Biggest Airsoft Freakouts and Rage Moments Woodwayfilms 445k Views
Biggest Airsoft Freakouts and Rage Moments Woodwayfilms 445k Views
100
One time Upon a Fourth dimension in Hollywood (2019)
Quentin Tarantino'southward latest jaw-dropper bumps Kill Pecker: Vol 1 off the list in gloriously irreverent manner. Leonardo DiCaprio and Brad Pitt star as a fading western star and his mutt-loving stunt double in this relaxed and loving roast of bygone Tinseltown. CS
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99
Bright Star (2009)
An early on lead for Ben Whishaw as the ailing John Keats romancing Fanny Brawne (Abbie Cornish) is the tremulous soul of this underappreciated Jane Campion drama. The collywobbles are besides tropical for Hampstead, but the remainder is spot-on. CS
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98
The Dark Knight (2008)
The merely comic volume movie to make the cut is Christopher Nolan'southward genre masterpiece: fatalist, bracing and forever the legacy of Heath Ledger, posthumously awarded an Oscar for his terrifying performance. CS
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97
Fahrenheit ix/11 (2004)
Michael Moore'south finest hour: a blazing juggernaut with George W Bush, the Iraq war, the media, commonwealth and us, the gullible masses, in its crosshairs. Agitprop, and essential. CS
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96
Individual Life (2018)
Kathryn Hahn and Paul Giamatti struggle to offset a family, and to keep their marriage together, in this subtle, funny and oftentimes wondrously uncomfortable Netflix comedy written and directed past Tamara Jenkins. CS
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95
Telephone call Me By Your Name (2017)
Rarely has summer lust been and so headily captured as in Luca Guadagnino'due south breakout Italian romance. Transformative leads from Timothée Chalamet and Armie Hammer captured the collective imagination; Michael Stuhlbarg gently grounded realities. CS
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94
Gladiator (2000)
Ridley Scott'due south deluxe Roman blockbuster is toga soap turned upward to the accented maximus. Russell Crowe bellows and glowers reverse hyper-evil Joaquin Phoenix and lugubrious Oliver Reed (who died during production). Yet there are many grace notes under the fire and fury. CS
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93
You, the Living (2007)
The 2nd in Roy Andersson'south trilogy of wackily incisive Swedish vignettes comes at you lot thick and fast – about 50 micro-sketches, sometimes loosely linked – yet sticks like plasticine beneath your fingernails. CS
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92
The Injure Locker (2008)
Kathryn Bigelow's extraordinary story of a controlled explosions team – headed by a never-better Jeremy Renner – is intense, immersive and impossible to shake. CS
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91
Etre et Avoir (2002)
Events soured later on the shoot but Nicolas Philibert'south sole big hitting remains a disarmingly funny study of a graceful and kind schoolteacher caring for a motley crew of under-11s in rural French republic. CS
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90
Eden (2014)
Even non-ravers tin't neglect to be shaken past Mia Hansen-Løve's vital tale of love and clubbing, vaguely based on the rise of Daft Punk. Airheaded however gripping. CS
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89
The Selfish Behemothic (2013)
Clio Barnard'southward second feature doesn't have the shock of innovation of her verbatim cinema debut, The Arbor, just the story of two lads scrapping around junkyards to escape their homes is a masterpiece of lyrical social realism. CS
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88
Gomorrah (2008)
Managing director Matteo Garrone announced himself big-time with this blazing screen handling of Roberto Saviano's fearless business relationship of the contemporary activities of Neapolitan mobsters: a thoroughly chilling relate of corruption and savagery rendered in tremendous style. AP
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87
The Air current that Shakes the Barley (2006)
When Ken Loach won the Palme d'Or at Cannes for his picture almost the Irish rebellion against British rule, the tabloids went on the attack (Daily Mail: "Why Does Ken Loach hate his country and then much?"). None of them had actually seen the film, a powerful, compassionate drama starring Cillian Spud and Padraic Delaney as Republican brothers carve up by the civil war that followed independence in 1922. CC
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86
No State for Sometime Men (2007)
The Coens' Cormac McCarthy adaptation is a scorching report of benevolence and evil with rich and weathered turns from Tommy Lee Jones, Josh Brolin and a glossily horrible ane from Javier Bardem. CS
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85
Burning (2018)
One of the contempo stream of fine dramas issuing from Republic of korea, Lee Chang-dong's adaptation of a Haruki Murakami story is an elusive, unsettling thriller, in which a young writer reconnects with a former schoolfriend, only to find she mysteriously disappears after a trip abroad. AP
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84
Tropical Malady (2005)
A young solider and a feral boy fall in love, dance to the Clash so expedition to the jungle searching for a shaman dressed up equally a tiger. Thai main Apichatpong Weerasethakul's hypnotic experimentalism has never been bettered; sorry, Uncle Boonmee. CS
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83
The Son's Room (2001)
