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                        | #140 | THE MAN WHO WOULD BE KING (1975) |  
                        |  | CASTMICHAEL CAINE, SEAN  CONNERY, CHRISTOPHER PLUMMER
 DIRECTED BYJOHN HUSTON
 A unique movie  experience, brilliantly brought to life by legendary director John Huston and  starring the equally legendary duo of Michael Caine and Sean Connery, The Man Who Would Be King contains the type of old school, epic,  and above all entertaining movie making that has sadly gone astray over the  last few decades.  Featuring  mesmerising locations, great cinematography, excellent set design and costume,  hundreds of extras and a riveting screenplay by Huston and Gladys Hill, The Man Who Would Be King is a fun and  wild adventure movie that focuses on two former British soldiers who set  themselves up as deities in a faraway foreign land where old testament style  customs still reign supreme.  The chemistry  between Caine and Connery is electric, with the charm and humour that both men  possess shown in spades throughout the film. It is of much wonder as to why  they never reunited, since they had the potential to be the UK equivalent of  Paul Newman and Robert Redford. Alas the pair had this one film, and what an  excellent film it is.     
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                        | #139 | THE INTOUCHABLES (2012) |  
                        |  | CASTFRANCOIS CLUZET,  OMAR SY, AUDREY FLEUROT, ANNE LE NY, CLOTILDE MOLLET
 DIRECTED BYOLIVIER NAKACHE,  ERIC TOLEDANO
 A worldwide box  office hit with good reason, The Intouchables is the kind of feel-good movie where the quality matches the sentimentality.  As directed and  written by Olivier Nakache and Eric Toledano, this stirring true story of a  quadriplegic aristocrat (Francoise Cluzet) hiring and befriending his live-in  caregiver (Omar Sy) from the wrong side of the tracks, is one filled with electrifying  chemistry between its leads, heartfelt emotion and an infectious sense of  humour.  Above all it speaks  to the power of friendship overcoming obstacles of class and race. Placed in  another filmmakers hands such a premise could be disastrous. Yet Nakache and  Toledano never let it be so, delivering a film of towering emotional power and  equally fantastic performances.      |  
                        | #138 | TOY STORY 3 (2010) |  
                        |  | CASTTOM HANKS, TIM ALLEN, NED BEATTY, JOAN CUSACK, MICHAEL KEATON, DON RICKLES
 DIRECTED BYLEE UNKRICH
 It takes a special  movie to make grown men weep like babies, yet such is the power of Toy Story 3, another jewel in the crown  of animation kings Pixar studios.  Essentially a  prison escape caper, the film continues the adventures of Woody, Buzz and the  rest of the gang as they deal with saying goodbye to their college bound human  playmate, while stuck in a day care centre run by a power mad teddy bear (Ned  Beatty).  Following the  exceptional Toy Story 2 some eleven years after was never going to be an  easy task, yet Pixar pulled off the impossible and created a thrilling, funny,  and immensely touching story about letting go and moving on, capping off what  has to be one of the great trilogies to grace the silver screen.     |  
                        | #137 | MOONRISE KINGDOM (2012) |  
                        |  | CASTRALPH FIENNES, F. MURRAY ABRAHAM, ADRIEN BRODY, WILLEM  DAFOE, JEFF GOLDBLUM, JUDE LAW, EDWARD NORTON, SAOIRSE RONAN
 DIRECTED BYWES ANDERSON
 Wes Anderson’s best  work yet, Moonrise Kingdom displays a  strong heart and offbeat spirit in this 1960s set film about conviction in  youth, bitter adulthood and honour amongst scouts. Set in the  fictional remote community of New Penzance Island, the film focuses on the  young love romance of spectacled Boy Scout Sam (Jared Gilman) and troubled Suzy  (Kara Hayward). When they runaway together it’s up to sad sap police captain  Sharp (Bruce Willis in excellent form), scout master Ward (Edward Norton) and  Suzy’s parents Walt and Laura (Bill Murray and Frances McDormand) to bring them  back home while they deal with their own problems. Filled with the  usual Anderson traits of exceptional costume, set design and whimsical  eccentricity, Moonrise Kingdom also  has a genuine charm and big heart that is driver by Anderson’s love for his  characters, and the love those characters have for one another.      |  
                        | #136 | THE TRUMAN SHOW (1998) |  
                        |  | CASTJIM CARREY, NOAH  EMMERICH, PAUL GIAMATTI, ED HARRIS, LAURA LINNEY, NATASCHA McELHONE
 DIRECTED BYPETER WEIR
 Perhaps as  prophetic a film as there is, The Truman  Show opens on day number 10,909 in the life of Truman Burbank (Jim Carrey),  a 30-year-old insurance salesman oblivious that his whole life has been on show  for the adoring masses glued to their TV screens 24/7. Yes, it is “Reality  TV” that director Peter Weir and screenwriter Andrew Niccol are commenting  about here…a year before the first Reality TV show “Big Brother” made its  debut! Brilliant in its observations and satire, Niccol’s sharp, funny and  poignant script also asks many strong theological and existential questions  resulting in one of the best thinking man movies delivered from the Hollywood  machine. Masterfully crafted  by Weir (who returned from a five-year absence), The Truman Show also features a revelatory performance from Jim  Carrey who simply dazzles in his first dramatic role.       |  
