We’ve gotten caught up in countless HBO original series, but if you have an HBO Go account (or you’re bumming your parents’), it’s worth looking at the monthly movie selection. This month, the streaming service offers some of the best crime dramas in history, several recent Oscar favorites and three Wes Anderson films. Here are our picks for the 25 best movies to watch on HBO Go for July 2014.

25. The East (avail. 7/15)
Year: 2013
Director: Zal Batmanglij
Director Zal Batmanglij and Actress Brit Marling join forces again as co-writers in their fast-moving followup to 2012’s Sound of My Voice. The East is the story of a private-firm intelligence agent (Marling) looking to infiltrate a shadowy group of anticorporate terrorsists, and it’s fun to see her on the other side of the ledger (she was the leader of the group being infiltrated in Sound). Marling is wonderful as always, Alexander Skarsgaard is appropriately mysterious as the leader of the group, and Ellen Page turns in her best performance in years. The film was produced by Ridley Scott (and executive produced by his late brother Tony), and the Hollywood pedigree shows; Batmanglij seems to be making his bid for the brass ring here, and he should get it.—Michael Dunaway

24. Behind the Candelabra
Year: 2013
Director: Steven Soderbergh
At first blush, the main draw of Behind the Candelabra would seem to be its camp appeal: a true-life love story between a humble aspiring veterinarian and Liberace, that icon of kitsch and knowing excess. And while that element exists in director Steven Soderbergh’s film, what resonates more strongly is the difficulty in falling in love with someone famous. That person may love you back sincerely, but fame always gets in the way. That’s not a particularly revelatory idea, but Soderbergh and his cast at least find a lively way to say it one more time. A glitzy coming-of-age story told in hot tubs and Rolls Royces, Behind the Candelabra is not necessarily the sort of project you envision Soderbergh finishing his directing career making. But if it is his final movie, it’s worth noting that this is one of his warmest.—Tim Grierson

23. Enough Said (avail. until 8/24)
Year: 2013 
Director: Nicole Holofcener
At the heart of Enough Said are the stellar performances by a solid cast with Julia Louis-Dreyfus and James Gandolfini leading the way. Gandolfini’s cooly confident performance as a man who knows exactly who he is (a big-bellied slob) and what he wants out of a relationship plays perfectly against a woman who builds defense mechanisms to protect herself—and her heart—from getting it wrong again the second time around. Holofcener’s characters are wonderfully imperfect, and Enough Said shows that, just as in real life, sometimes moms and dads don’t have all the answers.—Christine Ziemba

22. Longford (avail. until 7/31)
Year: 2006
Director: Tom Hooper
Originally made for TV, Longford tells the story of an English member of the House of Lords who campaigns for the parole of a notorious murderer, believing her to be reformed. Directed by Tom Hooper (The King’s Speech, Les Misérables, the film is an opportunity to see the wonderful acting of Jim Broadbent. And to witness a soul who chooses to see the good in humanity.—Josh Jackson

 
21. The Thing (avail. until 7/31)
Year: 1982
Director: John Carpenter
Starring a never-more-grizzled Kurt Russell and his epic beard, John Carpenter’s remake of 1951’sThe Thing from Another World is a different beast altogether. An horrific, slimy, pissed-off beast at that. Perfectly evoking Reagen-era Cold War paranoia, Carpenter’s Thing also boasts creature effects that remain as grotesquely terrifying 30 years later. And hey—how many other films do you get to see with the Quaker Oates guy going berserk with an axe?—Scott Wold

20. This Is 40 (avail. until 8/15)
Year: 2012
Director: Judd Apatow
Judd Apatow might just be the dirtiest moralizer in all of Hollywood. This Is 40, a loose sequel to Apatow’s Knocked Up, is another example of Apatow’s values-based story-telling. It tells the simple yet emotionally complex story of Pete (Paul Rudd) and Debbie (Leslie Mann, Apatow’s wife), who find themselves in a mid-life fight for their marriage. By film’s end, This Is 40 not only confirms Apatow’s ardor for family and marriage (and the moral fabric they represent), it also confirms that there’s substance beneath the filthy veneer, that the director’s crass aesthetic is just a means by which he communicates truth. Sure, it can be a chore to wade through the overabundance of vulgarity and profanity in This Is 40 (in spite of the strong humor that comes of it), but, well, this is Apatow. The payoff is worth it.—David Roark

