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This is a bit of a tall order, however, I have found this really good answer from Bloomberg and I think that they do an excellent job on this. So, here goes:Can WeChat Thrive in the United States?The United States?Though the messaging app dominates in China, few Americans have even heard of it.by Emily ParkerSome of America’s most formidable technology companies have headed to China. Once they got there, their superpowers seemed to vanish. Uber, Amazon, and Apple are just a few examples of firms that have been humbled by the Chinese market. It may be tempting to blame Chinese censorship or government restrictions. But that wouldn’t explain why the reverse is also true: China's superstar companies also struggle to make it in the United States.There may be no better example than Tencent’s WeChat, the mobile messaging and payment app that has over 900 million monthly active users. Foreigners who visit China are awestruck by the complete dominance of this super app, which people use for everything from sending messages to hailing taxis to buying real estate. WeChat has millions of verified official accounts—including brands, celebrities, even hospitals—that can receive mobile payments using its network. For many Chinese, WeChat is a wallet and communication platform, and it’s impossible to imagine life without it.In 2013, Tencent announced that it was opening an office in the United States with the aim of bringing WeChat to America. Having enjoyed success in its home market, seeking growth abroad was a natural next step. The company also saw an opportunity: there were already messaging apps in the U.S. market, but none had taken the country by storm. There seemed to be room for WeChat to shake things up, but that’s not what happened. Today how many Americans, aside from the ones with connections to China, have even heard of the product?Tencent declined to comment on WeChat’s international expansion, but it seems fair to say that WeChat is not yet the global player Tencent hoped it would be. In 2013, Tencent enlisted soccer star Lionel Messi to advertise the brand in television and online. Yet its strong push in countries like Indonesia, India, and Brazil was not a smashing success. Chinese state media Xinhua has reported that other than in Malaysia, where it has become the messaging app of choice, WeChat users elsewhere are mainly ethnic Chinese. The same article quotes Tencent founder Pony Ma acknowledging the company’s difficulty in expanding overseas. WeChat is not among the top five iOS apps in Indonesia, India, Brazil, or other key markets, according to Bloomberg.It’s no secret that China has a heavily censored Internet and that WeChat is a heavily censored product. This can make international expansion confusing at best: sensitive content on international accounts might be blocked in China. But censorship does not appear to be the main obstacle preventing WeChat from catching on in the U.S., at least for now. Rather, WeChat faces the same network-effect challenges that American companies encounter in China. Facebook is currently blocked in China, a factor that certainly contributed to WeChat’s success. Now, if Facebook were to make it in, it would find that everyone is already on WeChat. The two products are different, of course, but WeChat works so well in China precisely because so many Chinese people are on it. Users’ favorite brands and celebrities are there, as are friends, family, and co-workers. Facebook would have a nearly impossible time replicating that kind of network.Network effects are only part of the story. WeChat was designed for the Chinese market. Connie Chan, a partner at Andreessen Horowitz, wrote the 2015 article “When One App Rules Them All,” arguably the definitive piece on WeChat. Chan says that when WeChat was launched in 2011, Chinese people had no universal way to communicate. E-mail penetration was low. SMS and voice plans were relatively expensive, and SMS spam was a serious problem. Tencent’s own QQ instant messaging platform was popular, but it was designed for the Web at a time when smartphones were taking off. By the end of 2015, more than half of China’s population was online, with 90 percent accessing the Web by smartphone.This was very different from the environment that Tencent encountered in the United States around 2013 when the company was first trying to bring WeChat here. People already had Facebook, WhatsApp, and iMessage, as well as e-mail and many other ways to communicate. Chan explains, “there was less of a strong need to have this one unifying platform for everyone.”Today, WeChat might be best described as a payment app with a messaging function. Last year China’s mobile payments reached over $5.5 trillion, roughly 50 times the size of America’s market. In the first quarter of 2017, WeChat Pay accounted for 40 percent of the Chinese mobile payments market. After providing their bank details, WeChat users can scan their QR codes to pay for most about everything. It works well because so many Chinese merchants and consumers are payment-enabled.WeChat Pay is now operating in the United States, but not for the average American consumer. While Americans in the United States can create WeChat accounts, they can’t link them to their banks, so they are missing out on a crucial function. WeChat's wallet function is not yet available to users whose accounts are registered in the United States. American sellers who register as WeChat merchants will be able to accept payment from Chinese tourists and students.Silicon Valley-based Citcon provides hardware, a free API, and customer service to U.S. vendors who are willing to take WeChat or Alipay payments from Chinese customers. Chinese tourists simply have to take out their mobile phone and scan their QR code to pay merchants from their WeChat accounts. WeChat Pay’s U.S. expansion makes perfect sense. Tencent can keep traveling users on their platform while tapping into a very lucrative market. Chinese outbound tourism spending reached over $260 billion last year, according to the World Tourism Organization, and there were hundreds of thousands of Chinese students in the United States. Citcon says that it is already working with around 300 merchants including hotels, airports, museums, restaurants, and amusement parks.Can China and the Internet Save American Small Business?The giant e-commerce platform Alibaba and its charismatic founder, Jack Ma, have a plan to add a million U.S. jobs by enticing American companies to sell to China.Just this week, Caesars Entertainment launched a WeChat digital payment program in Las Vegas, allowing Chinese tourists to use WeChat Pay at its restaurants, retail shops, and box offices. Claire Yang, director of international