Nanni Moretti's Palme d'Or-winning drama near a father crippled by grief after the accidental death of his child is non for the faint-hearted. Yet the Italian writer/director/star performs miracles making a moving-picture show and then wrenching also then hopeful. CS
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82
Stories We Tell (2012)
Sarah Polley followed Away From Her and Take This Flit by turning the camera on her own family unit secrets in this tricksy and compassionate documentary uncovering the true identity of her begetter. CS
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81
Fish Tank (2009)
Andrea Arnold's bad mum high-rise dance tragedy is singular, sensuous and alive with everyday upset. Actor Katie Jarvis took 6 years off after shooting; roughly the same as audiences needed to recover from the milk shake information technology gave, and the sight of Michael Fassbender. CS
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80
Requiem for a Dream (2000)
Hubert Selby Jr'due south lacerating novel that lasers in on the exhilaration and tragedy of addiction is given expansive, fashionable treatment by the so-emerging manager Darren Aronofsky. Incredibly glamorous and miserably heartbreaking, this flick gave find of Aronofsky's brilliance. AP
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79
Persepolis (2007)
Iranian-French managing director Marjane Satrapi adapted her own graphic novel in this blithe fantasy-memoir nearly a 10-yr-former girl growing up in Tehran after the 1979 revolution. A real original, and it still looks unique. AP
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78
Bounding main's Eleven (2001)
Steven Soderbergh is the Renaissance human being of American cinema, and this intricately crafted heist moving-picture show – remade from the old Frank Sinatra chestnut – shows him on never-bettered, commercially minded form. George Clooney is at his about Cary Grant-ish as the leader of the crack team of robbers. AP
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77
Lost in Translation (2003)
Sofia Coppola'southward 2d feature stands up: utterly distinctive, wildly romantic and fleetingly queasy. Scarlett Johannson and Bill Murray are impeccable casting as the unlikely soulmates thrown together in high-rising Tokyo. CS
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76
X (2002)
Iranian managing director Abbas Kiarostami had already proved himself a main in the late 20th century; this simple just constructive piece – featuring a woman driving dissimilar people around Tehran – proved he could practice it in the 21st. Kiarostami and his star Mania Akbari conjure knotty drama out of a series of conversations almost marriage, family, religion and sex. AP
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75
Philomena (2013)
Stephen Frears brings tonal tact and unobtrusive genius to this wonderfully funny and touching existent-life tale of an Irish natterer (Judi Dench) and cynical reporter (Steve Coogan) who annihilate red tape and challenge evil nuns to attempt to find her long-lost son. CS
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74
A Prophet (2009)
French film-maker Jacques Audiard's baking arthouse prison house thriller begins with a nineteen-year-old rookie prisoner (Tahar Rahim) being made an offering he can't pass up past the mob: execute a police informant or be killed. The murder, a barbarous struggle with a razor blade in a six by viii cell, is unforgettable. Information technology's the start of the kid's prison house didactics. A picture show supercharged with edginess. CC
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73
Dearest & Friendship (2016)
Whit Stillman, Kate Beckinsale and Chloë Sevigny reunite 20 years after The Concluding Days of Disco for the most blindingly funny – and faithful - Jane Austen accommodation yet. Spun from her first novel, Lady Susan, this is the tale of an epically bitchy and ambitious widow upending her nearest and dearest. Beckinsale has never been meliorate; Tom Bennett steals the show as the fantastically dim lord lined up for her daughter. CS
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72
Waltz With Bashir (2008)
Israeli soldier-turned-motion picture-maker Ari Folman's flick is a kind of animated companion to Apocalypse Now, a hallucinatory argument near the trauma of conflict and the madness of war. It's an autobiographical documentary, Folman interviewing the men he fought alongside, aged xix, in the get-go Lebanese republic war of 1982. He has repressed his memories of the time. The film's climax is the massacre of Palestinian refugees by Christian Phalangists at the Sabra and Shatila refugee camps. CC
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71
Capernaum (2018)
A sprawling drama that functions both every bit an excoriating treatise on the nature of poverty in Lebanese republic, and an idiosyncratic drama in which a kid takes his parents to court for their ill-treatment of him. We tend to think of the latter type of juvenile emancipation equally the province of overprivileged westerners, but manager Nadine Labaki makes it work in the toughest of social circumstances: a 12-twelvemonth-erstwhile, living in the Beirut slums, takes steps to deal with his parents' neglect. A highly original and affecting flick. AP
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70
Anchorman: The Legend of Ron Burgundy (2004)
Such was the glut of Judd Apatow-ish comedies to come our mode virtually 10 years ago that it's piece of cake to forget what a jewel this is; how deep and weird the performances (stand upwards, Steve Carell), how fast the laughs and rich the detail. CS
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69
Paddington 2 (2017)
Hugh Grant recently called this the best flick in which he'south ever been involved – and he might well be correct. Paul King did the unthinkable and made a sequel to his insta-classic nevertheless more mannerly, inventive and across-the-generations entertaining. CS
