Oscar Nominee: Best Film Editing

A truly perfect movie, the 1942 Casablanca still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband.

They had Absolutely Nothing. But They Were Willing To Risk It All. Jimmy Rabbitte, just a tick out of school, gets a brilliant idea: to put a soul band together in Barrytown, his slum home in north Dublin. First he needs musicians and singers: things slowly start to click when he finds three fine-voiced females virtually in his back yard, a lead singer (Deco) at a wedding, and, responding to his ad, an aging trumpet player, Joey "The Lips" Fagan. Song by song, gig by gig, the Commitments start their climb to the top: Dublin gets soul.

Arguably the greatest of American films, Orson Welles's 1941 masterpiece, made when he was only 26, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions, and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist.

Freely adapted from Charles Frazier's beloved bestseller, Cold Mountain boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core.

England's finest athletes have begun their quest for glory in the 1924 Olympic Games. Success brings honor to their nation. For two runners, the honor at stake is a personal honor... and their challenge one from within. Winner of four 1981 Academy Awards including Best Picture, Chariots Of Fire is the inspiring true story of Harold Abrahams, Eric Liddell and the team that brought Britain one of its greatest sports victories.

Collateral offers a change of pace for Tom Cruise as a ruthless contract killer, but that's just one of many reasons to recommend this well-crafted thriller. It's from Michael Mann, after all, and the director's stellar track record with crime thrillers (Thief, Manhunter, and especially Heat) guarantees a rich combination of intelligent plotting, well-drawn characters, and escalating tension, beginning here when icy hit-man Vincent (Cruise) recruits cab driver Max (Jamie Foxx) to drive him through a nocturnal tour of Los Angeles, during which he will execute five people in a 10-hour spree.

Roman Polanski's brooding film noir exposes the darkest side of the land of sunshine, the Los Angeles of the 1930s, where power is the only currency--and the only real thing worth buying. Jack Nicholson is J.J. Gittes, a private eye in the Chandler mold, who during a routine straying-spouse investigation finds himself drawn deeper and deeper into a jigsaw puzzle of clues and corruption. The glamorous Evelyn Mulwray (a dazzling Faye Dunaway) and her titanic father, Noah Cross (John Huston), are at the black-hole center of this tale of treachery, incest, and political bribery.

Mel Gibson stars on both sides of the camera, playing the lead role plus directing and producing this brawling, richly detailed saga of fierce combat, tender love and the will to risk all that's precious: freedom. In an emotionally charged performance, Gibson is William Wallace, a bold Scotsman who used the steel of his blade and the fire of his intellect to rally his countrymen to liberation.

Mel Brooks scored his first commercial hit with this raucous Western spoof starring the late Cleavon Little as the newly hired (and conspicuously black) sheriff of Rock Ridge. Sheriff Bart teams up with deputy Jim (Gene Wilder) to foil the railroad-building scheme of the nefarious Hedley Lamarr (Harvey Korman). The simple plot is just an excuse for a steady stream of gags, many of them unabashedly tasteless, that Brooks and his wacky cast pull off with side-splitting success.

On his deathbed, Court Composer Antonio Salieri confesses to having killed Mozart, the Genius composer. Flashback to Mozart's arrival in Vienna. His brash and vulgar manner is the antithesis of his divine musical gift. Salieri cannot reconcile that God would endow such genius on this coarse boy. The story unfolds as Mozart becomes more and more popular and Salieri becomes more obsessed with destroying him and getting his revenge on God. Using his influence, Salieri drives his rival to poverty.