Families, empires, and the fall that always comes.
the film that started New Hollywood
cheap, countercultural, and it changed the industry
Melville's heist, and the 25-minute silent centrepiece
the most influential American film of its era
Malick's debut, and the narration
Scorsese, Keitel and De Niro, where it all starts
the sequel that made sequels an art form
Hoskins, and the last shot
mauled on release, later absorbed into the culture
butchered for US release, since restored
De Palma at his most classical
the most imitated crime film in forty years
the Coens' most tightly plotted
the ending, and the argument that followed it
the elegiac companion to *Scarface*
the Hughes brothers' debut, unsparing
Scorsese at his most excessive
Depp and Pacino, both restrained
Tarantino's most patient film
Raimi's straight-faced masterpiece
the director disowned the cut and it still lands
Iñárritu's debut, still his best
Kingsley, terrifying
camera as adrenaline
the original *Departed*
Hanks against type, and Conrad Hall's last, most beautiful film
Cronenberg goes classical
Scorsese, finally
Washington and Crowe, Scott's most controlled film
Cronenberg and Mortensen, and the bathhouse fight
Rio police, Golden Bear winner, brutal
organized crime with the glamour stripped out
the great modern prison film
Australian crime, quietly terrifying
an F CinemaScore; the best thing Dominik has made
revenge with all the competence removed
three hours of moral vertigo
the modern western, done right
three and a half hours about regret
anxiety as a genre
