filtered through a kind of racist translator chip—like a Spike Lee slur montage padded out to feature length—and then spat into casual conversation is ungenerous, because it depicts every character as an actual or potential acid-spitting bigot, and it’s untrue to life, because it ignores the American impulse to at least pretend one isn’t a racist for fear of being ostracized by one’s peers. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Matt Zoller Seitz</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Munich</em></div>
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<img alt="Cimarron" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_cimarron.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_cimarron.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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91. Cimarron (1931)</h2>
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As pre-code spectacles go, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em> is something of a big-budget exercise in experimentation, though not in the sense that it actually produces anything innovative. Director Wesley Ruggles helms a script spanning 40 years to create what’s meant to be eye-catching spectacle; the film’s story, which spans 1889 to 1929 in Oklahoma, begins with a restaging of the Oklahoma Land Run of 1889, a sequence that uses 47 cameras to cover some 40 acres of land. From there, heavily theatrical acting styles and overwritten dialogue define most scenes, as Yancey (Richard Dix) and his family try to turn Osage County, Oklahoma into a tenable place to live. Certainly, if only for the fact that it was an early sound western, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em> would have been a new audio-visual experience for audiences at the time. Today, and not least because of its racist characterizations, it’s little more than an eye and ear sore. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Clayton Dillard</em></div>
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<li class="mvp-post-soc-twit" style="background: rgb(85, 172, 238); border-radius: 50%; border: 0px; color: white; float: left; font-size: 18px; height: 29px; line-height: 1; margin: 0px 0px 8px; opacity: 1; padding: 11px 0px 0px; position: relative; text-align: center; transition: all 0.25s ease 0s, all 0.25s ease 0s, all 0.25s ease 0s; vertical-align: baseline; width: 40px;"><span aria-hidden="true" class="fa fa-2 fa-twitter" style="border: 0px; display: inline-block; font-family: "fontawesome"; font-size: inherit; font-stretch: normal; line-height: 1; margin: 0px; padding: 0px; vertical-align: baseline;"></span></li>
<li class="mvp-post-soc-pin" style="background: rgb(189, 8, 28); border-radius: 50%; border: 0px; color: white; float: left; font-size: 18px; height: 29px; line-height: 1; margin: 0px 0px 8px; opacity: 1; padding: 11px 0px 0px; position: relative; text-align: center; transition: all 0.25s ease 0s, all 0.25s ease 0s, all 0.25s ease 0s; vertical-align: baseline; width: 40px;"><span aria-hidden="true" class="fa fa-2 fa-pinterest-p" style="border: 0px; display: inline-block; font-family: "fontawesome"; font-size: inherit; font-stretch: normal; line-height: 1; margin: 0px; padding: 0px; vertical-align: baseline;"></span></li>
<li class="mvp-post-soc-email" style="background: rgb(187, 187, 187); border-radius: 50%; border: 0px; color: white; float: left; font-size: 18px; height: 29px; line-height: 1; margin: 0px 0px 8px; opacity: 1; padding: 11px 0px 0px; position: relative; text-align: center; transition: all 0.25s ease 0s, all 0.25s ease 0s, all 0.25s ease 0s; vertical-align: baseline; width: 40px;"><span aria-hidden="true" class="fa fa-2 fa-envelope" style="border: 0px; display: inline-block; font-family: "fontawesome"; font-size: inherit; font-stretch: normal; line-height: 1; margin: 0px; padding: 0px; vertical-align: baseline;"></span></li>
<li class="mvp-post-soc-com mvp-com-click" style="border-radius: 50%; border: 2px solid rgb(187, 187, 187); color: #bbbbbb; float: left; font-size: 18px; height: 28px; line-height: 1; margin: 0px 0px 8px; opacity: 1; padding: 10px 0px 0px; position: relative; text-align: center; transition: all 0.25s ease 0s, all 0.25s ease 0s, all 0.25s ease 0s; vertical-align: baseline; width: 38px;"><span aria-hidden="true" class="fa fa-2 fa-commenting" style="border: 0px; display: inline-block; font-family: "fontawesome"; font-size: inherit; font-stretch: normal; line-height: 1; margin: 0px; padding: 0px; vertical-align: baseline;"></span></li>
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<div class="left relative" id="mvp-content-main" style="border: 0px; float: left; line-height: 1.55; margin: 0px; padding: 0px; position: relative; vertical-align: baseline; width: 870px;">
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<span class="cap" style="border: 0px; float: left; font-size: 75px; line-height: 60px; margin: 0px; padding: 4px 8px 0px 3px; vertical-align: baseline;" title="I"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">I</span></span>t’s a rare type of cinephile who wasn’t introduced to the idea of film as more than just idle entertainment by the ritual of the Academy Awards. And it’s an even rarer type of cinephile who didn’t soon thereafter vehemently reject the Oscar as the ultimate barometer of a film’s artistic worth. Those of us who started off with <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Schindler’s List</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">All About Eve</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, or </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Casablanca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> all eventually got around to </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Out of Africa</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Around the World in 80 Days</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">The Greatest Show on Earth</em>, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em>, and <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cavalcade</em>. First loves being first loves, we still find ourselves regressing if for only one night a year, succumbing to the allure of instant canonization even as it comes in the form of repeated slap-in-the-face reminders of Oscar’s bracing wrongness: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Gladiator</em>, <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Braveheart</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Chicago</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Crash</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">. In that sense, consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives. If we had to sit through every one of these movies, the least you can allow us is the chance to show you our scars. </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Editor’s Note:</em></strong><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;"> This article was originally published on February 26, 2018.</em></div>
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<img alt="Crash" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_crash.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_crash.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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92. Crash (2005)</h2>
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<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Crash</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> is set in Archie Bunker’s world, a nostalgic land where race is at the forefront of every consciousness during every minute of every day, where elaborately worded slurs are loaded into everyone’s speech centers like bullets in a gun, ready to be fired at the instant that disrespect is given. The characters are anachronistic cartoons posing as symbols of contemporary distress. “I can’t talk to you right now, Ma,” says Don Cheadle’s cop, pausing mid-coitus to take a phone call. “I’m fucking a white woman.” “Holy shit,” another character exclaims. “We ran over a Chinaman!” “I can’t look at you,” Matt Dillon’s cop tells a black female paper-pusher, making like Peter Boyle’s character from the 1970 white-man-on-a-rampage melodrama </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Joe</em>, “without thinking of the five or six qualified white men who could have had your job.” Dyno-miiiiiiite! Paul Haggis’s depiction of a world where everyone’s thoughts and words are filtered through a kind of racist translator chip—like a Spike Lee slur montage padded out to feature length—and then spat into casual conversation is ungenerous, because it depicts every character as an actual or potential acid-spitting bigot, and it’s untrue to life, because it ignores the American impulse to at least pretend one isn’t a racist for fear of being ostracized by one’s peers. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Matt Zoller Seitz</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Munich</em></div>
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91. Cimarron (1931)</h2>
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As pre-code spectacles go, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em> is something of a big-budget exercise in experimentation, though not in the sense that it actually produces anything innovative. Director Wesley Ruggles helms a script spanning 40 years to create what’s meant to be eye-catching spectacle; the film’s story, which spans 1889 to 1929 in Oklahoma, begins with a restaging of the Oklahoma Land Run of 1889, a sequence that uses 47 cameras to cover some 40 acres of land. From there, heavily theatrical acting styles and overwritten dialogue define most scenes, as Yancey (Richard Dix) and his family try to turn Osage County, Oklahoma into a tenable place to live. Certainly, if only for the fact that it was an early sound western, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cimarron</em> would have been a new audio-visual experience for audiences at the time. Today, and not least because of its racist characterizations, it’s little more than an eye and ear sore. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Clayton Dillard</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Front Page</em></div>
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<img alt="Out of Africa" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_outofafrica.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_outofafrica.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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90. Out of Africa (1985)</h2>
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<em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Out of Africa</em> is the worst of the bloated, self-important best picture-winning pseudo-epics. It attempts to merge the sweeping visuals of <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Lawrence of Arabia</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> with a </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Gone with the Wind</em>-style story. But director Sydney Pollack is neither David Lean nor David O. Selznick, with the interminable result shellacked to the highest of glosses by John Barry’s syrupy score. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Out of Africa</em> depicts Danish writer Isak Dinesen’s (Meryl Streep) time growing coffee in Kenya. “I had a fahhhhhrm in Ahhh-frica,” says Dinesen seven times in the first scene, highlighting the aural act of violence that is Streep’s accent. This is one of the actress’s busiest performances, a full-tilt deployment of her entire arsenal of tics; a scene where Dinesen fends off a hungry lion with a whip sees the actress chewing as much scenery as the animal. Meanwhile, Robert Redford coasts by on his looks and Klaus Maria Brandauer smirks like a syphilitic Cheshire Cat. Whenever Pollack gets visually stuck, he cuts to a sea of dark brown African faces staring at the screen in confusion—an overused, racially suspect punchline. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Out of Africa</em>’s biggest sin is that it immediately evaporates from memory, as if one’s brain were committing a mercy killing. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Odie Henderson</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Color Purple</em></div>
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<img alt="A Beautiful Mind" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_beautifulmind.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_beautifulmind.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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89. A Beautiful Mind (2001)</h2>
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If the cartoonists at Hanna-Barbera wanted to quickly convey the extent of a cartoon character’s world travels, they might cut from a shot of, say, Huckleberry Hound walking before the Eiffel Tower to a shot of the pooch prancing before Big Ben. In <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">A Beautiful Mind</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, a film that doesn’t lack for the laziest of short cuts, a young John Nash (Russell Crowe) sits at his desk while special effects morph the exterior of a Princeton dormitory to accentuate the changing seasons: leaves drop, snow gathers and melt, birds chirp. Throughout the film, such hacky artistry is in service not for bringing us closer to the reality of the mathematician’s life, but for implicating us in a circus act. Imagine, for a second, the fascinating possibilities of having simply shown Nash talking to dead air for the duration of the film. Doesn’t quite sound like a potential Oscar winner, and so Ron Howard and screenwriter Akiva Goldsman decided to articulate schizophrenia’s grip on the mind with a bunch of swirling digital numbers and cutesy imaginary encounters. The film is, through and through, quintessentially cornball. If it’s impossible in retrospect to believe that </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">A Beautiful Mind</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s first half is supposed to depict the world as hallucinated by a master mathematician, that’s because the film’s comprehension of mental duress is fundamentally jejune, the stuff of shock tactics as imagined by connoisseurs of </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Dead Poet’s Society</em>, or the most earnest believers in a cliché I always wished had made it into Roger Ebert’s <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bigger Little Movie Glossary</em>: Crying While Sliding One’s Back Against a Door. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Ed Gonzalez</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Gosford Park</em></div>
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<img alt="Braveheart" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_braveheart.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_braveheart.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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88. Braveheart (1995)</h2>
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<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Braveheart</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> substitutes polished aesthetics, quotable speeches, and superficially bravura camerawork for a genuine examination of historical legend, while its would-be woozy romance remains trapped beneath the weight of both its unmerited running time and overly orchestrated sense of tragedy. Never have the Dark Ages appeared so plasticine and manicured as they do through Mel Gibson’s panoramic lens, nor has any single image of the director’s career been more encapsulating than that of William Wallace, the 13th-century warrior who led the Scots in the First War of Scottish Independence against King Edward I of England, his limbs outstretched in a Christ pose just before his final gutting. In this final moment of masochistic glory, Gibson and Wallace become one, a man of fire and passion ready to kick your ass into complacency. </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Rob Humanick</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Babe</em></div>
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<img alt="The Broadway Melody" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_broadwaymelody.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_broadwaymelody.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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87. The Broadway Melody (1930)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">Philosophically speaking,</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Sunrise</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">was the first film to win the award associated with the qualities we now associate with the best picture category, in a year in which the industry tossed</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Jazz Singer</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">an honorary award rather than make the field of silents compete against it. In its second year, Oscar embraced the future with both hands, and thanks to</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Broadway Melody</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">’s win we have a case study for how technical innovations are occasionally anathema to artistic expression. Exactly the sort of clunky apparatus that</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Singin’ in the Rain</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">decades later gently mocked, the film’s every shot announces itself as the result of a compromise made to sync image with sound, with neither of them being done any particular justice. A deluge of movie musicals would soon flourish thanks to the advent of sound:</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Gold Diggers of 1933</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">,</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Love Me Tonight</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">,</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Hallelujah, I’m a Bum</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, all of them as dizzyingly innovative and effortlessly entertaining as the shallow, melodramatic</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Broadway Melody</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is frozen.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Eric Henderson</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">In Old Arizona</em></div>
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<img alt="Around the World in 80 Days" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_aroundtheworld.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_aroundtheworld.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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86. Around the World in 80 Days (1956)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">Oscar has awarded expansive tedium more often than not, but even by those pitiful standards,</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Around the World in 80 Days</em><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">is a specialized case. Adapting a Jules Verne novel but framing the entire proceedings as a reactionary pre-Space Age paean to days gone by, producer-impresario Mike Todd’s dick-swinging epic is regressive in every conceivable way. From David Nivens’s entitled superciliousness as Phileas Fogg to Cantinflas’s shameless mugging as Fogg’s lackey manservant, Passepartout, from their rescue of Shirley MacLaine’s Indian princess (admittedly less cringeworthy than, say, Katharine Hepburn in</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Dragon Seed</em><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">but still rough to watch) to a William S. Hart-era Wild West shootout between white folks and whooping Native Americans, the entire enterprise distills the world’s entire history of cultural appropriation into an endless amusement-park ride. And even that would have some contemporary worth as an eye-popping reminder of shifting attitudes if it were at least watchable. But no, it’s three-plus hours of vacation slides you found in your grandparents’ attic.</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Friendly Persuasion</em></div>
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<img alt="Shakespeare in Love" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_shakespeareinlove.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_shakespeareinlove.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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85. Shakespeare in Love (1998)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">As is true of a great deal of the films that have been adorned with the best picture Oscar in the past two decades, John Madden’s</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Shakespeare in Love</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is a thunderous mediocrity, a beautifully costumed and designed mess, as ultimately amiable as it is nonsensical. The greatest voice the theater has ever seen, the author of an unequaled canon that serves as inspiration for nearly all narrative works in the modern age, William Shakespeare is here portrayed by Joseph Fiennes as an egotistical cad—a loathsome, unrepentant scoundrel and bum who’s capable of uttering “Damn, I’m good!” after finishing the first act of a play he’s weeks late on. Indeed, the screen’s contempt for its chief architects remains as potent and unyielding as it is largely thoughtless and despicable. Hollywood has never been very comfortable, or perhaps capable of, depicting great writers successfully—or, for that matter, taking their struggles seriously and their triumphs sincerely. As</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Shakespeare in Love</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">unfolds, the penning of</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Romeo and Juliet</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is seen as near-accidental, spurred by the Bard’s misguided lust for a costume girl. And yet, as the film proceeds through its weedy narrative, focused mainly on the romance between Shakespeare and Viola de Lesseps (Gwyneth Paltrow) and the first production of</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Romeo and Juliet</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, the unenviable task of believing that Shakespeare was a genius of tremendous insight and imagination, despite the production’s eager insistence that he was simply a jealous coward stricken with luck, becomes an exhausting exercise of imagination.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Chris Cabin</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Thin Red Line</em></div>
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<img alt="Gladiator" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_gladiator.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_gladiator.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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84. Gladiator (2000)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">The ‘80s and ‘90s saw a string of duds almost inexplicably become critical and awards darlings, suggesting that mainstream cinema culture was undergoing some kind of intellectual regression. And with the release of</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Gladiator</em><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">at the start of the millennium, it didn’t appear as if such deterioration was going to slow down any time soon. Directed by Sir Ridley Scott on depressing autopilot, the film displays none of the technically nimble artistry of such classics as</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Alien</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">and</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Blade Runner</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">. The overstuffed production meanders through knotty character dilemmas and rote attempts at Shaekepearean esoterica in as bland a manner possible. All the better to elevate Russell Crowe’s Maximus to the level of the grandiose, and in the most suspect and laughable of ways. The man is a walking vacuum of personality who the film believes to contain multitudes, and the kicker is how</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Gladiator</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, with Maximus taking a moral stand against the brutal culture of ancient Rome and his befriending of an African slave, is viewed through the lens of modern political correctness. In the film’s key scene, a gruesome gladiator battle, Maximus righteously screams, “Are you not entertained?!” But the presentation of the scene is as unironic as a crowd-pleasing ESPN highlight reel, or a pep rally pretending at moral conviction.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Wes Greene</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Traffic</em></div>
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<img alt="The Greatest Shot on Earth" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_greatestshowonearth.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_greatestshowonearth.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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83. The Greatest Show on Earth (1952)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">As far as tributes to vagrancy and animal abuse go, mid-century American cinema has done worse. But even taking into account Hollywood’s then-emerging neo-gigantism, it’s shocking how much effort</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">The Greatest Show on Earth</em><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">goes into missing the forest for the trees. Cecil B. DeMille, then regarded as Hollywood’s undisputedly great showman, setting his sights on the big top spectacle of P.T. Barnum ought to have been the ultimate “best of both worlds” proposition. But the allowances modern audiences still grant to DeMille’s products of their time—crediting his ability to sustain momentum through grandiose running times, or his balanced eye for scope—lay down and die in the face of this monstrosity, alternately leaden and corny and neither in the right moment. In the same sense that James Stewart’s mysterious clown never removes his makeup, anyone exposed to this film today will spend 152 minutes with Emmett Kelly’s expression frozen on their own face.</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Quiet Man</em></div>
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<img alt="American Beauty" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_americanbeauty.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_americanbeauty.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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82. American Beauty (1999)</h2>
<span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">A black comedy with a curious opinion of its characters’ repellent behaviors, Sam Mendes’s</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">American Beauty</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is also tone-deaf in its belief that the struggle is real for white, wealthy suburbanites. The Burnham clan and their neighbors aren’t so much people as they are often offensive caricatures that exist only to service screenwriter Alan Ball’s anti-conformist message-mongering.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">American Beauty</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">’s most famous scene, in which Ricky Fitts (Wes Bentley) explains to Jane Burnham (Thora Birch) that a plastic bag floating in the wind is the most beautiful thing in the world, is emblematic of the jejune self-aggrandizement that, like Ball’s litany of leaden ironies, abounds throughout the film and works to dubiously sentimentalize the characters’ pathologies. Indeed, this is a film that sees only beauty and nobility in transgression, as in Kevin Spacey’s Lester Burnham, after yearning to bed his teenage daughter’s friend (Mena Suvari), retreating to his corner upon learning that the girl is a virgin. One walks away from</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">American Beauty</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">believing that if its makers could blow themselves, they would.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif" , sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Greene</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Insider</em></div>
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<img alt="Argo" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_argo.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_argo.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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81. Argo (2012)</h2>