marketing at Caesars Entertainment, says that Chinese customers make up a big part of their business, and an inability to accept WeChat Pay was resulting in lost sales. On the first day of the WeChat Pay launch, Chinese customers were happy to learn that they could now use their preferred form of payment. Yang said that WeChat transactions were particularly popular at the Bacchanal Buffet in Las Vegas. She described the Bacchanal register on the day of the launch: “People are pulling out their phones and showing QR codes and saying, I want to pay with WeChat Pay. And I feel like I’m back in China.”Wei Jiang, president of Citcon, says WeChat Pay is good for merchants, too. Customers don’t need to insert or swipe a credit card, and there are no passcodes to enter. “It is 50 percent faster than using a credit card,” Wei says. Another U.S. firm, the payment processor Stripe, has also announced a deal with Alipay and WeChat Pay.If mobile payments are so easy, why aren’t any American mobile payment options as successful as WeChat is in China? Credit cards are a big reason. Wei, who spent seven years working at Visa, reiterates that products like WeChat were designed for China, where credit-card penetration is still relatively low. In China, WeChat was able to leapfrog credit cards and go straight to mobile payments, and now is helping to transform much of urban China into a largely cashless society.It’s too soon to say that WeChat has failed in the U.S. Even if Americans don’t have WeChat on their phones, the product can still have an impact. Like Alibaba, which is trying to convince American businesses to use their platform to sell products to China (see “Can China and the Internet Save American Small Business?”), WeChat is trying to lure U.S. merchants with the promise of China’s enormous consumer market. WeChat is influencing U.S. products in other ways as well. SnapChat's adoption of QR codes, for example, appears to be inspired by the Chinese company.But Tencent has much greater ambitions. Chan says that companies like Alibaba and Tencent “want to be compared to Facebook, Google, and Amazon. They want to be in that same conversation.” Chan notes that the market caps for Alibaba and Tencent are each over $390 billion. “From that perspective, they have the capital to go overseas and purchase things, or invest in things, or try more experiments.”You don’t always need all that capital to make waves abroad, however. Sometimes you just have to prioritize an overseas market. One of the more successful examples of a global, Chinese-based product is TikTok - Real Short Videos, a social lip-syncing app. When the TikTok - Real Short Videos team saw how many U.S. users were downloading the app, they decided to focus all their attention on that market. The hit app attracted millions of users worldwide. Many of the American middle-schoolers using the app probably have no idea that the company is based in Shanghai.WeChat’s overseas challenge may be tied to its success in China, and the fact that it was perfectly engineered to meet China’s unique consumer needs. As American companies have learned in China, products that work well at home sometimes get lost in translation.Emily Parker has covered China for the Wall StreetWhy China’s Payment Apps Give U.S. Bankers Nightmares:Thousands of wallets are buried in a glass box to raise awareness of mobile payments in Shanghai, China. Source: VGC/Getty ImagesBy Jennifer Surane and Christopher CannonMay 23, 2018Wandering the streets of Shanghai to admire the architecture, the head of one of the largest U.S. consumer banks recently found himself surrounded by a gaggle of teenagers.Entranced by their phones, they hardly made way for the banker. The teens were messaging, shopping and sending money back and forth, all without cash. Instead, they were using Alipay and WeChat.The scary thing for the American: Banks never got a cut.The future of consumer payments may not be designed in New York or London but in China. There, money flows mainly through a pair of digital ecosystems that blend social media, commerce, and banking—all run by two of the world’s most valuable companies. That contrasts with the U.S., where numerous firms feast on fees from handling and processing payments. Western bankers and credit-card executives who travel to China keep returning with the same anxiety: Payments can happen cheaply and easily without them.Chinese vs. U.S. Payment SystemsAmericans more typically involve banks and cards when paying with appsChinaA paycheck is deposited into an employee’s bank accountConsumer transfers money into their wallet at Alibaba’s Alipay or Tencent’s WeChat Pay app in order to...The U.S.A paycheck is deposited into an employee’s bank accountA consumer uses a debit card to shop, or...A consumer uses a credit card to shop, or...Send money to peers with ZelleThe consumer uses a bank account, debit or credit card to fund their wallet at PayPal, Apple, Google, Samsung, etc. in order to...Pay friends or family with VenmoShop online at stores accepting walletShop at brick & mortar stores accepting walletSome retailers likeStarbucks have their own walletShop online at many Chinese e-tailersSend money to friends or familyShop at brick & mortar storesTransfer money abroad or make purchases on vacationSource: Bloomberg reportingAlibaba Group Holding Ltd. created Alipay in 2004 to let millions of potential customers who lacked credit and debit cards shop on its vast online marketplace. Tencent Holdings Ltd., similarly, debuted its payments function in 2005 in a bid to keep users inside its messaging system longer.Alipay and WeChat have since swelled in popularity, boasting 520 million and 1 billion monthly active users, respectively. Consumers sent more than $2.9 trillion inside the two systems in 2016, equivalent to about half of all consumer goods sold in China, according to the payments consultancy Aite Group.In contrast, U.S. consumers still rely on banks for most non-cash payments—whether it’s by check, debit, credit or a growing number of other payment systems tied to their bank accounts. Connected to that is a universe of wallets and payments systems operated by the likes of PayPal Holdings Inc., Apple Inc., and Alphabet Inc.’s Google. From the perspective of merchants, too much of the U.S. system siphons off enormous amounts of money.Transaction BreakdownIn a typical $100 credit card purchase...$97.25Goes to the merchant$2.20Issuing bank23¢Payment processor19¢Acquiring bank13¢Card networkFor now, no company in the U.S. commands the kind of clout that Alipay and WeChat wield back home. Instead, everyone is trying to replicate their success.