The biopic that launched Tommy Lee "Indiana" Jones to superstardom. Playing himself, he exhibits all manner of badassery and even burns a bunch of snakes. I hate snakes too, Indy. But why did that little monkey have to die? All he wanted to do was eat some dates.

If Mr. Hulot's Holiday didn't cement Tati as one of the great comedic directors of all time (and Hulot as one of the great comedic characters of all time), then Mon Oncle surely did. Here again, we see the mild mannered, happy-go-lucky Hulot in and out of trouble despite never looking for it. All I think he wants to do is live his life; it's a shame the world has to keep interfering.

It's rare that a film scares me anymore, but this is genuinely chilling. The material certainly has a lot to do with that, but I think Demme's direction and the strong editing are important, as well. The performances are very good, but I actually prefer Foster's to Hopkins'. Throughout the film the onus was on her to both represent fear and build suspense and she did both well. Awesome stuff.

Gritty and ruthless action coupled with a poignant study of how man's life can be consumed by his work, his duty, and/or his principles, and how that affects the people he loves. All of the characters are rich and compelling, and they're played by a fantastic group of actors. I loved the way Mann photographed L.A. in "Collateral" and likewise here. All in all, one of the most satisfying crime/action films I've seen.

As haunting in its depiction of life as it is in its depiction of death. This is Bergman's masterpiece and possibly the best film ever made.

Incredibly pretty to look at (this might be the most well shot film Soderbergh has made) and fairly interesting. I think it's the best of his independent, "experimental" films.

Beautiful. Every scene and every shot is crafted with delicacy and precision. After my second viewing, I'm convinced that this is one of the few perfect films ever made.

The second best film about filmmaking ever made. Women might not be magic and men might not be magic, but Truffaut is.

It's ridiculous to think that a year after being given full control over Citizen Kane (and creating a masterpiece), the studio restricted Welles with this film. And yet there's still a lot of brilliant scenes and moments here, due in large part to the tone Welles used. Cotten is as good (and Baxter as beautiful) as ever, and the closing credits are a great touch.

I would say it's redundant to mention how stunningly and beautifully Days of Heaven is photographed, but it really can't be said enough. What is equally stunning and beautiful, though, is everything else about the film - the poetry of the narration; the wonderful score; the subtle examination of love and trust, of morality and human nature, of life and death. This is one of my favorite movies.