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There seems to be a general, taken-for-granted assumption in criticism—or film culture more broadly—that the most unassuming films manage to index complex political and social truths if only by virtue of their unpretentiousness and eagerness to entertain. So it seems fair enough to assume that such cheery popcorn flicks could prove equally insidious in their inconspicuousness. <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Argo</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> feels like such a film: well-acted, competently directed, and sufficiently entertaining, yet all the more troubling as a result of its breezy pleasures. The problems emerge early, with the history of Iran in the 20th century and especially the events leading to the hostage crisis of 1979 laid out in detailed storyboards. In doing so, </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Argo</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> effectively—and, perhaps, self-consciously—passes the buck of fealty to the operations of cinema. But regardless of whether or not Ben Affleck’s tone-setting meta-gesture—which winkingly acknowledges that this is the film version of a “declassified true story” (as the film was obnoxiously marketed)—is intentional, it’s undoubtedly irresponsible, even cowardly—a cheap escape hatch for </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Argo</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> and Affleck to tuck-roll through any time questions of the film’s veracity come to bear. The film is a wet dream of buccaneering American foreign-policy intervention, attempting to absolve its responsibilities for accuracy (or even decency) in its slight, simple story of Affleck’s all-American hero whose pluck and gallantry would be for naught were he not also a repentant dad, eager to return home to his half-estranged son. </span><em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">John Semley</em></div>
<strong style="border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;">:</span><span style="background-color: white; font-family: "pt serif" , sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; text-decoration-line: none; transition: all 0.25s ease 0s; vertical-align: baseline;"><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">Zero Dark Thirty</span></em><br />
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10. Unforgiven (1992)</h2>
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<span class="" style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;" title="M">M</span>ythologies haunt Clint Eastwood’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">. Set primarily in 1880 and 1881 along a trail between Wyoming and Kansas, the elder characters of the film talk of their violent pasts while younger men eagerly listen, waiting to prove themselves. David Webb Peoples’s screenplay resembles a series of nesting one-scene plays, a few of which end in moments of violence that shatter the younger generation’s illusions of the masculine grandeur of killing. At times, Eastwood goes out of his way to emphasize the pitiful and demoralizing chaos of murder, particularly when one of the film’s villains is shot to death in an outhouse, his eyes alive with unforgettable terror. Twenty-five years after</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s initial release, it’s still distinctive to watch an American revenge film in which violence is accorded this sort of awful and surreal weight. Looking to the notorious William Munny (Eastwood) for comfort after his initiation into murder, the Schofield Kid (Jaimz Woolvett) says that the killing doesn’t feel real, evincing a poetically human response to atrocity that’s unusual for genre cinema. Eastwood and Peoples often juxtapose legendary killers, the protagonists and primary antagonists of the film, with outsiders, supporting characters such as the Schofield Kid and the writer W.W. Beauchamp (Saul Rubinek), who blithely echo our own distanced and worshipful embrace of violence in pop art, as a transmitted energy that’s divorced of the ramifications of the destruction it simulates.</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em></div>
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<img alt="On the Waterfront" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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9. On the Waterfront (1954)</h2>
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<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>remains an incredibly stirring and relevant melodrama. Director Elia Kazan conjured an illusion of docudrama spontaneity with his on-location shooting that allows him to stage images with psychological symbolism and religious metaphor with relative subtlety. Beyond the famous crucifixion imagery, there’s also the generally cramped sense that characterizes many of the domestic and street sequences. You’re allowed to feel and see the figurative and literal cages that confine the exploited and poverty-stricken characters as they make their way to the docks as well as to their shoebox apartments and bars as the endless winter wind beats against their faces, which bracingly contrast with the open, free-floating moments Terry Malloy (Marlon Brando) shares with his would-be lover, Edie (Eva Marie Saint). Brando’s brilliance resided in his ability to elevate universal, elemental yearning to the level of myth; he voices what many people may find to be inexpressible, and Kazan and cinematographer Boris Kaufman’s staging renders that myth as earthbound as it’s ever going to be. <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is a Hollywood fantasy with an unusually distinct atmosphere of disenfranchised frustration that remains contemporary, which is to say that it fulfills an audience member’s daydream of grandeur while fulfilling his or her desire to see a film that speaks directly to their experience. (<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Mean Streets</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">,</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Rocky</em>, <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Raging Bull</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, and many others are unthinkable without this film.) Kazan’s ultimate gift may have been his pomposity: He read a gangster story and said, “This is my story, this is our story.”</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em></div>
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<img alt="The Silence of the Lambs" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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8. The Silence of the Lambs (1991)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">With</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, Jonathan Demme made an honest to goodness horror film, one that’s “respectable,” by marrying the gloom and hyper-articulate Britishness of a Hammer Films production with the contemplated restraint of something “serious.” Nothing in Demme’s eclectic oeuvre suggested he was the filmmaker to adapt Thomas Harris’s clinically dour novel, yet the filmmaker, fresh off</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Married to the Mob</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, turned the lugubrious story of a cannibalistic psychiatrist and a serial killer who flenses hefty women and makes suits of their skin into a love story tinctured with notions of queerness. In his less than 20 minutes of screen time, Anthony Hopkins dines on scenery decadently, as if enjoying a fine meal, though the film ultimately belongs to Jodie Foster’s Clarice Starling, a neophyte and outsider (recall her standing a full head below the wall of men clad in red shirts in the elevator). It’s a film whose genre identity is muddled, two kinds of aesthetic/thematic work conflated, not unlike the flamboyant and sybarite Hannibal Lecter, with his dexterous sense of smell and penchant for the fine arts, left to rot in a dungeon-like cell adorned with drawings of Florence, done from memory. “Memories are all I have.” He’s one of the scariest cinematic villains because his penchant for violence is disguised by rarefied tastes. Where Michael Myers disappears into the night at the end of</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Halloween</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, the sound of his breathing filling the silence, Lector disappears into the blighting of day, as Clarice’s voice echoes, “Dr. Lector, Dr. Lector, Dr. Lector…” He’s now with her forever.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Cwik</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em></div>
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<img alt="Rebecca" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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7. Rebecca (1940)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">Alfred Hitchcock’s</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is cloaked in a respectability for which it’s yet to be entirely forgiven. The film taught Hitchcock a key lesson in dissonance and contrast, as the Selznick-ian glamour of the sets and actors heightens our awareness of what’s not being directly mentioned: the erotic suppression that drives the narrative. In his early British thrillers, Hitchcock used German expressionist tricks to conjure notions of evil and dread. After</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, Hitchcock would infuse such dread in bourgeoisie comedies of manners, occasionally springing formalist tricks to highlight key emotional shifts. Films such as</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Vertigo</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">,</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Psycho</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">, and</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Marnie</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">refract their obsessions through a central triangle or rectangle, though</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">never achieves that focus. However, the film remains a key illustration of Hitchcock’s gift for fashioning emotional architecture. Every room in Manderley, a hall of mirrors of sexual resentment and taboo carnality, thrums with menace and longing that’s baked into bric-a-brac that tells many tales. It’s a pivotal work in the evolution of an artist’s poetry of sickness.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Bowen</em><br />
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<img alt="Unforgiven" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_unforgiven.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_unforgiven.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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10. Unforgiven (1992)</h2>
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<span class="" style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;" title="M">M</span>ythologies haunt Clint Eastwood’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">. Set primarily in 1880 and 1881 along a trail between Wyoming and Kansas, the elder characters of the film talk of their violent pasts while younger men eagerly listen, waiting to prove themselves. David Webb Peoples’s screenplay resembles a series of nesting one-scene plays, a few of which end in moments of violence that shatter the younger generation’s illusions of the masculine grandeur of killing. At times, Eastwood goes out of his way to emphasize the pitiful and demoralizing chaos of murder, particularly when one of the film’s villains is shot to death in an outhouse, his eyes alive with unforgettable terror. Twenty-five years after</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s initial release, it’s still distinctive to watch an American revenge film in which violence is accorded this sort of awful and surreal weight. Looking to the notorious William Munny (Eastwood) for comfort after his initiation into murder, the Schofield Kid (Jaimz Woolvett) says that the killing doesn’t feel real, evincing a poetically human response to atrocity that’s unusual for genre cinema. Eastwood and Peoples often juxtapose legendary killers, the protagonists and primary antagonists of the film, with outsiders, supporting characters such as the Schofield Kid and the writer W.W. Beauchamp (Saul Rubinek), who blithely echo our own distanced and worshipful embrace of violence in pop art, as a transmitted energy that’s divorced of the ramifications of the destruction it simulates.</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em></div>
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<img alt="On the Waterfront" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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9. On the Waterfront (1954)</h2>
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<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>remains an incredibly stirring and relevant melodrama. Director Elia Kazan conjured an illusion of docudrama spontaneity with his on-location shooting that allows him to stage images with psychological symbolism and religious metaphor with relative subtlety. Beyond the famous crucifixion imagery, there’s also the generally cramped sense that characterizes many of the domestic and street sequences. You’re allowed to feel and see the figurative and literal cages that confine the exploited and poverty-stricken characters as they make their way to the docks as well as to their shoebox apartments and bars as the endless winter wind beats against their faces, which bracingly contrast with the open, free-floating moments Terry Malloy (Marlon Brando) shares with his would-be lover, Edie (Eva Marie Saint). Brando’s brilliance resided in his ability to elevate universal, elemental yearning to the level of myth; he voices what many people may find to be inexpressible, and Kazan and cinematographer Boris Kaufman’s staging renders that myth as earthbound as it’s ever going to be. <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is a Hollywood fantasy with an unusually distinct atmosphere of disenfranchised frustration that remains contemporary, which is to say that it fulfills an audience member’s daydream of grandeur while fulfilling his or her desire to see a film that speaks directly to their experience. (<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Mean Streets</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">,</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Rocky</em>, <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Raging Bull</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, and many others are unthinkable without this film.) Kazan’s ultimate gift may have been his pomposity: He read a gangster story and said, “This is my story, this is our story.”</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em></div>
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<img alt="The Silence of the Lambs" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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8. The Silence of the Lambs (1991)</h2>
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With <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, Jonathan Demme made an honest to goodness horror film, one that’s “respectable,” by marrying the gloom and hyper-articulate Britishness of a Hammer Films production with the contemplated restraint of something “serious.” Nothing in Demme’s eclectic oeuvre suggested he was the filmmaker to adapt Thomas Harris’s clinically dour novel, yet the filmmaker, fresh off</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Married to the Mob</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, turned the lugubrious story of a cannibalistic psychiatrist and a serial killer who flenses hefty women and makes suits of their skin into a love story tinctured with notions of queerness. In his less than 20 minutes of screen time, Anthony Hopkins dines on scenery decadently, as if enjoying a fine meal, though the film ultimately belongs to Jodie Foster’s Clarice Starling, a neophyte and outsider (recall her standing a full head below the wall of men clad in red shirts in the elevator). It’s a film whose genre identity is muddled, two kinds of aesthetic/thematic work conflated, not unlike the flamboyant and sybarite Hannibal Lecter, with his dexterous sense of smell and penchant for the fine arts, left to rot in a dungeon-like cell adorned with drawings of Florence, done from memory. “Memories are all I have.” He’s one of the scariest cinematic villains because his penchant for violence is disguised by rarefied tastes. Where Michael Myers disappears into the night at the end of</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Halloween</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, the sound of his breathing filling the silence, Lector disappears into the blighting of day, as Clarice’s voice echoes, “Dr. Lector, Dr. Lector, Dr. Lector…” He’s now with her forever.</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cwik</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em></div>
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<img alt="Rebecca" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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7. Rebecca (1940)</h2>
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Alfred Hitchcock’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is cloaked in a respectability for which it’s yet to be entirely forgiven. The film taught Hitchcock a key lesson in dissonance and contrast, as the Selznick-ian glamour of the sets and actors heightens our awareness of what’s not being directly mentioned: the erotic suppression that drives the narrative. In his early British thrillers, Hitchcock used German expressionist tricks to conjure notions of evil and dread. After <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, Hitchcock would infuse such dread in bourgeoisie comedies of manners, occasionally springing formalist tricks to highlight key emotional shifts. Films such as</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Vertigo</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">,</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Psycho</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, and</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Marnie</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>refract their obsessions through a central triangle or rectangle, though <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>never achieves that focus. However, the film remains a key illustration of Hitchcock’s gift for fashioning emotional architecture. Every room in Manderley, a hall of mirrors of sexual resentment and taboo carnality, thrums with menace and longing that’s baked into bric-a-brac that tells many tales. It’s a pivotal work in the evolution of an artist’s poetry of sickness. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em></div>
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<img alt="The Godfather" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfather.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfather.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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6. The Godfather (1972)</h2>
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<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">From the opening zoom, as deliberate and controlled as an experienced killer, to that final closed door and all that it insinuates, Francis Ford Coppola’s</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">is the most restrained of epics—a story of family and murder, loyalty and betrayal, all shrouded in Gordon Willis’s chiaroscuro shadows. It’s an operatic mix of artistic resolution and pulpy entertainment, probably the greatest example of a film being “better than the book.” In the scene when Clemenza (Richard Castellano) is taking a leak as his consort shoots a snitch inside a nearby car, undulating beige reeds take up half of the frame as the Statue of Liberty looms small in the background. Behold the immaculate but unfussy precision of the composition, and, after the gun shots fade, the cut to a smiling Clemenza as he zips up. It’s a meticulously constructed scene, and it’s known for Clemenza’s insouciant (and improvised) uttering of “Leave the gun, take the cannoli.” The film is, by this point, a ubiquitous cultural presence, its dialogue and visual moments ingrained in the cinematic lexicon, but this familiarity has done little to dull its power.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Cwik</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather</em></div>
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<img alt="Annie Hall" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_anniehall.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_anniehall.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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5. Annie Hall (1977)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">The protraction of</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Annie Hall</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">’s first act is absolutely necessary, because by the time the introductions are over, so are Annie (Diane Keaton) and Alvy (Woody Allen)—a brilliantly spring-loaded narrative trap that’s abetted by the fact that Annie’s very first scene isn’t cute or la-de-da at all, but of a woman chomping at the bit of an unhappy relationship, fully immersed in the therapy her partner talked her into in the first place. She’s snuck into the film, in a way, but Woody/Alvy keep the jokes coming, and the narrative doubles back to paint the picture of their once-happy courtship—another in a subset of false beginnings. The one-liners, still gut-busting after 40 years, paint over the Annie/Alvy fissures until there’s nothing left to do but face facts, and even then, there’s the line about the dead shark, the confrontation with the L.A. cop, Tony Roberts’s hilarious sun mask, etc. The timeline of the couple’s relationship is illuminated in a non-linear, blackout-sketch style, creating a collage effect, in which the causality-based explanation of their split dissipates:</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Scenes from a Marriage</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">scrambled by a variety program of ceaseless experimentation.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Christley</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Annie Hall</em></div>
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<img alt="The Godfather Part II" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfatherpartii.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfatherpartii.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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4. The Godfather Part II (1974)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">Vito (Robert De Niro) and Michael Corleone (Al Pacino) lead lives that exist in a bog of moral ambiguity. From Gordon Willis’s crepuscular lighting to Ninoa Rota’s funereal score,</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather Part II</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">seems to flow from the earlier film. Francis Ford Coppola’s dissolves carry us, like a parent holding a sleeping child, from scenes of a young Vito trying to make ends meet to an increasingly vindictive Michael; Coppola draws parallels and dichotomies between these two men and the way they approach business and the way they treat their families. The careful pairing of past and present shows, with startling diligence given the sordid material, how Vito’s use of violence possesses a kind of Sicilian honor that Michael, face consumed by shadow, gradually loses. Four decades later, the film remains an anomaly, a sequel that matches (some say surpasses) its predecessor, an Oscar-winning epic that found ubiquitous pop-culture appeal and made bank at the box office. Coppola and his coterie of editors cut the film lyrically and sinuously, weaving into the narrative themes of capitalism, family, love, and betrayal, conjuring visual metaphors from the chiaroscuro lighting and sepia-toned compositions. The two tales of men—one good but capable of bad, the other good but made craven and unrepentant—plumbs the unfathomable depths in the dark heart of humanity, the cruelties skulking in that darkness.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Cwik</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather Part II</em></div>
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<img alt="How Green Was My Valley" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_howgreenwasmyvalley.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_howgreenwasmyvalley.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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3. How Green Was My Valley (1941)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">Though the Morgans’ various serialized stories (told in mini-bildungsroman form through a much older Huw’s narration) sometimes betray</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">How Green Was My Valley</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">’s origins as a novel, they’re held together by the connecting thread that unites those two basic plot threads. The two things that give men their sense of purpose—God and work—both come home to roost in the place that gives women theirs, and if the dysfunction of the former invariably leads to the dismantlement of the latter (each of the Morgan sons sets sail for America or wherever else they can find work), it’s the institution of home that allows everyone to soldier on through strife in the male-dominated arenas. A square message, to be sure, especially since John Ford’s uncompromising</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Grapes of Wrath</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">didn’t even allow the pitiable Joads a home at all. But beneath the unobjectionable veneer of nostalgia and the too-pleasant anonymity of those salt-of-the-earth types, Ford’s social conscience convinces. It would be hard to miss given how often he has the camera positioned low enough to look up to his subjects.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Eric Henderson</em><br />
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">How Green Was My Valley</em></div>
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<img alt="The Best Years of Our Lives" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_bestyearsofourlives.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_bestyearsofourlives.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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2. The Best Years of Our Lives (1946)</h2>
<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">William Wyler’s</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Best Years of Our Lives</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">was the film Americans knew they needed, but likely few realized how badly they also wanted it. As has happened with other films in that position before and since, its achievements seemed to take on a force-of-nature patina; it was the highest-grossing film since</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Gone with the Wind</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">and missed tying that epic’s then-record number of Oscar wins by just one trophy. A prime example of American middlebrow writ on an epic scale in service of universalizing its themes and messages, the film follows three veterans who, having returned home after spending years in the life-or-death panic of World War II, now find themselves all chasing oblivion. If</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Best Years of Our Lives</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">emerges as a more contemporary-seeing film than almost anything else to which its ingredients could compare, it’s because of how frankly it wrestles with the burden of patriotism. The nation’s problems are right there in plain sight, just as clear as cinematographer Gregg Toland’s typically precise deep-focus shots.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Eric Henderson</em><br />
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<img alt="Unforgiven" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_unforgiven.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_unforgiven.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
<h2 style="backface-visibility: hidden; border: 0px; font-family: oswald, sans-serif !important; font-size: 1.8rem; letter-spacing: -0.02em; line-height: 1.4; margin: 10px 0px; overflow: hidden; padding: 0px; vertical-align: baseline; width: 870px;">
10. Unforgiven (1992)</h2>