“This is going to be the battle of all time—like who dominates all those services—and it’s still not known,” Jamie Dimon, chief executive officer of JPMorgan Chase & Co., told his company’s investors in February. “Everyone wants to be the place that is the one place you go to do that.”The nightmare for the U.S. financial industry is that a technology company—whether from China or a homegrown juggernaut such as Online Shopping for Electronics, Apparel, Computers, Books, DVDs & more Inc. or Facebook Inc.—replicates the success of Alipay and WeChat in America. The stakes are enormous, potentially carving away billions of dollars in annual revenue from major banks and other firms. What follows is a breakdown of what that could look like—theoretically—using the explosive growth as China’s apps as a rough guide.Perhaps the clearest opportunity lies in siphoning off some of the fees that U.S. merchants pay to accept cards and mobile payments—about $90 billion a year, according to the Nilson Report, an industry newsletter. That money gets parceled out to card networks such as Visa Inc. and Mastercard Inc., payment processors and banks, which pocket the largest share.In China, analysts expect third-party payment providers to earn about 40 percent of such fees by 2020. If apps were to start grabbing market share in the U.S. at roughly the same rate they did in China, it would take a $43 billion revenue bite out of a business banks count as among their most profitable.Merchant FeesFinancial firms would lose billions if the U.S. embraces third-party apps at a rate like China’sFinancial firms would lose billions if the U.S. embraces third-party apps at a rate like China’sBut that’s just one way that U.S. banks impose fees. They also generate revenue by dispensing cash. If payments apps were to replace paper money—as they have in many situations in China—another form of income could take a big hit.Easy MoneyChecking accounts generate about $3 billion in bank fees, which would dwindle $1.8B in overdraft fees$783.3M in maintenance feesSource: S&P Global Market IntelligenceSoon, U.S. bank executives won’t have to travel far to see China’s systems up close. Alipay, owned by Jack Ma’s Ant Financial, has spent the better part of the past year inking deals with payment processors that will allow it to bring its technology to America. Already, many New York taxis offer it as a payment option to customers.So far, Alipay has said the expansion is meant to help Chinese tourists, and that it’s focusing on cities they tend to visit. But few in the payments industry believe it will stop there.Meanwhile, Chinese consumers are starting to park more of their savings with the apps. In 2013, Alipay began offering money-market accounts. By last year, it had built that business into the world’s largest money-market fund with about $243 billion. For banks, that’s yet another bite. They traditionally hold customer deposits and use that money to fund loans—generating significant profits. If U.S. consumers were to start storing their extra cash with apps, banks would have to find an alternate—probably more expensive—a source of funding.DepositsEven a relatively small bite to deposits would be a lot of money if consumers embrace appsSources: Bloomberg Intelligence, KapronasiaTo be sure, U.S. banks have formidable advantages on their home turf. They have longstanding relationships with their customers, many of whom still like ‘visiting their money’ at a local branch. Consumers love credit card rewards programs and other perks, which have gotten sweeter in recent years, as well as the ability to charge back purchases that don’t go well. And U.S. bank deposits are backed by the Federal Deposit Insurance Corp.Still, banks and payment networks have a lot to lose if technology firms succeed in grabbing market share—and there are signs that Alipay and WeChat aren’t the only firms that may flex their muscles. Amazon is said to be interested in offering its own product to mimic checking accounts while offering to lower costs for retailers who use its online payments service.“What happened in China was not an even playing field,” Al Kelly, Visa’s chief executive officer, said at an investor conference in March. “What I hope happens around the rest of the world as they migrate is that at least it’s an even playing field.”Editors: David Scheer and Peter EichenbaumThe US system may not be as effective or efficient as the Chinese, but here are some of those used in the US:What’s The Best Mobile Payment Platform: Zelle, Venmo, Square or Apple Pay?Digital wallets and P2P payments are fast becoming table stakes for banking providers that want to remain relevant with today's digital consumers. But which one should your financial institution offer?By Brian Campbell, Vice President at MerkleMultiple studies conclude younger generations know about mobile payments, but don’t care much about them — a service such as Venmo being the rare exception. After watching Venmo dominate the mobile peer-to-peer (P2P) payment transfer market for the past few years, banks decided to do something about it, and Zelle was born. Banks have invested heavily in perfecting the technology and promoting the service, but consumer awareness and adoption continue to lag.Members of the bank consortium that runs Zelle — including JPMorgan Chase, Wells Fargo, and Bank of America — are spending millions of dollars on ads to attract their existing customers to the mobile payment app. Zelle, which is already installed on bank customers’ phones (part of their mobile apps), is available to 95 million current bank customers versus Venmo’s user base that totals around 3.5 million. However, the Zelle brand” — aka its “cool factor” — remains practically non-existent.A quick review on the basics: a payment app is simply a service that allows consumers to send money to another person (often by email or mobile phone number) via an app, or sometimes a website. This process is commonly referred to as “peer-to-peer” or “person-to-person” money transfer apps, or simply “P2P apps” or “payment apps.”People are often under the impression that all payment transfers happen instantly, but it’s important to realize that many times they do not. Each major mobile payment app has its own advantages and limitations. Most payment apps use a digital wallet method of transfer, meaning when you send money, it delivers the payment to a digital wallet, after which the recipient transfers the money from the wallet into his personal account. You can think of the wallet as a virtual escrow account.The following is a brief comparison of the mobile payment services available todayZelleZelle is a peer-to-peer payment system targeting mobile majority as an alternative to cash and checks...Payment transactions occur within minutes, which is faster than other apps, like Venmo.Online banking customers who have accounts at participating