Chinatown is the quintessential neo-noir picture. Everything about the film is meticulously crafted. It starts with Robert Towne's screenplay which is followed up with the exquisite cinematography and an unparalleled cast of Jack Nicholson, Faye Dunaway, and John Huston. The final line "Forget it, Jake. It's Chinatown" is unforgettable.

Vertigo is a technically, visually, psychologically, and brilliantly crafted neo-noir. All of the elements including acting, screenplay, in/exterior sets, fashion, sound, score, and cinematography come together so well, that it's a rare achievement. It exemplfies what a legendary director Alfred Hitchcock was and why his movies are constantly revered to this day. There's something about them that remains timeless.

Nobody played Philip Marlowe better than Robert Mitchum. It's just terrific writing. "This car sticks out like spats at an Iowa picnic." "She had all 'A's', none of them on a report card." "There was something about Abraham Lincoln's picture that loosened him up." "She gave me a smile I could feel in my hip pocket." "I'll bet you five dollars you can't find a state they're not wanted in." "$50, $10 extra if you bleed in my boat."

It goes without saying you'll never see anything like Blade Runner which is a Philip K. Dick adaptation just like Total Recall. What an amazing job by everybody for making it in 1981. It's a stunning accomplishment, indeed. The story is simple: Harrison Ford is a Blade Runner and his job is to kill robots, called Replicants, who have illegally come to Earth. That's the whole movie.

Can anything be more exciting than Cobra? It's maybe the most aesthetic neo-noir picture made. Sylvester Stallone has outdone himself this time by creating one of the coolest characters in movie history through Marion Cobretti, the pride of the Zombie Squad. He takes on an army of killers, saving the best for last with the Night Slasher in an epic fight at the foundry.

Indiana Jones is the most iconic character ever, and in the quest of history, he takes on a series of adventures in three outstanding films: Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade. They are a must-see for people of all ages because it's what movies should be about.

Because of the full range of colors, Bonnie and Clyde is a beautifully photographed film with impeccable acting performances. Warren Beatty and Faye Dunaway have chemistry that's impossible to duplicate. Their violent ending is unforgettable as well.

Full of iconic scenes and lines, Apocalypse Now is among the best of the decade as it tops madness with more madness. That's what the movie is all about: the exploration of insanity in the journey toward the heart of darkness. Making a case for the deterioration of Marlon Brando's mind may not be far-fetched, either.

The Godfather is a masterpiece with many big-time actors. There are numerous classic scenes, lines, and movie moments that make the whole thing unforgettable. Gordon Willis' cinematography is fantastic throughout, and that's why he has the moniker: Prince of Darkness. Marlon Brando's Don Corleone is the most imitated character of all time, and it's the beginning of Al Pacino's screen greatness.

"It's just you and me now, sport." Forget The Silence of the Lambs. Manhunter is the original. If you want to understand the word "genius," look no further than the "Moment of the Truth" scene when Will Graham began to figure out the identity of the killer. It's brilliant stuff. In reality, a serial killer can remain elusive for years. Logging hundreds of thousand hours, it only takes one trivial piece of evidence or sheer luck like a routine motor vehicle violation for the detectives to catch him finally.

A brutal British gangster masterpiece, Get Carter is that good and clever. The reason why it's so is that when the characters are introduced at the beginning of the film, little do I know they'll play an important role in the murder mystery. It's just that the plot takes time to thicken and...oh, how it thickens. This is Michael Caine at his finest.

When it comes to corruption among the boys in blue, Sidney Lumet was the master storyteller. Q&A is the third compelling movie in his oeuvre with Serpico and Prince of the City being the first two. Nick Nolte is a badass and uses his massive body size to tear up everybody. He's a force to be reckoned with.

Many films about the supernatural and telepathy tend not to work out, but Don't Look Now is heads and shoulders above them. It's a superb psychic thriller classic with a final chilling climax. The reason why is the terrific chemistry between Julie Christie and Donald Sutherland. The ten-minute sequence of them making love and getting dressed to go out stands as one of the best ever.

