There's a VHS of this in my closet at my parents,' so clearly I was a fan as a kid. No one will ever mention this when talking about 1999 as the Greatest Film Year Ever, but judge a film year not only by its gold but by its trash, and as trash goes this is clever and fun and quirky. It's like watching a bunch of your friends with goofy imaginations playing around in the park.

Idk. It's better than The Avengers. And it got to Smash Mouth before Shrek did.

Having an in-depth conversation about ambitious art months after only seeing it once was probably a mistake. But ah well. 

Have a listen here :)

As this country continues to debase the medium with movies either evasive, simplistic, or algorythmic, it's really bracing to watch a film so urgently invested with its country's sociopolitical climate, and made with genuine risk. I'm unsure of where it goes, and the length it took to get there, but this is stirring, powerfully dramatized and acted agitprop (Soheila Golestan gives one of the great performances of 2024). The revolution starts at home.

"They think there's no more serious white people in Charlestown."

Pretty much what all these Bahhston movies are about.

Given Jimmy Carter's presence here and the palpable On-The Verge-Of-Something vibe, I might make this a New Year's Eve movie.

Good luck, everyone. Keep on keeping on.

Genuinely dark. Been a while since the final shot of a movie quickened my pulse like this. I feel like I need to take a walk. Or have a drink (sorry).

I've seen C.C. Baxter referred to on here as the sole moral or decent person in the movie. But I think what makes that character trickier and the movie more resonant is just how untrue that is (if anything Dr. Dreyfuss is the one decent person on screen). Baxter may be a nice guy, likes to think of himself as a nice guy, but he is not very moral. How can he be given how he has gone up the ranks in his company. The point of course is that the American capatalism system leeches the morality out of all of us. That one must, on some level, be immoral in order to succeed within it, or even to function within it.

That's a dark idea to thread through what's supposed to be a comedy. But Wilder, not so much a cynic to me as merely a realist, knows that you can't separate the light from the dark, and Lemmon and especially MacLaine’s performances are the brightest sources of light in the movie, their characters pitiful but not unworthy of sympathy, and even grace. And I actually find the movie pretty optimistic. You can be decent, or at least strive to be decent. Sometimes you just need a little help. Baxter and Ms. Kubelik get each other there.

Decency will be in even shorter supply in the years to come. We will all need each other to get through.

What did it all amount to? What did we learn?

As our boy said: not cinema. It opens like we're returning from a commercial break for God's sake.

But I like that Banner can't get the Hulk to appear after he gets his shit rocked by the purple thumb. Ruffalo's so wrong for this universe (which speaks well of him) he's almost right.

And I appreciate that The Snap is a culmination of stupid and/or selfish decisions on the part of our would-be heroes, stretching back to previous installments. Imagine if the franchise had just ended here. I bet even Armond White would give props.

No, I don't know why I'm rewatching these things.

I remember I wrote a really harsh review of this for my college paper. Don't know what I was trying to prove. It's not awful. Attempts a thematic complexity. But also: snooze, lol, groan.

Forgot they got Alfre Woodard to show up for a minute. Get your coin, Queen.

There's just something about Bradford Young light. It's soft, but not weightless. Creamy, velvety. I want to reach out and apply it to my own skin. 

(Please come back, fellow Bison)

So glad I finally caught this. DuVernay sees these people and this situation so clearly, without false dramatics or contrived payoffs. Tyler Perry would suffer a brain aneurysm trying to pull this off.

Also Lorraine Toussaint should be as big as Viola Davis, and the fact that she isn't is a major tragedy.

Only seen it once all the way through. I think I have less patience for its rather gauche antics this watch. Depends almost completely on goodwill from the first one without doing one thing as well. Dynamic between Franz and Willis is especially grating, despite that Chi-CAA-go, "my brudder" accent that always tickles me. The recent Carry-On is a better "Die Hard" in an airport.

Cruise’s career is the GOAT I’m sorry.

Better than Sleepless, despite an even shakier supporting cast and the worst person Hanks has ever played (and does Ephron actually know he’s the worst?). Sturdier potting that crucially always keeps Hanks and Ryan in close physical, and digital, proximity. Ephron also writes some adult and emotionally resonant things for Ryan to say and feel, and Ryan elevates that writing further still with her innately adult and emotionally resonant sensibilities. Also just a more fascinating time capsule, which is due for an update. The shops around the corner have made such a comeback after all.