banks can send money to anyone.The Zelle app is already a feature within existing bank apps.You only need someone’s email address or cell phone number to send money.Recipients who don’t bank with Zelle partners can use a standalone app to claim their money by downloading the app in the Apple Store and Google Play.There are no fees to send, request, or receive money.You can only cancel a payment if the recipient hasn’t enrolled with Zelle, otherwise, it goes directly into their bank account.VenmoVenmo is a peer-to-peer payment system most popular amongst Millennials.Transactions take days to process.Anyone can use the app after setting up an account.You only need someone’s email address or cellphone number to send money.Request, or pay other users and add a note or emoji as the transaction description.You can share the transaction via social media if you like.When you cash out” the money that friends have paid into your Venmo account, it typically takes 1 to 3 business days to receive your funds.There are no fees to send, request, or receive money via bank transfers and debit card.Using a credit card for payment will cost 3 percent per transaction.Know the recipient before sending, as you can’t cancel payments made to wrong users.Square CashSquare Cash, or the Cash app, is a peer-to-peer payment system targeting younger generations.Transactions occur within minutes or days at your choice.Anyone can use the app after setting up an account.You only need someone’s email address or cell phone number to send money.An optional debit card associated with your account can be used for purchases.Users have the option to automatically deposit received funds directly into a linked bank account.The app can also be used for business transactions to accept payments for good or services.There are no fees to send, request, or receive money (for person-to-person transactions via bank transfers and debit card).Requesting instant deposit (instead of 1 to 3 business days) will incur a fee equal to 1 percent of the deposit amount.Using a credit card for payment will cost 3 percent per transaction.Apple PayApple Pay Cash is a peer-to-peer payment system that acts like a bank account on your phone, targeting Venmo users.Transactions occur in days.The app is easy to use, but both the sender and recipient must have aniPhone/iPad/Apple Watch with iOS11.2/watchOS 4.2 installed.Spend money on your Apple Pay Cash card the app store, or at retailers that accept Apple Pay.You need to authenticate each payment made via Apple Pay Cash with Face ID oniPhone X or Touch ID on other iPhone/iPad models.There are no fees to send, request, or receive money via bank transfers and debit card.Using a credit card for payment will cost 3 percent per transaction.o which mobile payment method is the right one for your financial institution? Which one will resonate with your audience best? The market is competitive, and each offering carries its own unique features and benefits. Most banks and credit unions will choose based on mobile preference, cool factor, convenience, and the familiarity (or level of trust) key constituencies will have with a particular platform — e.g., if the C-suite at your financial institution has heard of Venmo, that may end up being the platform you go with. Whatever your priorities, there’s a mobile payment option out there for you.

The following films, in my opinion, are, if not under rated, definitely under recognized. Here they are, classified according to category:Gangster :Carlito's Way (1993)This is one of the least talked about films in the gangster genre, which is surprising, considering it features two A-list stars, Al Pacino and Sean Penn in leading roles, along with then upcoming stars Viggo Mortensen and John Leguizamo in strong supporting parts. I am a pretty big fan of Brian de Palma, and he is simply at his filmmaking best in this film. Although it holds a pretty healthy rating on various movie websites, it is never remembered or mentioned in the same breath as other classics in its genre such as the Godfather films or Goodfellas. What a pity.Crime :A Bronx Tale (1993)Adapted from Chazz Palmintieri's stage play of the same name, the film features himself and Robert De Niro in lead roles, with De Niro doubling up as director. The film is a fantastic machination into the lives of the New York working class in the sixties, the racial issues that they have to deal with and the proximity they had to a life of crime. De Niro obviously excels as the protective father and law abiding working man while Palmintieri plays Sonny the mob boss like a breeze. The movie is definitely an underrated classic.Comedy :The Odd couple (1968)Although this film (and previously the play by Neil Simon) has gone down in pop culture history for having created two really memorable characters in Oscar Madison and Felix Unger, the movie as a whole has not become as popular as it should have. Which is a pity - since every line, every scene and every character in the movie is absolutely perfect. Neil Simon's fantastic free flowing dialogues coupled with Walter Matthau's inch perfect delivery and Jack Lemmon's neurotic observations make this film the best in its genre. Chief among its positives is the fact that it can be watched over and over again, without a single joke failing to crack you up.Murder by Death (1976)This movie features an ensemble cast led by a fantastic Peter Sellers (this time impersonating a Chinese detective) and an amazing Peter Falk who plays a parody of Bogart's Sam Spade from The Maltese Falcon. David Niven and Alec Guinness are equally impressive as the prim society gentleman and the blind butler respectively. Another forgotten Neil Simon classic.Sport :Field of Dreams (1989)Although the line "If you build it he will come" has become one of the most parodied lines in feature film history, this film is yet another under recognized masterpiece. Kevin Costner is great as Ray Kinsella, a small town corn farmer who sets out to build a baseball field in his backyard. He is ably guided in his efforts by writer Terrence Mann (James Earl Jones in a wonderful supporting role) and Shoeless Joe Jackson (Ray Liotta, in a role that supposedly won him the famed part of Henry Hill in Goodfellas). A small cameo by Burt Lancaster is the icing on the cake for a magical film about sport, hope and keeping one's dreams alive.Thriller :Sleuth (1972)Joseph Manckiewicz' 1972 film features Michael Caine and the inimitable Laurence Olivier in lead roles. An absolute mind twister of a film, its greatest strength is in keeping the viewer riveted to the screen in spite of not engaging any standard plot devices such as sombre background scores. Sir Olivier's impeccable English diction adds meat to an already absorbing film. It