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                        | #130 | THE TEN COMMANDMENTS (1956) |  
                        |  | CASTCHARLTON HESTON, ANNE  BAXTER, YUL BRENNER, YVONNE DE CARLO, JOHN DEREK, DEBRA PAGET, EDWARD G. ROBINSON
 DIRECTED BYCECIL B. DEMILLE
 As directed by the  king of Biblical epics Cecil B. DeMille, The  Ten Commandments is a suitably grandiose (in every manner of the word)  retelling of the Exodus story as told with all of the might and craft of   1950s golden  age Hollywood. Charlton Heston  stars as Moses, a prince of Egypt banished after he learns of his true heritage  as a Hebrew. In exile he is charged by God to free his people from the tyranny  of the Pharaoh Ramses (Yul Brenner) and lead them to the promised land.    Both Heston and  Brenner deliver muscular performances perfectly suited to the films tone, where  large sets, bombastic score and untouchable costume design displayed the best  of its filmmaking kind.        
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                        | #129 | 
                          ATONEMENT (2007)
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                        |  | CASTKEIRA KNIGHTLEY,  JAMES McAVOY, BRENDA BLETHYN, BENEDICT CUMBERBATCH, ROMALA GARAI, SAOIRSE  RONAN, JUNO TEMPLE
 DIRECTED BYJOE WRIGHT
 An extremely  well-crafted and emotionally rich story of love, tragedy and war, Atonement is also a calling card of sorts for a cast of  (then) young talent (James McAvoy, Saoirse Ronan, Benedict Cumberbatch) who  would go on to make their mark. Its story of two  impassioned characters (Keira Knightley and James McAvoy) who are forever torn  apart by the selfish jealousy of another (Saoirse Ronan in her first Oscar  nominated role), is one filled with raw emotion and is flawlessly performed as  such.  Yet above all Atonement established  Joe Wright as a director of impeccable visuals who is also able to draw out  emotionally strong performances from his actors.  A mesmerizing tracking shot set on Dunkirk (France) beach, which  contains thousands of extras and small touches of CGI (no doubt) to enhance the  effect, is not only one of the best scenes of that year, but one of the best of  the decade.       |  
                        | #128 | MIDNIGHT COWBOY (1969) |  
                        |  | CASTDUSTIN HOFFMAN, JON  VOIGHT, BARDNARD HUGHES, JOHN McGIVER, SYLVIA MILES, BRENDA VACCARO, RUTH WHITE
 DIRECTED BYJOHN SCHLESINGER
 While many point to Easy  Rider as the film that put the end to the classic Hollywood studio  structure, Midnight Cowboy was the  immensely better film of the two that snagged the Oscar for Best Picture and ushered  in a new age. Starring Jon Voight  in his breakout role as Texas hustler Joe Buck and Dustin Hoffman as the  decrepit conman Enrico ‘Ratso’ Rizzo, this John Schlesigner directed film  follows the unlikely pair as they try to survive the seedy underbelly of late  1960s New York City. Schlesigner suitably  made as gritty and grimy a film as possible, yet from such darkness comes a  story of true friendship as portrayed by two gifted actors, Hoffman  particularly memorable as the shuffling, grubby, yet all too endearing Ratso.     |  
                        | #127 | ONCE UPON A TIME IN THE WEST (1968) |  
                        |  | CASTCHARLES BRONSON,  CLAUDIA CARDINALE, HENRY FONDA, JASON ROBARDS, GABRIELE FERZETTI
 DIRECTED BYSERGIO LEONE
 Iconic director  Sergio Leone’s best film (yeah, I said it!), Once Upon a Time in the West is a landmark operatic western that  builds upon his work on the Man with No Name trilogy, and then  elevates it to another level.   An epic tale of  revenge (and some really cool leather jackets), the film centres on new bride  Jill (Claudia Cardinale) who is targeted by sadistic outlaw Frank (Henry Fonda  taking on a rare villainous role) for refusing to sign over her land to a railway  company. Notorious bandit Cheyene (Jason Robards) and a mysterious harmonica playing  gunslinger (Charles Bronson) come to her protection. Needless to say  “there will be blood” as short bursts of violence are peppered throughout a  film that while low on dialogue is high on imagery, excellent set and costume  design, and a score by Ennio Morricone that gives credence to his legendary  reputation.        |  
                        | #126 | NETWORK (1976) |  
                        |  | CASTFAYE DUNAWAY, PETER FINCH, HENRY FONDA, ROBERT DUVALL, NED  BEATTY
 DIRECTED  BYSIDNEY LUMET
 Directed by the  late, great Sidney Lumet and written by the legendary Paddy Chayefsky, Network is a prophetic examination  into the ethical principles of television that is made all too real for today’s  times.   Headlined by an  all-star ensemble, the film looked at the how the on screen breakdown of a  celebrated TV reporter (Peter Finch in his Oscar winning role) transformed a  struggling TV station into an overnight sensation, and would go on to turn  television into an exploitative and manipulative device of low moral standard. Faye Dunaway,  William Holden and Robert Duvall are all aces here, yet it is Finch as the  evangelical booming voice of maddening reason demanding his viewers to cry out  “I’m mad as hell, and I’m not going to take it anymore!” that will best be  remembered from a film that deserves to be seen again and again.           |  
                        | #125 | BACK TO THE FUTURE (1985) |  
                        |  | CASTMICHAEL J. FOX, CHRISTOPHER LLOYD, LEA THOMPSON, CRISPIN  GLOVER, THOMAS F. WILSON