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<span class="" style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;" title="M">M</span>ythologies haunt Clint Eastwood’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">. Set primarily in 1880 and 1881 along a trail between Wyoming and Kansas, the elder characters of the film talk of their violent pasts while younger men eagerly listen, waiting to prove themselves. David Webb Peoples’s screenplay resembles a series of nesting one-scene plays, a few of which end in moments of violence that shatter the younger generation’s illusions of the masculine grandeur of killing. At times, Eastwood goes out of his way to emphasize the pitiful and demoralizing chaos of murder, particularly when one of the film’s villains is shot to death in an outhouse, his eyes alive with unforgettable terror. Twenty-five years after</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s initial release, it’s still distinctive to watch an American revenge film in which violence is accorded this sort of awful and surreal weight. Looking to the notorious William Munny (Eastwood) for comfort after his initiation into murder, the Schofield Kid (Jaimz Woolvett) says that the killing doesn’t feel real, evincing a poetically human response to atrocity that’s unusual for genre cinema. Eastwood and Peoples often juxtapose legendary killers, the protagonists and primary antagonists of the film, with outsiders, supporting characters such as the Schofield Kid and the writer W.W. Beauchamp (Saul Rubinek), who blithely echo our own distanced and worshipful embrace of violence in pop art, as a transmitted energy that’s divorced of the ramifications of the destruction it simulates.</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Unforgiven</em></div>
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<img alt="On the Waterfront" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_onthewaterfront.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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9. On the Waterfront (1954)</h2>
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<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>remains an incredibly stirring and relevant melodrama. Director Elia Kazan conjured an illusion of docudrama spontaneity with his on-location shooting that allows him to stage images with psychological symbolism and religious metaphor with relative subtlety. Beyond the famous crucifixion imagery, there’s also the generally cramped sense that characterizes many of the domestic and street sequences. You’re allowed to feel and see the figurative and literal cages that confine the exploited and poverty-stricken characters as they make their way to the docks as well as to their shoebox apartments and bars as the endless winter wind beats against their faces, which bracingly contrast with the open, free-floating moments Terry Malloy (Marlon Brando) shares with his would-be lover, Edie (Eva Marie Saint). Brando’s brilliance resided in his ability to elevate universal, elemental yearning to the level of myth; he voices what many people may find to be inexpressible, and Kazan and cinematographer Boris Kaufman’s staging renders that myth as earthbound as it’s ever going to be. <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is a Hollywood fantasy with an unusually distinct atmosphere of disenfranchised frustration that remains contemporary, which is to say that it fulfills an audience member’s daydream of grandeur while fulfilling his or her desire to see a film that speaks directly to their experience. (<em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Mean Streets</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">,</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Rocky</em>, <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Raging Bull</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, and many others are unthinkable without this film.) Kazan’s ultimate gift may have been his pomposity: He read a gangster story and said, “This is my story, this is our story.”</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">On the Waterfront</em></div>
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<img alt="The Silence of the Lambs" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_silenceofthelambs.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
<h2 style="backface-visibility: hidden; border: 0px; font-family: oswald, sans-serif !important; font-size: 1.8rem; letter-spacing: -0.02em; line-height: 1.4; margin: 10px 0px; overflow: hidden; padding: 0px; vertical-align: baseline; width: 870px;">
8. The Silence of the Lambs (1991)</h2>
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With <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, Jonathan Demme made an honest to goodness horror film, one that’s “respectable,” by marrying the gloom and hyper-articulate Britishness of a Hammer Films production with the contemplated restraint of something “serious.” Nothing in Demme’s eclectic oeuvre suggested he was the filmmaker to adapt Thomas Harris’s clinically dour novel, yet the filmmaker, fresh off</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Married to the Mob</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, turned the lugubrious story of a cannibalistic psychiatrist and a serial killer who flenses hefty women and makes suits of their skin into a love story tinctured with notions of queerness. In his less than 20 minutes of screen time, Anthony Hopkins dines on scenery decadently, as if enjoying a fine meal, though the film ultimately belongs to Jodie Foster’s Clarice Starling, a neophyte and outsider (recall her standing a full head below the wall of men clad in red shirts in the elevator). It’s a film whose genre identity is muddled, two kinds of aesthetic/thematic work conflated, not unlike the flamboyant and sybarite Hannibal Lecter, with his dexterous sense of smell and penchant for the fine arts, left to rot in a dungeon-like cell adorned with drawings of Florence, done from memory. “Memories are all I have.” He’s one of the scariest cinematic villains because his penchant for violence is disguised by rarefied tastes. Where Michael Myers disappears into the night at the end of</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Halloween</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, the sound of his breathing filling the silence, Lector disappears into the blighting of day, as Clarice’s voice echoes, “Dr. Lector, Dr. Lector, Dr. Lector…” He’s now with her forever.</span> <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cwik</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Silence of the Lambs</em></div>
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<img alt="Rebecca" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_rebecca.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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7. Rebecca (1940)</h2>
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Alfred Hitchcock’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is cloaked in a respectability for which it’s yet to be entirely forgiven. The film taught Hitchcock a key lesson in dissonance and contrast, as the Selznick-ian glamour of the sets and actors heightens our awareness of what’s not being directly mentioned: the erotic suppression that drives the narrative. In his early British thrillers, Hitchcock used German expressionist tricks to conjure notions of evil and dread. After <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, Hitchcock would infuse such dread in bourgeoisie comedies of manners, occasionally springing formalist tricks to highlight key emotional shifts. Films such as</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Vertigo</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">,</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Psycho</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">, and</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Marnie</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>refract their obsessions through a central triangle or rectangle, though <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>never achieves that focus. However, the film remains a key illustration of Hitchcock’s gift for fashioning emotional architecture. Every room in Manderley, a hall of mirrors of sexual resentment and taboo carnality, thrums with menace and longing that’s baked into bric-a-brac that tells many tales. It’s a pivotal work in the evolution of an artist’s poetry of sickness. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Bowen</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Rebecca</em></div>
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<img alt="The Godfather" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfather.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfather.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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6. The Godfather (1972)</h2>
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From the opening zoom, as deliberate and controlled as an experienced killer, to that final closed door and all that it insinuates, Francis Ford Coppola’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>is the most restrained of epics—a story of family and murder, loyalty and betrayal, all shrouded in Gordon Willis’s chiaroscuro shadows. It’s an operatic mix of artistic resolution and pulpy entertainment, probably the greatest example of a film being “better than the book.” In the scene when Clemenza (Richard Castellano) is taking a leak as his consort shoots a snitch inside a nearby car, undulating beige reeds take up half of the frame as the Statue of Liberty looms small in the background. Behold the immaculate but unfussy precision of the composition, and, after the gun shots fade, the cut to a smiling Clemenza as he zips up. It’s a meticulously constructed scene, and it’s known for Clemenza’s insouciant (and improvised) uttering of “Leave the gun, take the cannoli.” The film is, by this point, a ubiquitous cultural presence, its dialogue and visual moments ingrained in the cinematic lexicon, but this familiarity has done little to dull its power. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cwik</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather</em></div>
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<img alt="Annie Hall" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_anniehall.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_anniehall.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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5. Annie Hall (1977)</h2>
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The protraction of <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Annie Hall</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s first act is absolutely necessary, because by the time the introductions are over, so are Annie (Diane Keaton) and Alvy (Woody Allen)—a brilliantly spring-loaded narrative trap that’s abetted by the fact that Annie’s very first scene isn’t cute or la-de-da at all, but of a woman chomping at the bit of an unhappy relationship, fully immersed in the therapy her partner talked her into in the first place. She’s snuck into the film, in a way, but Woody/Alvy keep the jokes coming, and the narrative doubles back to paint the picture of their once-happy courtship—another in a subset of false beginnings. The one-liners, still gut-busting after 40 years, paint over the Annie/Alvy fissures until there’s nothing left to do but face facts, and even then, there’s the line about the dead shark, the confrontation with the L.A. cop, Tony Roberts’s hilarious sun mask, etc. The timeline of the couple’s relationship is illuminated in a non-linear, blackout-sketch style, creating a collage effect, in which the causality-based explanation of their split dissipates:</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Scenes from a Marriage</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>scrambled by a variety program of ceaseless experimentation. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Christley</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Annie Hall</em></div>
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<img alt="The Godfather Part II" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfatherpartii.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_godfatherpartii.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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4. The Godfather Part II (1974)</h2>
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Vito (Robert De Niro) and Michael Corleone (Al Pacino) lead lives that exist in a bog of moral ambiguity. From Gordon Willis’s crepuscular lighting to Ninoa Rota’s funereal score, <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather Part II</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>seems to flow from the earlier film. Francis Ford Coppola’s dissolves carry us, like a parent holding a sleeping child, from scenes of a young Vito trying to make ends meet to an increasingly vindictive Michael; Coppola draws parallels and dichotomies between these two men and the way they approach business and the way they treat their families. The careful pairing of past and present shows, with startling diligence given the sordid material, how Vito’s use of violence possesses a kind of Sicilian honor that Michael, face consumed by shadow, gradually loses. Four decades later, the film remains an anomaly, a sequel that matches (some say surpasses) its predecessor, an Oscar-winning epic that found ubiquitous pop-culture appeal and made bank at the box office. Coppola and his coterie of editors cut the film lyrically and sinuously, weaving into the narrative themes of capitalism, family, love, and betrayal, conjuring visual metaphors from the chiaroscuro lighting and sepia-toned compositions. The two tales of men—one good but capable of bad, the other good but made craven and unrepentant—plumbs the unfathomable depths in the dark heart of humanity, the cruelties skulking in that darkness. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cwik</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Godfather Part II</em></div>
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<img alt="How Green Was My Valley" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_howgreenwasmyvalley.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_howgreenwasmyvalley.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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3. How Green Was My Valley (1941)</h2>
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Though the Morgans’ various serialized stories (told in mini-bildungsroman form through a much older Huw’s narration) sometimes betray <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">How Green Was My Valley</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;">’s origins as a novel, they’re held together by the connecting thread that unites those two basic plot threads. The two things that give men their sense of purpose—God and work—both come home to roost in the place that gives women theirs, and if the dysfunction of the former invariably leads to the dismantlement of the latter (each of the Morgan sons sets sail for America or wherever else they can find work), it’s the institution of home that allows everyone to soldier on through strife in the male-dominated arenas. A square message, to be sure, especially since John Ford’s uncompromising</span> <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Grapes of Wrath</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>didn’t even allow the pitiable Joads a home at all. But beneath the unobjectionable veneer of nostalgia and the too-pleasant anonymity of those salt-of-the-earth types, Ford’s social conscience convinces. It would be hard to miss given how often he has the camera positioned low enough to look up to his subjects. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">How Green Was My Valley</em></div>
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<img alt="The Best Years of Our Lives" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_bestyearsofourlives.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_bestyearsofourlives.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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2. The Best Years of Our Lives (1946)</h2>
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William Wyler’s <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Best Years of Our Lives</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>was the film Americans knew they needed, but likely few realized how badly they also wanted it. As has happened with other films in that position before and since, its achievements seemed to take on a force-of-nature patina; it was the highest-grossing film since <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Gone with the Wind</em> and missed tying that epic’s then-record number of Oscar wins by just one trophy. A prime example of American middlebrow writ on an epic scale in service of universalizing its themes and messages, the film follows three veterans who, having returned home after spending years in the life-or-death panic of World War II, now find themselves all chasing oblivion. If <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Best Years of Our Lives</em><span style="border-color: initial; border-image: initial; border-style: initial; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; font-size: 17.6px; transition-duration: 0.25s; transition-property: all;"> </span>emerges as a more contemporary-seeing film than almost anything else to which its ingredients could compare, it’s because of how frankly it wrestles with the burden of patriotism. The nation’s problems are right there in plain sight, just as clear as cinematographer Gregg Toland’s typically precise deep-focus shots. <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Eric Henderson</em></div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong>: <em style="border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">The Best Years of Our Lives</em></div>
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<img alt="All About Eve" class="lazy aligncenter size-full wp-image-50068674 lazy-loaded" data-lazy-src="/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_allabouteve.jpg" data-lazy-type="image" height="720" src="https://www.slantmagazine.com/wp-content/uploads/2020/02/lists_oscarbestpicturewinnersranked_allabouteve.jpg" style="backface-visibility: hidden; border: 0px; display: block; font-size: 17.6px; height: auto; margin: 0px auto; max-width: 100%; padding: 0px; vertical-align: baseline;" width="1200" /></div>
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1. All About Eve (1950)</h2>
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<span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;">The depth of</span><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 1.1rem;"> </span><em style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">All About Eve</em><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">’s social rancor is virtually unparalleled in classic film. Joseph L. Mankiewicz’s effervescent cynicism is as observant as Billy Wilder’s, but while the latter views human nature as a set of perpetually losing odds one must wager against regardless, the former understands the essence of relationships as a constantly shifting compromise of ego. The film is a sour exploration of the raw deal offered to both sexes by gender roles, and how we strive to regain that lost ground through interpersonal viciousness. What makes Mankiewicz’s approach gently revolutionary is the female leads’ reluctance to sit back and passively transform from objects of desire into (bluntly) mothers or wives. Even Eve Harrington (Anne Baxter), whose transparent deception is still the film’s least interesting aspect, sees her attractiveness as the means to an end: It’s power, not sex, that she wants. The film’s climax, where Eve’s web unravels around her throat, and its cyclical epilogue may put her and Margo Channing (Bette Davis) back in their place with far-fetched ferocity. But Mankiewicz grants them their dreams with surprisingly little patriarchal compromise: Margo escapes the stage’s unforgiving clutches, and Eve wins success at what is, really, a nominal social fee. The refreshing implication is not that women need men to succeed, but that both sexes may need one another to keep their respective evils in check.</span><span style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 1.1rem; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;"> </span><em style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">Joseph Jon Lanthier</em><br />
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<strong style="background-color: white; border: 0px; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">What Should Have Won</strong><span style="background-color: white; font-family: "pt serif", sans-serif; font-size: 17.6px;">: </span><em style="background-color: white; border: 0px; box-shadow: rgb(68, 195, 241) 0px -4px 0px inset; color: black; font-family: "pt serif", sans-serif; font-size: 17.6px; margin: 0px; opacity: 1; padding: 0px; transition: all 0.25s ease 0s; vertical-align: baseline;">All About Eve</em>Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com1tag:blogger.com,1999:blog-370170641111511801.post-3375460484181116982020-02-12T00:03:00.004-08:002020-02-12T00:03:57.254-08:00Review: Sonic the Hedgehog Doesn’t Rock, Even After a New Paintjob<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-dPtVzqZzDfA/XkOxKk3V64I/AAAAAAAAAfM/fXDwaAZ2fGoeRzGvDOqCD5hAXp7zXC_XACLcBGAsYHQ/s1600/thefilmmagazine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="650" height="330" src="https://1.bp.blogspot.com/-dPtVzqZzDfA/XkOxKk3V64I/AAAAAAAAAfM/fXDwaAZ2fGoeRzGvDOqCD5hAXp7zXC_XACLcBGAsYHQ/s640/thefilmmagazine.jpg" width="640" /></a></div>
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<span class="cap" style="border: 0px; float: left; font-size: 75px; line-height: 60px; margin: 0px; padding: 4px 8px 0px 3px; vertical-align: baseline;" title="I"><span style="border: 0px; margin: 0px; padding: 0px; vertical-align: baseline;">I</span></span>t’s only fitting that director Jeff Fowler’s <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em>, the belated big-screen debut for the eponymous Sega mascot, feels like a blast from the 1990s. Eschewing the emphasis on world building that pervades so many contemporary blockbusters, the film remains intensely focused on the personal travails of its supersonic protagonist (voiced by Ben Schwartz) and opts for telling a single, complete story over setting up a potential franchise universe. Indeed, despite Sonic being an alien from a distant planet, we only briefly glimpse other realms besides Earth throughout the film, and we only get enough of the blue hedgehog’s backstory to know that he fled his homeworld (modeled on the original video game’s starter level) after being hunted by other residents afraid of his superpowers.</div>
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Using rings that can allow him to pass through dimensions, Sonic ends up on Earth, settling in the woods around Green Hills, Montana. He remains hidden for his own safety but suffers from intense loneliness. This much is obvious from the way he darts around the outskirts of town, watching people from afar or spying on them through windows and pretending to have conversations with them. But <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em> repeatedly makes its hero reiterate his feelings in endless monologues and voiceover narration. If the best contemporary children’s films trust young viewers to follow at least some of the emotional beats of a story on their own, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em> is frustratingly old-school in its condescension, as the filmmakers constantly hold the audience’s hand in order to make sure that we understand why the hero looks so crestfallen as he, for example, plays group games all by himself.</div>
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Eventually, Sonic’s high-speed, energy-producing running causes a power surge, and after the Pentagon enlists a private drone contractor, Dr. Robotnik (Jim Carrey), to investigate the cause, the hedgehog finds himself in the government’s crosshairs. As originally conceived in the video game, Robotnik had little depth or motivation beyond providing a megalomaniacal impedance to the hero, but there’s something gently unnerving about how little updating had to be done to Robotnik’s simplistic backstory to credibly present him as a mercenary in a modern military-industrial complex wielding destructive drone technology without oversight.</div>
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Of course, that subtext is rapidly buried under the weight of Carrey’s mugging. As the actor is wont to do, he lunges at each line like a starving animal, pulling rubber faces and jutting his limbs in angular motions as he says every other word with an exaggerated pronunciation. In depicting a mad scientist, Carrey over-exaggerates the madness at the expense of the rare moments in which Robotnik conveys a more compelling kind of super-genius sociopathy, a tech-libertarian’s disregard for anything outside his own advancement.</div>
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Through a series of mishaps, Sonic accidentally opens a portal to San Francisco with his rings and drops the remaining transportation devices through it, necessitating a retrieval mission to California. To do so, he enlists Tom Wachowski (James Marsden), a local Green Hills cop, to escort him. Having Sonic travel with Tom is an obvious pretense to give the former his first true friend, but the pairing comes at the expense of all narrative logic. Sonic can sprint from Montana all the way to the Pacific Ocean and back within seconds, yet he opts to tag along in a pickup truck doing 60mph for a mission where time is of the essence.</div>
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To Marsden’s credit, there’s a natural camaraderie between him and the computer-animated Sonic, which is impressive given that the critter was likely represented on set by a tennis ball on a stick. The jokes are almost all uniformly awful, following a formula of some zany thing happening and a character merely describing aloud what just happened in an incredulous voice. But Marsden impressively imbues Tom with a sense of pity as the man contemplates Sonic’s life on the run—one that finds the hedgehog living in the shadows and heading to new, sometimes miserable worlds to outrun forces that might exploit and harm him.</div>
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For a film that gained notoriety well before its release for how wildly Sonic’s original animation diverged from his well-established look, <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em> does show a clear understanding of the source material and its essential nature. Sonic, fundamentally, is a goofy character with a specific power who just wants friends, and as exasperating as the film can be in its overbearingly clumsy humor, it at least never tries to make the character more complicated than he really is. But the lack of any greater depth to the core of the material limits the possibilities of making any of this meaningful to anyone.</div>
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Video games long ago began to reveal their cinematic aspirations, but the <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em> series to this day continues to channel the old-school cool of platformers that prize gameplay—and testing the player’s hand-eye coordination—over matters of story. There’s plenty of potential for movies and games to inform one another, but perhaps the only aspect of video game culture that <em style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Sonic the Hedgehog</em> brings to cinema is the trend of allowing preemptive fan outrage to necessitate overhauls from already overworked animators.</div>
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<strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Cast:</strong> Ben Schwartz, James Marsden, Jim Carrey, Tika Sumpter, Adam Pally, Lee Majdoub, Neal McDonough <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Director:</strong> Jeff Fowler <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Screenwriter:</strong> Pat Casey, Josh Miller <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Distributor:</strong> Paramount Pictures <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Running Time:</strong> 99 min <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Rating:</strong> PG <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Year:</strong> 2020 <strong style="border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">Buy:</strong> Soundtrack</div>
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com1tag:blogger.com,1999:blog-370170641111511801.post-42249610675587458292020-02-12T00:01:00.001-08:002020-02-12T00:01:09.811-08:00The Hunt Is Back On As Controversial Thriller Releases New Trailer<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #222222; font-family: Montserrat, serif; font-size: 18px;">Last year, Blumhouse seemed set to launch its latest low-budget (relatively) blend of horror and thriller into the world, and it proved to be a political molotov cocktail in more ways than one - so much so that a tweet from President Trump and a mass shooting led to it being thrown back into limbo. Now, though, it has a release date at last – in the States, at least – and a new trailer.</span><br />
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Written by Damon Lindelof and Nick Cuse, the basic synopsis for the film runs as: "In the shadow of a dark internet conspiracy theory, a bunch of elites gathers for the very first time at a remote Manor House to hunt humans for sport. But the elites’ master plan is about to be derailed because one of the hunted, Crystal (Betty Gilpin), knows The Hunters’ game better than they do. She turns the tables on the killers, picking them off, one by one, as she makes her way toward the mysterious woman (Hilary Swank) at the center of it all."</div>