And I know I’m not the first to say this but the internet really should have stopped here.

Is it overstating things to say A.O. Scott’s review of this is one of the very few culturally significant film reviews of the last 25 years?

When the aliens arrive, one of the films they’ll use to explain humanity. Unfortunately, it’ll just make them more confused. 

(Metrograph)

Fire alarm in the mall pushed us out the theater with minutes to spare,** so I’ll save a star rating for another time, but I am starting to think that “make it authentic!” is Eggers’s one real tool in the toolbox. Looked good, though. 

Has Aaron Taylor-Johnson ever been an asset to a movie?

(**got a refund + extra ticket so not a total loss) 

AMC Garden State 16

Not sure why we log this clear made-for-tv tv special on here, but I won’t deviate from the masses. It’s the greatest work of art in a visual medium with Christmas as its subject (Christmas it not the subject of it’s a Wonderful Life, but it’s better than that movie too). As long as we celebrate the holiday, it will endure, which gives me comfort as while Donald Trump will surely die, Charlie Brown will not.

Merry Christmas, ya’ll.

A bit like a Sturges or Altman. Just teeming with characters. Not all are equal, not all really need to be here. Yet here they are nevertheless, all just trying to get through the holiday.

Maybe I’ll upgrade to the 4K next Christmas. 

(DVD)

You couldn’t pay me to marry into that family

I have a new theory about Home Alone. The reason they hate this kid so much is because he’s not the child of both Mom and Dad. Kevin is actually the son of *drum roll*

THE PIGEON LADY. 

Remember when she and Kevin are in Carnegie Hall, and she’s talking about how she wasn’t always homeless. But “the man I was in love with fell out of love with me.”

And that meaningful look she gives Kevin when he asks if she ever had kids. 

Heard is that man. But he threw her out the house Tyler Perry style and left her for O’Hara, threatening more consequences if she ever tried to reach out to Kevin. Kevin symbolizes Heard’s previous life and they hate him for it. It’s why they always have to get away around the holidays, why they always leave him behind, and why Pigeon Lady has an immediate attachment to Kevin. 

O’Hara grew to care a little about Kevin after a while, perhaps just to prove to herself that she could. But Heard remains ashamed, hence his emotional distance.

Merry Christmas Eve.

Ahhh cable, we reunite once more. 

I suppose, for many ppl of my gen at least, that this is a “classic.” For John Williams’s twinkly score, for the above-and-beyond professionalism of Harris, Smith and Rickman. For how Robbie Coltrane says “Yerrr uh wizard, ‘arry.” I’m particularly taken with the way John Hurt’s wand-maker leans into that line reading of “Terrible…yes… But great.” There are more stakes in his awe-struck remembrance of Voldemort’s gifts than in anything else the movie offers. Among the child performers, Tom Felton seems most able to actually act. 

Otherwise, as far as copy and paste book adaptations go, it’s fine. But I cannot believe HBO or Max or whatever wants to run all this back with MORE oversight from J.K. Rowling.

God I’m just remembering that every adult actor I mentioned is now deceased. So much of the magic of this world belongs to them.

‘07 was such a good year for American film that even an ostensibly “shitty” movie like this is pretty good. Kind of Michael Bay’s Gremlins, set during the summertime, and if Gizmo had an army. Appreciated Bay’s attempts at Amblin Entertainment humor (the bots sneaking around the backyard is as light as he’s ever been), and majority of the cast is very game, Shia and Turturro especially. That man is a treasure. 

Also these effects look better than 90% of what the industry puts out these days. Top tier Bay.

When I tell you I could not have cared less about Gerwig making a movie out of this story. But sometimes you have to admit when a person has the juice. Even if it's not a flavor you grew up on.

I do find the movie a sort of commentary on the sad state of American screen acting. An American filmmaker takes on an American text about four American girls and not one is played by an actual American (though I'm aware Emma Stone had to drop out of the Watson role). Streep and Dern are the matriarchs, but the next generation of major screen acting seems dominated by the non-Americans.

Sorry, ya'll, outside of his perfect role in Lady Bird, I'm not fully convinced by Timmy.

(Hulu)

Might be a new Christmas fav. The cut to the gremlins going both Jane Fonda and break dancer while wearing leg warmers set to that “Mega Madness” song is peak comedy. And THEN we get to the Santa monologue. Amazing.