 DIRECTED  BYROBERT ZEMECKIS
 The brainchild of  producer Steven Spielberg and director Robert Zemeckis, Back to the Future endures not only as a pop culture icon  but a great sci-fi adventure. Its engrossing and  entertaining story centres on prideful teenager Marty McFly (Michael J. Fox)  who travels back to 1955 in a time travelling DeLorean created by wacky  scientist Doc Brown (Christopher Lloyd), and inadvertently prevents his parents  from getting together, thus placing his own existence in jeopardy.      High stakes are  placed on McFly’s time travelling escapades with every action on his part  garnering a reaction (as seen in its two sequels), yet Zemeckis fills the drama  with infectious fun and spirit. Then there are the performances by Fox, Crispin  Glover at his eccentric best and Christopher Lloyd as everyone’s favourite mad  scientist. ‘80s sci-fi adventure at its best.       |  
                        | #124 | GHOSTBUSTERS (1984) |  
                        |  | CASTDAN AKROYD, BILL MURRAY, HAROLD RAMIS, ERNIE HUDSON, RICK  MORANIS, SIGOURNEY WEAVER
 DIRECTED  BYIVAN REITMAN
 The best  combination of spooks and laughs that you will ever find, Ghostbusters successfully juggles supernatural thrills  with witty comedy to make for always watchable movie that many have tried to  emulate yet none can match. Starring a career  defining Bill Murray, the film follows a group of unemployed parapsychologists  (Murray, Dan Akroyd and Harold Rammis) in their new business venture as ghost  removalists during a time of heavy supernatural activity in New York City. Conceived by Akroyd  (whose initial over the top first draft was taken down a few notches by  co-writer Ramis and director Ivan Reitman), Ghostbustersfeatures  excellent special effects (the sight of a giant Marshmallow Man still does  wonders), and brilliant performances from Harold Ramis, Dan Akroyd, Sigourney  Weaver and especially Bill Murray whose dry, improvisational style, made his  scientist turned ghosbuster Dr. Peter Venkman a joke cracking hero unlike no  other.       
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                        | #123 | 
                          REVOLUTIONARY ROAD (2007)
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                        |  | CASTLEONARDO DICAPRIO,  KATE WINSLET, KATHY BATES, KATHRYN HAHN, DAVID HARBOUR, ZOE KAZAN, MICHAEL  SHANNON
 DIRECTED BYSAM MENDES
 The reunion of Titanic pair  Leonardo Di Caprio and Kate Winslet brought with it a different kind of tragedy  in Revolutionary  Road.   Directed by Sam Mendes, this 1950s set drama centres on depressed  suburban couple Frank (DiCaprio) and April (Winslet) and their revolutionary  idea: a change of scenery  with a move to Paris, with April playing the breadwinner, while Frank uses his  time to find his goal in life. Excellent costume,  art direction, and a haunting score from Thomas Newman enriches the films  setting and themes. Yet it is DiCaprio and Winslet, two of the best in their  generation, that elevates Revolutionary Road as they strip away mind, body, and  soul to deliver exceptionally powerful and raw performances.        |  
                        | #122 | 
                          AMELIE (2001)
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                        |  | CASTAUDREY TAUTOU,  LORELLA CRAVOTTA, MATHIEU KASSOVITZ, SERGE MERLIN, CLOTILDE MOLLET, RUFUS
 DIRECTED BYJOHN-PIERRE JUENET
 An immensely  entertaining, visually extravagant, heartfelt story about a dreamer with a wild  imagination and a heart of gold, Amelie saw director John-Pierre Juenet return to French cinema after a brief liaison  with Hollywood and deliver his best work to date. Starring the  sublime Audrey Tautou as the title character, the film follows Amelie as she  finds her calling to help others through good deeds. However, when she falls in  love Amelie finds it hard to follow her own lead and fill her life with  happiness. An extremely  pleasurable film to watch, Amelie succeeds in being a quirky, surreal and cheeky comedy, filled with lush colours  and rich landscapes that create a bubbly atmosphere. Above all Tautou brings a  warmth that is simply infectious, resulting in a sweet feel-good movie without any  sickly side effects.       |  
                        | #121 | STAR WARS: THE  FORCE AWAKENS (2015) |  
                        |  | CASTJOHN BOYEGA, DAISY  RIDLEY, ADAM DRIVER, CARRIE FISHER, HARRISON FORD, DOMNHALL GLEESON, OSCAR  ISAAC, LUPITA, NYONG’O
 DIRECTED BYJ.J. ABRAMS
 A highly successful  throwback to the tone and quality of the original trilogy, Star Wars: Episode  VII – The Force Awakens saw director J.J. Abrams bring that midas touch that  relaunched the Star Trek series, to a galaxy far, far away. Set 30 years after  the events in Return of the Jedi, this latest and most excellent chapter in the Star Wars saga once again pits a rebel alliance against an evil empire, with  series veterans (Harrison Ford, Carrie Fisher) effectively passing the torch to  a new generation of galactic heroes and villains (Daisy Ridley, John Boyega,  Adam Driver). Impeccably crafted  with great cinematography,  production design, visual effects and especially editing, even more impressive  is Abrams understanding that a great Star Wars movie is not only about the whiz-bang  external stuff, but also about the soul in its classic riff on the eternal  struggle between the sides of light and dark (good vs evil) and the jubilant,  infectious spirit of its adventure.       |      |  |