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From the looks of the new footage, there's more to the story than that (some of what is shown appears slightly spoilery), and it'll be interesting to see how some corners react, and whether leaning into the controversy in the marketing helps. With Craig Zobel in the director's chair, <em style="box-sizing: border-box; line-height: 1.75rem;">The Hunt</em> will arrive in Stateside cinemas on 13 March, though there's no information yet as to whether it'll be day and date in the UK.</div>
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com1tag:blogger.com,1999:blog-370170641111511801.post-1114821608616450492020-02-11T23:59:00.005-08:002020-02-11T23:59:44.873-08:00Wes Anderson’s The French Dispatch Has A Gorgeous Poster<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #222222; font-family: Montserrat, serif; font-size: 18px;">Calling all Wes Anderson fans (in Futura typeface, with symmetrical dollhouse framing and dry, mannered dialogue) – </span><em style="background-color: white; box-sizing: border-box; color: #222222; font-family: Montserrat, serif; font-size: 18px; line-height: 1.75rem;">The French Dispatch</em><span style="background-color: white; color: #222222; font-family: Montserrat, serif; font-size: 18px;"> is coming. The filmmaker, whose singular style remains one of cinema’s greatest treats, has been hard at work at his next live-action feature, and ahead of its debut trailer we’ve been offered a first poster. It’s as gorgeous and meticulous as you’d expect from the man behind </span><em style="background-color: white; box-sizing: border-box; color: #222222; font-family: Montserrat, serif; font-size: 18px; line-height: 1.75rem;">The Grand Budapest Hotel</em><span style="background-color: white; color: #222222; font-family: Montserrat, serif; font-size: 18px;">, </span><em style="background-color: white; box-sizing: border-box; color: #222222; font-family: Montserrat, serif; font-size: 18px; line-height: 1.75rem;">Moonrise Kingdom</em><span style="background-color: white; color: #222222; font-family: Montserrat, serif; font-size: 18px;"> and all the rest, with plenty to pore over.</span><br />
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First up, there’s that full title: <em style="box-sizing: border-box; font-size: 1.125rem; line-height: 1.75rem;">The French Dispatch Of The Liberty, Kansas Evening Sun</em> (take that, <em style="box-sizing: border-box; font-size: 1.125rem; line-height: 1.75rem;">Birds Of Prey</em>). And as we’ve heard, the film revolves around American journalists in a fictional French town producing a publication of their work – hence the magazine-cover design of the poster. It’s also a welcome reminder that Anderson has, once again, assembled a truly ridiculous cast here – working once again with Bill Murray, Owen Wilson (in a beret), Tilda Swinton, Frances McDormand and Adrien Brody, and bringing in Benicio Del Toro, Jeffrey Wright, Léa Seydoux, Timothée Chalamet, and more.</div>
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And that’s just the headline cast – look closer at the list at the bottom of the poster, and you also get Elisabeth Moss, Edward Norton, Willem Dafoe, Saoirse Ronan, Christophe Waltz, Jason Schwartzman, Henry Winkler, Anjelica Huston, Bob Balaban, and <em style="box-sizing: border-box; line-height: 1.75rem;">The Grand Budapest Hotel</em>’s Tony Revolori, among others. It is, frankly, ludicrous how many great people are in this film. Stay tuned for the trailer dropping tomorrow – and catch it in UK cinemas from 24 July.</div>
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com1tag:blogger.com,1999:blog-370170641111511801.post-64297637027631791582020-02-11T23:56:00.001-08:002020-02-11T23:56:27.797-08:00The Host (2006) Review<div class="separator" style="clear: both; text-align: center;">
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<span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">The Host</em> (2006)</span><br style="box-sizing: border-box;" /><span style="box-sizing: border-box; font-weight: 700;">Director:</span> Bong Joon-ho<br style="box-sizing: border-box;" /><span style="box-sizing: border-box; font-weight: 700;">Screenwriters:</span> Bong Joon-ho, Ha Won-jun, Baek Chul-hyun<br style="box-sizing: border-box;" /><span style="box-sizing: border-box; font-weight: 700;">Starring:</span> Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doona, Ko Ah-sung</div>
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To shamelessly appropriate and warp the catchphrase of a beloved cartoon character, <em style="box-sizing: border-box;">The Host</em> is smarter than the average monster movie.</div>
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I stumbled across this one on DVD years back, and it’s since become a firm favourite along with the rest of genre auteur Bong Joon-ho’s oeuvre. My affection for the film is not for the monster, as good as it is, but because of the very odd but very real family’s quest for healing, as well their need to stay together.</div>
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<em style="box-sizing: border-box;">When a monster emerges from the Han river and takes their youngest member, the Park family must stop squabbling long enough to find it and bring their dysfunctional unit together again. But the Korean government and some shady American scientists are up to something and lock down Seoul to prevent unwanted snooping…</em></div>
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As is common with monster movies from <em style="box-sizing: border-box;">Godzilla</em> onwards, the creature itself (in this case a newt-dolphin-garbage crusher thing) is not the biggest threat to our heroes, rather it stands in for a greater evil of society: this time it’s the corruption of the Korean state-run institutions and the morally questionable invasive interference by the USA in Korean affairs.</div>
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Writer/director Bong not only made <em style="box-sizing: border-box;">The Host</em> a smart and entertaining thriller, but a tender family drama and a rip-roaring comedy. The hilariously dysfunctional Park family are all great characters, and you can really empathise with their plight as they frantically search for their youngest, Hyun-seo (Ko Ah-sung) who has been taken by the monster.</div>
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Song Kang-ho makes a compelling central protagonist, and makes the perpetually napping failure Gang-doo a comical but tragic reluctant hero. Here he is reunited with fellow regular Bong Joon-ho collaborators Byeon Hee-bong, Park Hae-il and Bae Doona playing the rest of the constantly bickering Park family. Their squabbles and ever-increasing desperation in failing to find Hyun-seo, though undeniably poignant, also provide plenty of opportunity for humour.</div>
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Bong is a true master of black comedy, extremely skilled at getting a laugh out of the most unexpected situation. In <em style="box-sizing: border-box;">The Host</em>, there’s a scene where the Parks gather around the shrine for the dead and missing post-monster attack. In most films, this scene would be a solemn one, but here Bong uses the family’s extreme reaction to their plight, the unanimous blame of Gang-doo for the accidental loss of his daughter, and the insults the family can’t resist trading with each other for their various shortcomings (“Look Hyun-seo, your aunt brought you a bronze medal!”) to provide the funniest moment of the film. It’s a perfect balance of tone, of the dark and the light, of tragedy and comedy, as the Park family clumsily grapple with each other in their hysteria and collapse, wailing on the floor.</div>
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The more restrained, emotionally raw moments in the film are nuanced and affecting, particularly the lip-wobbling moment when the family patriarch Hee-bong finally opens up to his children and confesses how much he truly cares for his eldest son Gang-doo while said son is apparently fast asleep. The action works well on its own terms too, with the CGI holding up remarkably well considering the film’s modest budget, and every set piece driven first and foremost by where the characters find themselves in their respective arcs.</div>
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Bong Joon-ho continually pushes boundaries and challenges genre filmmaking conventions, but never loses sight of what really matters – character, above all else. You’d have to be a complete moron to dismiss <em style="box-sizing: border-box;">The Host</em> as just another dumb creature feature. It’s sharp and layered, grounded and very much about this world and real human experiences despite its sci-fi trappings. I’m so grateful to this film for introducing me to Bong’s filmography, that of one of the world’s most vital cinematic voices of our contemporary age.</div>
Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com1tag:blogger.com,1999:blog-370170641111511801.post-82194176663298303282020-02-10T21:25:00.002-08:002020-02-10T21:25:26.115-08:002020 Oscars Results – Full Winners List<img alt="Kết quả hình ảnh cho 2020 Oscars Results – Full Winners List" height="360" src="https://drraa3ej68s2c.cloudfront.net/wp-content/uploads/2020/01/07082647/eeaf9e7342a0d077a20f395dfcb8791e3d240e5afc2b69f74870afcac3979626.jpg" width="640" /><br />
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The<span style="box-sizing: border-box; font-weight: 700;"> 92nd Annual Academy Awards</span> were presented live from the Dolby Theatre in Los Angeles this Sunday 9th February, with <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Parasite</em></span> and <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">1917</em></span> taking home the majority of awards, <span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">Parasite </em></span>winning in the Original Screenplay, Director and Best Picture categories, making history as the first ever international feature nominee to win Best Picture.</div>
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The show-stealing moments from the ceremony included a surprise performance from <span style="box-sizing: border-box; font-weight: 700;">Eminem</span> who performed “Lose Yourself” from his movie <em style="box-sizing: border-box;">8 Mile</em>, and an emotional speech from Best Actor winner <span style="box-sizing: border-box; font-weight: 700;">Joaquin Phoenix</span> who teared up when referencing his late brother River Phoenix.</div>
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<span style="box-sizing: border-box; text-decoration-line: underline;"><span style="box-sizing: border-box; font-weight: 700;">The winners of the 92nd Annual Oscars 2020: </span></span></div>
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<span style="box-sizing: border-box; font-weight: 700;">BEST PICTURE – PARASITE</span><br style="box-sizing: border-box;" />Ford v Ferrari<br style="box-sizing: border-box;" />The Irishman<br style="box-sizing: border-box;" />Jojo Rabbit<br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />Little Women<br style="box-sizing: border-box;" />Marriage Story<br style="box-sizing: border-box;" />1917<br style="box-sizing: border-box;" />Once Upon a Time… In Hollywood</div>
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<span style="box-sizing: border-box; font-weight: 700;">DIRECTING – BONG JOON HO (PARASITE)</span><br style="box-sizing: border-box;" />Marin Scorsese (The Irishman)<br style="box-sizing: border-box;" />Todd Phillips (Joker)<br style="box-sizing: border-box;" />Sam Mendes (1917)<br style="box-sizing: border-box;" />Quentin Tarantino (Once Upon a Time… In Hollywood)</div>
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<span style="box-sizing: border-box; font-weight: 700;">CINEMATOGRAPHY – ROGER DEAKINS (1917)</span><br style="box-sizing: border-box;" />Rodrigo Prieto (The Irishman)<br style="box-sizing: border-box;" />Lawrence Sher (Joker)<br style="box-sizing: border-box;" />Jarin Blaschke (The Lighthouse)<br style="box-sizing: border-box;" />Robert Richardson (Once Upon a Time… In Hollywood)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ACTOR IN A LEADING ROLE – JOAQUIN PHOENIX (JOKER)</span><br style="box-sizing: border-box;" />Antonio Banderas (Pain & Glory)<br style="box-sizing: border-box;" />Leonardo DiCaprio (Once Upon a Time… In Hollywood)<br style="box-sizing: border-box;" />Adam Driver (Marriage Story)<br style="box-sizing: border-box;" />Jonathan Price (The Two Popes)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ACTRESS IN A LEADING ROLE – RENEE ZELLWEGER (JUDY)</span><br style="box-sizing: border-box;" />Cynthia Erivo (Harriet)<br style="box-sizing: border-box;" />Scarlett Johansson (Marriage Story)<br style="box-sizing: border-box;" />Saoirse Ronan (Little Women)<br style="box-sizing: border-box;" />Charlize Theron (Bombshell)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ACTOR IN A SUPPORTING ROLE – BRAD PITT (ONCE UPON A TIME… IN HOLLYWOOD)</span><br style="box-sizing: border-box;" />Tom Hanks (A Beautiful Day In the Neighborhood)<br style="box-sizing: border-box;" />Anthony Hopkins (The Two Popes)<br style="box-sizing: border-box;" />Al Pacino (The Irishman)<br style="box-sizing: border-box;" />Joe Pesci (The Irishman)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ACTRESS IN A SUPPORTING ROLE – LAURA DERN (MARRIAGE STORY)</span><br style="box-sizing: border-box;" />Kathy Bates (Richard Jewell)<br style="box-sizing: border-box;" />Scarlett Johansson (Jojo Rabbit)<br style="box-sizing: border-box;" />Florence Pugh (Little Women)<br style="box-sizing: border-box;" />Margot Robbie (Bombshell)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ADAPTED SCREENPLAY – TAIKA WAITITI (JOJO RABBIT)</span><br style="box-sizing: border-box;" />Steven Zaillian (The Irishman)<br style="box-sizing: border-box;" />Todd Phillips; Scott Silver (Joker)<br style="box-sizing: border-box;" />Greta Gerwig (Little Women)<br style="box-sizing: border-box;" />Anthony McCarten (The Two Popes)</div>
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<span style="box-sizing: border-box; font-weight: 700;">ORIGINAL SCREENPLAY – BONG JOON HO; JIM WON HAN (PARASITE)</span><br style="box-sizing: border-box;" />Rian Johnson (Knives Out)<br style="box-sizing: border-box;" />Noah Baumbach (Marriage Story)<br style="box-sizing: border-box;" />Sam Mendes; Krysty Wilson-Cairns (1917)<br style="box-sizing: border-box;" />Quentin Tarantino (Once Upon a Time… In Hollywood)<br style="box-sizing: border-box;" />Bong Joon Ho; Jim Won Han (Parasite)</div>
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<span style="box-sizing: border-box; font-weight: 700;">INTERNATIONAL FEATURE FILM – PARASITE</span><br style="box-sizing: border-box;" />Corpus Christi<br style="box-sizing: border-box;" />Honeyland<br style="box-sizing: border-box;" />Les Miserables<br style="box-sizing: border-box;" />Pain & Glory</div>
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<span style="box-sizing: border-box; font-weight: 700;">ANIMATED FEATURE FILM – TOY STORY 4</span><br style="box-sizing: border-box;" />How to Train Your Dragon: The Hidden World<br style="box-sizing: border-box;" />I Lost My Body<br style="box-sizing: border-box;" />Klaus<br style="box-sizing: border-box;" />Missing Link</div>
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<span style="box-sizing: border-box; font-weight: 700;">DOCUMENTARY FEATURE – AMERICAN FACTORY</span><br style="box-sizing: border-box;" />The Cave<br style="box-sizing: border-box;" />The Edge of Democracy<br style="box-sizing: border-box;" />For Sama<br style="box-sizing: border-box;" />Honeyland</div>
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<span style="box-sizing: border-box; font-weight: 700;">FILM EDITING – FORD V FERRARI</span><br style="box-sizing: border-box;" />The Irishman<br style="box-sizing: border-box;" />Jojo Rabbit<br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />Parasite</div>
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<span style="box-sizing: border-box; font-weight: 700;">PRODUCTION DESIGN – ONCE UPON A TIME… IN HOLLYWOOD</span><br style="box-sizing: border-box;" />The Irishman<br style="box-sizing: border-box;" />Jojo Rabbit<br style="box-sizing: border-box;" />1917<br style="box-sizing: border-box;" />Parasite</div>
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<span style="box-sizing: border-box; font-weight: 700;">COSTUME DESIGN – LITTLE WOMEN</span><br style="box-sizing: border-box;" />The Irishman<br style="box-sizing: border-box;" />Jojo Rabbit<br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />Once Upon a Time… In Hollywood</div>
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<span style="box-sizing: border-box; font-weight: 700;">MAKEUP AND HAIRSTYLING – BOMBSHELL</span><br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />Judy<br style="box-sizing: border-box;" />Maleficent: Mistress of Evil<br style="box-sizing: border-box;" />1917</div>
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<span style="box-sizing: border-box; font-weight: 700;">VISUAL EFFECTS – 1917</span><br style="box-sizing: border-box;" />Avengers: Endgame<br style="box-sizing: border-box;" />The Irishman<br style="box-sizing: border-box;" />The Lion King<br style="box-sizing: border-box;" />Star Wars: The Rise of Skywalker</div>
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<span style="box-sizing: border-box; font-weight: 700;">ORIGINAL SCORE – Hildur Guðnadóttir (JOKER)</span><br style="box-sizing: border-box;" />Little Women<br style="box-sizing: border-box;" />Marriage Story<br style="box-sizing: border-box;" />1917<br style="box-sizing: border-box;" />Star Wars: The Rise of Skywalker</div>
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<span style="box-sizing: border-box; font-weight: 700;">ORIGINAL SONG – “(I’M GONNA) LOVE ME AGAIN” (ROCKETMAN)</span><br style="box-sizing: border-box;" />“I Can’t Let You Throw Yourself Away” (Toy Story 4)<br style="box-sizing: border-box;" />“I’m Standing With You” (Breakthrough)<br style="box-sizing: border-box;" />“Into the Unknown” (Frozen II)<br style="box-sizing: border-box;" />“Stand Up” (Harriet)</div>
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<span style="box-sizing: border-box; font-weight: 700;">SOUND EDITING – FORD V FERRARI</span><br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />1917<br style="box-sizing: border-box;" />Once Upon a Time… In Hollywood<br style="box-sizing: border-box;" />Star Wars: The Rise of Skywalker</div>
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<span style="box-sizing: border-box; font-weight: 700;">SOUND MIXING – 1917</span><br style="box-sizing: border-box;" />Ad Astra<br style="box-sizing: border-box;" />Ford v Ferrari<br style="box-sizing: border-box;" />Joker<br style="box-sizing: border-box;" />Once Upon a Time… In Hollywood</div>
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<span style="box-sizing: border-box; font-weight: 700;">ANIMATED SHORT FILM – HAIR LOVE</span><br style="box-sizing: border-box;" />Dcera (Daughter)<br style="box-sizing: border-box;" />Kitbull<br style="box-sizing: border-box;" />Memorable<br style="box-sizing: border-box;" />Sister</div>
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<span style="box-sizing: border-box; font-weight: 700;">LIVE-ACTION SHORT FILM – THE NEIGHBORS’ WINDOW</span><br style="box-sizing: border-box;" />Brotherhood<br style="box-sizing: border-box;" />NEFTA Football Club<br style="box-sizing: border-box;" />Saria<br style="box-sizing: border-box;" />A Sister</div>
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<span style="box-sizing: border-box; font-weight: 700;">DOCUMENTARY SHORT SUBJECT – LEARNING TO SKATEBOARD IN A WARZONE (IF YOU’RE A GIRL)</span><br style="box-sizing: border-box;" />In the Absence<br style="box-sizing: border-box;" />Life Overtakes Me<br style="box-sizing: border-box;" />St. Louis Superman<br style="box-sizing: border-box;" />Walk Run Cha-Cha</div>
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<span style="box-sizing: border-box; text-decoration-line: underline;"><span style="box-sizing: border-box; font-weight: 700;">Total Wins Per Film:</span></span></div>
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4 – Parasite<br style="box-sizing: border-box;" />3 – 1917<br style="box-sizing: border-box;" />2 – Ford v Ferrari; Joker; Once Upon a Time… In Hollywood<br style="box-sizing: border-box;" />1 – American Factory; Bombshell; Hair Love; Jojo Rabbit; Judy; Learning to Skateboard In A Warzone (If You’re A Girl); Little Women; Marriage Story; The Neighbors’ Window; Rocketman; Toy Story 4</div>
Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0tag:blogger.com,1999:blog-370170641111511801.post-16397213640627790192020-02-10T21:22:00.001-08:002020-02-10T21:22:50.384-08:00The Animation Race 2020<img alt="Kết quả hình ảnh cho The Animation Race 2020" height="400" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Oscars-Animation-Race-2020.jpg" width="640" /><br />
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Every year the Oscars pays tribute to the many talents involved in the world of Animated Cinema, the winner of the coveted Animated Feature award often going on to be widely renowned as an animated classic. In 2020, five of the most worthy titles of the past twelve months battle it out for the top prize.</div>
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Oscars favourites Pixar are once again there as the most experienced in the category to battle it out for the crown, however the absence of Disney Animation’s biggest hit of the year, <em style="box-sizing: border-box;">Frozen 2,</em> has not gone unnoticed.</div>
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The early dark horse in this race has been Netflix’s <em style="box-sizing: border-box;">Klaus, </em>though it does have to contend with other heavy hitting animation studios such as <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Dreamworks</span>, <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Laika</span> (the creators of former Oscar nominee <em style="box-sizing: border-box;">Kubo and the Two Strings</em>) and Netflix’s other animation entry <em style="box-sizing: border-box;">I Lost My Body,</em> which did well at both the Cannes and Annecy film festivals.</div>
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In 2020, it seems to be a pretty even race, so it will interesting to see which film takes the top prize.</div>
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Let’s take a closer look at this year’s contenders in the 2020 Animation Race…</div>
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<span style="box-sizing: border-box; color: black;">How To Train Your Dragon: The Hidden World</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2020/02/The-Hidden-World-Animated-Feature-Oscar.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="How To Train Your Dragon 3" class="aligncenter size-full wp-image-18071 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/The-Hidden-World-Animated-Feature-Oscar.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/The-Hidden-World-Animated-Feature-Oscar.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2020/02/The-Hidden-World-Animated-Feature-Oscar.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2020/02/The-Hidden-World-Animated-Feature-Oscar-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Director: Dean DeBlois</h4>
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The second sequel in this year’s Animated Feature category is <em style="box-sizing: border-box;">How To Train Your Dragon: The Hidden World,</em> the final chapter in the <em style="box-sizing: border-box;">How To Train Your Dragon </em>franchise that wraps up a complex coming of age story.</div>
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When Hiccup discovers that Toothless is not the only dragon of his kind, the race os on to find the ‘Hidden World’, a utopia for dragons, before the tyrant Grimmel does.</div>
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Dreamworks brings an emotionally and visually beautiful end to the much loved series. The audience has grown alongside Hiccup and Toothless throughout the trilogy and <em style="box-sizing: border-box;">The Hidden World</em> is the perfect send off for our heroes. Getting to see the characters grow from children to adults over the years brings a true sense of realism to the saga even though it is an animated film series set in a fantasy world with dragons, and that shows just what talent Dreamworks has put behind the project.</div>
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Perhaps in any other year <em style="box-sizing: border-box;">How To Train Your Dragon: The Hidden World</em> might have been the front-runner in this race, but this year it has some tough competition to fight off.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Hair Love – Oscar Nominated Animated Short Review</span></h4>
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<span style="box-sizing: border-box; color: black;">I Lost My Body</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2020/02/I-Lost-My-Body-Animated-Feature-Oscar.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-18072 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/I-Lost-My-Body-Animated-Feature-Oscar.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/I-Lost-My-Body-Animated-Feature-Oscar.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2020/02/I-Lost-My-Body-Animated-Feature-Oscar.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2020/02/I-Lost-My-Body-Animated-Feature-Oscar-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Director: Jeremy Clapin</h4>
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<em style="box-sizing: border-box;">I Lost My Body</em> is a French animated fantasy drama that debuted at Cannes Film festival in 2019 and was the first animated feature to win the Nespresso Grand Prize. It is also Netflix’s second entrant in this category.</div>
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The story is a little bit bizarre. On the surface it’s a story of boy loves girl, but it’s also the story of the boy’s severed hand making its way back to him through a Parisian backdrop.</div>
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Leaning towards a more traditional animation style does not mean it is any less impressive than the others. The atmosphere is simple but extremely poetic, showcasing the losses that we all go through in life and exploring how rediscovering the missing parts of us is ultimately the reason we keep on living.</div>
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<em style="box-sizing: border-box;">I Lost My Body</em> disproves the assumption that animated films are for children in the most spectacular way, and could very well be the underdog to come out on top in this race.</div>
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<span style="box-sizing: border-box; color: black;">Klaus</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Klaus-Animated-Feature-Oscar.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-18073 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Klaus-Animated-Feature-Oscar.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Klaus-Animated-Feature-Oscar.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Klaus-Animated-Feature-Oscar.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2020/02/Klaus-Animated-Feature-Oscar-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Directors: Sergio Pablos & Carlos Martinez Lopez</h4>
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<em style="box-sizing: border-box;">Klaus</em> was one of a myriad of films released by Netflix around the Christmas period, however it was certainly one that stood out from the crowd.</div>
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<em style="box-sizing: border-box;">Klaus</em> is the directorial debut for Sergio Pablos and has an incredible voice cast of the likes of Jason Schwartzman and Rashida Jones, as well as J.K Simmons as the title character.</div>
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This is certainly a twist on the origin story of Santa Claus and follows the story of a postman stationed on an island in the North who befriends Klaus, a reclusive toymaker. The message of the story is clear, that one act of kindness can often spark another even in a place where feuding locals barely speak to each other.</div>
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Klaus is a heartwarming take on the Christmas origin story, filled with emotion and humour, with a message of kindness that really rings true, coupled with some stunning animation that (much like last year’s winner <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Spiderman: Into the Spiderverse</em></span>) sets itself apart from the rest.</div>