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68
Mr Turner (2014)
Passed over by the British and American picture academies – though Timothy Spall'due south glorious grunting lead was rightly recognised by Cannes – Mike Leigh's painter biopic is meticulous, moving and still underappreciated. CS
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67
Dogtooth (2009)
Yorgos Lanthimos'due south debut picture was the only one, in the stop, to brand our listing; its tonal idiosyncrasy and battily unsettling story and performances just edging out Alps, The Lobster and The Favourite. CS
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66
Brokeback Mountain (2005)
Ang Lee'due south romance missed out to Crash for the all-time flick Oscar, but its legacy as a v-hankie ode to doomed romance lives on. Jake Gyllenhaal and Heath Ledger star as the farmhands whose love survives marriages, years of separation – and fifty-fifty death. CS
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65
Happy as Lazzaro (2018)
A cute, strange dream of a film, Italian director Alice Rohrwacher's drama looks at first equally if information technology'due south set sometime in the dim and distant, a portrait of villagers exploited by feudal oppression. But no, there's a mobile phone. OK, a flip-telephone, but this is modern rural Italy. Well, the first half, anyhow. After that, information technology'due south complicated, with a flight into magic realism or perhaps fifty-fifty reincarnation. CC
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64
The Incredibles (2004)
The Guardian's Peter Bradshaw ranked The Incredibles as Pixar'southward all-time e'er film, the gem in the crown. And just Pixar could brand a superhero movie for kids nigh a midlife crunch. Mr Incredible is living in suburbia with his family unit after one lawsuit too many. Edna Manner, way designer to the supers, is an utter delight: "This is a hobo suit, dahlin, you can't be seen in it!" CC
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63
We Need to Talk about Kevin (2011)
Lynne Ramsay didn't soften the blows adapting Lionel Shriver's bestselling novel nearly a Columbine-style loftier-school massacre. A what-if feminist parable, this is a motion-picture show that thinks the unthinkable: what if a mother doesn't like her child, or even dearest him? And the casting is killer, with Ezra Miller as Kevin and Tilda Swinton playing the mother. It's a bruising lookout, but Ramsay makes it's impossible to turn away. CC
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62
Waiting for Happiness (2002)
Malian director Abderrahmane Sissako won a lot of admirers for this slow-burn written report of life in a west African town. Returning to Mauritania, his state of birth, Sissako puts together a string of vignettes and encounters, linked together by a returning, westernised pupil who can barely call up the local linguistic communication. AP
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61
The Souvenir (2019)
Joanna Hogg'south belated international breakthrough is a story of extraordinary specificity – immature Hogg has disastrous matter while living in Knightsbridge and studying as a film educatee in the early 1980s – with rare cut-through and relatability. Honor Swinton Byrne is amazing in her starting time film; Tom Burke inch-perfect as the charming merely parasitic older man. CS
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60
Ted (2012)
Seth MacFarlane's brief ascent to the Hollywood firmament was down to this scabrously funny talking-bear farce, which helped reinvent the grossout comedy. Mark Wahlberg is slap-up as the straight human being to the foul-mouthed toy of the championship, with Mila Kunis as his censorious fiancee. MacFarlane's cosmos was simultaneously endearing and outrageous. AP
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59
Gangs of Wasseypur (2012)
Mammoth two-part Indian crime motion picture that'southward a long, long mode from Bollywood. Directed by Anurag Kashyap, this is conceived on a giant scale, as generations of three gangster families fight for supremacy over the form of half a century. Stylish, visceral film-making, violent and hard-hit, information technology's got a valid claim to be Republic of india's answer to The Godfather. AP
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58
Wuthering Heights (2011)
Andrea Arnold tossed out the costume drama rulebook with her raw, passionate retelling of Emily Brontë'south novel. I'd contend the case for Wuthering Heights equally i of the most criminally underrated movies of recent years – though it's been influential, blazing a trail for stripped-back menstruum movies such equally Lady Macbeth. Arnold was an early on adopter of inclusive casting, also, giving the function of Heathcliff to black actor James Howson. CC
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57
Leave No Trace (2018)
It took Winter's Bone'due south Debra Granik eight years to become this off the ground, but was worth the wait: a brilliantly moving eco drama with Ben Foster and Thomasin McKenzie as a father and daughter living off filigree in an Oregon forest, but whose human relationship and priorities are changed as the child begins the transition to machismo. AP
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56
Behind the Candelabra (2013)
Relegated to television in the US, Steven Soderbergh's wondrously funny and lavish Liberace biopic had a picture palace release in the UK. Michael Douglas cast vanity aside and caution to the wind with virtuosic results every bit the promiscuous ivories-tickler; Matt Damon was terrific against type every bit his lover, Rob Lowe pinched and uproarious equally their much-employed cosmetic surgeon. CS
