103. The Kids Are All Right (Lisa Cholodenko)
This is treat on every level (except special effects – thank god). A laugh out loud script, great performances, and a clever and useful premise that operates on another level all together. I’ll predict now that Annette Bening will get an Academy Award (for this and Mother and Child). She’s due and she’s great. But equally great is Julianne Moore. Mark Ruffalo is as good as he was when the public was blown away by his heartbreaking performance in You Can Count on Me. That was 10 years ago. He really can convince you with that vulnerable Brando tough sensitive vibe like no one else, when there’s the right script. (the guy in back of me actually actually said; “man, he is so cool”)
The rest of the bunch really feels like a family. The arguments, the love, the difficulties- as Moore says in her beautiful, beautiful stuttering monologue and apology: “Marriage is fucking marathon” as an angry Bening weeps at the confession. It’s a profound moment, so simply done, perfectly performed.
I am waiting for the arguments about the surprisingly unkind ending. Ruffalo’s character was too developed, and his performance too strong to be summarily dismissed. But see it and see what you think. For me, this is one of the best films this year.

102. Inception
The collective gasp at the end of the movie is the sound of an audience easily led into deep, profound, philosophical, or just freakin’ heavy territory. The guy next to me said; “Oh man, I’ll never get over this.” But really, once you have a plot based dream reality you can you do anything. Then bolster it with great effects and CG. Does that make a masterpiece? The Hans Zimmer soundtrack alone tells you this is HEAVY. Is it really? As A.O. Scott observed, can we we sit on it a while before declaring it a masterpiece? A crafty movie and a masterpiece of hype for sure, but am I even allowed to say I was bored and distracted?

100. Hospital (Fredrick Wiseman – 1969)
Not for anyone with an aversion to blood, guts, vomit, or drug overdoses. But beyond that a masterpiece of real world poetry. Weissman was present at the screening. His impish demeanor (”I never go to the movies, I read. I still remember how”) is the heart of a humanist, the soul, editing skills, and instincts of a poet. Even the graphic Hospital is way more than the sum of its events, and you feel the pulse of a chaotic city throbbing for 80 minutes.

97. The Mirror(Jafar Panahi Iran -1997)
The movie follows a little girl through the streets and on the buses of Tehran as she looks for her mother who has failed to pick her up at school. Suddenly half way through the film she quits the movie, and heads home. But the crew follows her at a distance as she searches for her house. In the both parts of the movie, we’re immersed in the city and its hive of activity, its merciless traffic, cab drivers, police, shopkeepers. The little girl, Mina Mohammad Khani, is too good to be true, and we, like her, are allowed to feel and breath the city. The plot is extraordinary and it’s hard to tell if and how they planned the whole thing, or what’s “real”, and what’s not. But watch for how the elements of the story all repeat themselves in the second half. I imagine that’s why it’s called the Mirror. Not like anything else.

91. I Am Love(Italian – Luca Guadagnino)
I guess they DO make ‘em like they used to. Sort of. A wild and beautiful opera of a film with astounding borrowed music from John Adams. Produced and starring the wild and beautiful, brave and and Italian speaking Tilda Swinton, it conjures up those sprawling Italian films from the heyday of Rosselini and Visconti and maybe even Bertolluci. Like the exquisite meals prepared throughout the film, and like the music, the story builds slowly to a furious and passionate conclusion.
It’s a sprawl, or better yet, a balanced stew of family history, Italian history, global politics, local color, sexuality, decor, manners, social class and the natural world – and lots of food. Exquisite dishes are even used as central plot points . All this is unique for a contemporary film. Just like the dishes they prepare the audience gets to savor all kinds of details as they patiently present themselves, trusting that by the end it will reach a fine finish. There’s even a disconcerting visual aperitif just after the first credit which tops it off.

89. The Secret in Their Eyes (El secreto de sus ojos)
A great story and beautifully shot. Look for the one continuous shot that starts over a soccer stadium, cranes down into the crowd to the actors faces, and proceeds into a chase that winds through the halls of the stadium and ends up on the field with a captured villain’s face sideways at the barrel of gun. These new Argentinian movies have a way of being really personal while folding in all kinds of ideas about history and politics. Academy Award winner.