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This is Netflix’s first animation to be nominated for an Academy Award, and it has already <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">won the BAFTA for best animated feature</span>, so expect some high praise for Klaus even if it doesn’t walk out with the trophy.</div>
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<span style="box-sizing: border-box; color: black;">Missing Link</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Missing-Link-Animated-Feature-Oscar.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-18074 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Missing-Link-Animated-Feature-Oscar.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Missing-Link-Animated-Feature-Oscar.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Missing-Link-Animated-Feature-Oscar.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2020/02/Missing-Link-Animated-Feature-Oscar-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Director: Chris Butler</h4>
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<em style="box-sizing: border-box;">Missing Link</em> is another stunning stop-motion animated feature from Laika, the creators of previous Academy Award nominee <em style="box-sizing: border-box;">Kubo and the Two Strings</em>.</div>
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It presents the story of Mr Link, a Sasquatch who befriends an English explorer and adventures with him to the Himalayas in search of his Yeti cousins. It is a traditional story of adventures and friendship, with a heartfelt and humorous core.</div>
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<em style="box-sizing: border-box;">Missing Link</em> is another contender with an all-star voice cast including Hugh Jackman, David Walliams, Stephen Fry, Emma Thompson and Zach Galifanakis just to name a few. <em style="box-sizing: border-box;">Missing Link</em> lets us celebrate a more traditional style of animation, away from the computer generated films that now dominate the genre. It was <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">awarded the Golden Globe for Best Animated Feature</span> and was the first non-computer-generated animated film to win in this category, which certainly increases its chances of taking home the gold come Oscars night.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Laika Animated Movies Ranked</span></h4>
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<span style="box-sizing: border-box; color: black;">Toy Story 4</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Toy-Story-4-Animated-Feature-Oscar.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-18075 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Toy-Story-4-Animated-Feature-Oscar.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Toy-Story-4-Animated-Feature-Oscar.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Toy-Story-4-Animated-Feature-Oscar.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2020/02/Toy-Story-4-Animated-Feature-Oscar-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Director: <em style="box-sizing: border-box;">Josh Cooley</em></h4>
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Pixar are no stranger to the awards scene when it comes to animated features, and this year they presented the fourth instalment to one of the most beloved animated franchises of all time, <em style="box-sizing: border-box;">Toy Story</em>.</div>
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The entire gang are back, including Tom Hanks and Tim Allen who reprise their roles and Woody and Buzz. We may have felt that <em style="box-sizing: border-box;">Toy Story 3</em> gave the perfect send off to Woody, Buzz and the gang but this film developed their story that little bit further. We see the characters we know and love set off on a road trip with new owner Bonnie, and a new toy Bonnie has created and loves dearly. When said toy, Forky, gets separated from the group, Woody sets off on a quest to find him and ultimately make sure Bonnie is happy. Along the way, Woody runs into an old friend as well as some hilarious new ones that make him question his place in the world now that he is no longer a part of Andy’s life.</div>
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<em style="box-sizing: border-box;">Toy Story 4</em> is blessed with the stunning visuals that Pixar always deliver, however it has a lot to contend with this year, and this chapter in the story did not quite hit the same highs as its predecessors, and may not quite make it to the finish line first (though never entirely discount Pixar…).</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Kitbull – Oscar Nominated Animated Short Review</span></h4>
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0tag:blogger.com,1999:blog-370170641111511801.post-8255603696960708102020-02-10T21:19:00.002-08:002020-02-10T21:19:47.557-08:00100 Greatest Films of the 2010s<img alt="Kết quả hình ảnh cho 100 Greatest Films of the 2010s" height="400" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/100-Greatest-Films-2010s.jpg" width="640" /><br />
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An entire decade of cinema has come and gone, and during the 2010s the industry has evolved exponentially with criticism transforming in line with this evolution and the development of internet trends particularly. We’ve seen filmmakers rise to prominence and others fade from the public eye, we’ve welcomed new stars and sadly lost many more. What follows are the <span style="box-sizing: border-box; font-weight: 700;">100 Greatest Films of the 2010s</span>; a list collated, ordered and written by <span style="box-sizing: border-box; color: blue;"><span style="box-sizing: border-box; text-decoration-line: underline;">Jason Lithgo</span></span> and <span style="box-sizing: border-box; color: blue;"><span style="box-sizing: border-box; text-decoration-line: underline;">Joseph Wade</span></span> of <em style="box-sizing: border-box;">The Film Magazine </em>to commemorate a decade of cinema that has come to shape many of us, the writers of this list included. We’ve ordered the films based on a number of factors with the most important being artistry and value to the art form, but the others being critical reception and audience reaction.</div>
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Lists like these are created with the utmost passion and love, but they’re also created to engage your own thoughts on the subject. If you have any thoughts you’d like to voice, please make sure to leave them in the comments at the end of this article or <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">tweet us</span>!</div>
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List set by UK release dates.</h4>
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<span style="box-sizing: border-box; color: black;">100. The Avengers (2012)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Avengers-2012-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17461 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Avengers-2012-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Avengers-2012-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Avengers-2012-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Avengers-2012-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Joss Whedon</span></div>
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The 2010s may not have spawned the era of superhero films, but it was certainly the decade they were risen to their current record-crushing heights, and arguably none of that would have been possible without the exciting first-ever team-up of Marvel’s mightiest heroes in the Joss Whedon directed <em style="box-sizing: border-box;">The Avengers </em>(also known as <em style="box-sizing: border-box;">Avengers Assemble</em>) in 2012.</div>
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Starring would-be A-Listers personifying iconic characters, fantastical elements and all-out action, <em style="box-sizing: border-box;">The Avengers </em>was an important moment in time both from an industry standpoint and an audience standpoint, the formula it worked to coming to define the entire decade.</div>
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<span style="box-sizing: border-box; font-weight: 700;">99. Short Term 12 (2013)</span><br style="box-sizing: border-box;" />Dir: Destin Daniel Cretton</div>
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<span style="box-sizing: border-box; font-weight: 700;">98. Zero Dark Thirty (2012)</span><br style="box-sizing: border-box;" />Dir: Kathryn Bigelow</div>
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<span style="box-sizing: border-box; font-weight: 700;">97. Blue Valentine (2010)</span><br style="box-sizing: border-box;" />Dir: Derek Cianfrance</div>
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<span style="box-sizing: border-box; font-weight: 700;">96. Black Panther (2018)</span><br style="box-sizing: border-box;" />Dir: Ryan Coogler</div>
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<em style="box-sizing: border-box;">“Marvel’s boldest move yet in many ways. It’s one of the darkest and most violent of the studio’s offerings so far, but it’s also one of the most fun and full of life.”</em> – Sam Sewell-Peterson’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">95. The Kids Are Alright (2010)</span><br style="box-sizing: border-box;" />Dir: Lisa Cholodenko</div>
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<span style="box-sizing: border-box; font-weight: 700;">94. Good Time (2017)</span><br style="box-sizing: border-box;" />Dir: Benny Safdie, Josh Safdie</div>
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<span style="box-sizing: border-box; font-weight: 700;">93. Under the Shadow (2016)</span><br style="box-sizing: border-box;" />Dir: Babak Anvari</div>
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<span style="box-sizing: border-box; font-weight: 700;">92. The House That Jack Built (2018)</span><br style="box-sizing: border-box;" />Dir: Lars von Trier</div>
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<span style="box-sizing: border-box; font-weight: 700;">91. Bridesmaids (2011)</span><br style="box-sizing: border-box;" />Dir: Paul Feig</div>
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<span style="box-sizing: border-box; font-weight: 700;">90. Amy (2015)</span><br style="box-sizing: border-box;" />Dir: Asif Kapadia</div>
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<span style="box-sizing: border-box; font-weight: 700;">89. Silver Linings Playbook (2012)</span><br style="box-sizing: border-box;" />Dir: David O. Russell</div>
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<span style="box-sizing: border-box; font-weight: 700;">88. Booksmart (2019)</span><br style="box-sizing: border-box;" />Dir: Olivia Wilde</div>
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<em style="box-sizing: border-box;">“this picture’s strong and tasteful mix of characters [work] to compliment the progressive themes of this genuinely funny, hearty and at times downright emotional movie headlined by two superlative performances. Not since Superbad has the genre delivered such a bonafide classic.”</em> – Joseph Wade’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">87. Snowpiercer (2013)</span><br style="box-sizing: border-box;" />Dir: Bong Joon Ho</div>
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<span style="box-sizing: border-box; font-weight: 700;">86. Avengers: Infinity War (2018)</span><br style="box-sizing: border-box;" />Dir: Anthony Russo, Joe Russo</div>
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<em style="box-sizing: border-box;">“This is more than a superhero movie, it’s a defining moment in modern cinema.”</em> – Joseph Wade’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">85. Gone Girl (2014)</span><br style="box-sizing: border-box;" />Dir: David Fincher</div>
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<span style="box-sizing: border-box; font-weight: 700;">84. Only God Forgives (2013)</span><br style="box-sizing: border-box;" />Dir: Nicolas Winding Refn</div>
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<span style="box-sizing: border-box; color: black;">83. Mad Max: Fury Road (2015)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Mad-Max-Fury-Road.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17460 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Mad-Max-Fury-Road.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Mad-Max-Fury-Road.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Mad-Max-Fury-Road.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Mad-Max-Fury-Road-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: George Miller</span></div>
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<em style="box-sizing: border-box;">Mad Max: Fury Road </em>was so much of a surprise smash hit with audiences and critics that it became a meme. “From the director of <em style="box-sizing: border-box;">Babe: Pig in the City</em>” became the running joke, George Miller’s exhile into mediocre studio-driven fare well and truly ended by his return to the <em style="box-sizing: border-box;">Mad Max </em>franchise he’d built from the 70s onwards, <em style="box-sizing: border-box;">Fury Road </em>earning 10 Oscar nominations (including 6 wins), a moment that marked an important evolution for the Academy that had for over a decade refused to acknowledge most action films in any way, shape or form at their popular and prestigious awards.</div>
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<span style="box-sizing: border-box; font-weight: 700;">82. Dogtooth (2010)</span><br style="box-sizing: border-box;" />Dir: Yorgos Lanthimos</div>
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<span style="box-sizing: border-box; font-weight: 700;">81. The Skin I Live In (2011)</span><br style="box-sizing: border-box;" />Dir: Pedro Almodóvar</div>
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<span style="box-sizing: border-box; font-weight: 700;">80. Toy Story 3 (2010)</span><br style="box-sizing: border-box;" />Dir: Lee Unkrich</div>
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<span style="box-sizing: border-box; font-weight: 700;">79. I Saw the Devil (2010)</span><br style="box-sizing: border-box;" />Dir: Jee-woon Kim</div>
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<span style="box-sizing: border-box; font-weight: 700;">78. Amour (2012)</span><br style="box-sizing: border-box;" />Dir: Michael Haneke</div>
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<span style="box-sizing: border-box; font-weight: 700;">77. Inception (2010)</span><br style="box-sizing: border-box;" />Dir: Christopher Nolan</div>
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<span style="box-sizing: border-box; font-weight: 700;">76. The Babadook (2014)</span><br style="box-sizing: border-box;" />Dir: Jennifer Kent</div>
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<span style="box-sizing: border-box; font-weight: 700;">75. A Separation (2011)</span><br style="box-sizing: border-box;" />Dir: Asghar Farhadi</div>
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<em style="box-sizing: border-box;">“the picture doesn’t hide behind technical trickery to ever distract from the story unfolding in front of us – it is impeccably told and perfectly balances each character in a way that ensures everybody is understandable and complex.”</em> – Bradley Weir’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">74. Blue Is the Warmest Colour (2013)</span><br style="box-sizing: border-box;" />Dir: Abdellatif Kechiche</div>
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<span style="box-sizing: border-box; font-weight: 700;">73. What We Do In the Shadows (2014)</span><br style="box-sizing: border-box;" />Dir: Taika Waititi</div>
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<span style="box-sizing: border-box; font-weight: 700;">72. Moneyball (2011)</span><br style="box-sizing: border-box;" />Dir: Bennett Miller</div>
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<span style="box-sizing: border-box; color: black;">71. Coco (2017)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Coco-Disney-Pixar-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17459 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Coco-Disney-Pixar-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Coco-Disney-Pixar-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Coco-Disney-Pixar-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Coco-Disney-Pixar-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Lee Unkrich, Adrian Molina</span></div>
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The highest rated of all of Pixar’s contributions to the decade, this Lee Unkrich and Adrian Molina directed visual spectacle merged the spectacular and unique themes of Mexico’s Day of the Dead with a heart-warming and at times heart-wrenching narrative that simultaneously celebrated a culture and became a force for empathy. It is now the highest grossing movie in Mexican box office history.</div>
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<span style="box-sizing: border-box; font-weight: 700;">70. Raw (2016)</span><br style="box-sizing: border-box;" />Dir: Julia Ducournau</div>
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<span style="box-sizing: border-box; font-weight: 700;">69. 20th Century Women (2016)</span><br style="box-sizing: border-box;" />Dir: Mike Mills</div>
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<span style="box-sizing: border-box; font-weight: 700;">68. Kill List (2011)</span><br style="box-sizing: border-box;" />Dir: Ben Wheatley</div>
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<span style="box-sizing: border-box; font-weight: 700;">67. A Ghost Story (2017)</span><br style="box-sizing: border-box;" />Dir: David Lowery</div>
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<span style="box-sizing: border-box; font-weight: 700;">66. Sorry We Missed You (2019)</span><br style="box-sizing: border-box;" />Dir: Ken Loach</div>
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<em style="box-sizing: border-box;">“a voice for those without one from a filmmaker who now seems to be the last bastian of such filmmaking, an 83 year old 50+ year veteran of the screen we must all cherish.”</em> – Joseph Wade’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">65. The Big Short (2015)</span><br style="box-sizing: border-box;" />Dir: Adam McKay</div>
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<span style="box-sizing: border-box; font-weight: 700;">64. Prisoners (2013)</span><br style="box-sizing: border-box;" />Dir: Denis Villeneuve</div>
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<span style="box-sizing: border-box; font-weight: 700;">63. First Reformed (2017)</span><br style="box-sizing: border-box;" />Dir: Paul Schrader</div>
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<span style="box-sizing: border-box; color: black;">62. Skyfall (2012)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Skyfall-2012-Bond-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17458 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Skyfall-2012-Bond-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Skyfall-2012-Bond-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Skyfall-2012-Bond-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Skyfall-2012-Bond-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Sam Mendes</span></div>
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Arguably the greatest <em style="box-sizing: border-box;">007 </em>movie ever, Sam Mendes’ collaboration with famed cinematographer Roger Deakins was at the very least the most visually spectacular in the franchise’s history and a high mark for action films in the 2010s. Daniel Craig excelled as a more moody Bond growing into the expectations of the character as being a quip-laden, sarcastic secret agent, to create the ultimate modern Bond movie and a memorable (and incredibly lucrative) moment in the decade – it’s still the highest grossing movie ever released in the UK.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Every James Bond 007 Movie Ranked</span></h4>
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<span style="box-sizing: border-box; font-weight: 700;">61. Blade Runner 2049 (2017)</span><br style="box-sizing: border-box;" />Dir: Denis Villeneuve</div>
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<em style="box-sizing: border-box;">“a simply marvellous blend of technical skill and emotional resonance.”</em> – Harrison Thorne’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">60. The Grand Budapest Hotel (2014)</span><br style="box-sizing: border-box;" />Dir: Wes Anderson</div>
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<span style="box-sizing: border-box; font-weight: 700;">59. Mommy (2014)</span><br style="box-sizing: border-box;" />Dir: Xavier Dolan</div>
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<span style="box-sizing: border-box; font-weight: 700;">58. Burning (2018)</span><br style="box-sizing: border-box;" />Dir: Chang-dong Lee</div>
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<span style="box-sizing: border-box; font-weight: 700;">57. The Revenant (2015)</span><br style="box-sizing: border-box;" />Dir: Alejandro G. Iñárritu</div>
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<span style="box-sizing: border-box; font-weight: 700;">56. Nocturnal Animals (2016)</span><br style="box-sizing: border-box;" />Dir: Tom Ford</div>
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<em style="box-sizing: border-box;">“this is a film perhaps devoid of the ability to completely engross and encourage the suspension of disbelief, but is without a doubt a work of art unlike many others in North American cinema at the moment.”</em> – Joseph Wade’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">55. Midsommar (2019)</span><br style="box-sizing: border-box;" />Dir: Ari Aster</div>
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<span style="box-sizing: border-box; font-weight: 700;">54. Dunkirk (2017)</span><br style="box-sizing: border-box;" />Dir: Christopher Nolan</div>
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<span style="box-sizing: border-box; font-weight: 700;">53. Hereditary (2018)</span><br style="box-sizing: border-box;" />Dir: Ari Aster</div>
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<span style="box-sizing: border-box; font-weight: 700;">52. Ida (2013)</span><br style="box-sizing: border-box;" />Dir: Pawel Pawlikowski</div>
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<span style="box-sizing: border-box; color: black;">51. Roma (2018)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Roma-2018-Alfonso-Cuaron.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17457 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Roma-2018-Alfonso-Cuaron.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Roma-2018-Alfonso-Cuaron.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Roma-2018-Alfonso-Cuaron.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Roma-2018-Alfonso-Cuaron-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Alfonso Cuarón</span></div>
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Alfonso Cuarón’s incredibly personal authorial journey <em style="box-sizing: border-box;">Roma </em>was not only a 10-time Oscar nominee, including a win for Cuarón himself in the Best Director category, but arguably the most important movie in the history of Netflix; this release about a Mexican family’s maid establishing the streaming platform as a new studio to be reckoned with and increasing the pressure on the Academy and film festivals across the world to accept straight-to-streaming releases as fully fledged films, igniting arguments over what constitutes as cinema.</div>
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<span style="box-sizing: border-box; font-weight: 700;">50. High Life (2019)</span><br style="box-sizing: border-box;" />Dir: Claire Denis</div>
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<span style="box-sizing: border-box; font-weight: 700;">49. Manchester By the Sea (2016)</span><br style="box-sizing: border-box;" />Dir: Kenneth Lonergan</div>
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<span style="box-sizing: border-box; font-weight: 700;">48. The Florida Project (2017)</span><br style="box-sizing: border-box;" />Dir: Sean Baker</div>
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<span style="box-sizing: border-box; font-weight: 700;">47. Little Women (2019)</span><br style="box-sizing: border-box;" />Dir: Greta Gerwig</div>
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<em style="box-sizing: border-box;">“Little Women will be the Greta Gerwig movie that will establish her as one of the most important filmmakers of the 21st century.”</em> – Katie Doyle’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">46. The Witch (2015)</span><br style="box-sizing: border-box;" />Dir: Robert Eggers</div>
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<span style="box-sizing: border-box; font-weight: 700;">45. Toni Erdmann (2016)</span><br style="box-sizing: border-box;" />Dir: Maren Ade</div>
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<span style="box-sizing: border-box; font-weight: 700;">44. The Lobster (2015)</span><br style="box-sizing: border-box;" />Dir: Yorgos Lanthimos</div>
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<span style="box-sizing: border-box; color: black;">43. Drive (2011)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Drive-2011-Winding-Refn.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17456 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Drive-2011-Winding-Refn.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Drive-2011-Winding-Refn.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Drive-2011-Winding-Refn.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Drive-2011-Winding-Refn-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Nicolas Winding Refn</span></div>
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Arguably the most visceral and aesthetically compelling of all of Nicolas Winding Refn’s individualistic catalogue, <em style="box-sizing: border-box;">Drive </em>was praised for embracing video game culture with the blocking of shots and choices in the edit, Ryan Gosling’s brooding anti-hero being one of the actor’s strongest performances to date and being one of a number of films to establish the actor where he is currently. This is a tight and concise movie from a director at the height of his confidence, and the score/soundtrack is one of the best of the decade.</div>
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<span style="box-sizing: border-box; font-weight: 700;">42. Phantom Thread (2017)</span><br style="box-sizing: border-box;" />Dir: Paul Thomas Anderson</div>
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<span style="box-sizing: border-box; font-weight: 700;">41. Birdman (or the Unexpected Virtue of Ignorance) (2014)</span><br style="box-sizing: border-box;" />Dir: Alejandro G. Iñárritu</div>
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<span style="box-sizing: border-box; font-weight: 700;">40. Arrival (2016)</span><br style="box-sizing: border-box;" />Dir: Denis Villeneuve</div>
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<span style="box-sizing: border-box; font-weight: 700;">39. If Beale Street Could Talk (2019)</span><br style="box-sizing: border-box;" />Dir: Barry Jenkins</div>
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<span style="box-sizing: border-box; font-weight: 700;">38. Black Swan (2010)</span><br style="box-sizing: border-box;" />Dir: Darren Aronofsky</div>
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<span style="box-sizing: border-box; color: black;">37. Frances Ha (2012)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Frances-Ha-2012-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17455 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Frances-Ha-2012-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Frances-Ha-2012-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Frances-Ha-2012-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Frances-Ha-2012-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Noah Baumbach</span></div>
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Featuring a performance from co-writer Greta Gerwig (<em style="box-sizing: border-box;">Lady Bird</em>) that is considered the most established on-screen portrayal of her career to date, Noah Baumbach’s gorgeous black and white love letter to New York City featured all of the dialogue intricacies of his other written and directed works only with more individual focus and a change to his ordinarily male-led narratives. Co-starring a host of up-and-coming names including Adam Driver, <em style="box-sizing: border-box;">Frances Ha </em>will be best remembered for how relatable it was to so many people.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Greta Gerwig – The Essential Collection</span></h4>
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<span style="box-sizing: border-box; font-weight: 700;">36. Get Out (2017)</span><br style="box-sizing: border-box;" />Dir: Jordan Peele</div>