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55
Russian Ark (2002)
Groundbreaking single-shot paean to the Winter Palace in St Petersburg from Russian director Alexander Sokurov. Exploiting and so newly developed video technology, Sokurov crafted an elaborately choreographed procession of tableaux and set pieces that explored three centuries of Russian history and culture, from the imperial era to the wartime siege of Saint petersburg. AP
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54
The Social Network (2010)
After the Cambridge Analytica revelations, the treachery and backstabbery in Aaron Sorkin and David Fincher's Facebook origin tale looks positively quaint – the geeks and nerds fighting over who had the idea for Facebook outset. Nonetheless, this is still an outrageously watchable hatchet job. Jesse Eisenberg is a knockout Marker Zuckerberg, the smartest guy in the room (though not sartorially, in flip-flops and a hoodie). CC
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53
Fire at Sea (2016)
A beautifully shot observational documentary about the continuing humanitarian crisis in the Mediterranean: the lethally unsafe boats that comport refugees from Africa and end up on the Italian island of Lampedusa. Shot by managing director Gianfranco Rosi with an evocative lyricism that sits in counterpoint to the blazing acrimony at the film's centre. AP
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52
Amores Perros (2000)
A film that grabs you by the neck and shakes hard, this cruel crime drama announced the Mexican manager Alejandro González Iñárritu as a major new talent in 2000. (And lumbered him for the while with the label "Mexico's Tarantino".) A film of commotion and fury, three stories intersect around a car crash in which one of the passengers is a champion fighting domestic dog. CC
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51
Crouching Tiger, Subconscious Dragon (2000)
Western audiences unfamiliar with the wuxia martial arts genre had never seen annihilation similar Ang Lee's dazzling 18th-century-prepare ballsy in 2000 – fighters flying through the air with balletic grace. In the well-nigh exhilarating scene, the daughter of a regional governor (Ziyi Zhang) goes sword-to-sword with a famous warrior (Chow Yun-fatty) in the branches of bamboo copse swaying loftier to a higher place the ground. CC
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50
Before Sunset (2004)
In Richard Linklater's gorgeous, romantic Before Sunrise, a pair of twentysomethings (Julie Delpy and Ethan Hawke) spent the 24-hour interval together in Vienna. Hither in the 2nd movie when they meet over again in Paris for another brief encounter, they are in their 30s. And so the questions are for grownups. Am I with the right person? Where did my life become? It also has the best line ever nearly being in a couple with pocket-sized children: "I experience similar I'one thousand running a small nursery with someone I used to appointment." CC
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49
24 60 minutes Party People (2002)
Michael Winterbottom and Steve Coogan's truth-tickling hit a loftier note with this blithesome sorta-biopic of the record label boss and broadcaster Tony Wilson. Playful, ingenious and prodigiously informative, information technology's a triumph of vision over verite. It's besides a total blast. CS
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48
The Firm of Mirth (2000)
Terence Davies utilised Gillian Anderson's poised elegance to good advantage in this brilliantly controlled accommodation of the Edith Wharton novel. Anderson plays Lily Bart, the woman whose reputation and standing are gradually sullied until she becomes an unmarriageable outcast in end of 19th-century America. AP
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47
Margaret (2011)
Here's another night American tale from Manchester past the Bounding main author-director Kenneth Lonergan (Margaret was completed in 2007 but simply released in 2011 subsequently a wrangle with the studio). Set in post 9/eleven New York, Anna Paquin is an overentitled teenager partly responsible for a tragic accident. Equally in Manchester by the Sea, the effect is shattering; it is like watching actual lives fall apart. CC
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46
Volver (2006)
Arguably Penélope Cruz'south finest performance, in one of Pedro Almodóvar's key films: a heady stew of murder, family strife and supernatural shenanigans. Cruz plays a woman forced to kill and bury her ex-hubby, while her dead female parent appears to be haunting her barber sister. All is resolved afterwards various traumas are lanced. AP
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45
13th (2016)
Intense, anger-driven documentary from Ava DuVernay on the racialisation of the Us'southward justice system, positing the thought that the massively disproportionate incarceration of African-American men is merely slavery by some other name. With a title referring to the constitutional subpoena that abolished slavery, DuVernay suggests that privatised prisons, inexpensive labour and lite-touch capitalism are all in information technology together. Tough stuff. AP
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44
Toni Erdmann (2016)
A knockout blow for the lazy, patronising stereotype that Germans don't take a sense of humour, Maren Ade's Toni Erdmann is one of the funniest films to hitting (arthouse) cinemas in years. It'due south the story of a workaholic management consultant (Sandra Hüller) whose embarrassing dad turns upwardly unannounced for the weekend wearing joke-shop simulated teeth. A 18-carat ane-off, the moving-picture show is partly a satire on Europe, globalisation and workplace misogyny, as well as being a prickly sweet father-daughter movie. CC