(Max)

There's a drowning motif throughout this movie, which feels appropriate. That's the vibe I get whenever a distinctive filmmaker enters Disney World. A drowning. A suffocation of the individual's voice. Here the sensation is especially sad as I can can almost see Barry and his crew gasping for air, can see them try to assert their voices, to fight against the swift and aggressive and oh so formulaic current of the overall schema. Sometimes, in the patient fluidity of a camera move or in the tight close up of a face, Barry's own face pokes above the surface, though his portraitures in service of CGI lions has never made his signature move feel so gimmicky, and that's tragic in and of itself. I did not see the previous Lion King or The Jungle Book, so I can't say how much better this looks, but there were some genuinely pretty images. But the enterprise itself is anathema to my moviegoing sensibilities as the second a human voice came out of an emotionless lion face I laughed.

But that's not on Barry J. He is one of our greatest working filmmakers, and I will follow him to the ends of the Earth, even into the hungry maw of the Mouse. And I won't blame him if he names his new vacation home Mufasa.

(Alamo Drafthouse, which owes me a refund as the footage sputtered more than once)

It’s probably not better than In the Mood for Love, but I did find this more intriguing to watch. And I almost wish Wong hadn't made this a direct sequel. Leung's character plays to me more like an echo or doppelgänger of his character in the previous film rather than the same dude.

Idk. Could see this coming together or splintering further apart with more viewings. Will have to return to 2046 soon.

Maybe too mean and curt to be a perennial holiday watch? But very much my shit. I could've watched this dude roam 1960s Christmas-set NYC for hours.

Other than Black Panther, probably the best MCU movie, and maybe the easiest to watch, with much better action sequences than BP to boot. Less thematically complex, but not dumb. And people may forget how in her bag Scarjo was at this time in her career (say 2012-2014), but I haven't. She's effortlessly charming and sharp, like a royal saber.

But can we talk about how Sam Wilson recommends Marvin Gaye's Trouble Man album to the Captain as the album that will explain "everything he missed." Leaving aside the numerous other albums he could have recommended, the wrongness of an album full of funk instrumentals in comparison to Gaye's own What's Going On (it's in the title!) is so loud and obvious that it must be some kind of in-joke. Or they just really wanted to play "Trouble Man" on the soundtrack. Which, great song. But come on.

(disney+)

I'm gonna need at least five movies like this a year. We're not "so back," but God is Jaume Collet-Serra doing his very best to get us there. Best Christmas movie since... Idk Little Women?

I HATE that this won't play in theaters while that 250 million dollar lump of coal Red One takes up noxious space.

I think it’s a bit sad that this is one of Antonio Banderas’s only good US roles the whole millennium. 

Wild O.J. joke.

“Next year all our troubles will be miles away.”

How I wish it were so, Judy.

Duvall - “Charlie don’t surf!” 

Friend - “This is real cinema!” 

Me - *nods enthusiastically*

*Fishburne massacres boat*

Friend - “This is terrible! Why does there have to be war?!” 

Gf - “I knew after the helicopter scene that this would be terrible.” 

Love when The People react strongly to a personal top 10er. 

(Blu ray)

More a good tv movie than a good movie. But as a "tier one" Christmas movie (hear me break down the tiers for NPR), this is one of the less insufferable creations of the millennium. I like Allen and Eric Lloyd more in this one than the first film (where Allen was too smug and young Lloyd relentlessly cloying). Allen's romance with Elizabeth Mitchell is sweet, if rushed (though that's part of the narrative), and they sound like real adults talking to each other. A high bar these days.

And I kind of love the Fascist Santa B plot. Even the North Pole isn't immune to the times. And he's AI so it's even more timely.

No need to belabor how perfunctory Columbus's direction is, how hateful the characters are up and down the cast (the neighbor is more device than actual "character"), or how there's a reason they cast Culkin in this movie.

This is just straight up boring until the movie turns into stand-your-ground propaganda. Up until then the highlights are... *checks notes* bullying a pizza delivery guy for no reason with a loud TV (umm ok), Culkin smacking his hands to his face and screaming, and a talking furnace?

Ah yes, Culkin smacks his hands to his face and screams twice.