surely deserves greater fame.The Lady Vanishes (1938)One of Alfred Hitchcock's earlier and lesser known films, The Lady Vanishes is a fascinating mystery with a tight screenplay that manages to hold the suspense until the end. Although not in the league of his later works such as Psycho or Dial M for Murder, it is definitely a riveting watch.Drama :Awakenings (1990)Robert De Niro's lesser known role of 1990 as psychiatric patient Leonard Lowe ironically was the one that got him an Oscar nomination for Best Actor ahead of his performance as Jimmy Conway in Goodfellas. And boy, what a performance this was. In a way, this is the most uncharacteristic of Penny Marshall's movies, with both De Niro and Robin Williams being cast against type as subdued, calm characters. But they do deliver, and the result is a wonderful, endearing film that deserves more acclaim than it gets.Prison :Midnight Express (1978)Alan Parker's film about the life of an American student stuck in a Turkish prison remains controversial for its depiction of the country, but what a superb movie it is! A brilliant product from the stable of Oliver Stone, the writer (Scarface being another example of Stone excelling as a writer alone), the film succeeds in its mission to show how gruesome the conditions are and the efforts that the main character makes to get out. Definitely an underrated gem.Courtroom Drama:And Justice For All (1979)Al Pacino ruled the 1970s with a string of critically and commercially successful films. He ended the decade with this riveting courtroom drama centred around ethical defense lawyer Arthur Kirkland who is forced to fight for a guilty judge accused of rape. While Pacino racked up an Oscar nomination for his performance, the film sadly has not received wide recognition.Crime Comedy :O Brother Where Art Thou (2000)In one of the Coen brothers' finest films, George Clooney excels as escaped convict Ulysses Everett Mcgill who searches for hidden treasure in 1937 Mississippi along with two equally inept misfits, played by John Turturro and Tim Blake Nelson. Loosely based on Homer's Odyssey, part of the reason why the film worked for me is its exceptional soundtrack. Featuring some of the best country music from America, it is arguably one of the greatest movie soundtracks of all time. Sadly, it isn't as popular as some of their other films such as No Country for Old Men and Fargo.Grosse Pointe Blank (1997)John Cusack co-wrote and starred in this film at a time when he was one of the hottest stars in Hollywood. In spite of this, Grosse Pointe Blank is still relatively unknown, which is a pity since it has a fascinating premise. Cusack plays a professional assassin whose last job is in the same town as his high school, at a time when his school reunion is taking place. His attempts at rekindling long lost love and friendships lead to hilarious consequences.

Ah well, now you’re all asking!Over lunch one day I compiled a listing of movies that I’ve watched down the years that I remember were panned for one reason or another, critically or commercially. It grew to this –1. FORCE OF EVIL (1948/Abraham Polonsky)2. RAW DEAL (1948/Anthony Mann)3. THE NARROW MARGIN (1952/Richard Fleischer)4. THE HITCHHIKER (1953/Ida Lupino)5. THE MAN WHO NEVER WAS (1956/Ronald Neame)6. THE SEARCHERS (1956/John Ford)7. THE ENEMY BELOW (1957/Dick Powell)8. HEAVEN KNOWS, MR. ALLISON (1957/John Huston)9. THE SMALLEST SHOW ON EARTH (1957/Basil Dearden)10. THE BLOB (1958/Irvin S. Yeaworth)11. TOUCH OF EVIL (1958/Orson Welles)12. JOURNEY TO THE CENTRE OF THE EARTH (1959/Henry Levin)13. ONE TWO THREE (1961/Billy Wilder)14. GAY PURR-EE (1962/Abe Levitow)15. THE IRON MAIDEN (1962/Gerald Thomas)16. LE DOULOS (1962/Jean-Pierre Melville)17. THE WONDERFUL WORLD OF THE BROTHERS GRIMM (1962/Henry Levin)18. SEPARATE BEDS (aka THE WHEELER DEALERS) (1963/Arthur Hiller)19. ROBINSON CRUSOE ON MARS (1964/Byron Haskin)20. BLINDFOLD (1965/Philip Dunne)21. THE HILL (1965/Sidney Lumet)22. HOW TO MURDER YOUR WIFE (1965/Richard Quine)23. JOHN GOLDFARB, PLEASE COME HOME (1965/J. Lee Thompson)24. THE MONKEY’S UNCLE (1965/Robert Stevenson)25. THE SATAN BUG (1965/John Sturges)26. EBIRAH, MONSTER OF THE DEEP (1966/Fukuda Jun)27. FAHRENHEIT 451 (1966/Francois Truffaut)28. GAMBIT (1966/Ronald Neame)29. GODZILLA vs. MONSTER ZERO (1966/Honda Inoshiro)30. HARPER (aka THE MOVING TARGET) (1966/Jack Smight)31. SECONDS (1966/John Frankenheimer)32. WHERE THE SPIES ARE (1966/Val Guest)33. BAREFOOT IN THE PARK (1967/Gene Saks)34. BILLION DOLLAR BRAIN (1967/Ken Russell)35. CASINO ROYALE (1967/John Huston, Ken Hughes, Val Guest, Robert Parrish and Joe McGrath)36. POINT BLANK (1967/John Boorman)37. ROBBERY (1967/Peter Yates)38. TOBRUK (1967/Arthur Hiller)39. THE TORTURE GARDEN (1967/Freddie Francis)40. BARBARELLA: QUEEN OF THE GALAXY (1968/Roger Vadim)41. BLACKBEARD’S GHOST (1968/Robert Stevenson)42. HANNIBAL BROOKS (1968/Michael Winner)43. HELL IN THE PACIFIC (1968/John Boorman)44. HOT MILLIONS (1968/Eric Till)45. IF…. (1968/Lindsay Anderson)46. MADIGAN (1968/Don Siegel)47. THE SPLIT (1968/Gordon Flemyng)48. THEY CAME TO ROB LAS VEGAS (1968/Antonio J. Isasi)49. ACE HIGH (aka REVENGE IN EL PASO) (1969/Giuseppe Colizzi)50. THE ASSASSINATION BUREAU (1969/Basil Dearden)51. THE BED SITTING ROOM (1969/Richard Lester)52. THE DEVIL’S 8 (1969/Burt Topper)53. THE EXTRAORDINARY SEAMAN (1969/John Frankenheimer)54. THE FILE OF THE GOLDEN GOOSE (1969/Sam Wanamaker)55. FIVE MAN ARMY (1969/Don Taylor and Italo Zingarelli)56. FUNERAL PARADE OF ROSES (SORETSU NO BARA) (1969/Matsumoto Toshio)57. THE GREEN SLIME (1969/Fukasaku Kinji)58. THE ILLUSTRATED MAN (1969/Jack Smight)59. MARLOWE (1969/Paul Bogart)60. VIVA MAX! (1969/Jerry Paris)61. BEYOND THE VALLEY OF THE DOLLS (1970/Russ Meyer) J62. BREWSTER McCLOUD (1970/Robert Altman)63. COLOSSUS: THE FORBIN PROJECT (1970/Joseph Sargent)64. CRESCENDO (1970/Alan Gibson)65. THE DECAMERON (IL DECAMERON) (1970/Pier Paolo Pasolini)66. THE DUNWICH HORROR (1970/Daniel Haller)67. THE EXECUTIONER (1970/Sam Wanamaker)68. THE PRIVATE LIFE OF SHERLOCK HOLMES (1970/Billy Wilder)69. PERFORMANCE (1970/Nicolas Roeg and Donald Cammell)70. RIO LOBO (1970/Howard Hawks)71. SOLE SURVIVOR (1970/Paul Stanley)72. SOLDIER BLUE (1970/Ralph J. Nelson)73. THEY CALL ME TRINITY (1970/Enzo Barboni)74. WATERMELON MAN (1970/Melvin Van Peebles)75. THE ANDERSON TAPES (1971/Sidney Lumet)76. THE BAREFOOT EXECUTIVE (1971/Robert Butler)77. CATLOW (1971/Sam Wanamaker)78. CAT O’NINE TAILS (1971/Dario Argento)79. DIRTY HARRY (1971/Don Siegel)80. $ (aka THE HEIST) (1971/Richard Brooks)81. THE DYNAMITE MAN FROM GLORY JAIL (aka FOOLS’ PARADE) (1971/Andrew V. McLaglen)82. A FISTFUL OF DYNAMITE (aka DUCK, YOU SUCKER!) (1971/Sergio Leone)83. HAROLD AND MAUDE (1971/Hal Ashby)84. KOTCH (1971/Jack