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<span style="box-sizing: border-box; font-weight: 700;">35. The Favourite (2019)</span><br style="box-sizing: border-box;" />Dir: Yorgos Lanthimos</div>
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<span style="box-sizing: border-box; font-weight: 700;">34. Melancholia (2011)</span><br style="box-sizing: border-box;" />Dir: Lars von Trier</div>
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<span style="box-sizing: border-box; font-weight: 700;">33. The Irishman (2019)</span><br style="box-sizing: border-box;" />Dir: Martin Scorsese</div>
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<span style="box-sizing: border-box; font-weight: 700;">32. Marriage Story (2019)</span><br style="box-sizing: border-box;" />Dir: Noah Baumbach</div>
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<span style="box-sizing: border-box; color: black;">31. Her (2013)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Her-2013-Spike-Jonze.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17454 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Her-2013-Spike-Jonze.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Her-2013-Spike-Jonze.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Her-2013-Spike-Jonze.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Her-2013-Spike-Jonze-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Spike Jonze</span></div>
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<em style="box-sizing: border-box;">Being John Malkovich </em>director Spike Jonze created an almost too real “near future” space for his romantic drama starring Joaquin Phoenix and Scarlett Johansson. His mix of recognisable American landmarks and less recognisable Chinese cityscapes made for a beautiful, meaningful and importantly believable setting for a deep exploration of humanity’s relationship to technology; one that aimed not to cast a negative eye towards our growing dependence on it in the same way as has become a cinematic trope. Phoenix provided a quite sensational performance as the film’s fragile lead, while Scarlett Johansson’s deeper tones lended themselves to the comfort his romance-simulating computer program brought him, contributing massively to a film with deep and explorative themes.</div>
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<span style="box-sizing: border-box; font-weight: 700;">30. Before Midnight (2013)</span><br style="box-sizing: border-box;" />Dir: Richard Linklater</div>
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<span style="box-sizing: border-box; font-weight: 700;">29. The Souvenir (2019)</span><br style="box-sizing: border-box;" />Dir: Joanna Hogg</div>
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<span style="box-sizing: border-box; font-weight: 700;">28. Shoplifters (2018)</span><br style="box-sizing: border-box;" />Dir: Hirokazu Koreeda</div>
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<span style="box-sizing: border-box; color: black;">27. Spider-Man: Into the Spider-Verse (2018)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2018/12/Into-the-Spider-Verse-Banner.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Spider-Man 2018 Movie" class="aligncenter size-full wp-image-12006 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2018/12/Into-the-Spider-Verse-Banner.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2018/12/Into-the-Spider-Verse-Banner.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2018/12/Into-the-Spider-Verse-Banner.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2018/12/Into-the-Spider-Verse-Banner-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Bob Persichetti, Peter Ramsey, Rodney Rothman</span></div>
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Sony Animation’s surprisingly refreshing take on Spider-Man benefitted from the strong fandom and proven comedy credentials of its writer Phil Lord (<em style="box-sizing: border-box;">The Lego Movie; 21 Jump Street</em>), the film moving to avoid patronising its viewers while offering creativity in every aspect; from character design to narrative complexities, its comic book inspired animation style to its spectacular and modern soundtrack. Even with so many great animations and a number of high quality <em style="box-sizing: border-box;">Spider-Man </em>films released in the 2010s, <em style="box-sizing: border-box;">Into the Spider-Verse</em> remains arguably the very best, proving its value not only within its form and genre, but also within film as a whole this decade.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Spider-Man Movies Ranked</span></h4>
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<span style="box-sizing: border-box; font-weight: 700;">26. Lady Bird (2017)</span><br style="box-sizing: border-box;" />Dir: Greta Gerwig</div>
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<span style="box-sizing: border-box; font-weight: 700;">25. Ex Machina (2014)</span><br style="box-sizing: border-box;" />Dir: Alex Garland</div>
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<span style="box-sizing: border-box; font-weight: 700;">24. Whiplash (2014)</span><br style="box-sizing: border-box;" />Dir: Damien Chazelle</div>
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<em style="box-sizing: border-box;">“this modern day Rocky will more than likely be appreciated as time goes on for its timeless look, feel and approach with regard to the ever-so-typical Hollywood underdog story.”</em> – Joseph Wade’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">review</span>.</div>
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<span style="box-sizing: border-box; font-weight: 700;">23. We Need To Talk About Kevin (2011)</span><br style="box-sizing: border-box;" />Dir: Lynne Ramsay</div>
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<span style="box-sizing: border-box; font-weight: 700;">22. O.J. Made in America (2016)</span><br style="box-sizing: border-box;" />Dir: Ezra Edelman</div>
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<span style="box-sizing: border-box; font-weight: 700;">21. Sicario (2015)</span></div>
<span style="background-color: white; color: #383735; font-family: "Segoe UI", sans-serif; font-size: 16px; text-align: justify;">Dir: Denis Villeneuve</span><br />
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<span style="box-sizing: border-box; color: black;">20. La La Land (2016/17)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/La-La-Land-2016.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17453 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/La-La-Land-2016.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/La-La-Land-2016.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/La-La-Land-2016.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/La-La-Land-2016-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Damien Chazelle</span></div>
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Described in <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">The Film Magazine’s </em>review</span> as “outlandishly enjoyable and quietly devastating”, Damien Chazelle’s follow-up hit to his debut feature <em style="box-sizing: border-box;">Whiplash </em>was a critical and audience hit that paid fitting tribute to Hollywood’s Golden Age musicals with a mature and distinctive modern take; one that was filled with beautiful imagery and anchored by a heart-wrenching narrative twist. Featuring the ever-popular Ryan Gosling and an Oscar-winning performance from Emma Stone, <em style="box-sizing: border-box;">La La Land </em>was not only a decade-defining piece but was also all the proof Hollywood needed to once again embrace musicals.</div>
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<span style="box-sizing: border-box; color: black;">19. The Tree of Life (2011)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Tree-of-Life.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17452 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Tree-of-Life.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Tree-of-Life.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Tree-of-Life.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Tree-of-Life-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Terrence Malick</span></div>
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A Palme d’Or winner from one of the industry’s most respected albeit enigmatic figures, <em style="box-sizing: border-box;">The Tree of Life </em>was a celebrated merging of mainstream and avante-garde storytelling techniques that all-but confirmed Malick as one of the only certifiable American auteurs of the modern age. Mixing real-life experience with existential philosophy made for an intriguing insight into the famously reclusive filmmaker and marked what many argue was a high point of the visual form under his guidance. A must-watch piece of cinematic art, <em style="box-sizing: border-box;">The Tree of Life’s </em>influence only grows as the years pass; this deeply beautiful and layered piece being one of the decade’s true reference points to many.</div>
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<span style="box-sizing: border-box; color: black;">18. Interstellar (2014)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Interstellar-2014-Christopher-Nolan.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17451 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Interstellar-2014-Christopher-Nolan.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Interstellar-2014-Christopher-Nolan.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Interstellar-2014-Christopher-Nolan.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Interstellar-2014-Christopher-Nolan-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Christopher Nolan</span></div>
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An exploration of outer space with a more moving and distinctly memorable exploration of inner space at the heart of the film’s narrative, Christopher Nolan reached his empathetic peak with <em style="box-sizing: border-box;">Interstellar </em>in 2014, his deep dive into timeless connectivity and inter-dimensional love being the sort of philosophical undertaking only Nolan’s creative and distinct visuals could do justice to.</div>
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This is a modern classic of the sci-fi genre, a must-watch and wholly important entry into the career of its world famous director and one of the most rewarding visual experiences of the decade.</div>
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<span style="box-sizing: border-box; color: black;">17. Spotlight (2015/16)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Spotlight-2015-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17450 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Spotlight-2015-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Spotlight-2015-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Spotlight-2015-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Spotlight-2015-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Tom McCarthy</span></div>
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Starring a cast of incredible actors including Mark Ruffalo, a resurgent Michael Keaton and Rachel McAdams to name but a few, Tom McCarthy’s Best Picture winner <em style="box-sizing: border-box;">Spotlight </em>very much found its strength in its phenomenal script, characterisations and performances; the true story at its heart being handled delicately and passionately to devastating, world-view-shattering effect. If there was such a thing as a category for “needed” movies, this would certainly be one.</div>
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<span style="box-sizing: border-box; color: black;">16. 120BPM (2017)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/120-BPM-movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17449 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/120-BPM-movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/120-BPM-movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/120-BPM-movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/120-BPM-movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Robin Campillo</span></div>
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An enthralling exploration of what it means to be alive, <em style="box-sizing: border-box;">120BPM </em>was a powerful portrayal of love and politics that wrapped around you to envelope its important historical moment within the context of happiness and passion.</div>
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This film was powerful because it confronted serious issues while not backing away from the people who make up the heart of those targeted by prejudice, and Campillo’s movie is stunningly beautiful for it.</div>
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<span style="box-sizing: border-box; color: black;">15. The Shape of Water (2018)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Shape-of-Water.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17448 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Shape-of-Water.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Shape-of-Water.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Shape-of-Water.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Shape-of-Water-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Guillermo Del Toro</span></div>
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A film that marked a pivotal moment in the career of its creative, innovative and legendary director for how it <em style="box-sizing: border-box;">finally </em>earned him the Best Director Oscar, <em style="box-sizing: border-box;">The Shape of Water </em>was a fairytale for the modern age that was quite unlike anything that had come before it despite how much it was inspired by films of decades that have since passed. For fans of Del Toro, this film was far from a surprise as a touching, visually stunning, timeless yet timely political analogy, but for some it was a final confirmation of the director’s almost incomparable talents. Despite having a cost of less than $20million, <em style="box-sizing: border-box;">The Shape of Water </em>looked and felt costly, a testament to the phenomenal work in every aspect of the production.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Guillermo Del Toro Movies Ranked</span></h4>
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<span style="box-sizing: border-box; color: black;">14. Moonlight (2016)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Moonlight-Barry-Jenkins-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17447 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Moonlight-Barry-Jenkins-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Moonlight-Barry-Jenkins-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Moonlight-Barry-Jenkins-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Moonlight-Barry-Jenkins-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Barry Jenkins</span></div>
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<em style="box-sizing: border-box;">Moonlight </em>is more than just the film that won the Oscar that was wrongly handed to <em style="box-sizing: border-box;">La La Land</em>, it was the debut of a distinct and poetic voice in American cinema, Barry Jenkins; that voice being one that was seemingly undeniable in how much love, empathy and romance it could tie into genuine societal issues.</div>
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Every inch of the screen in this low budget film radiated feeling, the score lifting it out of the screen and into the brain; <em style="box-sizing: border-box;">Moonlight </em>being undeniable even to the most hardened and old fashioned of Academy members and one of the most deserving Best Picture winners of the decade.</div>
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<span style="box-sizing: border-box; color: black;">13. The Social Network (2010)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Social-Network-David-Fincher.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="" class="aligncenter size-full wp-image-17446 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Social-Network-David-Fincher.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Social-Network-David-Fincher.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Social-Network-David-Fincher.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Social-Network-David-Fincher-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: David Fincher</span></div>
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Perhaps one of its director’s most concise and surgical releases, <em style="box-sizing: border-box;">The Social Network </em>from the turn of the decade was considered at the time to be one of the most overlooked films in Oscars history, and time has only solidified that view, the film’s telling of the creation of Facebook via the story of its founder Mark Zuckerberg becoming one of the most significant releases in recent memory on the screen and off it.</div>
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<span style="box-sizing: border-box; color: black;">12. Carol (2015)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Carol-Movie-2015.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17445 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Carol-Movie-2015.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Carol-Movie-2015.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Carol-Movie-2015.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Carol-Movie-2015-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Todd Haynes</span></div>
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Intoxicating romantic cinema that will haunt and devour you, Todd Haynes’ <em style="box-sizing: border-box;">Carol </em>casts a spell that it’s hard to get away from; the film enticing you then moving you around until you’re no longer the same person after seeing it as you were beforehand.</div>
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Rooney Mara and particularly Cate Blanchett offer phenomenal nuanced performances, the cinematography from Edward Lachman is simply timeless and <em style="box-sizing: border-box;">Carol </em>is altogether unmissable.</div>
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<span style="box-sizing: border-box; color: black;">11. Son of Saul (2015)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Son-of-Saul-2015.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17444 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Son-of-Saul-2015.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Son-of-Saul-2015.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Son-of-Saul-2015.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Son-of-Saul-2015-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Nemes László</span></div>
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One of, if not <em style="box-sizing: border-box;">the</em>, directorial debuts of the decade, László Nemes’ (credited as Nemes László in the film itself) <em style="box-sizing: border-box;">Son of Saul </em>presents unspeakable hell with phenomenal complexity and visual otherness to produce one of the most unique movies about prisoners of war ever made. Winner of the Cannes Palme d’Or as well as the Best Foreign Language awards at the Oscars and the BAFTAs, <em style="box-sizing: border-box;">Son of Saul </em>was one of the most memorable films from outside of the English language we’ve seen this century.</div>
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<span style="box-sizing: border-box; color: black;">10. You Were Never Really Here (2017)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/You-Were-Never-Really-Here.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17443 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/You-Were-Never-Really-Here.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/You-Were-Never-Really-Here.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/You-Were-Never-Really-Here.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/You-Were-Never-Really-Here-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Lynne Ramsay</span></div>
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Waiting 6 years for Scottish auteur Lynne Ramsay to return to the big screen following her very special 2010 release <em style="box-sizing: border-box;">We Need to Talk About Kevin </em>felt like such a long time, but when <em style="box-sizing: border-box;">You Were Never Really Here </em>finally hit cinemas, it offered all that fans of the filmmaker could dream of and more; the trim, meaningful work, telling the tale of a hitman paid to rescue a kidnapped girl, at times featuring ultra realism and at others operating on a metaphorical level, but the two contradictory elements blending only to elevate its artistry. Joaquin Phoenix was phenomenal despite having little to say, the story was timely and moving, and this is a film that should have been honoured with more at festivals and awards than it ultimately was. A special entry into the decade from a filmmaker too infrequently presenting her work, <em style="box-sizing: border-box;">You Were Never Really Here </em>is the first entry into our top 10 of the 2010s.</div>
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<span style="box-sizing: border-box; color: black;">9. Boyhood (2014)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Boyhood-2014-Richard-Linklater.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17442 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Boyhood-2014-Richard-Linklater.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Boyhood-2014-Richard-Linklater.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Boyhood-2014-Richard-Linklater.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Boyhood-2014-Richard-Linklater-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Richard Linklater</span></div>
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Richard Linklater has never been your typical filmmaker, but when he set forth to make <em style="box-sizing: border-box;">Boyhood </em>in 2001 with the idea of filming a child for a few weeks per year for a 12 year period, nobody could have expected him to have pulled it off, yet in 2014 the director released <em style="box-sizing: border-box;">Boyhood </em>to universal critical acclaim, the director not only somehow managing to forge a linear and cinematic story, but one filled with heart, timely references and all the pain of growing up. Linklater captured time in a bottle and presented it piece by piece in <em style="box-sizing: border-box;">Boyhood</em>, one of the most special movies we’ve ever seen.</div>
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<span style="box-sizing: border-box; color: black;">8. The Master (2012)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Master-2012-PTA.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17441 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Master-2012-PTA.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Master-2012-PTA.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Master-2012-PTA.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Master-2012-PTA-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Paul Thomas Anderson</span></div>
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A visual masterpiece with two of the best leading performances of the decade, Paul Thomas Anderson’s <em style="box-sizing: border-box;">The Master </em>was perhaps the perfect way to follow up his 2007 critical hit <em style="box-sizing: border-box;">There Will Be Blood</em>, the same vicious mood as presented in his previous release explored in a different aspect of the human condition here, and the taking to task of a Scientology-like religious cult being nothing short of necessary. Joaquin Phoenix was great, but it’s the performance of Philip Seymour Hoffman that is perhaps more fondly remembered, the late actor offering a stellar turn as the unrelenting Lancaster Dodd in what was the last great performance of his stellar career.</div>
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<span style="box-sizing: border-box; color: black;">7. The Handmaiden (2016)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Handmaiden-Chan-wook-Park.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17440 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Handmaiden-Chan-wook-Park.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Handmaiden-Chan-wook-Park.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Handmaiden-Chan-wook-Park.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/The-Handmaiden-Chan-wook-Park-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Chan-wook Park</span></div>
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Park Chan-wook’s erotically charged psychological thriller, adapted from Sarah Waters’ “Fingersmith”, was effortlessly presented in context with the South Korean relationship to Japan, and was uniquely played out as three separate acts. The film’s form, which played to great dramatic effect, aided an already fascinating story in such a manner that the picture’s almost obscene levels of visual beauty were exclusively reaffirming of the already existing written material. As has become the norm for director Chan-wook, <em style="box-sizing: border-box;">The Handmaiden </em>was astoundingly beautiful but also thought provoking, and was another entry into the director’s sensational ouevre; one of the international films of its year and an unmissable cinematic experience.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">5 Sexiest Movies of All Time</span></h4>
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<span style="box-sizing: border-box; color: black;">6. Cold War (2018)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Cold-War-Pawel-Pawlikowski.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17439 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Cold-War-Pawel-Pawlikowski.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Cold-War-Pawel-Pawlikowski.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Cold-War-Pawel-Pawlikowski.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Cold-War-Pawel-Pawlikowski-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Paweł Pawlikowski</span></div>
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Polish auteur Paweł Pawlikowski followed his phenomenal 2013 hit <em style="box-sizing: border-box;">Ida</em> with the equally as beautiful but arguably more accessible <em style="box-sizing: border-box;">Cold War</em>, a continent and decade-spanning tale of romance and melancholia the director penned as a tribute to his parents. Shot on film in crisp and sumptuous black and white, <em style="box-sizing: border-box;">Cold War </em>was an epic romance unlike most since Hollywood’s golden era, complete with addictive musical leitmotif and phenomenal performances.</div>
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<span style="box-sizing: border-box; color: black;">5. Call Me By Your Name (2017)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Call-Me-By-Your-Name.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Movies 2010s" class="aligncenter size-full wp-image-17438 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Call-Me-By-Your-Name.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Call-Me-By-Your-Name.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Call-Me-By-Your-Name.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Call-Me-By-Your-Name-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Luca Guadagnino</span></div>
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Starring a year-stealing performance from Timothee Chalamet on the cusp of his rise to A-List prominence and Armie Hammer (who also starred in list entry <em style="box-sizing: border-box;">The Social Network</em>), this Luca Guadagnino directed and James Ivory written adaptation is one of the greatest love stories ever told, a peer into the parts of you that are unpurchaseable, irreplaceable; a timeless classic of youth, romance and our meaning in this world.</div>
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<span style="box-sizing: border-box; color: black;">4. Under the Skin (2013)</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Under-the-Skin-2013.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="100 Greatest Films 2010s" class="aligncenter size-full wp-image-17436 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Under-the-Skin-2013.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Under-the-Skin-2013.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/11/Under-the-Skin-2013.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/11/Under-the-Skin-2013-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Jonathan Glazer</span></div>
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This small and independent yet spectacular individual vision from English director Jonathan Glazer, set largely in the Scottish city of Glasgow and starring Scarlett Johansson in the year after her appearance as Black Widow in <em style="box-sizing: border-box;">The Avengers</em>, is an arthouse masterpiece; a masterfully off-beat, tense and beautifully realised project.</div>