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43
The Wolf of Wall Street (2013)
Perhaps the most fun anyone's had at the movie theatre then far this century, Martin Scorsese's The Wolf of Wall Street ought to be a cautionary tale. It's based on the autobiography of kleptomaniacal stockbroker Jordan Belfort, convicted in 1999 for fraud and coin-laundering. But why focus on regret, when in that location are hookers, drugs and fast cars? Leonardo DiCaprio is outrageously entertaining equally Belfort. CC
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42
4 Months, 3 Weeks and ii Days (2007)
The motion-picture show whose Palme d'Or win heralded the arrival of a new wave of Romanaian cinema. A young woman, helped by her friend, arranges an illegal ballgame in the late 80s; the squalid events that follow parallel the disuse and chaos of the country as the communist dictatorship began to collapse. Harrowing simply clairvoyant. AP
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41
The Handmaiden (2016)
The Handmaiden is ane of cinema's bang-up literary adaptations: Park Chan-wook transposes Sarah Waters's criminal offense novel Fingersmith from Victorian London to Korea in the 1930s. In this well-nigh twisted of love stories, a pickpocket (Kim Tae-ri) poses equally maid to a wealthy heiress (Kim Min-hee). But who is the double-crosser? Depending on your tastes, a candidate for sexiest moving picture of the century. CC
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twoscore
Unrelated (2007)
At the historic period of 47, after a career directing Telly soaps such as Casualty and EastEnders, Joanna Hogg reinvented herself as auteur of a new brood of movie house. In her characteristic debut, Unrelated, Kathryn Worth played a fortyish woman holidaying in Tuscany with two dysfunctional families and flirting outrageously with ane of the lads (Tom Hiddleston in his first movie). A cinema of awkwardness, wielding a scalpel on the well-to-do middle classes, was born. CC
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39
Meek's Cutoff (2010)
Kelly Reichardt is a master of slow cinema, the maker of films about American outsiders, living without a safety net. Meek'southward Cutoff is a western set in 1840s Oregon, following three families on the railroad vehicle train w. Their leader is show-offy Stephen Meek (Bruce Greenwood), but Reichardt'south focus, as is customary for her, is on the women – a trio played by Michelle Williams, Zoe Kazan and Shirley Henderson. CC
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38
Once Upon a Fourth dimension in Anatolia (2011)
Here's a police procedural with a difference by the Turkish director Nuri Bilge Ceylan – the whodunnit and why playing second fiddle to long stretches of silence. It'due south set in rural Turkey where officials are spending the nighttime driving a murder suspect around looking for a body. What they notice, however, is mostly existential despair. Not exactly like shooting fish in a barrel viewing, but it'due south a masterpiece of slow movie theatre. CC
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37
Dogville (2003)
Lars von Trier's Brechtian parable about coercive commercialism remains arguably the Danish provocateur'south masterpiece. Nicole Kidman and Paul Bettany both excel in this written report of a woman on the run from gangsters who is offered shelter in a modest town in return for undertaking chores. Von Trier's use of stylised, flooring-painted sets is the inspired concluding touch. AP
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36
A Separation (2011)
The motion-picture show begins with a couple in front end of a judge asking for a divorce. She wants to leave Iran and have their daughter. He cannot go; his elderly father is sick. Everyone behaves badly in Asghar Farhadi's badly painful family drama. Farhadi'southward superpower is empathy, making the audience see all points of view. He lays depth charges in seemingly inconsequential moments with emotionally thrilling consequences. CC
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35
45 Years (2015)
British manager Andrew Haigh's quietly devastating drama is a deeply moving portrait of marriage with the shiver of a ghost story. Charlotte Rampling and Tom Courtenay play a Norfolk couple planning their 45th hymeneals anniversary. A week before the party, a letter lands on their chump similar a hand grenade with news of his early lost dear. Rampling is sensational. CC
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34
The Kid (Fifty'Enfant, 2002)
The Dardenne brothers' 2nd Palme d'Or was bestowed on this stark portrait of underclass desperation, filmed in their characteristic hyper-naturalist manner. Jérémie Renier plays a petty criminal who sells his newborn infant in the adoption blackness market, just his devastated girlfriend's response forces a kind of redemption. AP
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33
The Purple Tenenbaums (2001)
Probably most Wes Anderson-y of Wes Anderson'south films and certainly his finest, with a to-die-for cast and the best fur coat in the history of cinema. Gwyneth Paltrow, Luke Wilson and Ben Stiller are the Tenenbaum siblings, all former child prodigies. The brilliance has faded. Who's to blame? Enter paterfamilias Regal Tenenbaum (Cistron Hackman), a man who consoles his grieving grandsons with: "I'm distressing for your loss. Your mother was a terribly attractive adult female." CC
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32
Gravity (2013)
