Audiences still didn't exactly bite, but between Harrison Ford revisiting his iconic replicant hunter and Ryan Gosling grappling with his own identity, 2049 is a triumph of quiet character moments and glorious, sense-enveloping spectacle. Set in 1960s Hong Kong, Wong Kar Wai’s In The Mood For Love sees neighbours Chow (Tony Leung) and Su (Maggie Cheung) falling for one another when they discover their spouses are cheating together. It’s a set-up that seems fit for a farce, but Wong uses it instead to create a sizzlingly sensual yet heartbreakingly restrained exploration of, as Chow puts it, how feelings “can creep up just like that”. In any other filmmaker’s hands, the denouement - which sees Chow whisper his affections in Cambodia's Angkor Wat temple - could’ve been mawkish. In Wong Kar Wai’s though, it’s an unparalleled expression of love.
Famously dense, knottily plotted, and told in a staccato style that sees the author almost abandon anything recognisable as a sentence altogether, James Ellroy's L. A. Quartet of epic crime novels hardly screams prime fodder for the big-screen treatment. That it also features exceptional performances across the board, especially from Russell Crowe as conscience-discovering bruiser Bud White and Guy Pearce as ramrod rookie Ed Exley only solidifies its position further as one of the great modern works of noir cinema. If you're going manga quiz to wrap up your tenure as one of the most loved superhero icons in fiction, it's hard to think of a better way than how Hugh Jackman — under the direction of a never-better James Mangold — punched out on the time clock of playing Wolverine. A truly original superhero tale that is mournful without being morbid, Mangold's mutant masterwork is the perfect end to Logan's story (an ending, it has to be noted, given a rousing yet respectful encore in Deadpool & Wolverine). When the first Paddington was on the way, early trailers didn't look entirely promising. Yet co-writer/director Paul King delivered a truly wonderful film bursting with joy, imagination, kindness, and just the odd hard stare from our beloved Peruvian bear.
A Hard Day’s Night (
Five criminals are brought together to pull off a jewel snatching heist and suspicion and shoot-outs abound. Taking the line-up team-up concept as a starting point for something altogether different in execution, Bryan Singer and writer Christopher McQuarrie's super-twisted, uber-cool crime thriller attains true greatness through its inventive use of a supernatural-horror style backdrop. In the shape of mythic crime lord Keyser Soze, the movie fashions a phantom menace terrifying enough to put the willies up even the most hardened of criminals. Turns out the greatest trick the Devil ever pulled was actually convincing us all this was going to be just another crime movie. A perfect meeting of two creative forces' artistic sensibilities, The Coen brothers' adaptation of Cormac McCarthy's literary great sees the directorial duo imbue the existentialism of McCarthy's book with their signature brand of dark and violent filmmaking. The result is a tense, slow, and mysterious take on the chase movie format, lensed immaculately by legendary DP Roger Deakin.
Hugely expensive for its time, Metropolis is Blade Runner, The Terminator and Star Wars all rolled into one (not to mention 50 years prior). Fritz Lang’s silent vision of a totalitarian society still astounds through its stunning cityscapes, groundbreaking special effects and a bewitchingly evil robot (Brigitte Helm). It’s science fiction at its most ambitious and breathtaking — the not-so-modest beginnings of onscreen genre seriousness. There are countless movies about romantic relationships, yet few explore the subject more creatively than Michel Gondry’s breakthrough, scripted by Charlie Kaufman (who was then becoming a household name with Being John Malkovich and Adaptation). Mournful, challenging and mesmerizing, Soviet director Andrei Tarkovsky’s epic portrait of the life and times of one of Russia’s most famous medieval icon painters foregrounds qualities such as landscape and mood over story and character. Ultimately, it’s the tale of a man’s attempt to overcome his crisis of faith in a world that seems to have an endless supply of violence and strife—and it’s a remarkable testament to the persistence of artists working under oppressive regimes.
Alien? Mission: Impossible? Toy Story? What is the greatest movie franchise ever?
A grungy vision of horror captured during a palpably sweaty and stenchy Texas summer, the film has taken its rightful place as a definitive parable of Nixonian class warfare, eat-or-be-eaten social envy and the essentially unknowable nature of some unlucky parts of the world. We’re cheating by including all three films (Pather Panchali, Aparajito and The World of Apu), but really, how do you separate the installments of Satyajit Ray’s magnificent coming-of-age trilogy? The Bengali great follows young Apu (Apurba Kumar Roy) from boyhood to adult life via schooling and a move from his remote village to the big city, as well as loves and losses. Some of the most intimate Indian cinema ever captured, it’s also completely relatable, whether you hail from Kolkata, Kansas or Camden Town. Film critic Jean-Luc Godard’s seismic directing debut is a bravado deconstruction of the gangster picture that also reinvented moviemaking itself.