Remake this shit and make either the robbers or Kevin Black, then move the setting downtown. And offer it to Lee Daniels. He I think could tap into (and get carried away with) the cruelty at the heart of this movie, which uses its treacly Christmas sheen as a cover.

One of the great movies about how who you are, where you are, and when you are all seem to be conspiring together to keep you down. To say nothing of who you're with.

Gf and I talked afterwards about what it can take to break free of a toxic relationship. We thought of our friends, ourselves. It's never a simple answer, and never just the one thing. And it probably didn't need to happen the way it did. That it happens at all is another example of various forces conspiring, but to hurtle you towards your next destination.

(Suns Cinema)

Alfonso Cuarón's intervention into this series should have brought him enough cultural cache to bankroll every future project of his for the rest of his life.

Really wacko story from Rowling, though. This dude was living as a rat in Ron's family the whole time?

I'm going to try not to hold its Marvel-ness (you know all that I mean) and Martin Freeman's faux-American against it (perhaps they knew having a British agent helping out an African nation would just be too much to handle).

So rich and complex, its multifaceted poignancy the shame of a nation and an industry. A tragedy of the irreconcilable divides among the Black diaspora -- cultural and historic-- of Black futures both imagined and never realized. Killmonger is the only good Marvel villain and a couple moments of his make me tear up every time.

Lupita in that green dress is one of the greatest things I've ever seen. All hail Queen Ruth Carter.

Don't really agree with the lessons of this movie, but it is funny. Everyone else around the main kid is being an asshole to each other, but because he throws away a letter to Santa it's HIS fault evil Santa and his minions send the kid and his family to Hell? Lol.

I'd be willing to see the filmmakers give Krampus 2 a try. Feel like this is almost something good. Scary Jack-in-the-box creature.

After watching the ghoulish Family Stone, this was like a smooth glass of spiked eggnog.

And yet, I think I liked it less than the first time I saw it back in 2013, when I was just really grateful to hang around with the gang again. I forgot how STUFFED this joint is. Two ppl with financial problems. A death (by cancer!) AND a childbirth in a speeding car. TWO fights! It's a whole lot of sitcom-lvl shenanigans, probably more than it needed. The comedy felt more forced on this watch. That Nia Long laugh that goes on far too long. The nervous Taye Diggs shtick that could have been dialed back. The cast in general is on unequal footing. Perrineau has always been a weak link for me. And the way Chestnut plays his GOD. FAMILY. FOOTBALL thing is borderline creepy. His smiling stoicism comes off as villainous sometimes. And when the time comes for his big emotional scene. Well.... let's just say if you told me that was the first time Chesnut ever had to cry for a scene, I would believe you.

Howard, so sexy and edgy in the first one, remains a highlight, but the movie often indulges him a bit too much than fully deserved. Howard's not inherently funny, but you can tell he thinks he is. Hall is the most natural at the emotion and the comedy and I wanted more of her.

The quieter emotional beats remain pretty strong. Long is very good in a scene with Monica Calhoun, who is totally persuasive throughout, even when her most important contribution to the story is willing her husband to score some touchdowns. There's a warmth and dignity about her that can't be faked.

What else can't be faked? Having a cast that actually likes to be around each other. A lot of movies like this feel like hostage situations (again, looking at you, Family Stone). This feels like how it should be: a reunion, if an especially ridiculous one.

Shame about the R. Kelly track, though.

(Watched in two parts on a trip back from St. Croix, where I met a legit former NFL player at a wedding)

I feel deeply mistreated so I can only imagine how SJP felt. Love the inclusion of the interracial gay couple (who never once kiss on screen) as some marker of this family's progressiveness, as if this family didn't all vote for Trump this election.

This movie seems to come from some deep contempt for the holidays, to say nothing of a deep contempt for the screenwriting and character- building process. I assume I was supposed to laugh at certain points, as the film is billed as a "comedy-drama." But mostly I wanted to run and hide.

At least Rachel McAdams and Claire Danes looked good.

Hadn't seen it since it came out. I remember thinking the sequence when Voldemort is going berserk and killing everyone in the bank, intercut with our Trio gasping for air in the water, was pretty good shit. And that everything else was boring as hell.

Mind hasn't much changed. Plays more like a hyper-extended series finale. Drab, monotonous color palette, chaotic, repetitive battle scenes (Oh look, Voldemort and Harry are shooting different color wand energy at each other again). Bad Neville speech.

