A Black detective infiltrates the Ku Klux Klan by phone in 1972; Spike Lee's Oscar for the script.
Adam Sandler as a gambling-addict jeweller through two weeks of chaos; the Safdies and Kevin Garnett.
Robert Pattinson through one New York night trying to free his brother; the Safdies' breakthrough.
Gosling's stunt driver in a scorpion jacket, synth-pop and a lift; Refn's neon LA.
One continuous take across a Berlin night, a bank robbery included.
Two brothers rob the bank that is foreclosing on their ranch; a modern Texas western.
Jennifer Lawrence hunts her father through the Ozarks meth country; her breakthrough.
Two hitmen hiding in Bruges; Colin Farrell hates the place and Ralph Fiennes arrives.
A getaway driver who times every chase to his playlist; Edgar Wright's musical heist.
Two women, a Thunderbird and the Grand Canyon; Ridley Scott's road movie that ends in the air.
The Coens' Prohibition gangster film, the hat in the woods and Gabriel Byrne's double game.
Edward Norton as a reformed neo-Nazi and the curb-stomp scene.
A hitman and a 12-year-old Natalie Portman in New York; Gary Oldman's "EVERYONE".
Twenty-four hours in the Paris banlieue after a riot, in black and white; "so far, so good".
Twenty minutes to find 100,000 marks, run three times; Tykwer's techno Berlin.
Three stories tied by a car crash in Mexico City; Inarritu's debut.
Three cops, a diner massacre and Kim Basinger as a Veronica Lake lookalike; 1950s noir done right.
Keanu Reeves undercover with surfing bank robbers in president masks; Bigelow's action classic.
Five criminals in a line-up and Keyser Soze; the ending everybody replayed.
Pacino and De Niro at a diner table, and the downtown LA shootout the police study.
Belmondo, Seberg and the jump cut; the New Wave arrives in one film.
Clint Eastwood's .44 Magnum and 'do you feel lucky' in San Francisco.
Pacino robs a Brooklyn bank to pay for his lover's surgery; "Attica!"
Leone's four-hour Jewish gangster epic across fifty years of New York.
Jack Nicholson with a slit nose, the water wars of Los Angeles and "forget it, Jake".
Belmondo and Karina drive south in primary colours; Godard at his most alive.
The three-minute opening crane shot across the Mexican border and Welles as a corrupt cop.
Beatty and Dunaway rob banks and die in slow motion; New Hollywood begins.
Bresson's thief in Paris, filmed as hands and gestures, and the ending in the prison.
Alain Delon as a hitman in a trench coat and fedora; Melville's cool influenced every hitman film since.
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