The Untouchables is an exquisitely shot picture. Two key scenes are the main reasons for its high replayability value. Also, a lot of it has to do with Kevin Costner, Billy Drago, and Robert De Niro for giving excellent performances. A much-deserved Oscar nomination went to the Costume Design team that's led by Marilyn Vance.

The definitive picture about female stalkers, Play Misty for Me, not the rip-off that's called Fatal Attraction, is one of the finest thrillers made. A lot of guys can relate to Dave Garver when dealing with an emotionally damaged female after a one-time fling. He's a hip deejay with an even-keeled temperament but is pushed to his limits before he can't take it anymore and is forced to be harsh with Evelyn who's dangerously psychotic.

Benefitting from Frank Darabont's well-written screenplay and powerful direction, Tim Robbins' and Morgan Freeman's performances help lift the film off the ground and let it fly like the human spirit. If anything, it's the Red's voice-over narration that makes The Shawshank Redemption so good. Roger Deakins' cinematography gives the film a special feel as it enters the classic territory.

If you want to see the best haunted house movie made, then make it Burnt Offerings. Karen Black is the show while Oliver Reed is magnificent. The final ten minutes is the very definition of the phrase: "The suspense is killing me." Because of the shocking ending, you'll go, "Damn," and then watch the movie all over again.

William Friedkin sure knows how to make exciting movies. There are many compelling elements in To Live and Die in L.A., and the biggest of them all is William Petersen's supercharged performance. Of course, Michael Mann saw so much talent that he had to have him again for Manhunter. Then, there's the young Willem Dafoe in a brilliant, chilling role as Eric Masters.

The Citizen Kane of horror films? You got that right. The genius behind a horror film, as evidenced in Don Siegel's Invasion of the Body Snatchers, is to make the world seemingly ordinary that's free of monsters, blood, gore, etc. Yet there's still something fundamentally wrong with the picture. That's why The Wicker Man succeeds, thanks to Anthony Shaffer's screenplay.

"Yeah. I killed my mama." In response to "How about those Bears?", Henry nonchantly says, "Fuck the Bears." Shot in 28 days under a budget of $110,000, Henry: Portrait of a Serial Killer is bar none the best in the serial killer genre. No other film comes this close. This is Michael Rooker at his chilling best. What a performance for him which is clearly off the charts.

Kathleen Turner. William Hurt. Body Heat. The sultry neo-noir of the decade. The best part is the cinematography. Of course, comparisons with China Moon with Ed Harris and Madeleine Stowe are easily made, but this is the original, being Double Indemnity of the 80's. William Hurt and Kathleen Turner are magnificent. Both have turned in outstanding performances throughout their careers, but they'll forever be remembered for Body Heat.

The performances, the conversations, the style, and the cult feel are what Pulp Fiction is all about. John Travolta is perfect. Uma Thurman is brilliant with him. Their dance scene is timeless. Samuel L. Jackson is special and has the most unforgettable scene of his career.

Seven is a brilliant neo-noir masterpiece. The story is captivating with a shocker of an ending. It's hard to overcome the exquisite cinematography which elevates the film as a whole. Brad Pitt, Morgan Freeman, Kevin Spacey, and Gwyneth Paltrow will be remembered for this forever.

Most films will tell a story in a linear fashion which goes from point A to B before coming to a predictable ending. But for The Limey, it's anything but. The editing is different and innovative. Although it's disjointedly told, the story is pieced together like a jigsaw puzzle. All over the film is the awesome style that gives it a lasting neo-noir stamp. Terence Stamp is Wilson; he's just perfect. Everybody else is brilliant, too.

Murder on the Orient Express is completely star-studded (twenty-nine Oscar nominations and nine wins including one honorary award), but nobody tops Albert Finney's performance. It's the only film adaptation that Agatha Christie was satisfied with, and she's most pleased with Finney's portrayal of the famed detective but didn't like his mustache.