88. Trash Humpers (Harmony Korine)
I thought it was amazing. But when you try to reason why, you start to wonder if you’re bullshitting yourself and the whole thing is a mischievous prank. This nasty little film, that reads like old VHS home movies found in the trash of relatives of the family in Chainsaw Massacre is not John Waters and not Andy Warhol. It’s provoking us to be sure, but raises all kinds of ideas about why we watch, what we watch, and the ubiquity of images in this maxed out visual culture of YouTube and Hostel, an age of real trash and vaudeville.

86. Winter’s Bone
Lean, mean, and kind of grisly. I can’t imagine that Jennifer Lawrence won’t get all kinds of indie nominations for her role as Ree. It reminds me of the hardscrabble Frozen River last year except that it never seems to have a message or to be setting an example about the nobility of any particular people or way of life. Oddly it’s more of a thriller, except that most the violence associated with the girl’s missing father is implied, offscreen, or left to possibility and imagination. What you get is a taught drama built around some unsettling Ozark folk and drug dealing backwoods types. By making the protagonist a young women, the director Debra Granik, really increases the stakes. It’s a unique and gripping film with some frighteningly good performances and some offbeat casting.

85. Get Him To The Greek
At its heart this is another Apatow late coming off age movie. Everyman officially has moved from Tom Hanks to Jonah Hill – I shudder to think what that means. But he’s really good and convincing in the most random and insane situations. Most of those come from Russell Brand’s rock star character Aldous Snow (is that Aldous Huxley meets Aurora Snow?) – part rock savant, part purveyor of petty musical porn. But he is amazing in the role. And Sean Combs is brilliant. He’s so good you realize he can be completely ironic about his own mythology and powerful enough to stick it to the music business. As does the movie. It’s pointed, unlikely, slapstick, disgusting, hilarious and sweet. And you never know where it’s going to head next.A real bonus is the wonderful Elizabeth Moss (sooo good in Mad Men) as the unlikely girlfriend to Hill. The threesome attempted between these three characters in the bedroom says a lot about the clash of decades and generations. Brilliant and unrelenting.

99. White Material (Claire Denis)
Isabelle Huppert continues her long streak as France’s toughest and greatest actress in a seemingly effortless and unsettling portrayal of a coffee plantation owner in an unnamed colonized African country who is obsessed with finishing her harvest despite the unraveling and chaos of the social structure. This is the masterpiece of the French Festival. It’s a film rich with ambiguities and points of view, and vivid in the smallest details and in the landscapes of this soon to be forsaken land. This is the most frightening and insightful film I’ve seen of all the movies trying to come to grips with the chaos of post-colonial Africa.

98. Leaving (French – Catherine Corsini)
Explores in short, and often blackout scenes, moments of a wealthy wife and mother falling headlong into a passionately sexual love affair with a working class builder. It also explores the fine line between clever and stupid. Kristin Scott Thomas is as good as she can be in this melodrama – and we’re collectively proud of actresses willing to get naked at 50. Sergi Lopez, who usually plays villains, nicely underplays the lover, but is he really worth all this? Her final dissolution is preordained by a gunshot we hear at the start of the film. This precedes the story, which is then revealed in flashback. It’s a nice touch. But it really is just becomes a tale of a mentally ill women. There’s no real reason for the affair (unless she really likes a good hairy butt). What about her kids, her practice, her background, her relationship – anything? We see it all, and there are some fun and squirmy moments. But in the end it just doesn’t add up, and it’s strains credibility in a big way.

97. Two for the Wave

96. Hadewijch (Bruno Dumont)
Dumont explores the fine line between martyrdom, fanaticism, faith, and delusion in this meditative (some will call slow paced) look at a young Christian fanatic who befriends a group of ‘terrorist’ Muslims. Throughout there’s a degree of sexual threat and violence so present in his films, as well as the very physical presence of nature, of weather, of the elements. It’s an edgy mix, yet most of the time we’re looking at the world through the vulnerable searching eyes and face of Julie Sokolowski as Céline/Hadewijch, the latter being a 13th century mystic who also sublimated courtship for a love to God, and who also took no vows as a nun. As Celine, the girl is sent from the convent for being too extreme in her devotion. She begins to naively explore the real world. Like the earlier poet and mystic Hadewijch – into whom she slowly seems to be transforming – Celine is also from a very wealthy family, a fact that sets up another set of questions and contrasts in this contemporary context. I love looking at the faces director Dumont offers up, and as always he sets up situations that call out for argument and conversation. The ending is sudden and unexpected, and you are left to question not only what might happen next, but to where exactly has the director led us.