Lemmon)85. THE LAST RUN (1971/Richard Fleischer)86. THE MEPHISTO WALTZ (1971/Paul Wendkos)87. THE NIGHT DIGGER (aka THE ROAD BUILDER) (1971/Alistair Reid)88. RED SUN (1971/Terence Young)89. SHAFT (1971/Gordon Parks)90. THROW AWAY YOUR BOOKS, RALLY IN THE STREETS (SHO O SUTEYO, MACHI E DEYŌ), (1971/Terayama Shuji)91. TRINITY IS STILL MY NAME! (1971/Enzo Barboni)92. WHEN EIGHT BELLS TOLL (1971/Etienne Perier)93. ACROSS 110thSTREET (1972/Barry Shear)94. ASYLUM (1972/Roy Ward Baker)95. CANTERBURY TALES (1972/Pier Paolo Pasolini)96. CHATO’S LAND (1972/Michael Winner)97. ENDLESS NIGHT (1972/Sidney Gilliat)98. EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX (BUT WERE AFRAID TO ASK) (1972/Woody Allen)99. FEAR IS THE KEY (1972/Michael Tuchner)100. FRENZY (1972/Alfred Hitchcock)101. THE GETAWAY (1972/Sam Peckinpah)102. THE GROUNDSTAR CONSPIRACY (1972/Lamont Johnson)103. HICKEY AND BOGGS (1972/Robert Culp)104. HIT MAN(1972/George Armitage)105. THE HOT ROCK (1972/Peter Yates)106. THE LAST TANGO IN PARIS (1972/Bernardo Bertolucci)107. THE MECHANIC (1972/Michael Winner)108. MR. MAJESTYK (1972/Richard Fleischer)109. THE OUTSIDE MAN(1972/Jacques Deray)110. PRIME CUT (1972/Michael J. Ritchie)111. PANCHO VILLA (1972/Eugenio Martin)112. PULP (1972/Mike Hodges)113. SAVAGE MESSIAH (1972/Ken Russsell)114. SHAFT’S BIG SCORE! (1972/Gordon Parks)115. WHAT’S UP, DOC? (1972/Peter Bogdanovich)116. THE WRATH OF GOD (1972/Ralph J. Nelson)117. THE CRAZIES (1973/George A. Romero)118. THE FRIENDS OF EDDIE COYLE (1973/Peter Yates)119. GODZILLA vs. MEGALON (1973/Fukuda Jun)120. HORROR EXPRESS (1973/Gene Martin)121. I ESCAPED FROM DEVIL’S ISLAND (1973/William Witney)122. THE LONG GOODBYE (1973/Robert Altman)123. THE MACKINTOSH MAN(1973/John Huston)124. MAGNUM FORCE (1973/Ted Post)125. O LUCKY MAN! (1973/Lindsay Anderson)126. THE OUTFIT (1973/John Flynn)127. THE SATANIC RITES OF DRACULA (1973/Alan Gibson)128. SCORPIO (1973/Michael Winner)129. SHAFT IN AFRICA (1973/John Guillermin)130. STEELYARD BLUES (1973/Alan Myerson)131. THE STONE KILLER (1973/Michael Winner)132. THE TERMINAL MAN(1973/Mike Hodges)133. THE THIEF WHO CAME TO DINNER (1973/Bud Yorkin)134. THE WICKER MAN(1973/Robin Hardy)135. ALICE DOESN’T LIVE HERE ANYMORE (1974/Martin Scorsese)136. ARABIAN NIGHTS (1974/Pier Paolo Pasolini)137. THE BLACK WINDMILL (1974/Don Siegel)138. BRING ME THE HEAD OF ALFREDO GARCIA (1974/Sam Peckinpah)139. CALLAN (1974/Don Sharp)140. CARAVAN TO VACCARES (1974/Geoffrey Reeve)141. THE CARSTHAT ATE PARIS (1974/Peter Weir)142. DEATH WISH (1974/Michael Winner)143. IMMORAL TALES (1974/Walerian Borowczyk)144. THE INTERNECINE PROJECT (1974/Ken Hughes)145. THE MARSEILLE CONTRACT (aka THE DESTRUCTORS) (1974/Robert Parrish)146. MY NAME IS NOBODY (1974/Tonino Valerii)147. PASTORAL HIDE AND SEEK (aka PASTORAL: TO DIE IN THE COUNTRY) (DEN-EN NI SHISU) (1974/Terayama Shuji)148. THE SUGARLAND EXPRESS (1974/Steven Spielberg)149. THE TAKING OF PELHAM 123 (1974/Joseph Sargent)150. THE YAKUZA (aka THE BROTHERHOOD OF THE YAKUZA) (1974/Sydney Pollack)151. A BOYAND HIS DOG (1975/L.Q. Jones)152. THE BEAST (LE BÊTE) (1975/Walerian Borowczyk)153. BREAKOUT (1975/Tom Gries)154. DAY OF THE LOCUST (1975/John Schlesinger)155. THE DEVIL’S RAIN (1975/Robert Fuest)156. DOC SAVAGE: THE MAN OF BRONZE (1975/Michael Anderson)157. THE DROWNING POOL (1975/Stuart Rosenberg)158. FAREWELL, MY LOVELY (1975/Dick Richards)159. HARD TIMES (aka THE STREETFIGHTER) (1975/Walter Hill)160. HEARTS OF THE WEST (aka HOLLYWOOD COWBOY) (1975/Howard Zieff)161. THE ‘HUMAN’ FACTOR (1975/Edward Dmytryk)162. HUSTLE (1975/Robert Aldrich)163. THE KILLER ELITE (1975/Sam Peckinpah)164. RACE WITH THE DEVIL (1975/Jack Starrett)165. RAFFERTY AND THE GOLD DUST TWINS (1975/Dick Richards)166. THE REINCARNATION OF PETER PROUD (1975/J. Lee Thompson)167. REQUIEM FOR A VILLAGE (1975/David Gladwell)168. THE STORY OF O (1975/Just Jaeckin)169. THE STRONGEST MAN IN THE WORLD (1975/Vincent McEveety)170. TAKE A HARD RIDE (1975/Anthony M. Dawson)171. THE ULTIMATE WARRIOR (1975/Robert Clouse)172. THE WILBY CONSPIRACY (1975/Ralph J. Nelson)173. ALEX ANDTHE GYPSY (1976/John Korty)174. ALL THIS AND WORLD WAR 2 (1976/Susan Winslow)175. THE BIG BUS (1976/James Frawley)176. BREAKHEART PASS (1976/Tom Gries)177. THE CASSANDRA CROSSING (1976/George Pan Cosmatos)178. THE ENFORCER (1976/James Fargo)179. GATOR (1976/Burt Reynolds)180. LOGAN’S RUN(1976/Michael Anderson)181. THE MANWHO FELL TO EARTH (1976/Nicolas Roeg)182. ST. IVES (1976/J. Lee Thompson)183. SILENT MOVIE (1976/Mel Brooks)184. THE SELL OUT (1976/Peter Collinson)185. TWO MINUTE WARNING (1976/Larry Peerce)186. THE AMSTERDAM KILL (1977/Robert Clouse)187. BLACK SUNDAY (1977/John Frankenheimer)188. DEMON SEED (1977/Donald Cammell)189. THE GAUNTLET (1977/Clint Eastwood)190. THE LATE SHOW (1977/Robert Benton)191. ROLLERCOASTER (1977/James Goldstone)192. ROLLING THUNDER (1977/John Flynn)193. SEMI-TOUGH (1977/Michael Ritchie)194. SORCERER (aka THE WAGES OF FEAR) (1977/William Friedkin)195. THE SQUEEZE (1977/Michael Apted)196. SWEENEY! (1977/David Wickes)197. TELEFON (1977/Don Siegel)198. THE BIG SLEEP (1978/Michael Winner)199. CAPRICORN ONE(1978/Peter Hyams)200. THE CAT FROM OUTER SPACE (1978/Norman Tokar)201. THE DRIVER (1978/Walter Hill)202. THE END (1978/Burt Reynolds)203. THE EYES OF LAURA MARS (1978/Irvin Kershner)204. HITCH-HIKE (AUTOSTOP ROSSO SANGUE) (1978/Pasquale Festa Campanile)205. IN PRAISE OF OLDER WOMEN (1978/George Kaczender)206. INVASION OF THE BODY SNATCHERS (1978/Philip Kaufman)207. JAWS 2 (1978/Jeannot Szwarc)208. SWEENEY 2 (1978/Tom Clegg)209. THE THIRTY-NINE STEPS (1978/Don Sharp)210. WHO’LL STOP THE RAIN? (aka DOG SOLDIERS) (1978/Karel Reisz)211. BEAR ISLAND (1979/Don Sharp)212. THE BLACK HOLE (1979/Gary Nelson)213. CABO BLANCO (1979/J. Lee Thompson)214. CACTUS JACK (aka THE VILLAIN) (1979/Hal Needham)215. ESCAPE TO ATHENA (1979/George Pan Cosmatos)216. THE IN-LAWS (1979/Arthur Hiller)217. LOVE AND BULLETS (1979/Stuart Rosenberg)218. SATURN 3 (1979/Stanley Donen)219. THE RIDDLE OF THE SANDS (1979/Tony Maylam)220. AGENCY (1980/George Kaczender)221. THE BALTIMORE BULLET (1980/Robert Ellis Miller)222. BATTLE BEYOND THE STARS (1980/Jimmy T. Murakami)223. CADDYSHACK (1980/Harold Ramis)224. THE FINAL COUNTDOWN (1980/Don Taylor)225. FIRST FAMILY (1980/Buck Henry)226. NIGHT OF THE JUGGLER (1980/Robert Butler)227. THE STUNT MAN(1980/Richard Rush)228. USED CARS(1980/Robert Zemeckis)229. BUDDY BUDDY (1981/Billy Wilder)230. THE CANNONBALL RUN (1981/Hal Needham)231. THE DOGS OF WAR (1981/John Irvin)232. FORT APACHE: THE BRONX (1981/Daniel Petrie)233. HEAVY METAL (1981/Gerald Potterton, Jimmy T. Murakami, John Bruno, Pino Van Lamsweerde, Jack Stokes, Julian Harris, Barrie Nelson, Paul Sebella and John Halas)234. LOOKER (1981/Michael Crichton)235. MONTENEGRO (1981/Dusan Makavejev)236. NIGHTHAWKS (1981/Bruce Malmuth)237. OUTLAND (1981/Peter Hyams)238. ROAD GAMES (1981/Richard Franklin)239. THIEF (aka VIOLENT STREETS) (1981/Michael Mann)240. THE BEASTMASTER (1982/Don Coscarelli)241. CAT PEOPLE (1982/Paul Schrader)242. RISKY BUSINESS (1982/Paul Brickman)243. SUMMER LOVERS (1982/Randal Kleiser)244. THE TOY(1982/Francis Veber)245. TRON (1982/Steven Lisberger)246. VIDEODROME (1982/David Cronenberg)247. THE MAN WITH THE DEADLY LENS (aka WRONG IS RIGHT) (1982/Richard Brooks)248. BLUE THUNDER (1983/John Badham)249. BRAINSTORM (1983/Douglas Trumbull)250. DC CAB (aka STREET FLEET) (1983/Joel Schumacher)251. THE HUNGER (1983/Tony Scott)252. LONE WOLF McQUADE (1983/Steve Carver)253. THE LORDS OF DISCIPLINE (1983/Franc Roddam)254. THE MAN WITH TWO BRAINS (1983/Carl Reiner)255. THE OSTERMAN WEEKEND (1983/Sam Peckinpah)256. PHAR LAP (1983/Simon Wincer)257. SPACEHUNTER – ADVENTURES IN THE FORBIDDEN ZONE (1983/Lamont Johnson)258. THE STAR CHAMBER (1983/Peter Hyams)259. SUDDEN IMPACT (1983/Clint Eastwood)260. 10 TO MIDNIGHT (1983/J. Lee Thompson)261. UNDER FIRE(1983/Roger Spottiswoode)262. THE AMBASSADOR (1984/J. Lee Thompson)263. CITY HEAT (1984/Richard Benjamin)264. THE HIT (1984/Stephen Frears)265. NINETEEN EIGHTY-FOUR (1984/Michael Radford)266. ONCE UPON A TIME IN AMERICA (1984/Sergio Leone)267. RUNAWAY (1984/Michael Crichton)268. TIGHTROPE (1984/Richard Tuggle)269. TOP SECRET! (1984/Jim Abrahams)270. TWILIGHT ZONE: THE MOVIE (1984/John Landis, Steven Spielberg, Joe Dante and George Miller)271. AMERICAN FLYERS (1985/John Badham)272. BETTER OFF DEAD (1985/Savage Steve Holland)273. BRAZIL (1985/Terry Gilliam)274. DEATH WISH 3 (1985/Michael Winner)275. FANDANGO (1985/Kevin Reynolds)276. THE HOLCROFT COVENANT (1985/John Frankenheimer)277. LIFEFORCE (1985/Tobe Hooper)278. MAD MAX BEYOND THUNDERDOME (1985/George Miller and George Ogilvie)279. THE MEAN SEASON (1985/Phillip Borsos)280. REAL GENIUS (1985/Martha Coolidge)281. SPIES LIKE US (1985/John Landis)282. TRANCERS (1985/Charles Band)283. YEAR OF THE DRAGON (1985/Michael Cimino)284. BAND OF THE HAND (1986/Paul Michael Glaser)285. BEST SHOT (aka HOOSIERS) (1986/David Anspaugh)286. THE BOYWHO COULD FLY (1986/Nick Castle)287. 52 PICK-UP (1986/John Frankenheimer)288. F/X – MURDER BY ILLUSION (1986/Robert Mandel)289. THE HITCHER (1986/Robert Harmon)290. HOWARD THE DUCK(1986/Willard Huyck)291. MURPHY’S LAW (1986/J. Lee Thompson)292. ONE CRAZY SUMMER (1986/Savage Steve Holland)293. SWEET LIBERTY! (1986/Alan Alda)294. WORKING GIRLS (1986/Lizzie Borden)295. THE WHISTLE BLOWER (1986/Simon Langton)296. ANGEL HEART (1987/Alan Parker)297. BEST SELLER (1987/John Flynn)298. DEATH WISH 4: THE CRACKDOWN (1987/J. Lee Thompson)299. EXTREME PREJUDICE (1987/Walter Hill)300. THE FOURTH PROTOCOL (1987/John Mackenzie)301. THE HIDDEN (1987/Jack Sholder)302. INNERSPACE (1987/Joe Dante)303. MANNEQUIN (1987/Michael Gottlieb)304. OVERBOARD (1987/Garry Marshall305. ROYAL SPACE FORCE: WINGS OF HONNEAMISE (ŌRITSU UCHŪGUN: ONEAMISU NO TSUBASA) (1987/Yamaga Hiroyuki)306. SPACEBALLS (1987/Mel Brooks)307. SWIMMING TO CAMBODIA (1987/Jonathan Demme)308. APPOINTMENT WITH DEATH (1988/Michael Winner)309. BILOXI BLUES (1988/Mike Nichols)310. CHILD’S PLAY (1988/Tom Holland)311. COMING TO AMERICA (1988/John Landis)312. COP (1988/James B. Harris)313. THE DEAD POOL (1988/Buddy Van Horn)314. RED HEAT (1988/Walter Hill)315. RUNNING ON EMPTY (1988/Sidney Lumet)316. SUNSET (1988/Blake Edwards)317. TOMBSTONE OF FIREFLIES (HOTARU NO HAKA) (1988/Takahata Isao)318. THE ADVENTURES OF BARON MUNCHAUSEN (1989/Terry Gilliam)319. COHEN ANDTATE (1989/Eric Red)320. FAMILY BUSINESS (1989/Sidney Lumet)321. FAREWELL TO THE KING (1989/John Milius)322. INDIANA JONES AND THE LAST CRUSADE (1989/Steven Spielberg)323. JOHNNY HANDSOME (1989/Walter Hill)324. THE PACKAGE (1989/Andrew Davis)325. THE RAINBOW (1989/Ken Russell)326. DARKMAN (1990/Sam Raimi)327. HAVANA (1990/Sydney Pollack)328. MOUNTAINS OF THE MOON (1990/Bob Rafelson)329. PREDATOR 2 (1990/Stephen Hopkins)330. BACKDRAFT (1991/Ron Howard)331. HUDSON HAWK (1991/Michael Lehmann)332. THE LAST BOYSCOUT (1991/Tony Scott)333. LA STORY (1991/Mick Jackson)334. MY FATHER’S GLORY (LA GLOIRE DE MON PERE) (1990/Yves Robert)335. MY MOTHER’S CASTLE (LA CHATEAU DE MA MERE) (1990/Yves Robert)336. NAKED LUNCH (1991/David Cronenberg)337. A SCENE BY THE SEA (ANO NATSU, ICHIBAN SHIZUKANA UMI) (1991/Kitano Takeshi)338. VOLERE VOLARE (1991/Maurizio Nichetti and Guido Manulis)339. BASIC INSTINCT (1992/Paul Verhoeven)340. PASSENGER 57 (1992/Kevin Hooks)341. THE SKETCH ARTIST (1992/Phedon Papamichael)342. SLEEPERS (1992/Phil Alden Robinson)343. THE BABY OF MACON (1993/Peter Greenaway)344. CLIFFHANGER (1993/Renny Harlin)345. KING OF THE HILL (1993/Steven Soderbergh)346. NAKED (1993/Mike Leigh)347. RISING SUN (1993/Philip Kaufman)348. SONATINE (1993/Kitano Takeshi)349. THE CROW (1994/Alex Proyas)350. CLEAR AND PRESENT DANGER (1994/Phillip Noyce)351. DEATH WISH V: THE FACE OF DEATH (1994/Allan A. Goldstein)352. ED WOOD (1994/Tim Burton)353. EXIT TO EDEN(1994/Garry Marshall)354. SERIAL MOM (1994/John Waters)355. THE SHAWSHANK REDEMPTION (1994/Frank Darabont)356. STARGATE (1994/Roland Emmerich)357. THE TIT AND THE MOON (LA TETA I LA LUNA) (1994/Bigas Luna)358. CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (1995/Sam Neill and Judy Rymer)359. JUDGE DREDD (1995/Danny Cannon)360. MR. HOLLAND’S OPUS (1995/Stephen Herek)361. SPECIES (1995/Roger Donaldson)362. STRANGE DAYS (1995/Kathryn Bigelow)363. SUDDEN DEATH (1995/Peter Hyams)364. THINGS TO DO IN DENVER WHEN YOU’RE DEAD (1995/Gary Fleder)365. THREE WISHES (1995/Martha Coolidge)366. UNDER SIEGE 2: DARK TERRITORY (1995/Geoff Murphy)367. VILLAGE OF THE DAMNED (1995/John Carpenter)368. VIRTUOSITY (1995/Brett Leonard)369. WATERWORLD (1995/Kevin Reynolds)370. THE ARRIVAL (1996/David Twohy)371. DAYLIGHT (1996/Rob Cohen)372. ERASER (1996/Charles M. Russell)373. INDEPENDENCE DAY (1996/Roland Emmerich)374. LOOKING FOR RICHARD (1996/Al Pacino)375. RANSOM (1996/Ron Howard)376. TWISTER (1996/Jan DeBont)377. ANASTASIA (1997/Don Bluth and Gary Goldman)378. THE AVENGERS (1997/Jeremiah S. Chechik)379. BREAKDOWN (1997/Jonathan Mostow)380. CONSPIRACY THEORY (1997/Richard Donner)381. CONTACT (1997/Robert Zemeckis)382. THE DEVIL’S ADVOCATE (1997/Taylor Hackford)383. THE DEVIL’S OWN (1997/Alan Pakula)384. DOUBLE TEAM (1997/Tsui Hark)385. EVERYONE SAYS I LOVE YOU (1997/Woody Allen)386. THE FIFTH ELEMENT (1997/Luc Besson)387. L.A. CONFIDENTIAL (1997/Curtis Hanson)388. MARS ATTACKS! (1997/Tim Burton)389. STARSHIP TROOPERS (1997/Paul Verhoeven)390. VOLCANO (1997/Mick Jackson)391. ARMAGEDDON (1998/Michael Bay)392. THE BIG HIT (1998/Che-Kirk Wong)393. CITY OF ANGELS (1998/Brad Silbering)394. THE CORRUPTOR (1998/James Foley)395. COUSIN