The difference between Bullitt and most policiers is the no-frills, no-thrills old fashioned cop work. That's how Steve McQueen wanted it done. And the reward for sitting through Bullitt is to watch the greatest car chase ever put on film. The clash of personalities between Frank Bullitt and Walter Chalmers is gripping, too. What makes the former likable is his cool persona, and what makes the latter unlikable is his forceful insistence.

"You talkin' to me? You talkin' to me? You talkin' to me? Then who the hell else are you talking...you talking to me? Well I'm the only one here." A painful scene, indeed, but it's one of the most iconic ever. No question, Taxi Driver is a top three Scorsese film with a powerful Robert De Niro performance. The last twenty minutes is unpredictable.

Dirty Harry is an absolute first-rate picture, and there's no better character than Dirty Harry Callahan in the history of cop movies. Two men, an inspector and a killer who are polarizing figures, go against each other in a game of intrigue. Andy Robinson's Scorpio is among the greatest villains ever. Not to miss is the legendary scene of Dirty Harry giving his speech.

At the hands of master director John Carpenter, Escape from New York is one of the ultimate cult films. It's also a surreal futuristic flick with an all-time badass by the name of Snake Plissken whom Kurt Russell was born to play. All hell breaks loose in New York City when Snake meets unsavory, eerie-looking characters around the city and starts pissing them off which makes it a fun picture to watch.

The murder mystery genre fits Frank Sinatra like a glove. Hence, Tony Rome is a fantastic neo-noir picture with an excellent script. Wherever the titular character goes, people wind up dead. Joseph F. Biroc's photography of Miami, when it was a simple city once upon a time, and the Keys is a huge bonus. Then, there are the cars, the boats, the clothes, the clubs, and the hotels, making for a true time capsule.

Right from the get-go, the ominous feel of what's about to come is established, and the plot thickens every second throughout. Spencer Tracy is great as the one-armed stranger who shows up in a town that looks almost dead. There's a neo-noir quality about it because of the femme fatale, the sinister villains, the town's desolateness, and the suspenseful buildup toward the climax.

12 Monkeys is an unparalleled sci-fi thriller with strong performances by Bruce Willis, Brad Pitt, and Madeleine Stowe. Terry Gilliam's direction elevates it to another level. It's also a confusing movie to follow until the fatalistic ending that will clear up the mystery. What's impressive is the number of red herrings, including Brad Pitt's character, that put everybody on the wrong track.

If Gene Hackman was a bad dude in Unforgiven, he's an even meaner and more sadistic motherfucker in The Hunting Party. His character's message is pretty simple: nobody fucks with him or steals anything from him. It doesn't matter if he views his wife as mere possession. Do Brandt wrong, and he'll come at you with single-minded intensity. Yet it's Oliver Reed who steals the show.

The final film for Cabaret's director Bob Fosse, Star 80 presents a compelling story of how a Playboy Playmate of the Year named Dorothy Stratten was raped and murdered by her husband Paul Snider. Because of his "personality of a pimp," Eric Roberts is captivating and gives the performance of his career.

Much in the mold of Heat, Thief is a fantastic neo-noir caper picture that features an outstanding performance by James Caan. One of the best scenes of all time is his conversation with Tuesday Weld at the diner. He has admitted to being very proud of it.

Al Pacino gives one of the finest performances of his career as Frank Serpico, a real-life NYPD cop who defied a corrupt system. Director Sidney Lumet shoots the film in docu-realism by going inside police precincts to see how things work on both sides. Serpico is broken down into three acts: the eponymous character's desire to be a cop, the moment he's awarded the gold shield, and the ending when he's all alone with his sheepdog.

Move over, Julia Roberts...Richard Gere shows what a high-priced escort is and, more importantly, how to do it well with class. American Gigolo is a fantastic neo-noir with lots of style. The Armani clothes that Gere wears, he introduces the brand in a big way. Lauren Hutton does an admirable job of keeping up with Richard Gere who's simply unbeatable.