These women are central to Sansho the Bailiff, a feudal tale of familial dissolution that will wreck you. Make no apologies for your tears; everyone else will be crying, too. She is upset by getting fired and flips over in a car crash when she sees her face being torn off a billboard. In the hospital, a young nurse inspects her spine and determines that she’s a good candidate for the substance and gives her their number on a harddrive.
But it’s as a highly charged political screed where its real power lies. A weak, cynical man with repressed desires, Clerici is powerless to resist the violent orthodoxy of fascism. The poisonous allure of authoritarianism has never been so chilling – or stylishly – rendered as this. Both a sequel and a reboot, the fourth entry in director George Miller’s series of post-apocalyptic gearhead epics fuses death-defying stunts with modern special effects to give us one of the all-time-great action movies. This one is a nonstop barrage of chases, each more spectacularly elaborate and nightmarish than the last—but it’s all combined with Miller’s surreal, poetic sensibility, which sends it into the realm of art. Should a movie whose primary function is to make fun of other movies be allowed inclusion on a list of the greatest movies of all time?
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When you've got such a clear-cut good-vs-evil scenario as World War II, it takes guts to put out a film which lets its (anti-) hero lurk for so long in a grey area of that conflict — while said War was still raging, no less. Of course, Rick (Humphrey Bogart) eventually does the right thing, but watching him make both the Resistance and the Nazis squirm right up to the final scene is truly joyous. What sounded like a daft, novelty serial-killer thriller turned out to be a deeply rattling proper-shocker, which had the guts to throw down its biggest narrative twist halfway through, as warped murderer-moralist John Doe gives himself up.
Recounting the Algerian uprising against French colonial occupiers in the 1950s, The Battle of Algiers boldly examines terrorism, racism and even torture as a means of intelligence-gathering. Screened at the Pentagon for its topical significance during the early phases of the Iraq War, Algiers has its rebellious legacy vested in numerous politically charged epics, from Z to Steven Spielberg’s Munich. Quotable, endearing and bursting with creative moments, Annie Hall is one of the most revolutionary of romantic comedies. This quintessential New York movie turned countless viewers on to the joys of verbose dialogue (and experimentation in menswear for women), and has long been lauded for both its accessibility and its poignancy, a balance that few movies have since achieved so memorably. The only Charlie Chaplin movie to see the Little Tramp go on a massive cocaine binge, this relentlessly inventive silent classic hardly needs the added kick.
(A milkshake-drinking vampire, if you feel like mixing our metaphor with his own.) Which is why it's appropriate that Paul Thomas Anderson gives the film a bit of a horror-movie vibe throughout and Day-Lewis delivers such a deliciously monstrous performance... Right up to the point where he spills literal blood in an empty mansion, haunted only by himself. But there's no flaws to be found in his harrowing, (mostly) monochromatic depiction of Nazi persecution of the Jewish community in Krakow. Unless you're the kind of shallow person who only watches movies that are 'entertaining'. Saoirse Ronan is perfectly precocious as the not-always-likeable Christine 'Lady Bird' McPherson, experiencing fractured friendships, first fuckboys, and fateful fumbles in her final year of high school in 2003 Sacramento. Go watch some movies in the meantime.For more information see /r/ModCoord.
And for a movie about violent career criminals, it’s also strangely relatable. Where Coppola went inside the walls of organised crime’s one percent, Scorsese’s gangsters are more blue collar. And as it turns out, working for the mafia isn’t much different than any other job - you spend 30 years busting your hump to climb the ladder, only to end up face down on a bloody carpet in some tacky house in the burbs.
The film has music composed by Yuvan Shankar Raja, cinematography handled by Siddhartha Nuni and editing by Venkat Raajen. Made on a production budget of ₹380–₹400 crore, it is AGS's most expensive film till date. The Greatest of All Time (also marketed as GOAT) is a 2024 Indian Tamil-language action thriller film[8] directed by Venkat Prabhu and produced by AGS Entertainment. The film stars Vijay in four roles, alongside Prashanth, Prabhu Deva, Mohan, Jayaram, Ajmal Ameer, Vaibhav, Yogi Babu, Premgi Amaren, Sneha, Laila, Meenakshi Chaudhary and Abyukta Manikandan. It is the twenty-fifth production of the studio and the penultimate film of Vijay before his political entry.