95. Making Plans for Lena (French – Christophe Honoré)
Airless, complex, chattering, dysfunctional, and destructive – and I mean that in a good way. That is to say it’s what the director intends. The audience will measure its own family delusions, illusions, ideas of love, and ability to survive against these mostly unsympathetic characters. I liked it, but didn’t enjoy it. This is something the French do well. Featuring the Chiara Mastroianni, daughter of Marcello Mastroianni and Catherine Deneuve, who mostly got her father’s looks, which she uses bravely and unglamorously in this film written for her.

I am teaching a horror film course in the Fall. Ye gods and little fishes. Here’s some research.

101. [REC] 2(Italian)
Sequel to [REC] where mock-doc is applied to being quarantined in a building with victims of a flesh-eating disease. This one is about demonic possession being quarantined in a building and creatures still need to eat flesh. Lots of thrills, special effects, nifty hand held and video cam ideas. Ultimately stupefying, unless you really love a good “gotcha” horror flick.

92. Dead Snow(Tommy Wirkola 2009)
Ye olde cliche-written (and ridden) “teenagers in jeopardy from Nazi zombies” movie. I think the reviewers have as much fun writing about it as they have watching it, because it is SO ridiculous. What separates it from other severed limbs, guts spewed-&-chewed type fare is that it’s really nasty and takes itself wonderfully seriously. So it’s better than just a good-bad movie. It’s along the lines of Evil Dead movies except blood and guts look really cool on frozen white landscapes nestled in the mountains of wherever.
The opening of the film, set to Grieg’s Peer Gynt, sets the tone. It’s full of enough clever Grand-Guignol to warm the palpitating hearts of those who need more Raimi type smirking splatter in their lives. Don’t rent the dubbed version. Director Tommy Wirkola is directing Hansel and Gretel for Will Farrell. Perfect!

93. Orphan(Jaume Collet-Serra 2009)
This is like if Disney decided to make horror films to give kids nightmares. There’s all this typical family behavior that morphs into really sick situations; the ‘orphan’ holding a gun to her little sister’s head, creepy repetitive singing, squashing a bird’s head, and of course lots of cold hearted very bloody murder. I think that’s why kids are reenacting scenes on youtube. The very good Isabelle Fuhrman in the title role with killer gonzo deadpan stare, says her character Esther just wants love – a smart choice for any actress and how else can a child of 12 so effectively play a complete psychotic? . The adorable and (actually) deaf little sister played by Aryana Engineer is only 8 and she goes through horrific scenes. Not all parents let their kids do this kind of role, but she claims it was ‘fun, and not hard at all’. I’m a huge Vera Farmiga fan who has this way of acting that always feels part of an ongoing life of a character. Peter Sarsgaard is always good as the honorable, but necessary flawed male manqué. So too late at night I got caught by this likely-to-be cult film which runs 2 hours! I couldn’t turn it off and had nightmares, so I’d say it does the job!

94. Bigger than Life (Nicholas Ray 1956)
Read about it on IMDB. It’s so weird and overdone and overly colorful and melodramatic. But it sticks to you like a dream. Ray has one of the oddest sensibilities in film. If you ever get a chance to see it, stay with it, and guaranteed it will haunt your dreams. The same goes for many of his films. My own favorite nightmare might be his proto-lesbian western, Johnny Guitar.

90. Art & Copy(Doug Pray 2009)
I was really looking forward to this and it’s better than I even thought it would be. Doug Pray, who did Surfwise and Hype has such a clear, easy to watch crisply edited style. This film isn’t the usual tirade against advertising, but a celebration of its power as art and persuasion told through the voices of some of the masters of the best campaigns in advertising history. The film doesn’t doesn’t take a position on whether this is propaganda or art, only that it is powerful, enormously cleaver, often brilliant and can change direction culture. That says a lot.

87. Coming Apart (1969 NetFlix)
This was as disturbing as Trash Humpers for its time. People walked out and it wasn’t re released for decades. The entire film is shot into a mirror from a single camera angle in a one-room apartment. Rip Torn as psychoanalyst Joe Glazer rents a studio apartment away from his pregnant wife and has sexual encounters with a series of women which he films with a hidden camera. But it is an amazing experience and to watch Rip Torn blaze through this thing is to experience one of the best performances on film. You will not believe this is scripted. Totally hypnotic. Sally Kirkland and others give their heart and soul to the project. Not pleasant, but boy does it speak for its time, but probably any age.