                        | #135 | MEAN STREETS (1973) |  
                        |  | CASTHARVEY KEITEL, ROBERT DE NIRO, DAVID PROVAL, AMY ROBINSON, RICHARD ROMANUS
 DIRECTED BYMARTIN SCORSESE
 Martin Scorsese’s first  foray into urban crime storytelling, Mean Streets was  an immensely personal project for the famed director with crime, religion and  identity clashing to make a one of a kind gangster movie.  Harvey Keitel  delivers a memorable leading turn as conflicted mobster Charlie, who is torn  between his dedication as a practicing Catholic and his profession as a  gangster. Yet it is Robert DeNiro who turns heads with his performance as the  unpredictably dangerous Johnny Boy, setting the stage for a career filled with memorable  performances especially under the direction of Martin Scorsese. To be watched alone  for DeNiro’s swaggering entrance to the sounds of the Rolling Stone’s “Jumpin  Jack Flash”, this gritty and raw predecessor to Goodfellas is essential  viewing for crime movie buffs and general lovers of cinema.        |  
                        | #134 | CARLITO’S WAY (1993) |  
                        |  | CASTAL PACINO, SEAN PENN, PENELOPE ANN MILLER, JOHN LEGUIZAMO,  INGRID ROGERS, LUIS GUZMAN
 DIRECTED  BY BRIAN DE PALMA
 The reunion of Scarface pair Al Pacino and  Brian De Palma resulted in a much less heralded yet overall better film, with Carlito’s  Way a heartbreaking,  stylish portrayal of ex-gangster Carlito Brigante (Pacino) trying to walk away  from a life of crime only to get pulled back into an increasingly violent world  at every turn.  Based on the novels  by popular crime fiction author Edwin Torres, the film features one of the best  turns in Pacino’s storied career, not to mention an unrecognizable, out of this  world turn from Sean Penn as a shady lawyer with one bad perm. Excellent set  pieces (a thrilling shoot out at Grand Central Station is a hoot!) and haunting  score by Patrick Doyle round out an exceptional neo-noir gangster film of  little equal since its release.        
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                        | #133 | 
                          SEVEN (1995)
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                        |  | CASTMORGAN FREEMAN, BRAD PITT, R. LEE ERMEY, GWENYTH PALTROW,  KEVIN SPACEY
 DIRECTED  BYDAVID FINCHER
 One of the best  serial killer movies of all time and the greatest buddy cop movie of all time  (think about it), Seven stars Morgan Freeman and Brad Pitt as two  mismatched detectives on the trail of a killer with a taste for the  theatrical, and the works of Dante for inspiration.
 Perhaps most important  is that Seven gave us the first classic from master  filmmaker David Fincher, who bounced back from the critically panned Alien  3 with a crime thriller that has seared the minds of film fans  everywhere, with its intelligent mystery and soul crushing conclusion.
 With an uncredited  Kevin Spacey delivering chills as the murderous John Doe, and an ending to end  all endings embedded in pop culture lore, Se7en is an undeniable masterwork of visual  and thematic power.       |  
                        | #132 | THE SOCIAL NETWORK  (2010) |  
                        |  | CASTJESSE EISENBERG, ANDREW GARFIELD, ARMIE HAMMER, RASHIDA JONES, ROONEY MARA, MAX  MINGHELLA, JUSTIN TIMBERLAKE
 DIRECTED BYDAVID FINCHER
 Featuring the  combined talents of filmmaker David Fincher and scribe Aaron Sorkin, The Social Network is a slick biopic  that delves into the birth of Facebook and the lives of its creators: angry  young men with a need to belong, that would go on to change the social  landscape of a whole generation.  Initially scoffed  at as “that Facebook movie”, The Social Network surprised many with its astute  character study of young entrepreneur Mark Zuckerberg (Jesse Eisenberg) who  with his innovative social media hub not only changed the way we communicate  (for better or worse), but also turned social media ventures into a billion-dollar  industry.   The fusion of Fincher’s  digital sheen precision filmmaking, Sorkin’s rapidfire dialogue, and the  undeniably infectious score from Trent Reznor and Atticus Ross created a biopic  for its time that would no doubt be timeless.         |  
                        | #131 | 12 ANGRY MEN (1957) |  
                        |  | CASTHENRY FONDA, LEE J. COBB, JACK WARDEN, ED BEGLEY, E.G.  MARSHALL
 DIRECTED  BYSIDNEY LUMET
 As far as directorial  debuts go, Sidney Lumet’s work on the influential 12 Angry Men is one of the best.  A stirring  courtroom drama which looked at the ease in which man can slip into prejudice, 12 Angry Men focuses on twelve jurors  debating the innocence of a teen accused of murdering his father. What erupts  is a passionate debate that delves into justice, stereotype and discrimination,  and doing so with a keen intelligence and absorbing drama.   Henry Fonda  provides the films moral centre as the juror who presses the need for more  debate, Lee J. Cobb produces the heavy emotion as a man who must deal with his  embedded prejudice, and Lumet captures it all to make thrilling, timeless  cinema.       |      |  |