If we are living through a gold age of space movies, hither'due south where information technology started, Alfonso Cuarón's spectacular thriller, shot with unbearable tension and Discovery Aqueduct realism. Sandra Bullock is the rookie astronaut with George Clooney by her side, a living, breathing Buzz Lightyear. When a storm of debris hits the pair, a terrifying fight for survival ensues. Astoundingly proficient. CC
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31
Anomalisa (2015)
Charlie Kaufman'south existential breakdown with stop-motion puppets is a miniature masterpiece of concept and execution. David Thewlis voices the depressed motivational speaker to whom everyone sounds the aforementioned – except for Jennifer Jason Leigh'due south scarred sales agent. "What is it to be human being?" asks Michael Stone (Thewlis). "To anguish?" Few films try to answer: this Fabergé egg of a flick does. CS
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30
Leviathan (2014)
The hardest-drinking movie on our list - with some stiff competition - Andrey Zvyagintsev's anti-Putin polemic is brilliant, ballsy and completely sozzled. Our hero fisherman is forced from his home so that the corrupt local mayor can build his own palace on the site. A priest speaks of "reawakening the soul of the Russian people" every bit their spirits lie crushed at his feet. Abuse is so owned, these people have fifty-fifty lost God. This is the almost omnipotent accomplishment. CS
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29
Nebraska (2013)
Bruce Dern discards his marbles on a windmill-tilting road trip with loving but frustrated son Will Forte. Alexander Payne'southward blackness-and-white ode to small-town America is his best this century (Sideways has non aged similar a fine wine). It too features June Squibb beingness completely filthy. CS
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28
The Tree of Life (2011)
Terrence Malick'south return to cinema six years later on The New Globe has been vaguely tainted by the slew of woozy filmic xeroxes that have followed, but his outset improvement – in which Brad Pitt and Jessica Chastain stand up in for his parents in 1950s Texas – is a choking knockout. CS
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27
The K Budapest Hotel (2014)
Just nudging Factor Hackman's Tenenbaum association downwardly the listing, Wes Anderson's glorious 1930s confection is a delight with a difficult nugget of politics at its core. Ralph Fiennes's central turn as charming concierge M Gustave, all beneficent sex and affrighted campsite, remains the man's finest hour. CS
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26
A Ane and a Two (Yi Yi, 2000)
Edward Yang's final film is a fragile domestic miracle: the story of 1 family seen through the perspectives of the begetter, the son and the girl. A wedding begins proceedings, a funeral ends them. The stuff in the middle is the everyday, dissected with rare beauty and gravity. CS
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25
Exit (2017)
Jordan Peele'southward debut is a perfect, difficult-polished jewel of a film. A race satire that skewers beautifully, it's also a chilling comedy, a proper horror and 104 minutes of consummate amusement. CS Read the review
24
Ida (2013)
Brief every bit a dream and just as devastating, Paweł Pawlikowski's black and white story of a novice nun on a route trip with her aunt in 1962 Poland to find the fate of her Jewish parents is spare, shocking and utterly unforgettable. CS
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23
Borat: Cultural Learnings of America for Make Do good Glorious Nation of Republic of kazakhstan (2006)
Nonetheless Sacha Businesswoman Cohen's finest moment, a feature-length upscaling of his ludicrously hilarious TV character, whose purpose is to sucker the unsuspecting into condemning themselves out of their own mouths. Borat is on a trip in the Us to attempt to marry Pamela Anderson; not everything works, but when it does it's phenomenal: cruelly revelatory and hysterically funny at the aforementioned time. AP
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22
Spirited Away (2001)
Hayao Miyazaki'southward wondrous animation, the greatest success of a spectacular run from Japan's Studio Ghibli. A gentle, mysterious legend about a x-twelvemonth-sometime girl whose family unit stumble upon a haunted bathhouse. After her parents are turned into pigs, she works to elevator the curse, encountering a variety of spirit-earth beings along the style. AP
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21
The White Ribbon (2009)
Michael Haneke won his first Palme d'Or with this spooky, steel-hard parable gear up in Federal republic of germany just before the starting time world state of war. The inhabitants of a pocket-size hamlet are dogged by mysterious, fierce incidents that serve generally to exacerbate the dysfunctional social codes they all alive by – and elliptically suggests the moral climate that evolved into Nazism. AP
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20
Roma (2018)
Despite lingering controversy over its adoption by Netflix in its war with the picture show industry, Roma still stands every bit an absolutely major work. Mexican auteur Alfonso Cuarón returned to the Mexico City of his childhood, telling the story of a middle-class family and their nanny-cum-maid in swooning, lyrical black and white. Part memoir, role elegaic fiction, Cuaron hitting the heights with this. AP
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19
Lincoln (2012)
Steven Spielberg'southward portrait of the dandy US president looked at the time like a history lesson come up to life: graced by a awe-inspiring, Oscar-winning performance by Daniel Solar day-Lewis, it detailed the arm-twisting and casuistry backside the passing of his slave-freeing ramble subpoena. These days, it looks like a fantasy: a president with principles: who'd have thought? AP