19. American History X (avail. until 7/31)
Year: 1998
Director: Tony Kaye
It’s upsetting that director Tony Kaye was so unhappy with the final cut of American History Xthat he tried to have his name removed from the credits. How much better can a debut feature realistically get, and why discredit one of the greatest films ever made about race relations by attributing it to Humpty Dumpty? Although the driving force of the film is Edward Norton’s visceral performance, Kaye makes him the centerpiece of so many now-iconic black-and-white compositions. The dinner scene that erupts into an argument about Rodney King is so arresting due to Derek Vinyard’s palpable anger. But when Vinyard throws his mother’s new boyfriend out of the house and he turns back, briefly, to see the American flag blowing in the wind, just before he leaves? That’s Tony Kaye knowing how to create an indelible image.—Allie Conti

18. Go (avail. until 7/31)
Year: 1999
Director: Doug Liman
Quentin Tarantino’s meteoric rise in the ’90s brought about an inevitable wave of copycats, with each trying to capture the director’s quirky, pop-culture-informed dialogue and propensity for non-linear storytelling. Go actively succeeds at aping the energy and playfulness of Tarantino’s films while retaining a voice all its own. Set primarily around Christmas Eve, the film tracks three separate stories of crime gone afoul, with each story interlocking or playing into the others in increasingly amusing ways. Directed by futureBourne Identity helmer Doug Liman and written by John August (Big Fish, The Nines), the film also boasts an impressive cast that includes Sarah Polley, Timothy Olyphant, Katie Holmes, Taye Diggs, Breckin Meyer, Jay Mohr and Melissa McCarthy.—Mark Rozeman

17. Big (avail. until 7/15)
Year: 1988
Director: Penny Marshall
If you ignore the problematic issues inherent in a man with a 13-year-old’s mind entering into a relationship with a thirtyish woman, Big remains as charming as it was at the time of its release. Tom Hanks is an absolute joy to watch as the central boy-man and the iconic scene where he and Robert Loggia perform “Heart and Soul” and “Chopsticks” on a foot-operated keyboard is enough to warm the cockles of even the most cynical viewers’ hearts.—Mark Rozeman

16. Match Point (avail. until 7/31)
Year: 2005
Director: Woody Allen
Match Point restored many’s faith in Allen after a series of disappointments. Essentially a retread of half of Crimes and Misdemeanors—albeit a fine, glossy, expertly-paced retread—the film marked Allen’s key departure to Europe for the first of four efforts. Jonathan Rhys Meyers and Scarlett Johansson made for beautiful blanks for which he could project his lofty Dostoyevskian ideals, in a tale about murder and it’s devastating mental and moral ramifications. Thematically dense yet consistently compelling, Match Point is the kind of thinking man’s thriller only Allen knows how to make.

15. Munich (avail. until 7/31)
Year: 2005
Director: Steven Spielberg
Steven Spielberg’s account of Israel’s top-secret, government-sanctioned retaliation against the 1972 Munich Olympic murders may very well be the darkest movie of the director’s career. While even the brutal Schindler’s List concluded with a message of hope, Munich explores the bleak, soul-crushing repercussions of revenge and how it leads to a never-ending cycle of violence. Despite its downer themes, however, the film also works as an effective suspense thriller, with Spielberg setting up some of the most nail-biting set pieces of his career.—Mark Rozeman

14. Hoosiers (avail. until 7/31)
Year: 1986
Director: David Anspaugh
The ultimate tribute to Indiana basketball is also a few other things: a morality play, a history, an honest reckoning of the pros and cons of small-town life. If you don’t get emotional while watching the pastoral opening credits, you’ve never lived there—and you’ve never lived.—Nick Marino