BETTE (1998/Des McAnuff)396. DARK CITY(1998/Alex Proyas)397. THE GINGERBREAD MAN (1998/Robert Altman)398. LOST IN SPACE (1998/Stephen Hopkins)399. MIGHTY JOEYOUNG (1998/Ron Underwood)400. PAYBACK (1998/Brian Helgeland)401. PLEASANTVILLE (1998/Gary Ross)402. RONIN (1998/John Frankenheimer)403. SNAKE EYES(1998/Brian De Palma)404. SPECIES II (1998/Peter Medak)405. STAR TREK: INSURRECTION (1998/Jonathan Frakes)406. THERE’S SOMETHING ABOUT MARY (1998/Peter and Bobby Farrelly)407. VIRUS (1998/John Bruno)408. THE BONE COLLECTOR (1999/Phillip Noyce)409. BRINGING OUT THE DEAD (1999/Martin Scorsese)410. COOKIE’S FORTUNE (1999/Robert Altman)411. DOGMA (1999/Kevin Smith)412. FIGHT CLUB (1999/David Fincher)413. THE GENERAL’S DAUGHTER (1999/Simon West)414. IN DREAMS (1999/Neil Jordan)415. THE INSIDER (1999/Michael Mann)416. THE IRON GIANT (1999/Brad Bird)417. KIKUJIRO (KIKUJIRO NO NATSU) (1999/Kitano Takeshi)418. THE LIMEY (1999/Steven Soderbergh)419. SUMMER OF SAM(1999/Spike Lee)420. THE ART OF WAR (2000/Christian Duguay)421. BATTLE ROYALE (2000/Fukasaku Kinji)422. BROTHER (2000/Kitano Takeshi)423. REQUIEM FOR A DREAM (2000/Darren Aronofsky)424. UNBREAKABLE (2000/M. Night Shyamalan)425. THE WHOLE NINE YARDS (2000/Jonathan Lynn)426. THE YARDS (2000/James Gray)427. BLACK HAWK DOWN (2001/Ridley Scott)428. THE BUBBLE BOY (2001/Blair Hayes)429. EVOLUTION (2001/Ivan Reitman)430. FINAL FANTASY: THE SPIRITS WITHIN (2001/Sakaguchi Hironobu)431. ICHI THE KILLER (KOROSHIYA-ICHI) (2001/Miike Takashi)432. VANILLA SKY (2001/Cameron Crowe)433. THE SCORE (2001/Frank Oz)434. ZOOLANDER (2001/Ben Stiller)435. EIGHT LEGGED FREAKS (2002/Ellory Elkayem)436. LOST IN LA MANCHA (2002/Keith Fulton and Louis Pepe)437. PHONE BOOTH (2002/Joel Schumacher)438. THE QUIET AMERICAN (2002/Phillip Noyce)439. REIGN OF FIRE (2002/Rob Bowman)440. RESIDENT EVIL (2002/Paul W.S. Anderson)441. THE RING (2002/Gore Verbinski)442. SIGNS (2002/M. Night Shyamalan)443. S1MONE (2002/Andrew Niccol)444. THE TIME MACHINE (2002/Simon Wells)445. BARBERSHOP (2003/Tim Story)446. BRINGING DOWN THE HOUSE (2003/Adam Shankman)447. DOGVILLE (2003/Lars von Trier)448. THE HARD WORD (2003/Scott Roberts)449. I, ROBOT (2003/Alex Proyas)450. THE ITALIAN JOB (2003/F. Gary Gray)451. JAY AND SILENT BOB STRIKE BACK (2003/Kevin Smith)452. THE LEAGUE OF EXTRAORDINARY GENTLEMEN (2003/Stephen Norrington)453. THE MATRIX RELOADED (2003/The Wachowski Brothers)454. ROADKILL (aka JOY RIDE) (2003/John Dahl)455. SECRETARY (2003/Steven Shainberg)456. STARSKY ANDHUTCH (2003/Todd Phillips)457. UNDISPUTED (2003/Walter Hill)458. YOUNG ADAM (2003/David Mackenzie)459. AFTER THE SUNSET (2004/Brett Ratner)460. RESIDENT EVIL: APOCALYPSE (2004/Alexander Witt)461. UNCONSCIOUS (INCONSCIENTES) (2004/Joaquin Oristrell)462. ASYLUM (2005/David Mackenzie)463. CINDERELLA MAN (2005/Ron Howard)464. FOUR BROTHERS (2005/John Singleton)465. GET RICH OR DIE TRYIN’ (2005/Jim Sheridan)466. THE HITCHHIKER’S GUIDE TO THE GALAXY (2005/Garth Jennings)467. HOSTAGE (2005/Florent Siri)468. LORD OF WAR (2005/Andrew Niccol)469. SHAKE HANDS WITH THE DEVIL: THE JOURNEY OF ROMEO DALLAIRE (2005/Peter Raymont)470. STEALTH (2005/Rob Cohen)471. WHERE THE TRUTH LIES (2005/Atom Egoyan)472. BLACK BOOK (ZWARTBOEK) (2006/Paul Verhoeven)473. DAVE CHAPPELLE’S BLOCK PARTY (2006/Michel Gondry)474. THE DA VINCI CODE (2006/Ron Howard)475. ERAGON (2006/Steffen Fangmeier)476. THE GOOD GERMAN (2006/Steven Soderbergh)477. GRIZZLY MAN (2006/Werner Herzog)478. LITTLE CHILDREN (2006/Todd Field)479. MY SUPER EX-GIRLFRIEND (2006/Ivan Reitman)480. ROCKY BALBOA (2006/Sylvester Stallone)481. RUNNING SCARED (2006/Wayne Kramer)482. THE BUCKET LIST (2007/Rob Reiner)483. BRIDGE TO TERABITHIA (2007/Gabor Csupo)484. FLAGS OF OUR FATHERS (2007/Clint Eastwood)485. FLAWLESS (2007/Michael Radford)486. THE GOLDEN COMPASS (2007/Chris Weitz)487. I AM LEGEND (2007/Francis Lawrence)488. THE LOOKOUT (2007/Scott Frank)489. MOLIÈRE (2007/Laurent Tirard)490. RESIDENT EVIL: EXTINCTION (2007/Russell Mulcahy)491. SHOOTER (2007/Antoine Fuqua)492. SMOKIN’ ACES (2007/Joe Carnahan)493. STUCK (2007/Stuart Gordon)494. WHAT JUST HAPPENED? (2007/Barry Levinson)495. AUSTRALIA (2008/Baz Luhrmann)496. BABYLON A.D. (2008/Mathieu Kassovitz)497. THE BANK JOB (2008/Roger Donaldson)498. BE KIND REWIND (2008/Michel Gondry)499. BURN AFTER READING (2008/Joel and Ethan Coen)500. THE BURNING PLAIN (2008/Guillermo Arriaga)501. THE DAY THE EARTH STOOD STILL (2008/Scott Derrickson)502. EAGLE EYE (2008/D.J. Caruso)503. FLASHBACKS OF A FOOL (2008/Baliie Walsh)504. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008/Steven Spielberg)505. I’VE LOVED YOU SO LONG (IL Y A LONGTEMPS QUE JE T’AIME) (2008/Philippe Claudel)506. LET’S TALK ABOUT THE RAIN (PARLEZ-MOI DE LA PLUIE) (2008/Agnés Jaoui)507. MAX PAYNE (2008/John Moore)508. OUTLANDER (2008/Howard McCain)509. PATHOLOGY (2008/Marc Schölermann)510. THE READER (2008/Stephen Daldry)511. SWING VOTE (2008/Joshua Michael Stern)512. WANTED (2008/Timur Bekmambetov)513. AND THEN CAME LOLA (2009/Ellen Seidler and Megan Siler)514. CHLOE (2009/Atom Egoyan)515. CRANK 2: HIGH VOLTAGE (2009/Neveldine & Taylor)516. FANTASTIC MR. FOX (2009/Wes Anderson)517. HARRY BROWN (2009/Daniel Barber)518. THE IMAGINARIUM OF DOCTOR PARNASSUS (2009/Terry Gilliam)519. THE INTERNATIONAL (2009/Tom Tykwer)520. JENNIFER’S BODY (2009/Karyn Kusama)521. KNOWING (2009/Alex Proyas)522. NINE (2009/Rob Marshall)523. ONDINE (2009/Neil Jordan)524. SIN NOMBRE (2009/Cary Joji Fukunaga)525. TAKING WOODSTOCK (2009/Ang Lee)526. WATCHMEN (2009/Zack Snyder)527. WHATEVER WORKS (2009/Woody Allen)528. WHIP IT (2009/Drew Barrymore)529. THE A-TEAM (2010/Joe Carnahan)530. THE EXTRAORDINARY ADVENTURES OF ADÈLE BLANC-SEC (LES AVENTURES EXTRAORDINAIRES D'ADÈLE BLANC-SEC) (2010/Luc Besson)531. IT’S KIND OF A FUNNY STORY (2010/Anna Boden and Ryan Fleck)532. THE KILLER INSIDE ME (2010/Michael Winterbottom)533. MACHETE (2010/Robert Rodriguez and Ethan Maniquis)534. THE OTHER GUYS (2010/Adam MacKay)535. PREDATORS (2010/Nimrod Antal)536. SEASON OF THE WITCH (2010/Dominic Sena)537. TOMORROW, WHEN THE WAR BEGAN (2010/Stuart Beattie)538. COWBOYS AND ALIENS (2011/Jon Favreau)539. DRIVE ANGRY (2011/Patrick Lussier)540. THE GREEN LANTERN (2011/Martin Campbell)541. HANNA (2011/Joe Wright)542. HOBO WITH A SHOTGUN (2011/Jason Eisener)543. IN TIME (2011/Andrew Niccol)544. NEVER LET ME GO (2011/Mark Romanek)545. PAUL (2011/Greg Mottola)546. PERFECT SENSE (2011/David Mackenzie)547. REAL STEEL (2011/Shawn Levy)548. RIO (2011/Carlos Saldanha)549. THE THREE MUSKETEERS (2011/Paul W.S. Anderson)550. TOWER HEIST (2011/Brett Ratner)551. THE GREY (2012/Joe Carnahan)552. JOHN CARTER (2012/Andrew Stanton)553. MAN ON A LEDGE (2012/Asger Leth)554. MOONRISE KINGDOM (2012/Wes Anderson)Will I ever get to a thousand? Stay tuned!