But besides the LOTR gang, I do think the grownups here really set an as yet unsurpassed bar for screen actors being able to sell nonsense actions and words, with Fiennes at the head of the pack. His dramatic impact cannot be overstated. It's kind of a tour de force.

In fact, I'm not sure American actors have recovered since HP. Too many of our folk hail from Planet California or the land of New York, and they can't hide it. Today's industry often requires those who can perform gibberish with conviction, elegance, beauty. Americans might just be better at embodying gibberish.

I like this one quite a bit. Probably the second best after Cuarón‘s. No longer beholden to the formulaic structure of Rowling's previous books, Yates and company get to venture out into the big scary world.

Befitting a "Part 1," there's no catharsis in that world, but I found that compelling and even bold here, not merely a cash grab. This movie has a totally different rhythm and tone from the other ones. It deglamorizes heroism. Makes it bleak, ugly, even boring. Hope is in short supply, and the dearth carries substantial emotional weight.

And Dobby's death scene, as acted and scored (thank you, Desplat), is the most poignant scene in the whole franchise in my book (it was the most powerful death in the Deathly Hallows book as well).

Perhaps most of all, these films have reminded me that once upon a time the franchise makers thought a film should actually look like a film and not a screensaver, videogame or Hulu ad.

Let Bruno Delbonnell shoot Wicked Part 2 and pay him 100 million dollars.

Is there a single comedian you'd want to be friends with

- “Not the worst movie ever but it’s an evocation of the meaningless of everything not even Camus could wrap his head around.” 

- “It would kill Camus.” 

While Scott and I continue to workshop our culture podcast, check out his Seattle politics podcast for KUOW.

Crazy how Woody and company achieve in under 2 hours what even great shows need multiple seasons to do. 

Gf not in love with the Woody persona, though. Understandable. But I do think this is the most poignant he ever made it.

(DVD)

I never feel a need to return to any of these, but when cable just puts one in front of you it's easier to give in. And I must say, it was nice to revisit Hogwarts. For one, unlike the other magical university of the moment, it actually seemed like a real place, with real students and teachers and things happening all throughout the frame. That TERF Rowling really did create a rich world didn't she, and Order's tale in particular is pretty potent. Surveillance states. A so-called news org acting as the arm of a would-be autocrat. State meddling in education. Policy and social reform as a mask for basic cruelty (appreciated the aside that Dolores Umbridge also banned male and female students from walking too close to each other; even in this world the bad guys want to repress sexuality).

And beyond the fact that the storytelling and editing feels so patient and purposeful compared to the big-budget fuckery we have now, this movie looks SO GOOD. I thought those ripe green and yellow hues looked familiar, the particular way light illuminated the actors' faces. Sure enough, freakin' Sławomir Idziak shot this thing. Trying to imagine the cinematographer of Black Hawk Down and Three Colors: Blue finding a place in today's blockbuster landscape. But what a difference it makes. An early scene of wizards flying over the Thames as the windows from Westminster Hall glow like lanterns in the night. I almost gasped.

I searched what other cinematographers worked on a Harry Potter flick. Eduardo Serra! Bruno Delbonnel! Bruno even got himself an Oscar nomination for Half-Blood Prince.

Reliance on digital effects are of course there but not suffocating, and more often going for wit and wonder than bombast. You could tell the legacy of LOTR still loomed large. There's no "well that just happened" tone here. Magic is weird and cool and intimidating and wondrous, and characters react accordingly.

There are many things to conclude about how we went from this to Wicked (35mm FTW), but my biggest takeaway at the moment is that the industry just straight up used to care more than it does now.

Gordon Willis must have Kristi Noem’d the pets of Academy voters. No other explanation for his lack of a competitive Oscar.

On the one hand this movie doesn’t thrill me like it used to. On the other hand I wouldn’t trade the baptism massacre for some entire film years. 

Hope everyone’s having a nice Thanksgiving. 

(AMC)

Probably depended too much on comfort watches this year (but can you blame me). Will try to explore more new worlds in 2025.

Happy New Year, folks.

1. Werckmeister Harmonies

   Darkness, visible.

2. Nostalgia for the Light

   They burnt a corpse upon the sand
   The light shone out afar

3. PlayTime

   I see it everywhere I look now.

4. First Man

   Men? Still not OK. But occasionally extraordinary.