An ode to a dying genre, Unforgiven is poetic justice to dispel many of the misconceptions that numerous Western movies had established for so long. What makes it so great is how realistic the ambience feels as the mood rides heavily on William Munny's mystique. There is a touch of wry humor throughout, and the final climax is a monster of a ride.

Jon Voight and Dustin Hoffman give the best performances of their careers. They'll be forever remembered for this film. Midnight Cowboy is a study of human nature: the hopes, the broken dreams, the disillusionment, the desperation, the suffering, the loneliness, and the loss of innocence. They're all brilliantly read on Jon Voight's face. The "I'm walkin' here! I'm walkin' here!" scene is priceless.

"What an excellent day for an exorcism." Famous for many reasons, The Exorcist is one of the finest horror films ever made. Linda Blair's transformation is something else to behold. Her character is so scary that she's effective. Who can forget the taxi stop for Father Lankester Merrin in front of the house?

In the vein of And Then There Were None, Predator is the one of the best sci-fi horror pictures of all time and is a hell of a ride. This is about muscles, guns, and blowing up things. Arnold Schwarzenegger is unforgettable as Major Dutch. So are his lines: "Get to da choppa!!!" and "If it bleeds, we can kill it."

Sorcerer is a unique motion picture from William Friedkin that's shot on location in the Dominican Republic. This isn't about the plot per se but an adventure of four men who are down on their luck and will do anything to turn their fortunes around even if it means life and death. Among the finest and most unforgettable scenes in cinema history is the bridge crossing, twice at that, which took three months to film.

Year of the Dragon is a violent, hard-hitting, and full-of-attitude picture with a gripping story. Mickey Rourke and John Lone are fantastic. The former's character seems to be haunted by what happened in Vietnam and how the war was totally unwinnable, not wanting a repeat of it in Chinatown. An explosive scene occurs in the picture when Stanley White was ambushed in his own house. Similarly, the restaurant scene is quite good.

Cutter's Way is a brilliantly made picture featuring a veteran cripple who's seemingly unhinged as he takes a swarthy, handsome-looking guy along on a wild goose chase. The only question remains: does he buy his conspiracy theory? It's impossible to know for sure, even after the suspenseful ending. Of course, John Heard is unforgettable.

El Mariachi is a stunner of a picture that's set apart from the others through its avant-garde camera work. What's also nice is the romantic tragedy as it suddenly happens at the end. Adding a lot of flavor to the film is the Mexican grittiness. The overall result is the hard-to-capture foreign quality that's more poetic than anything else.

Martin Scorsese's version of Cape Fear is more thrilling and suspenseful than the original. The performances are uniformly excellent. Robert De Niro is at once effective and chilling as Max Cady. Juliette Lewis embodies the look of an innocent teenage girl. A terrific scene is when they are alone in the auditorium.

From start to finish, Alan Arkin dominates the film with his combed-down hair style, shaded glasses, black clothes, exotic weapons, and smooth delivery of words. In short, his Mr. Roat is a bad motherfucker. Alan Arkin is responsible for creating one of the most dramatic, terrifying scenes ever in cinematic history. The last ten minutes is the definition of true terror.

Tommy Lee Jones is the master of organization, telling people to get on it and do their jobs and refusing to take no for an answer. That's why he won the Oscar for Best Supporting Actor although he was in a leading role. Harrison Ford is brilliant as Dr. Richard Kimble while Andreas Katsulas will always be that one-armed guy.

Malice is a solid, unpredictable thriller with one of the most Mamet-esque twists ever. The acting clinches the prize in making the film work by selling the story that's penned by the great Aaron Sorkin along with Scott Frank. So, kudos to all of three three lead thespians: Bill Pullman, Nicole Kidman, and Alec Baldwin who's handsome and most definitely at his physical peak in 1993.