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eighteen
A Serious Man (2009)
The Coen brothers don't actually practise personal, but this is as shut equally they've got (so far). Set in their dwelling house boondocks of Minneapolis in the tardily 60s, A Serious Man stars Michael Stuhlbarg every bit an academic whose life is roiled past continuing uncertainty and self-dubiousness – triggering repeat visits to his rabbis, a marriage breakdown and extended interactions with his oddball blood brother. AP
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17
The Corking Beauty (2013)
The Young Pope manager Paolo Sorrentino crafted this swooningly cute honey letter to Rome – "la grande bellezza" – in its decadent, jaded glory. Toni Servillo, Sorrentino's regular onscreen foil, plays journalist Jep Gambardella, a bon viveur starting time to sense the dying of his personal low-cal, and hunting out meaning and substance in the world around him. AP
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16
The Act of Killing (2012)
An boggling documentary about the wave of barbaric killings that swept Republic of indonesia in the mid-60s. Orchestrated by director Joshua Oppenheimer, this flick revisits the perpetrators of some horrific events and asks them – with little demand for encouragement – to re-enact them. The upshot is well-nigh unwatchable: the murderers' glee at performing, and the remorse they may or may not feel every bit a upshot. AP
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Shoplifters (2018)
Japanese manager Hirokazu Kore-eda won the Palme d'Or for this exquisitely turned drama that – like much of Kore-eda'due south previous output – explores what information technology is to be a family unit in entirely not-conventional circumstances. A shoplifting gang accept in a young daughter who seems abandoned; how they hang together – or not – is the film's key theme. AP
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14
White Material (2009)
I of Isabelle Huppert's finest performances, and that's maxim something. Managing director Claire Denis drew on her ain upbringing in colonial west Africa to give this written report of a hard-as-nails plantation owner a pungent whiff of authenticity. Huppert is Maria, obsessed with getting in the coffee harvest every bit a violent ceremonious disharmonize moves always closer. Saddled with an untrustworthy husband and an erratic son, it's all she can do to survive. AP
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13
Far From Sky (2002)
From director Todd Haynes, this is pastiche at its virtually brilliantly acute. Haynes takes the bold, brilliant melodrama dearest of Douglas Sirk, and reconfigures information technology to fully reveal the social faultlines of race, sex activity and class that were considerably more latent in the original. A beautifully crafted act of antecedent worship. AP
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12
Son of Saul (2015)
Brutally visceral fable that plunges the viewer headlong into the all-encompassing horror of a Nazi extermination camp. Shot in remorseless, unforgiving close-up by first fourth dimension Hungarian director László Nemes, the story of a Jewish prison-campsite worker whose job it is to help articulate the gas bedchamber of corpses is cinema at its absolute rawest. AP
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11
Mulholland Bulldoze (2001)
A magisterial achievement from David Lynch, despite the difficulties he had getting it off the ground. Originally conceived as the pilot of a new Tv set series, this expertly fuses Lynch'south softcore pulp obsessions with his trademark creepy surrealism. Naomi Watts was the large discovery hither: she plays a wannabe role player who midway seems to switch personalities with another, more jaded i. AP
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10
Team America: Earth Law (2004)
The most adventurous slaughter of sacred cows seen on celluloid, Matt Stone and Trey Parker's marionette activeness-musical is a gleeful hail of precision-aimed bullets. It'due south totally fearless: pops are taken at Hollywood, Broadway, evil dictators, gung-ho superpowers, the intelligence service, bleeding heart liberals, actors – especially actors – before signing off with a devastating, if obscene, defence force of US interventionism. Politically, it's scattergun; satirically, information technology's spot-on. More often than not, though, it's but ferociously funny, fifty-fifty if nigh of the humour does, finally, come up from the sight of the 2ft puppets tottering around, getting drunk, having wild sex, attempting to walk through doorways and wrestling panthers played past kittens. CS
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9
Zama (2017)
An official working for the Spanish crown descends into madness while waiting for a transfer out of his backwater post in 18th-century Paraguay in Lucrecia Martel's fevered historical drama. Like a disorienting dream, information technology'due south a movie of fragments, moments that worm their way into your memory – a slave limping with flayed anxiety, a llama barging into frame during an uncomfortable meeting. Daniel Giménez Cacho is niggling, wretched Zama, clinging to his white man'due south sense of importance (and his ill-plumbing equipment periwig), a symptom of colonial rot. Martel has been chosen "the Malick of Latin American movie theatre" but this feels closer to Herzog. A strange masterpiece. CC
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Moonlight (2016)