74. The Man Next Door (el hombre de al lado)
Yet another great Argentine film. (The Secret in Their Eyes, The Custodian, Kept and Dreamless are others worth checking out) This strange story is about all kinds of things concerning communication, family, authenticity, seeing and being seen, architecture, and the modern world that has way of distancing us from one another with its obsession with technology. The brilliant opening let’s us know the movies style will border on what reminds me of ‘video art’ in its framing and clever shooting and concepts. It unfolds patiently, isn’t entirely sympathetic to its characters, but I haven’t been able to stop thinking about it. Don’t miss this one.

75. COCO AND IGOR
Gorgeous to look at and infinity better than Coco Before Channel which left you empty. The acting is great, sets, costumes, and cinematography all admirable. The opening scene of The Rite of Spring being performed for the first time in 1913 is worth the whole movie. I like the way Stravinsky’s music embellishes the whole thing, but it does really go anywhere. So you just sit back and try to imagine maybe this all really happened – that Igor had a passionate fling with Coco. I like costume dramas anyway, if a little cold to bio-pics. That they might have had this affair is a cool fact, but not necessarily made more real for me by seeing Igor’s naked heinie in an overhead shot pumping the very splayed thighs of Coco Chanel. Overall the movie it is fun to watch and listen to.

76. GET LOW
Robert Duvall should stop producing movies with scripts that let him play these inarticulate backwoods guys. The problem being that you wind up eventually with a film like this. It had me begging for something to happen followed by being actively pissed at the non-payoff ending. They build up this premise fed by artful flashbacks and then don’t have the good sense to conclude it.

77. TILLMAN STORY, THE
A story that needs to be told, and its told really well considering the limitations the director had with the family. This is one remarkable family seeking justice for their son a remarkable person and a war hero. It’s a shocking story, and I don’t know how much more disillusioned we can be about Bush, Rumsfeld and his arrogant and corrupt cronies. I hope this film gets seen. History will add it all up. At least that scumbag General McChrystal lost his job. See it. Watch the generals lie and deceive before your very eyes. An amazing story. See it. Arrg.

78. HIPSTERS
79. SOUL KITCHEN
80. LUCKY
81. DRY LAND, THE
82. KILLED MY MOTHER (J’AI TUÉ MA MERE)
83. LET’S TALK ABOUT SEX
84. KINGS OF PASTRY

73. Girl With the Dragon Tattoo
It’s easier to immerse yourself in a movie with interesting characters when they are played with actors you don’t recognize. That’s especially the case in this Danish film and with the very convincing Swedish Noomi Rapace in the title role. I was carried away by this surprisingly violent and disturbing story. (That it’s part of a trilogy and in Swedish is called “Millenium: Men Who Hate Women” says a lot) The film looks great, the acting is convincing, and it’s full of full of odd twists. It’s long, but all the better to sink into this claustrophobic world of deceit, corruption, and a constellation of very flawed individuals.
Like the film ‘Insomnia’ it will probably be remade in an English speaking version for no discernible reason, so see this first.

70. Benny’s Video (1992) (Michael Heneke)
That this was done 18 years ago is testament to Heneke’s long search for moral clarity. A boy murders a young girl and catches the whole thing on his elaborate home video recording set up. He shows it to has parents, whose first questions are; “Did anybody see this?” rather than ‘get thee to a nuthouse’. You can anticipate elements of Cache, White Ribbon, Music Teacher and others in this slow and disturbing story. It also anticipates the onset of the ubiquitous world of YouTube visuals and perhaps suggests (for parents, in particular) it’s time for greater commitment to a moral point of view that we don’t all descend into a numb and passive society of watchers. The ending is a shocker.

71. 1408 (2007 w/John Cusak)
This was recommended as being really strange and disturbing. It’s about a paranormal researcher who checks into a haunted hotel room. Based on a Steven King story, it’s a fun idea – the horrific and the mundane a la King – Cusak commits himself game-fully. But anything can happen in this wacky haunted hallucination of a hotel room – and it does – so after a while the characters might as well be shouting “BOO!”. There are some creepy and some creative moments, but it adds up to silly. And it goes on and on. I found myself admiring the pluck of the actors who commit themselves to these kind of endless unlikelihoods.