Candyman is a slick, craftily made horror thriller with some of the most hypnotizing scenes. If there's anything to watch, it's Virginia Madsen's mesmerizing performance that makes the biggest difference in the storytelling. She's strong, assertive, and sensual as Helen Lyle. Reportedly to be the favorite role of his career, Tony Todd is effective as Candyman. Whenever Tony appears in a scene, he's bone-chilling.

Perfect and sublime, Alain Delon is all that and more in Plein soleil (Purple Noon), giving one of the finest performances of his career. I have to love the exquisite photography of Italy: land and water. Complementing it is the beauty of three principal stars: Alain Delon, Maurice Ronet, and Marie Laforêt. They all have the vibe and are sumptuous-looking creatures.

A Brooklyn paint store clerk by day and undisputed king of the dance floor by night, it's John Travolta's most famous, iconic movie role. When I think of a film that captures a lost period, it's this one. At that time, disco was strictly underground, but when the movie came out, the subculture just blew up and John Travolta, although already famous because of the TV show Welcome Back, Kotter, became an instant international superstar.

JFK is an incredible masterpiece, representing Oliver Stone's best. Outstanding are the acting, storytelling, and, most of all, editing. The best moment is when Jim Garrison, after learning the real plot from Donald Sutherland's character, summed up the startling discovery by saying, "The size of this is...beyond me."

China Moon is an outstanding stylish neo-noir of who's fooling who in the tradition of Body Heat and Double Indemnity. Instead of William Hurt and Kathleen Turner, it's Ed Harris and Madeleine Stowe stirring things up. As a bonus treat, Benicio del Toro takes the place of Mickey Rourke. Charles Dance is also excellent as the sinister philandering husband. The results are terrific with an absorbing plot and plenty of twists.

Brilliant writing, brilliant acting, and brilliant story. After sloshing around in the world of alcohol and therefore wasting his talent for years, Richard Burton makes the greatest comeback of all time by appearing in Equus as psychiatrist Martin Dysart by giving a fiery but focused performance. His riveting soliloquies are the stuff of greats. On the other hand, Peter Firth is unforgettable. It's a singular peformance.

Two acting powerhouses come clashing each other in In the Heat of the Night: Sidney Poitier and Rod Steiger. As Virgil Tibbs, Sidney Poitier is magical and has two iconic scenes: "They call me MISTER Tibbs!" and when he slapped Mr. Endicott back. Of the latter, you could hear a pin drop in the middle of the Deep South.

A delicious neo-noir about confidence games and the world of con men, House of Games is full of surprises. The best part is when Mike, figuring it out, said, "Oh, you are a bad pony. And I'm not going to bet on you." If you look at the history of femmes fatales, they've always been good-looking and ladylike but not Lindsay Crouse. Her character perfectly matches the title of book she wrote: Driven. Joe Mantegna is brilliant.

Based on New York State Supreme Court justice Edwin Torres' book After Hours, David Koepp's script is well-written and full of subtleties about the street life in El Barrio. If you pay attention to what Carlito sees, you can predict what he's thinking and planning to do. That's why Carlito's Way is an intelligently crafted picture with a great Latino supporting cast.

There are few films that are as exciting and inspiring as Point Break. I bet if anyone watched the movie just once, he may have entertained some thoughts about changing his entire lifestyle. Bodhi perfectly describes the truth-seeking experience: "Pure adrenaline, right?!? The ultimate rush. Other guys snort for it, jab a vein for it...all you gotta do is jump." Sounds pretty simple, eh? Patrick Swayze did the skydiving stunts and is thus captivating. It's easy to realize it in Johnny Utah's eyes when he saw what Bodhi could do.

Cat Chaser is a great, underrated neo-noir thriller with a seemingly incomprehensible plot. Shot on location in San Juan, Puerto Rico, and Miami, Florida, it's like Body Heat but in a different way. Abel Ferrara may have played with fire by making the story too complicated, but his handling turns out to be correct after all. Anthony B. Richmond's cinematography is a big treat as well.