The triumph of Barry Jenkins's coming-of-age tale over La La Land for the best picture Oscar was extraordinary in all sorts of ways, of which Faye Dunaway'due south envelope mixup was maybe the least remarkable. It was the showtime film with an all-blackness bandage also equally with an LGBTQ theme to scoop the prize – and information technology must as well rank as ane of the well-nigh visually and tonally ambitious: told in three parts, with iii unlike leads, each showing the stages of repression and internalised loathing in the young life of a Miami human. Information technology's simply revelatory: innovative, wildly affecting, utterly beautiful. CS
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vii
Synecdoche, New York (2008)
After a string of brilliant, industry-transforming scripts, Charlie Kaufman made his directorial debut with this complex, convoluted drama, starring Philip Seymour Hoffman as theatre director Caden Cotard, who is swamped by personal crises as he works on his dream project: edifice an ever-expanding replica of the city streets and buildings inside a behemothic warehouse, and populating information technology with lookalikes; the blurred purlieus between operation and reality is mirrored in Cotard'southward own breakdown, with the title giving the large inkling – this is all symbolic. AP
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6
Hidden (2005)
Having made his name as one of the pioneers of ordeal arthouse with unflinching chronicles of trauma and cruelty, Austrian auteur Michael Haneke achieved a unlikely pop success with this movie that connected with France's deep well of unease about events of the relatively recent past. Daniel Auteuil plays a successful TV host whose delectation is disturbed by the arrival of mysterious surveillance tapes. This seems to be connected with a young Algerian male child whose parents were apparently killed in the infamous 1961 Paris massacre. Haneke ratchets up the tension with an unerring sense of dread and dismay. AP
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5
In the Mood for Love (2000)
Has there always been a more beautiful couple in the history of movie theater than Tony Leung and Maggie Cheung in Wong Kar-Wai's smouldering love story In the Mood for Love? Non that they're a couple, technically. It'south 1962. Chow (Tony Leung) and Li-zhen (Maggie Cheung) move in next door to each other in a cramped Hong Kong block of flats. His wife is having an affair – with her hubby. The cheated-on pair get friends, but vow not to bear badly. Like Brief Run across, the film aches with the understanding that impossible love makes for a more romantic movie. Information technology's gorgeously detailed, drenched in sensuality – a scene in which the two squeeze by each other in a narrow alleyway past night has a humid sexiness. CC Read the review
4
Under the Skin (2013)
Jonathan Glazer'southward commencement film in nearly a decade (and notwithstanding his most recent) turned out to be an uncategorisable masterwork. Scarlett Johansson plays an alien in homo grade, trawling the streets of Glasgow for unsuspecting males to "take habitation" – in fact, using them equally a food source. From its unnerving alien-POV sequences, to the empathetic scene with role player Adam Pearson (who has neurofibromatosis), to the sheer coldness of the predatory logic of its cardinal figure, Nether the Skin achieves a mood and texture unlike anything else before or since. AP Read the review
iii
Boyhood (2014)
Twelve years in the shooting, Richard Linklater's story of a child'southward life between half dozen and 18 is a vindication of creative appetite in an historic period of cinematic snacking. Its downside is to ruin about every single other film for you – at least all those in which the actors are conspicuously aged upward or downwardly. In watching the bonafide progress of Ellar Coltrane – besides as Patricia Arquette and Ethan Hawke as his parents – Boyhood provides its audition with an intimacy and an investment similar no other. This is cinema as gentle revolution. CS
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12 Years a Slave (2013)
Steve McQueen'south existent-life story of Solomon Northup, a free human kidnapped and sold into slavery in 19th-century Louisiana, exudes all of the nobility, impatience and artistic fidelity of its manager. It is perfectly bandage and paced, endlessly surprising, uncompromising and empathetic: a story purely and powefully told, withal full of the extraordinary visual grace notes. It never descends into cliche or even self-pity; information technology remains a film for adults, uninterested in annihilation but the truth. To read Northup's 1853 memoir is to be astonished by the film's fidelity. CS
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1
At that place Will Be Blood (2007)
Paul Thomas Anderson's strange masterpiece, freely adapted by him from Upton Sinclair's 1927 novel Oil!, has a dark title that threatens a calamity now visible on the horizon: destruction of the World itself. And it is all inscribed in the story of the movie'south leading character, a human with the Bunyanesque name of Daniel Plainview. Daniel 24-hour interval-Lewis gives perhaps the greatest, certainly the nearly exotic performance of his career every bit an oil prospector in the early 20th century, rewarded with colossal wealth that never gives him the smallest pleasure.
The movie perhaps looks fifty-fifty stranger, starker and more unforgiving now than information technology did in 2007 when it first came out. But from 2016, there has been a raging Plainview in plain sight in the White Firm: Trump, the eccentric property billionaire and spoilt baby whose cranky tweets are as crazy equally Plainview's deranged "shake" pronouncement. What a spectacle Anderson and Twenty-four hours-Lewis create: a portrait of male belligerence and fear, a Tutankhamun of misery, walled upward in his ain sarcophagus of wealth and prestige. Atomic number 82
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