69. Daddy Longlegs (Josh and Benny Safdie)
Not the 1955 Fred Astaire movie by a long shot. Done mostly handheld and very New York with Ronald Bronstein as a less than responsible dad who wants to make the two weeks he gets with his two little boys as fun and memorable as possible. But the guy is a mess. I found Bronstein’s own film Frownland, another Brooklyn improv style ‘mumblecorps’ (sort of), enormously unpleasant, but his disarray as an actor and his terrific improv skills work perfectly here.
The film is, as Ray Carney called it, ‘exploratory’. The Safdie brothers are working out issues with their own father on whom this is based. It’s somewhat of a Rorschach test for parenting. Some are really put off by certain behaviors in the dad (myself included) others feel the love this dad has for his boys, and that trumps his irresponsibility. Either way the film sets up a really authentic looking and deeply felt test of audience empathy. It’s a unique, compelling, and accomplished independent film by two very talented brothers.

68. Bluebeard (Catherine Breillat)
The minimalist settings, doubled storytelling and interplay between two little sisters reading a version of Bluebeard by Charles Perrault, and the story of Bluebeard depicted in simple, clean, stark detail turns the audience into wide eyed children. The movie has all the fun of being read a great and scary yarn as a kid, but with the complexity and primal anxiety of fairy tale. There are religious overtones, sibling rivalries, lost fathers, radiant faces, memorable picture-book set pieces, and dark fairy tale lessons about disobedient children. The ending is wonderfully provocative. Her images are laugh out loud minimalistic, and some gorgeous stagings between the resplendent young wife and her dark, shadowy ogre of a husband, Bluebeard, who loves mushrooms, and who may have a soft spot in his heart for his child bride, if only he weren’t a mass murderer. It’s a zippy 75 minutes of great artsy movie making. I find it unfortunate that audiences may not have the attention and patience for Breillat’s clean, patient, complex and beautifully humanist vision.

67. Sergio
The life and death of Sergio Vieira de Mello, Secretary General to Iraq and UN High Commissioner for Human Rights, is one of those stories you have to see to reaffirm knowing their exists contemporary political heroes about whom we would otherwise remain ignorant. It’s on HBO. This revolutionary student turned world diplomat had dashing good looks and remarkable commitment to justice and humanity. He participated with remarkable nerve in crucial world events only to die way too soon in a targeted bomb attack in Iraq. The film is beautifully and suspenseful structured. Beyond the subjects remarkable life is the bravery and voices of the two soldiers who attempted his rescue. It’s made all the more sad that this was editor Karen Schmeer’s final and gorgeously realized achievement before her own untimely end. A great film. I kept thinking, this is a truly remarkable man, and the cause of this – Bush – is so, so small and cowardly in comparison. Sad and enlightening, and engaging and inspirational.
66. The Woodsman(2004)
Finally catching up with Lee Daniels second produced movie after Monsters Ball has wonderful performances you can expect from him, even though he didn’t direct it. The tough subject of humanizing a child molester on release from prison goes where you hope it won’t go, but also has some really striking twists. In addition, the ‘bad guy’ is the protagonist, and a terse cop played well by Mos Def is the good guy. Everything turns on its head and it’s really well acted by Kevin Bacon and Kyra Sedgwick. So much happens in the small glances.
65. Babies
Two easy reasons why this movie has been written about – a release just before Mother’s Day, and two features in the Times on babies the same day. But what makes it so wonderful is stunning photography and a perfectly universal idea. This nature/nurture formula is given a magnificent cross cultural platform. It is entirely fascinating and engaging for its entire 70 minutes.
64. Exit Through the Gift Shop
What director Banksy has done is remarkable. By telling the story of video camera fanatic and street art super enthusiast Thierry Guetta, he manages to balance a surprising number of ideas while spinning a great yarn. To put it briefly Guetta, a Frenchman with nerve, enthusiasm, but questionable talent, documents some of the great street artists of the 90’s eventually falling into the rare confidence of anonymous ‘Banksy’, the real genius of that movement, who is seen only with his face in shadows and voice altered. The film eventually questions the legitimacy of street art and pop celebrity itself. The difference between Banky’s own art provocations and the commercial pop versions of the work he creates seems as clear as the difference between an original Warhol and those pop portraits available for order on-line. This is a complex, and amazing study of an important piece of the contemporary art world done by an artist of great wit, intelligence, and creative genius. And I don’t mean Thierry Guetta. The movie is not what you think it will be. It’s a story that questions its own validity, sort of the cinema version of Banky’s art. Brilliant.
63. Mother and Child (Rodrigo García)
The son of Gabriel García Márquez has written and directed a really adult and complex film about adoption, family, loss, need, and powered solely by the women characters who are some hard cases. The plot is pretty intricate, but it’s so beautifully underwritten and scenes play out with huge emotional resonance often with little or no dialogue. And it has probably the best ensemble cast you’ll see this summer including great Annette Benning and daring Naomi Watts performances. Race is a factor in the film but never discussed, and never a plot point, so the multiple stories are not like in Crash. It’s a wonderful handling of an optimistic post racial society, nevertheless fraught with deep personal problems based on loss and adoption. This will be the “other” Annette Benning adoption movie, but the one worth seeing.
62. The Square (Nash Edgerton)
Nicely made thriller in real noir tradition. Like the best old films in that genre, things go from bad to worse and worse for the most tawdry of reasons. The film really makes you squirm, not from violence but because at every turn the character of Raymond gets in deeper and deeper shit. Written by stunt man Edgerton and his brother. Great.