"There are no other cases. This is the case." The Verdict is Paul Newman's finest hour of his acting career. That much is brilliantly shown from the get-go when he's playing pinball while drinking a glass of scotch. His alcoholic character has given up on life, but when a case comes along that's worth fighting for, he finally becomes a changed man and finds meaning in life.

Combine Texas, sins of the past, and evil James Caan, and you'll find a terrific yarn in Flesh and Bone. Dennis Quaid makes the story work by portraying an emotionally damaged character. When James Caan shows up, watch out. He and Dennis Quaid take the film to another level by making it more eerily haunting. Gwyneth Paltrow is brilliant as well.

Here's another interesting film from David Fincher that's great fun: The Game. This one has a lot of twists and turns. For his character, Michael Douglas recaptures the same, although subdued, personality that created an unforgettable icon through Gordon Gecko. He's good as ever, and his performance makes the film work.

Carrying on the tradition of Hitchcockian thrillers, Frantic is the last good Roman Polanski film, and a satisfying one at that. Not many people give Harrison Ford credit for being a fine actor, especially in dramas, that he was throughout the 80's and 90's. Something that's missing in many mystery films, I like how one small piece of puzzle leads to another, and there's nothing fancy going on, allowing me to participate with the characters.

The plot is both simple and amazing. It's basic to the core of human element: men falling head over heels for women and doing everything recklessly in the blind because of sex. Stupid, silly mistakes are made. That's exactly what the lead character did, costing lives in the process.

A metaphor for the mistakes made in the Vietnam War, Southern Comfort is a finely directed Kafka-esque picture by Walter Hill. What a great cast. The performances are terrific with a bunch of memorable characters and an unbelievable ending. Andrew Laszlo's cinematography of the Louisiana Bayou is the clincher to create a Deliverance-like atmosphere.

Murder on the Orient Express is the one that restarted the cycle of whodunnit pictures, and here comes along Death on the Nile four years later. The true treat of such pictures is an all-star cast which is 28 Oscar nominations with eight wins and one Honorary Oscar among them. It's also hard to go wrong with an Anthony Shaffer screenplay.

Benicio del Toro is the reason to watch this film over and over. It's such a classy performance that ends with his character watching a kids baseball game and knowing what he had done. It's not easy to turn a film with many competing storylines into an outstanding picture, but Steven Soderbergh, who's always been a top-notch director in his own right, accomplished this feat which led to an Oscar win for him.

I say Color of Night is an underrated neo-noir picture. Bruce Willis was a better actor when he had hair. It's among his best stuff. He gets it on with Jane March in a hot and heavy way. Of course, the premise is trashy, and the group therapy involves true wackos such as Sondra Dorio and Richie.

Black Rain is an underrated stylish policier with outstanding Blade Runner-like cinematography which is very Japanese neo-noirish. Michael Douglas knows how to amp it up. Andy Garcia is perfect as his sidekick, and Ken Takakura is great as well. Yûsaku Matsuda is definitely the bad guy as Sato.

Shot on location in New Mexico, Roger Donaldson crafts a taut neo-noir entitled White Sands which has plenty of tension. He also keeps the story appealling enough to follow while generating uniformly excellent performances out of the all-star cast. Willem Dafoe shines along with Mary Elizabeth Mastrantonio, and they steal some of the scenes when together.

I believe it's a standard procedure that all witnesses are to be included in the list for a court case, but in Jagged Edge, it's been a neverending parade of surprise witnesses. Also, I believe dissecting the murder scene is part of it. Yet this doesn't happen, either. No matter what, Jagged Edge is superb for entirely different reasons because it's a thrilling whodunnit mystery with a great Robert Loggia performance.

Unlawful Entry is a believable realistic thriller about a police officer who abuses his position of power. When somebody is as helpless as Michael Carr, there's not much that he can do about his situation. Officer Pete Davis starts being nice, resourceful, and helpful, going out of his way. Then, he has a moment that seems to be both rational and irrational because Carr is literally asking for it. Suddenly, all bets are off.