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Acting as a reminder of Johansson’s strong acting background at the point of her transition from dramas to popular movies, <em style="box-sizing: border-box;">Under the Skin </em>is mostly acted by non-actors picked up by the film’s lead in the van her character peruses the streets of Glasgow with, yet this fact is never distracting from the intense and mysterious pulse of the film which is driven forward by the debut feature score of artist Micachu – one of the greatest pieces of music presented in this way this decade.</div>
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<span style="box-sizing: border-box; color: black;">3. I, Daniel Blake (2016)</span></h2>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Ken Loach</span></div>
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The 2016 Palme d’Or winner, <em style="box-sizing: border-box;">I, Daniel Blake </em>was described in <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">The Film Magazine’s </em>review</span> as “our quiet rage”, the Ken Loach directed feature offering a voice to the underclass northern Briton and managing to become a European independent success in the process. More than kitchen-sink and down-trodden drama however, <em style="box-sizing: border-box;">I, Daniel Blake </em>featured moments of quiet poetry and assured artistry that made it an unmissable political statement; one that was even adopted into the campaigns of the British government’s opposing party at the time.</div>
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<span style="box-sizing: border-box; color: black;">2. 12 Years A Slave (2013)</span></h2>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Steve McQueen</span></div>
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When Scottish auteur Steve McQueen offered a cinematic exploration of the United States’ historical relationship with slavery in 2013, courtesy of the story of Solomon Northup (a free man from the north enslaved in the south), it felt like much of the country’s institutionalised racism was a thing of the past – Obama was president and police officers had yet to be confronted for abusive, racist behaviour – and as such <em style="box-sizing: border-box;">12 Years A Slave </em>was celebrated by the Oscars in what some commentators believed to be the Academy’s final wave goodbye to racist and otherwise problematic behaviours.</div>
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This was, of course, all entirely wrong. The 7 years following the release of <em style="box-sizing: border-box;">12 Years A Slave </em>only compounded the above issues both within the academy and American society at large, but rather than reduce the impact of McQueen’s release, this fact only made it all the more poignant, timely and powerful. The film is, of course, a historical account of a real man’s struggle against injustice in a corrupt system of exploitative, racist men, but also a strong reminder of how far there is yet to go.</div>
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Chiwetel Ejiofor was a revelation in the lead and Fassbender unrelenting as the antagonist. Every shot was carefully constructed like a masterpiece you could hang on a wall, every choice of camera placement had meaning and the blocking of action was comparable to the very best to ever direct cinema. This was a special and important movie in every aspect, from the presentation on the screen to its meaning beyond it.</div>
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<span style="box-sizing: border-box; color: black;">1. Inside Llewyn Davis (2013)</span></h2>
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<span style="box-sizing: border-box; font-weight: 700;">Dir: Joel Coen, Ethan Coen</span></div>
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The unequivocal mood piece of the decade and comparable to any of the visual masterpieces on this list, <em style="box-sizing: border-box;">Inside Llewyn Davis </em>from the iconic, all-time great directors The Coen Brothers was a snug 1 hour 44 minutes of melancholia that could be unwrapped as a metaphor for capitalism and the American dream; a layered piece with fantastic performances, sensational music and a vision for a movie that was simply on a different level. This 2013 release, which can be looked back on as the rocket ship to Oscar Isaac’s career, feels like a special moment in time when a number of otherworldly creative minds came together to make something extraordinary. <em style="box-sizing: border-box;">Inside Llewyn Davis </em>is, simply, the film of the decade.</div>
Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0tag:blogger.com,1999:blog-370170641111511801.post-44164641943437248362020-02-10T21:11:00.003-08:002020-02-10T21:11:36.877-08:00Birds of Prey (2020) Review<img alt="Margot Robbie Harley Quinn" height="280" src="https://www.thefilmagazine.com/wp-content/uploads/2020/02/Birds-of-Prey-Movie-Review.jpg" width="640" /><br />
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This article was written exclusively for <em style="box-sizing: border-box;">The Film Magazine </em>by <em style="box-sizing: border-box;"><span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The CineBlog’s</span> </em>Sophie Butcher.</div>
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<span style="box-sizing: border-box; font-weight: 700;"><em style="box-sizing: border-box;">Birds of Prey: And The Fantabulous Emancipation of One Harley Quinn</em> (2020)</span><br style="box-sizing: border-box;" /><span style="box-sizing: border-box; font-weight: 700;">Director</span><span style="box-sizing: border-box;">: Cathy Yan</span><span style="box-sizing: border-box; font-weight: 700;">Screenwriter</span><span style="box-sizing: border-box;">: Christina Hodson</span><span style="box-sizing: border-box; font-weight: 700;">Starring</span><span style="box-sizing: border-box;">: Margot Robbie, Jurnee Smollett-Bell, Rosie Perez, Mary Elizabeth Winstead, Ella Jay Basco, Ewan McGregor</span></div>
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<span style="box-sizing: border-box;">Just like the tune that Black Canary (aka. Dinah Lance, played by Jurnee Smollett-Bell) sings in the opening act of </span><i style="box-sizing: border-box;">Birds of Prey</i><span style="box-sizing: border-box;">, the Gotham we’ve known in the DCEU up until now has been a man’s world. Thankfully, Margot Robbie decided to change that.</span></div>
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<span style="box-sizing: border-box;"><i style="box-sizing: border-box;">Birds of Prey</i>: </span><i style="box-sizing: border-box;">And The Fantabulous Emancipation of One Harley Quinn </i><span style="box-sizing: border-box;">–</span><span style="box-sizing: border-box;"> to give it its full title – picks up sometime after the events of David Ayers’ much maligned </span><i style="box-sizing: border-box;">Suicide Squad</i><span style="box-sizing: border-box;">, and it’s here we meet Harley recovering from her break-up with ‘Mr J’.</span></div>
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<span style="box-sizing: border-box;">When everyone she’s ever wronged hears that she’s no longer under Joker’s protection, she becomes Gotham’s most wanted. As she does her best to stay alive, she’s drawn into hunting for a diamond, protecting a young pickpocketer – Cassandra Cain (played by Ella Jay Basco) – and joining forces with three more of the city’s ‘broads’ looking to find freedom. </span></div>
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<span style="box-sizing: border-box;">The first twenty minutes or so of this movie make its intentions clear – the next couple of hours are going to be a freakin’ great time at the cinema.</span></div>
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<span style="box-sizing: border-box;">The action kicks in early, with instantly iconic sequences including a jailbreak with the sprinklers on, a brilliantly choreographed exchange in the evidence room, and the epic demise of an egg sandwich. Robbie looks to be doing an inordinate amount of her own stunts, and Harley’s scrappy but acrobatic fighting style is solidified beautifully. </span></div>
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<span style="box-sizing: border-box;">Much like RDJ as Tony Stark, or Hugh Jackman as Wolverine, Margot Robbie </span><i style="box-sizing: border-box;">is</i><span style="box-sizing: border-box;"> Harley Quinn. She embodies her entirely; the layers of makeup and tattoos are impressive, but more so is her total commitment to the drama and glamour and sorrow and strength of this character. Watching her let loose with Harley’s sparkle and sense of humour is a joy, but what really connects you with Quinn are the moments when the mask slips, when the facade is made fragile, and when we get a glimpse at just how big of a toll has been taken on her by the trauma she’s been through. </span></div>
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<span style="box-sizing: border-box;">Such is the impact of Robbie’s performance, it overshadows everyone else in the film. Harley is so magnetic and enjoyable that interest starts to wane with every second she’s not on screen. Smollett-Bell as Black Canary and Rosie Perez as Renee Montoya, a genius cop who faces a constant lack of respect from her male colleagues, are established as well as they can be given the size of this ensemble, but Mary Elizabeth Winstead is fairly underserved as Huntress. Used more intermittently for impact, Winstead steals the few scenes she does have, combining Huntress’s ruthless mercenary skills with a brilliantly comical social awkwardness.</span></div>
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<span style="box-sizing: border-box;">As for McGregor, the fun he’s having with the role is evident, and there are some beats that show how monstrous his Black Mask really is. But, aside from a particularly nasty scene in a nightclub, he’s largely forgettable and feels somewhat miscast. </span></div>
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<span style="box-sizing: border-box;">This lack of a strong antagonist is felt at points, and the approach in terms of who the women are up against is more ‘horde of henchmen’ than a single powerful villain – but this isn’t necessarily a bad thing. The way men are portrayed as a threat in this film is interesting and complex. Our heroes never really have trouble beating them physically, though they are shown to be overpowered at times – it’s the coercion and control that the men wreak over Harley and the rest that creates a sense of discomfort when they’re around. Renee is undermined at work by the men who keep taking credit for her successes; Dinah is under Roman’s thumb, having to plaster a smile to keep him happy; Huntress is seeking revenge on the men that ruined her life; and Harley is subject to violence from men who see her as weak without that toxic, abusive clown to ‘protect’ her. As Harley herself verbalises, the very nature of a harlequin is to be mute, to be costumed, ‘to serve’. With every kick, punch and swing of a baseball bat, these women are stepping out from the shadows of men that have defined them, and into their own power.</span></div>
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<span style="box-sizing: border-box;">Gender commentary aside, </span><i style="box-sizing: border-box;">Birds of Prey</i><span style="box-sizing: border-box;"> is simply a bloody good piece of entertainment, and a much needed injection of sweary, adult fun into the DCEU. The stakes are small-scale and mostly grounded in reality, helping it to avoid the bloat experienced with the world-ending events of </span><i style="box-sizing: border-box;">Suicide Squad</i><span style="box-sizing: border-box;">. Its structure is nothing new, but it’s the execution that matters here. Every inch of this movie is stamped with that innate Harley Quinn-ness that made her such a standout in </span><i style="box-sizing: border-box;">Suicide Squad</i><span style="box-sizing: border-box;">, and it </span><i style="box-sizing: border-box;">feels</i><span style="box-sizing: border-box;"> directed; feels part of a vision that Cathy Yan has so effectively brought to life. </span></div>
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<span style="box-sizing: border-box;">There are hints at an even trippier version of this movie though; Harley as Marilyn singing “Diamonds Are A Girl’s Best Friend” is a wonderfully surreal insight into what’s going on in her head, but the moment feels cut short. Playing with chronology as a way of introducing each character seems to be the film’s approach to standing out from the crowd, but this makes for a frustrating timeline that stunts the pace it worked so hard to build – perhaps simpler storytelling, but more of that fever dream feel, would have really pushed </span><i style="box-sizing: border-box;">Birds of Prey</i><span style="box-sizing: border-box;"> to the next level.</span></div>
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<span style="box-sizing: border-box;">Sometimes you leave the cinema thinking you’ve got the measure of a movie. But, as time ticks by, your love for it grows and blooms. </span><i style="box-sizing: border-box;">Birds of Prey</i><span style="box-sizing: border-box;"> is an example of just that; it leaves you smiling as the credits roll, and feels ripe for a rewatch just hours later. Let’s hope this is just the first of many times we get to meet Harley Quinn without that pesky ‘pudding’ of hers, and that we get to know what happens next, now that she is fully, fantabulously emancipated.</span></div>
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0tag:blogger.com,1999:blog-370170641111511801.post-41887497922688371882020-02-10T21:09:00.003-08:002020-02-10T21:09:59.276-08:0010 Directors with 3 or More Great Films from the 2010s<div class="separator" style="clear: both; text-align: center;">
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The last ten years have been times of great change for cinema, and filmmakers working within the industry at every level have had to be nothing if not adaptable. We’ve seen passionate debate over film vs digital, streaming vs cinema exhibition, the products of the Disney juggernaut vs everything else. What follows is my pick of ten directors who have left a clear mark on this decade in film (in alphabetical order) and their greatest work.</div>
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<span class="Apple-converted-space" style="box-sizing: border-box;">But first, here’s to another decade of bold filmmaking voices making their mark, reaching wide-ranging audiences and continuing to progress the art form in an uncertain world. </span></div>
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Cheers!</div>
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<span style="box-sizing: border-box; color: black;"><span style="box-sizing: border-box;">1. Clio Barnard</span><span style="box-sizing: border-box;">The Arbor (2010) – The Selfish Giant (2013) – Dark River (2017)</span></span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Clio-Barnard-2010s-Director.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Clio Barnard Movies" class="aligncenter size-full wp-image-17379 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Clio-Barnard-2010s-Director.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Clio-Barnard-2010s-Director.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Clio-Barnard-2010s-Director.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Clio-Barnard-2010s-Director-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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A distinct female voice working prolifically within the British film industry and thus far not straying from her Yorkshire home county or compromising on her darkly poetic style, Clio Barnard is a pariah.<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></div>
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BAFTA and BIFA award nominee Barnard has moved fluidly between docu-drama and geographically rooted dramatic storytelling. Her stories have universal impact but make a particular connection with viewers from West Yorkshire who recognise the bleak-beautiful landscapes and people.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">The Selfish Giant</em></span></div>
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Inspired by Oscar Wilde but feeling more Dickensian and ploughing its own furrow, <em style="box-sizing: border-box;">The Selfish Giant</em> follows two Bradford teen tearaways whose friendship has to survive poverty and adult manipulation. It hits you like a train, always feels genuine and leaves you with unforgettable imagery.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Dark River (2018) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">2. Damien Chazelle<br style="box-sizing: border-box;" />Whiplash (2014) – La La Land (2016) – First Man (2018)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Damien-Chazelle-Director-Films.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Damien Chazelle 2010s Films" class="aligncenter size-full wp-image-17381 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Damien-Chazelle-Director-Films.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Damien-Chazelle-Director-Films.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Damien-Chazelle-Director-Films.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Damien-Chazelle-Director-Films-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Critical darling he may be, but this not without reason as Damien Chazelle has proven himself a stylistically confident young actor’s director, working intensively with his cast and crew to produce his dazzling vision.</div>
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Chazelle has confidently tackled the musical, the biopic and Oscar-winning drama, but never presents them quite in the conventional sense. He’s romantic but a realist, so his characters usually have something fundamental missing in their lives or a nigh-on impossible dream they’re shooting for.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Whiplash</em></span></span></div>
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The presentation of the psychology of obsession marked <em style="box-sizing: border-box;">Whiplash</em> out, but everyone remembers the barnstorming performances, how Chazelle managed to make a student playing the drums and his teacher saying “Not quite my tempo” more unbearably tense than Neil Armstrong landing on the moon with a faulty guidance system.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">La La Land (2017) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">3. Ryan Coogler<br style="box-sizing: border-box;" />Fruitvale Station (2013) – Creed (2015) – Black Panther (2018)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ryan-Coogler-Directed-Films.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Ryan Coogler 2010s Films" class="aligncenter size-full wp-image-17382 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ryan-Coogler-Directed-Films.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ryan-Coogler-Directed-Films.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ryan-Coogler-Directed-Films.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ryan-Coogler-Directed-Films-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Ryan Coogler’s filmmaking captures the zeitgeist. He has a vivid and distinct voice, inescapably rooted in a culture and experiences, and he never disguises it in his work, even as he has moved into the mainstream.</div>
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The deeply-held feelings in evidence in all of his work, the deconstruction of injustice and cultural bias in the American experience are presented to us in an appealing, vivid aesthetic. Michael B. Jordan has become Coogler’s figurehead, his mouthpiece to convey earnest, passionately held ideas about the world as they have both moved from the indie to the blockbuster stage.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch:<em style="box-sizing: border-box;"> Fruitvale Station</em></span></div>
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Oscar Grant’s story was one that needed to be told and should have been more widely known the world over; an injustice that needed to be given a voice. An unremarkable man seemingly living another unremarkable day in his life takes a tragic and history-shaping turn.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Black Panther (2018) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">4. Hirokazu Koreeda<br style="box-sizing: border-box;" />Like Father, Like Son (2013) – Our Little Sister (2015) – After the Storm (2016) – Shoplifters (2018)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Hirokazu-Koreeda-Films-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Kore-eda movies 2010s" class="aligncenter size-full wp-image-17386 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Hirokazu-Koreeda-Films-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Hirokazu-Koreeda-Films-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Hirokazu-Koreeda-Films-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Hirokazu-Koreeda-Films-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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The dysfunctional family drama director of the 2010s, Hirokazu Koreeda has been quietly successful in his homeland of Japan for decades, but his latest crop of domestic theses have truly broken through in the west.</div>
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Now a household name for any film fan who’s into their world cinema, Koreeda’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Shoplifters</em></span> was Oscar-nominated and next year sees his English/French-language debut <em style="box-sizing: border-box;">The Truth</em>, with an all-star international cast.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">Our Little Sister</em></span></div>
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<em style="box-sizing: border-box;">Shoplifters</em> may have received the Oscar nomination, but <em style="box-sizing: border-box;">Our Little Sister</em> is pitch-perfect in its intimacy, low-key emotion and spirit. Family takes many forms, and bad blood and contentious history sometimes ends up strengthening the unit overall.</div>
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<span style="box-sizing: border-box; color: black;">5. Steve McQueen<br style="box-sizing: border-box;" />Shame (2011) – 12 Years a Slave (2013) – Widows (2018)<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Steve-McQueen-Movies-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Steve McQueen filmography 2010s" class="aligncenter size-full wp-image-17383 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Steve-McQueen-Movies-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Steve-McQueen-Movies-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Steve-McQueen-Movies-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Steve-McQueen-Movies-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Visual artist-turned-visionary filmmaker, Steve McQueen’s films have hit hard and pilloried society’s ills, from prejudice to inequality and addiction time and time again. He’s not one for sentimentality or excess – everything serves an important purpose and is presented with frankness and honesty.</div>
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McQueen’s films are visually arresting enough to be hung in a gallery, the themes debated endlessly in intellectual circles and they often leave you spiritually reeling.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">12 Years a Slave<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></em></span></div>
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One of the best films everyone should see at least once, balancing brutality with ethereal beauty, it’s simply essential. The nightmarish experience of Solomon Northup is another account that should be known by every school child as a key example of the indomitable human spirit.</div>
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<span style="box-sizing: border-box; color: black;">6. Joe & Anthony Russo<br style="box-sizing: border-box;" />Captain America: Civil War (2016) – Avengers: Infinity War (2018) – Avengers: Endgame (2019)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Russo-Brothers-Movies-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Filmography 2010s Russo Bros" class="aligncenter size-full wp-image-17384 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Russo-Brothers-Movies-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Russo-Brothers-Movies-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Russo-Brothers-Movies-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Russo-Brothers-Movies-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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No other filmmakers have put their names to so many of the decade’s box office behemoths. It’s been a massive ten years for Marvel Studios and <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">their Cinematic Universe</span> and the Russo Brothers are intrinsically linked to their success.</div>
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Through their close working relationships with eclectic ensemble casts, inspired writers and a ridiculously talented army of visual effects artists and production designers, the Russos more than anyone else even working within the MCU have defined the decade in blockbuster filmmaking.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Avengers: Endgame</em></span></span></div>
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<em style="box-sizing: border-box;">Endgame</em> is an impossible, sublime victory lap of genre filmmaking – all the superheroic set up pays off in crowd-pleasing fashion, eye-popping comic splash pages are expertly transposed to the big screen and the imposing scale somehow never masks the big emotions.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Avengers: Infinity War (2018) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">7. Martin Scorsese<br style="box-sizing: border-box;" />The Wolf of Wall Street (2013) – Silence (2016) – The Irishman (2019)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Martin-Scorsese-Films-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Scorsese Movies 2010s" class="aligncenter size-full wp-image-17385 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Martin-Scorsese-Films-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Martin-Scorsese-Films-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Martin-Scorsese-Films-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Martin-Scorsese-Films-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Even in his sixth decade of filmmaking, Martin Scorsese is still the very best at what he does. After all these years, he still guides flawed antiheroes down a winding path and he still seems to have a complicated concept of his own faith, morality and purpose in life.</div>
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Criticised as being a one-trick pony, but constantly evolving and refining his distinct style, no one else brings amoral titans crashing down so beautifully as Scorsese</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">The Wolf of Wall Street</em></span></div>
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Protagonists don’t need to be likeable, they just need to be interesting. Jordan Belfort was a fascinating, love-to-hate stock marketeer and his story of greed, excess and intoxication was a compelling fable on quaaludes.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Irishman (2019) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">8. Denis Villeneuve<br style="box-sizing: border-box;" />Incendies (2010) – Sicario (2015) – Arrival (2016) – Blade Runner 2049 (2017)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Denis-Villeneuve-Films-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Denis Villeneuve Director 2010s" class="aligncenter size-full wp-image-17387 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Denis-Villeneuve-Films-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Denis-Villeneuve-Films-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Denis-Villeneuve-Films-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Denis-Villeneuve-Films-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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A storyteller who moulds time and perspective, Denis Villeneuve may be the director of the decade. No other auteur has had such a clear throughline, distinct vision and unwavering quality to their work over ten years.</div>
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From dark-as-the-abyss dramas to percussive thrillers and beyond to sci-fi, nothing seems to phase Villeneuve. Next November, we get to see his take on <em style="box-sizing: border-box;">Dune</em>, which promises to be fascinating, perhaps even definitive.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Blade Runner 2049</em></span></span></div>