61. Micmacs (Jean-Pierre Jeunet)
Exhaustively clever, visually wonderful
60. The Killer Inside Me (Winterbottom)
I love Winterbottom and this is a pretty good depiction of the Jim Thompson book which is a nasty piece of work. Didn’t really stay with me, but it keeps you engaged for sure.
59. Looking for Eric (Ken Loach)
Builds up as it goes along to an almost silly climax. I don’t care for sports films or those with imaginary characters as here where Eric Cantona, a great soccer player gives life advice to mailman Eric Bishop. It is Ken Loach. so it feels honest, but a bit silly unless you know the sport, or are British.
58. His & Hers (Ken Wardrop)
Life seen through the faces and voices of women of central Ireland. Full of textures and fabrics and scenery. Girls and women discuss life and love in age squence starting with babies, to little girls, adolescents, young to old women. A wonderful looking and poetic film. Wait for the only man to appear for a few seconds in the last wonderful shot.
57. Life During Wartime (Todd Solondz)
56. Tiny Furniture(Lena Dunham)
Another Brooklyn/Manhattan 20-something film shot is a seeming improv style. But this is one of the best – clever and full of life and truth about the age of uncertainty and early adulthood, and about parents. Great writing and boldly acted by the director Lena Dunham
55. Erasing David
Good gimmick. More fun to think about than to sit through.
54. War Don Don (Rebecca Richman Cohen)
A carefully constructed dialectic by this lawyer/filmmaker on the culpability of power for acts of incomprehensible evil. Great footage and access to the trial of leaders and the devastation caused by the Revolutionary United Front (RUF) of Sierra Leone. She carefully draws you in with expectations of guilt and about evil and moves to a cautiously balanced argument on ultimate responsibility and even the appropriateness of the world tribunal itself.
53. I’m Dangerous with Love (Michel Negroponte)
A remarkable, hallucinatory documentary about ibogaine, a psychedelic alkaloid from the West African iboga plant, and its use in curing addiction. The film’s subject “Dimitri” and ex-addict now charismatic shaman is a quite the subject and the film graphically dives into the power of this drug in healing and as revelation. This is way beyond the 60’s idea of a trip. Through the director’s participation, Lisa Croft’s animations, and Dimitri’s journey and initiation to iboga in Gabon, Africa – the film itself get mighty psychedelic. Brave people, brave film.
52. Bass Ackwards (Linus Phillips)
Simple. Poetic. Beautifully shot on a Red Cam. Some nice performances. It’s got a documentary feel, but it’s narrative.
51. Cyrus(Duplass)
The Duplass Brothers get better and better. This one knocks it out of the park. Funny, complex, superior performances by John C Reilly. Jonah Hill, and a great and subtle Marisa Tomei. It’s a coming-of-age, I guess, but I think everyone is coming of age, not just the fleshy and imposing Jonas Hill as Cyrus.
50. Perrier’s Bounty
British gangster genre with all the classic Brit bad guys, particularly Brendan Gleeson as Perrier, Cillian Murphy as the innocent. Well done if this is your cup o’ tea. It’s not mine. Too glib. Dopey characters.