Similar to Body Heat but much hotter, Wild Things is a steamy, stylish neo-noir thriller with terrific performances. Promising to shock the first-time viewers, Wild Twists sounds more like it because there's an endless supply of them. On the other hand, the cinematography is top-notch and brings the most out of the Floridian ambience.

Kevin Costner is the show and looks great in whites. He has a famous movie moment with Sean Young when they start making love in the back of the limo, but once her character is killed, that's when the movie takes off. From there on, the race is on to see who will be left holding the bag which is fun to watch.

Black Christmas is regarded as one of the earliest slasher films made and was influential in the making of Halloween and Friday the 13th, outshining both of them in the suspense department. The acting is quite good and keeps the tension taut throughout. The last fifteen minutes of the detectives trying to trace the calls is terrifying. Oh, how the weird obscene phone calls that would never stop. They're so bizarre that the feeling of suspense is doubly heightened.

James Mangold must have called Martin Scorsese and asked, "Can you give me the guys from Mean Streets, Raging Bull, and Goodfellas?" And Marty said, "Hell, yes!!!" Sylvester Stallone makes a serious comeback and has a surreal meeting with Robert De Niro while Ray Liotta, Harvey Keitel, Robert Patrick, and Arthur J. Nascarella bring a hard edge to the story.

A victim of trying too hard to be the coolest and most intelligent movie ever, Le samouraï, aka The Samurai, is a near masterpiece and a nice addition to the neo-noir genre. One thing is for sure: the style is impeccable. Alain Delon couldn't be any happier when he was given the easiest role of his life. He hardly does anything but look cool.

A wonderful mystery thriller picture starring Rob Lowe and Meg Tilly, Masquerade is Body Heat meets Reversal of Fortune. This one contains so many outsmart-the-audience twists and turns that I kept trying to foresee what would happen next but failed to get anything correct. So, I'm pleased with the results.

Directed by Dennis Hopper, The Hot Spot is a rare gem in the neo-noir category. There are a lot of elements that make it a throwback to the film noir era. Stuck between two females, Don Johnson's character is the perfect Philip Marlowe type only that he isn't a private dick.

Buoyed by Ethan Hawke's performance, the story of Gattaca is what makes the film so interesting to watch that it almost transcends the sci-fi genre and steps into the "human spirit" territory. Its feel is less of sci-fi but more of neo-noir, taking advantage of some of the most appetizing yet minimalist in/exteriors, with a surprise twist at the end.

It's truly mission impossible in Mission: Impossible. What a fine job by Tom Cruise who may have turned in the most exciting performance in years. The script, the defining moments, the gadgets, the disguise masks, and, most of them all, the ending with the TGV and the helicopter are spectacular. Of course, we must have Henry Czerny for the show.

The coolest movie of the decade, Snatch consists of all stars giving riveting performances. The convoluted parallel threads, which converge to a single point, are why Snatch is a confusing film to follow from the get-go, but watching it over and over will bring more appreciation for Guy Ritchie's unique style of storytelling.

Memorable characters come and go. Clever is the plot that's backed by well-written dialogue which is heavily laden with profanity and a dry sense of humor. Jeff Bridges is The Dude. Motivated by weed, bowling, and White Russian drinks, he's the hippie version of Sam Spade, Jake Gittes, and Philip Marlowe all rolled into one.

What made Quentin Tarantino special, unique, and, most importantly, fresh? It's simple: the dialogue. The ten-minute opening scene of Reservoir Dogs is a perfect example of this. He'll take the art of conversation to the stratosphere in Pulp Fiction. Afterwards, there have been so many imitations but no equal.

Best Seller is a great thriller picture that showcases an unlikely combo of two characters with contradictory traits. One is a virtuous cop who believes in the act of goodwill, and the other is a confident killer who believes in trampling over anything to get results. Partnering James Woods with Brian Dennehy, it's been an unstoppable ride of thrills and turns. The story is unique and gripping with plenty of neo-noir traits.