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Not just a belated sequel to a recognised IP, but an expansion of a distinct future world and its many mind-expanding concepts and implications. This is simply beautiful, spiritually healing sci-fi.<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></div>
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<span style="box-sizing: border-box; color: black;">9. Taika Waititi<br style="box-sizing: border-box;" />Boy (2010) – What We Do in the Shadows (2014) – Hunt for the Wilderpeople (2016) – Thor: Ragnarok (2017) – Jojo Rabbit (2019)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Taika-Waititi-Movies-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Taika Waititi Films" class="aligncenter size-full wp-image-17388 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Taika-Waititi-Movies-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Taika-Waititi-Movies-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Taika-Waititi-Movies-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Taika-Waititi-Movies-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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A mischievous maverick equally at home with home-grown indie comedy, deeply personal family dramedies and anarchic takes on Hollywood blockbusters, Taika Waititi stands out from the crowd.</div>
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One of the most prolific and versatile filmmakers of the 2010s, Waititi continually subverted expectations on every budget level. Waititi lept from grounded and distinctively accented dramas to delightfully playing with genre tropes and working with A-List casts.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">Hunt for the Wilderpeople<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></em></span></div>
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One of the biggest-hearted films of the decade, this tale of a foster kid and his unwilling uncle on the run from social services has laughs, tears and a social conscience to boot.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Jojo Rabbit (2019) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">10. Ben Wheatley<br style="box-sizing: border-box;" />Kill List (2011) – Sightseers (2012) – A Field in England (2013) – Happy New Year, Colin Burstead (2018)</span></h3>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ben-Wheatley-Movies-2010s.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="Ben Wheatley Movies 2010s" class="aligncenter size-full wp-image-17389 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ben-Wheatley-Movies-2010s.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ben-Wheatley-Movies-2010s.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ben-Wheatley-Movies-2010s.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Ben-Wheatley-Movies-2010s-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Six movies in a decade makes Ben Wheatley the most prolific director on this list and while he’s moved outside of his British indie roots to work with big stars (Tom Hiddleston, Brie Larson, etc.) he’s never compromised on his dark-hearted vision.</div>
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There are laughs to be had in Wheatley’s films, but they’re almost always of the dark variety and he never seems adverse to showing society and its outcasts at their most contradictory. Next up is Wheatley’s surely unique take on <em style="box-sizing: border-box;">Rebecca</em>, which I’m sure he’ll make entirely his own.</div>
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<span style="box-sizing: border-box; font-weight: 700;">The one to watch: <em style="box-sizing: border-box;">Kill List<span class="Apple-converted-space" style="box-sizing: border-box;"> </span></em></span></div>
<span style="background-color: white; color: #383735; font-family: "Segoe UI", sans-serif; font-size: 16px; text-align: justify;">One of the most disturbing films of the decade, this trickles down your spine and never allows a sense of profound dread to dissipate. It’s a hitman movie, a psychological thriller and the strangest of horror movies presented in a single package.</span><br />
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Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0tag:blogger.com,1999:blog-370170641111511801.post-47633768819574368532020-02-10T20:30:00.002-08:002020-02-10T20:30:40.076-08:0010 Best Films 2019: Joseph Wade<div class="separator" style="clear: both; text-align: center;">
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2019 has been a stellar year for cinema. The blockbuster fare of the likes of <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Avengers: Endgame</em></span> and <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Joker</em></span> have been enjoyed by audiences the world over, while rom-coms have continued their resurgence (this time both on and away from Netflix) and comedies are returning to a level of popularity they haven’t been at for a decade. In the US, traditional filmmakers like Martin Scorsese and Noah Baumbach have taken to Netflix to complete passion projects, while up and coming women such as Greta Gerwig and Olivia Wilde have directed theatrical hits. In the UK, local talent has produced more than one international audience success and seen a growth in popular locally focused releases, while in Europe, Asia and Africa, films like <em style="box-sizing: border-box;">Pain & Glory, Parasite </em>and <em style="box-sizing: border-box;">Atlantics </em>have earned a worldwide reputation. Coming out of South America have been some of the most visually stunning and affecting movies of the entire year, including Pablo Larraín’s <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Ema</em></span> which won’t be eligible for selection in this list due to its slated 2020 release date in the UK, and China has particularly reinforced its relevance and importance to the global theatrical conversation with a number of $500million-plus local box office hits and a more important role in US productions and scheduling than ever before.</div>
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As 2019 ends and the conversations of the behind-the-scenes mechanations of the industry dwindle, it will be the artistry put to screen that we shall most fondly remember. And, in a year of releases filled to the brim with modern auteurs, acting masterclasses and high quality genre fare, there has been almost too much great cinema to handle… almost.</div>
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In this list, it is my intention to outline the 10 best releases of the 2019 UK cinema release schedule; the films we’ll be talking about for years to come. Hopefully there’ll be a few that will inspire you to check out something new, though the boundary of UK release dates does mean that the likes of <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Portrait of a Lady on Fire</em></span>, <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;"><em style="box-sizing: border-box;">Jojo Rabbit</em></span>, <em style="box-sizing: border-box;"><span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Parasite</span>, </em><em style="box-sizing: border-box;"><span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Uncut Gems</span> </em>and <em style="box-sizing: border-box;"><span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Lighthouse</span> </em>will not be eligible for selection.</div>
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<em style="box-sizing: border-box;">Have an opinion? Make sure to leave a comment or <a href="https://twitter.com/thefilmagazine" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">tweet us</span></a>!</em></div>
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<span style="box-sizing: border-box; color: black;">10. Capernaum</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Capernaum-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Movies 2019" class="aligncenter size-full wp-image-17348 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Capernaum-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Capernaum-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Capernaum-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Capernaum-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Nadine Labicki’s blend of documentary and drama for the 2019 Foreign Language Oscar contender <em style="box-sizing: border-box;">Capernaum </em>offered a unique cinematic experience that, when paired with the film’s heart-tugging narrative and the allegory it presented regarding the people of Lebanon, made for one of the most emotionally draining but beautifully constructed movies of the year.</div>
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Zain Al Rafeea was a revelation as the 12 year old Lebanese boy who runs away from his abusive, emotionally damaging, dangerous and impoverished home in search of something new, while Labicki handled the project so carefully as to illustrate the struggles of her region in stark contrast to the privileges of our own while avoiding the trap of making a poverty vacation on film.</div>
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Praised for being “real”, <em style="box-sizing: border-box;">Capernaum </em>was far more than that; it was a strong and at times even poetic offering with layer after layer of allegory, metaphor and political commentary to unravel.</div>
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<span style="box-sizing: border-box; color: black;">9. Sorry We Missed You</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Sorry-We-Missed-You-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17349 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Sorry-We-Missed-You-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Sorry-We-Missed-You-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Sorry-We-Missed-You-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Sorry-We-Missed-You-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Sorry We Missed You (2019) Review</span></h4>
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Legendary director Ken Loach speaks to the struggles of the working class in a way that no other filmmaker does on such a consistent basis, and in his 2019 Cannes competition entry <em style="box-sizing: border-box;">Sorry We Missed You</em>, the filmmaker behind <em style="box-sizing: border-box;">Kes </em>(1969) and 2016’s Palme d’Or winner <em style="box-sizing: border-box;">I, Daniel Blake</em> took multi-billion dollar corporations to task over reduced rights for workers, bringing into question over a decade of policies set forth by governments on both sides of the atlantic following the banking crash of 2008.</div>
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What Loach excels in is creating empathy, with fully formed characters given room to grow within the movie and therefore hit the biggest emotional gut punch possible, often with untrained or at least non-famous actors, and in <em style="box-sizing: border-box;">Sorry We Missed You </em>he hit another peak of his catalogue, directing a film that not only spoke of a great, deeply held and sorry truth in our modern society, but one that was also relateable and truly heart-wrenching.</div>
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If <em style="box-sizing: border-box;">I, Daniel Blake </em>was our quiet rage, then <em style="box-sizing: border-box;">Sorry We Missed You </em>was our impassioned cry for help.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">I, Daniel Blake (2016) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">8. For Sama</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/For-Sama-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17350 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/For-Sama-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/For-Sama-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/For-Sama-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/For-Sama-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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A documentary that will flatten you, <em style="box-sizing: border-box;">For Sama, </em>from the frontlines of the civil war in Syria, is not only one of the most affecting and tragic movies of 2019, but also one of the most important.</div>
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Filmed in war-torn Syria from the uprising of the revolution to the current day by journalist Waad Al-Kateab, and addressed directly to her daughter with whom she chose to stay in the country’s most populous and dangerous city of Aleppo, this personal tale of existing within a warzone imposed by one’s own government excels in presenting universal moments of pride, passion and most sadly grief, making for an unmissable, empathy-driving piece of cinema that is truly unique in its insight, timing and political significance.</div>
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<span style="box-sizing: border-box; color: black;">7. If Beale Street Could Talk</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/If-Beale-Street-Could-Talk-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17351 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/If-Beale-Street-Could-Talk-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/If-Beale-Street-Could-Talk-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/If-Beale-Street-Could-Talk-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/If-Beale-Street-Could-Talk-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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Adapted from the book by James Baldwin, <em style="box-sizing: border-box;">If Beale Street Could Talk </em>solidified the talent of screenwriter-director Barry Jenkins (<em style="box-sizing: border-box;">Moonlight</em>) as a filmmaker of screen poetry and melancholia the likes of which hasn’t been on offer in American cinema for decades.</div>
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Focusing on the story of a young black American man wrongly imprisoned for committing a crime he couldn’t possibly have committed, the author expresses how this may not be every black person’s experience but it sure is the black experience overall, and in watching <em style="box-sizing: border-box;">If Beale Street Could Talk</em>, the injustice of this fact is loud and clear.</div>
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Doused in a sumptuous score that elevates the romance at its narrative’s heart, and choosing to focus so strongly on love and the choice of a mutual existence in the face of great injustice, makes for a mesmerising watch that sinks into your bones, while some scenes are so well constructed from the page to the screen through blocking and performances that they’re worthy of a position all to themselves. <em style="box-sizing: border-box;">If</em><em style="box-sizing: border-box;"> Beale Street Could Talk </em>is an already timeless entry from 2019; a thoughtful and romantic movie that sticks in your head for days after watching it.</div>
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<span style="box-sizing: border-box; color: black;">6. The Favourite</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Favourite-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17352 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Favourite-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Favourite-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Favourite-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Favourite-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Favourite (2019) Review</span></h4>
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An almost post-modern period drama that somehow blended the tendencies of its off-kilter director, Yorgos Lanthimos (<em style="box-sizing: border-box;">The Lobster</em>), with classic cinematic techniques worth salivating over, <em style="box-sizing: border-box;">The Favourite </em>offered a special moment in film for 2019.</div>
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Featuring a plethora of visual language techniques not often used in the modern age, including prolonged cross fades (seen in the image above), distinct and expressionist lighting set ups and some of the most fanciful, if not a little ridiculous, set design, <em style="box-sizing: border-box;">The Favourite </em>was filmed largely with a fish-eye lens that worked to emphasise the director’s intention to point out the ludicrous nature of historical monarchy, though for all its technical mastery it remained a piece asking for empathy and featured some of the strongest performances of the year.</div>
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Olivia Colman was the revelation of the piece, her turn as the emotionally wrought Queen Anne being the anchor around which Emma Stone and Rachel Weisz superbly operated, while Lanthimos’ intelligent creative decisions behind the camera never once detracted from the emotional impact or hilarity of some of the film’s most memorable moments.</div>
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This was a film that was both clever and accessible, as well as important as regards pushing forward a genre that has long felt stagnant.</div>
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<span style="box-sizing: border-box; color: black;">5. Midsommar</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Midsommar-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17353 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Midsommar-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Midsommar-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Midsommar-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Midsommar-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Midsommar (2019) Review</span></h4>
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Following up on his phenomenal debut <em style="box-sizing: border-box;">Hereditary </em>from 2018, Ari Aster waited less than a year to hit the world with the second of his one-two punch combination, twisting ordinary cinematic conventions to offer one of the most creepy and chilling, yet beautiful and cinematic, of all horror films this century; <em style="box-sizing: border-box;">Midsommar </em>being every bit the masterpiece some critics have hailed it as being.</div>
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Florence Pugh was phenomenal in the lead role of this unusually daytime-set horror, her expressionistic face capturing the obscenely casual nature of the psychopathy at the heart of the film’s antagonists. Perhaps most satisfying is the film’s inherent quality to be read in a number of ways, with metaphors regarding sexual awakening and battling incomparable grief being chief among them and each incredibly worthwhile explorations in their own right.</div>
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Starting from a place of melodrama that escalates and escalates until it’s beyond even your wildest expectations, <em style="box-sizing: border-box;">Midsommar </em>is the sort of ride we’ll be comparing to the original <em style="box-sizing: border-box;">The Wicker Man </em>in years to come; a moment in time for horror and cinema as a whole that confirmed the arrival of a distinctive new voice within the medium.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Hereditary (2018) Review</span></h4>
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<span style="box-sizing: border-box; color: black;">4. Marriage Story</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Marriage-Story-2019-Movie-1.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17354 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Marriage-Story-2019-Movie-1.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Marriage-Story-2019-Movie-1.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Marriage-Story-2019-Movie-1.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Marriage-Story-2019-Movie-1-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Marriage Story (2019) Review</span></h4>
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Modern auteur Noah Baumbach turned his attention away from his usually New York centred independents towards a cross country exploration of love in <em style="box-sizing: border-box;">Marriage Story</em>, a film in which a to-be divorced couple – played by Scarlett Johansson and Adam Driver – are each represented by the states of California and New York, in a film that can be seen as both a personal dive on the director’s own divorce from ex-wife Jennifer Jason Leigh, but can also be read as a metaphor for the divide in American culture (and specifically filmmaking ideologies) between Los Angeles in the West and New York City in the East.</div>
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Apparently formed as a rom-com about divorce, the staples of the genre are present in <em style="box-sizing: border-box;">Marriage Story</em>, with the will-they-won’t-they aspects brought to the fore on numerous occasions, and the film being a lot more funny than a movie about divorce should be expected to be.</div>
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Terrifically constructed in every aspect, from its simplistic but important and immaculately concepted shots to its moving “best of 2019” score from Randy Newman and right through to the perfect pacing of its editing in conjunction with its masterfully written script of highs and lows, and its career high performances, <em style="box-sizing: border-box;">Marriage Story </em>marks one of the high points for Baumbach’s career; a career already filled with moving, individualistic offerings worthy of rewatch after rewatch.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Meyerowitz Stories (2017) Review</span></h4>
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Honourable mentions: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">A Hidden Life</span>, High Life, Hustlers, Monos, <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Wild Rose</span></h4>
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<span style="box-sizing: border-box; color: black;">3. Little Women</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Little-Women-2019-Movie-1.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17355 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Little-Women-2019-Movie-1.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Little-Women-2019-Movie-1.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/Little-Women-2019-Movie-1.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/Little-Women-2019-Movie-1-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Little Women (2019) Review</span></h4>
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Adapting such a classic of literature and the screen as “Little Women” was always going to prove to be difficult, but <em style="box-sizing: border-box;">Lady Bird </em>director Greta Gerwig pulled it off, offering a fresh take on a tale told countless times by leading voices in all kinds of mediums, and making one of the best and most empathy-driving cinematic experiences of 2019 in the process.</div>
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Featuring an ensemble of largely young but critically beloved women, this 2019 adaptation of Louisa May Alcott’s story worked to set up expected comparisons to its 1994 film counterpart before working to deconstruct those and establish its own voice very much in the spirit of its lead character Jo March (Ronan).</div>
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Representing womanhood and family quite like nothing else in 2019, Gerwig’s adaptation also defined a depth and, perhaps more importantly, a strength in characters like Amy (Pugh) and Marmie (Dern) that had been missing from previous iterations of the story, this version of the classic novel giving each character their due while remaining faithful to the warts-and-all approach to family dynamics that had made Alcott’s novel so relateable in the first place.</div>
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Cinema doesn’t get any more tangible, relateable and empathetic than this.</div>
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Recommended for you: <span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">Little Women (1994) Retrospective Review</span></h4>
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<span style="box-sizing: border-box; color: black;">2. The Irishman</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Irishman-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17356 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Irishman-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Irishman-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Irishman-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Irishman-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Irishman (2019) Review</span></h4>
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At over three hours long, Martin Scorsese’s <em style="box-sizing: border-box;">The Irishman </em>may seem to be self-indulgent, but it is far from it; this self-reflective piece being more of a love letter to his long-time collaborators and a deconstruction of the gangster myths he helped to perpetuate, all wrapped up in a solemn exploration of old age and the inevitability of death.</div>
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De Niro, Pesci and Pacino particularly shine on the screen, while the infamous de-ageing technology becomes seamless only a few scenes in, but it’s the strength of the scopious narrative and Scorsese’s wonderful ability to handle it in a way that never becomes confusing or boring that makes for one of the year’s great viewing experiences. This is a director at the top of his game, operating at the peak of his powers with more control than ever, and not letting a single aspect of that get away from him.</div>
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<em style="box-sizing: border-box;">The Irishman </em>feels like a goodbye from a director and a cast who have left an indelible mark on the industry, and its themes of ageing only work to emphasise how truly important that is. If we never see another Scorsese-De Niro partnership, or even another Scorsese film at all, <em style="box-sizing: border-box;">The Irishman </em>can act as loving goodbye to one of the all-time greats of the industry; one last haymaker from one of the biggest hitters in cinema history.</div>
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<span style="box-sizing: border-box; color: black;">1. The Souvenir</span></h2>
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<a href="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Souvenir-2019-Movie.jpg" style="background: 0px 0px; box-sizing: border-box; text-decoration-line: none; transition: all 0.3s ease-in-out 0s;"><img alt="10 Best Films 2019" class="aligncenter size-full wp-image-17357 lazy-loaded" data-lazy-type="image" data-src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Souvenir-2019-Movie.jpg" data-srcset="" height="" sizes="(max-width: 500px) 100vw, 500px" src="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Souvenir-2019-Movie.jpg" srcset="https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Souvenir-2019-Movie.jpg 500w, https://www.thefilmagazine.com/wp-content/uploads/2019/12/The-Souvenir-2019-Movie-300x131.jpg 300w" style="border: 0px; box-sizing: border-box; clear: both; display: block; margin: 0px auto; max-width: 100%;" width="" /></a></div>
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<span style="box-sizing: border-box; color: blue; text-decoration-line: underline;">The Souvenir (2019) Review</span></h4>
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<em style="box-sizing: border-box;">The Souvenir </em>is like watching a self-portrait be born in front of your eyes, screenwriter-director Joanna Hogg’s self-exploratory drama about a young woman filmmaker struggling with a personal relationship being a masterful example of the cinematic form put to screen in 2019.</div>
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Shining in all of the traditional aspects of cinema, from its beautifully grainy composition to its rhythmic editing and phenomenal, utterly believable performances, <em style="box-sizing: border-box;">The Souvenir </em>shines as a film that is more than its 2 hour runtime but is instead a culmination of a life filled with thoughts, feelings, love and grief, the relatively unknown cast being close to perfect in a shining example of how casting the correct talent will always be more vital than casting the most popular.</div>
<em style="box-sizing: border-box; color: #383735; font-family: "Segoe UI", sans-serif; font-size: 16px; text-align: justify;">The Souvenir </em><span style="background-color: white; color: #383735; font-family: "Segoe UI", sans-serif; font-size: 16px; text-align: justify;">will engross seemingly at will despite its objection towards bullet-pointing the narrative with large twists and turns, and more so than any film it will feel like it is slowly warming you up from within. It is self-reflective to a fault, but so beautiful and unequivocally poetic that it is both unmissable and phenomenal, a prime example of what cinema can offer as an art form and the best film of 2019.</span>Peter Crophttp://www.blogger.com/profile/00211246198859130721noreply@blogger.com0