5. The Cave

   Essential dispatch from before Assad's fall.

6. Targets

   See #7

7. Peeping Tom

   Men are not OK

8. Victims of Sin

   Thank you, Criterion

9. Middle of Nowhere

   I appreciate what Ava produces for The People, but I appreciate her art more.

10. I Saw the TV Glow

    Flaws and all, the 2024 release I've seen that I've thought about the most.

I just noticed that with my rather unremarkable yet earnest "review" of Shrek 2, (good movie!), I have now reached 1,000 reviews on Boxd. So I clearly spend too much time on here. But given that it is the only good social media we have, I'm not too bothered by that. Here's to the folks who make it so.

And as Dec 20 marks the 50th anniversary of The Godfather: Part II, and the nation on the verge of a bigger and badder presidential sequel, here's a list of my 10 favorite sequels, in alphabetical order (2's only; no threequels or fourquels).

Honorable Mention: Blade II, Dawn of the Dead, X2: X-Men United, Spider-Man 2, Before Sunset

Dishonorable Mention: Space Jam: A New Legacy, Wonder Woman 1984, Gladiator II, Book of Shadows: Blair Witch 2, Home Alone 2: Lost in New York 

• Aliens
• The Bourne Supremacy
• The Dark Knight
• The Empire Strikes Back
• The Godfather Part II
• The Look of Silence
• The Lord of the Rings: The Two Towers
• Magic Mike XXL
• Terminator 2: Judgment Day
• Toy Story 2

In alphabetical order, 25 of my favorite film scores, scores I can, and often do, listen to divorced from the films themselves (indeed a couple of these movies wouldn't be much without them).

HM: The Piano, Schindler's List, The Dark Knight, WALL-E, The Last Samurai, Michael Clayton, The Curious Case of Benjamin Button, Double Indemnity

• The 400 Blows
• Anatomy of a Murder
• The Assassination of Jesse James by the Coward Robert Ford
• Brokeback Mountain
• Chinatown
• Close Encounters of the Third Kind
• Defiance
• Elevator to the Gallows
• E.T. the Extra-Terrestrial
• Finding Nemo

...plus 15 more. View the full list on Letterboxd.

Top spot goes to the one I've watched the most. Bottom spot goes to the one that risks and imagines the least.

1. Aliens
2. Alien
3. Prometheus
4. Alien Resurrection
5. Alien³
6. Alien: Covenant
7. Alien: Romulus

• Killers of the Flower Moon
• Oppenheimer
• Past Lives
• Anatomy of a Fall
• The Zone of Interest
• Barbie
• Poor Things
• Maestro
• The Holdovers
• American Fiction

An Ode to the man with many movie ideas, but few about humans. A mathematician as would be artist. Which makes his best film a real breakthrough.

1. Oppenheimer
2. Memento
3. The Dark Knight
4. The Prestige
5. Interstellar
6. Inception
7. Dunkirk
8. Insomnia
9. Batman Begins
10. Following

...plus 2 more. View the full list on Letterboxd.

Ten Fav Performances From The Mad King

1. Jerry Maguire

   The best Cruise. The Cruisiest of all.

2. Magnolia

   We now live in a world of Frank TJ Mackeys

3. Collateral

   "Yo homie. That my briefcase?"

4. Born on the Fourth of July

   Should have been his first Oscar. Wild how many notes Cruise could once play if given the chance.

5. Interview with the Vampire

   Pitt seemed legitimately flummoxed by his inability to match Cruise's zeal

6. War of the Worlds

   His most human performance of the millenium to date. Same year as The Couch.

7. Minority Report

   A great avatar for the future. There's always been something a bit post-human about him. His single-mindedness is scary, then painful.

8. A Few Good Men

   DID YOU ORDER THE CODE RED

   Cruise > Nicholson

9. The Color of Money

   i say again. SWAGGER. AH-HOOO

10. Top Gun

    Has to be here. The swagger. The shades. The smile. The playing volleyball in jeans. The weird line delivery ("That'sRIGHT...ice......man. Iamdangerous"). Supernova star power.

1. The Wolf of Wall Street
2. Once Upon a Time... in Hollywood
3. The Departed
4. Django Unchained
5. Shutter Island
6. What's Eating Gilbert Grape
7. Blood Diamond
8. The Aviator
9. Titanic
10. Catch Me If You Can