I disagree with the critics that Frenzy is the last good Hitchcock picture and have to say Family Plot is so much better. This one isn't formulaic like his other stuff and has some unique elements. It's also catchy and fun with worthwhile characters.

Bill Duke shows what style is all about, and he does this with a big dose of neo-noir. Laurence Fishburne is the coolest ever when he glances at somebody with his sexy eyes. That's when he becomes special. At the same time, the story is filled with twists and turns in an intricate maze of drug dealing.

Based on James Ellroy's novel Blood on the Moon, James B. Harris makes no apologies for going neo-noir in Cop while unabashedly breaking every rule in the police handbook. I wonder if James Woods initially signed up for the politically incorrect role so he could blow the sucker away at the end. If that's the case, I don't blame him.

It's a thrilling action policier with Sylvester Stallone at his classic best. Rutger Hauer looks to be in tip-top shape. The battle between Stallone's and Hauer's characters is the most impressive part of Nighthawks. One great movie moment is when, inside the discotheque, Sylvester Stallone stared at Rutger Hauer for a long time, immediately knowing what's happening.

Here's a worthy film in Jack Nicholson's résumé: The Border. The noirish atmosphere of El Paso is perfectly set up, and the characters are well-developed. It's sort of Kafka-esque. Mexicans are all over the place, running back and forth across the border. The patrols round them up and ship them back to Mexico only to see them again the next day, hence the repeated scenes.

A hybrid between Vertigo and Rear Window, Body Double, notwithstanding the slow pace, is a beautifully made neo-noir thriller. What makes the film compelling is the subject of voyeurism. There's the thrill of being in Craig Wasson's shoes when he explores the paradox of a rich lady's lifestyle. As this happens, the plot thickens for a long time.

The cinematography of Spain's Balearic Islands including Majorca (which is also called Mallorca) is amazing. This time, the Agatha Christie mystery is pretty hard to solve, so when Hercule Poirot explained how the murder happened, it's ingenious. So, kudos to Anthony Shaffer again for penning a clear screenplay.

Although Body Double was made afterwards, Dressed to Kill feels like it picks up where the other one left off and almost ends the same way: right in the shower. Many of Brian De Palma's films have been very good and are always stylish and assiduous. Dressed to Kill is no exception and is as neo-noirish as it gets.

A delightful, if disturbing, British neo-noir picture with plenty of verve, Mona Lisa is Bob Hoskins' show. As a reward, he was given an Oscar nomination. His character, George, is peculiar because he's a bulldog who happens to be both stupid and naïve. Yet it's fascinating to watch him because of his volcanic temper.

The acting is flawless. Relying on it, John Sayles takes his time to unpeel the layers to get to the core of the mystery which is surprisingly human and real. He also does a good job of paying attention to the debate of revisionist and actual history of Texas.

They Shoot Horses, Don't They? is a brilliant, sad movie about a now-banned sporting event that went on during the Great Depression. The most surreal moment is when the contestants performed the derby and everybody was all exhausted and desperate not to be the last couple to cross the finish line. It's powerful stuff.

It'll never happen in real life that a person is able to see everything that's going on in an apartment building because there are no curtains on most windows. But Alfred Hitchcock wants me to suspend my disbelief and just watch Rear Window for the sake of simplicity. Well, okay. It starts off slowly but easily races for a thrilling end. The mystery is compelling to follow. Hitchcock's technique is of the utmost importance here.

For the role of his career, Michael Ironside is unforgettable as Darryl Revok. Of course, Scanners has an impossible-to-miss pièce de résistance which occurs almost at the beginning of the film. Yet the viewers should look past it and begin to appreciate the film for its thought-provoking storytelling.

From Mike Figgis, the director of Leaving Las Vegas, comes a stylish neo-noir picture called Liebestraum. Originally titled Liebesträume which is German for Dreams of Love, Franz Liszt's composition is famous in the classical music world. It's used for the film's opening act, and the rest of the show is filled with haunting, dreamlike style and imagery until questions are finally answered with a bit of déjà vu thrown in.