13. Les Misérables (avail. until July 15)
Year: 2012
Director: Tom Hooper
Jackman encounters some passages that don’t suit his voice. (Other songs, like “Bring Him Home,” suit it perfectly.) But he’s well aware of his limitations and how to work around them. Most importantly, he understands the emotions behind the music and is able to create a full character from it. —Jeremy Matthews

12. The Darjeeling Limited (avail. 7/15)
Year: 2007
Director: Wes Anderson
In Wes Anderson’s fifth film as writer/director, the surroundings may be new, but there’s plenty familiar her for fans of his previous work. Set on a train trip through India, longtime Anderson compatriots Owen Wilson and Jason Schwartzman join Adrien Brody as a trio of brothers. Family bonds are tested. The overbearing presence of parents is felt. Gorgeous, stylized shots and striking color palates are presented. And little victories are won. If all Wes Anderson movies are a little the same, there’s still nothing like a Wes Anderson movie.—Josh Jackson

11. Leaving Las Vegas (avail. 7/15)
Year: 1995
Director: Mike Figgis
Say what you will about Nicolas Cage—when he’s good, he’s really good. Never was this more apparent than with his Oscar-winning performance as a suicidal writer who comes to Las Vegas with the express purpose of drinking himself to death. Equally engaging is Elisabeth Shue as the prostitute he begins an offbeat, occasional destructive relationship with. Needless to say, Leaving Las Vegas is not a light watch, but it’s an intense and rewarding experience for any who can stomach it.—Mark Rozeman

10. Casino (avail. until 7/31)
Year: 1995
Director: Martin Scorsese
A three-hour examination of crime and punishment—and loyalty and betrayal—in Las Vegas, Martin Scorsese’s Casino may be long and slow but, at the same time, it’s totally intoxicating, and the experience is rewarding. Scorsese brings the same style of Goodfellas back—the bravura visuals and rock ’n’ roll soundtrack—and Sharon Stone gives the performance of a lifetime.

9. Heat (avail. until 7/31)
Year: 1995
Director: Michael Mann
The diner scene alone, where heavyweights Al Pacino and Robert DeNiro face off (for the first time in cinema history) would be enough to put Heat on the list, but the whole heist and cat-and-mouse story holds up all the way through. It’s dark, human and wholly engaging.—Josh Jackson

8. Rushmore (avail. 7/15)
Year: 1998
Director: Wes Anderson
Max Fischer is one of the greatest and most original characters of the 1990s (who else could have saved Latin?), and Rushmore remains our favorite Wes Anderson film. But if the film introduced Jason Schwartzman, it also served as the pivot in Bill Murray’s career from broad comic to art-house juggernaut (Garfield movies excepted). Few films remain rewatchable into the double digits, but this one just keeps getting funnier.—Josh Jackson

7. Argo (avail. 7/15)
Year: 2012
Director: Ben Affleck
For those people with lingering questions about Ben Affleck’s talents as a filmmaker, Argo should remove any doubt. The actor has now directed a trio of hard-working, blood-pumping dramas—his latest joins Gone Baby Gone and The Town—covering serious subjects like kidnapping and foreign affairs with a vitality that’d too often missing from Hollywood today. Argo, a precise blend of classic narrative genres, is the capper of Affleck’s behind-the-camera work to date, a remarkably well-sculpted film built from a fairly basic, step-by-step framework. Argo looks like a smaller undertaking, plays like a big Hollywood movie and succeeds despite the hundreds of ways it could have failed.—Norm Schrager

6. Gravity (avail. 7/12)
Year: 2013
Director: Alfonso Cuarón
Gravity is a revelatory, stunning cinematic experience. That’s more than enough to make it a great film, and a groundbreaking one, and yet director Alfonso Cuarón’s latest work can’t help but feel a bit disappointing at the same time. So much expertise and vision have been brought to bear, but in some ways the movie’s greatness only makes its flaws more noticeable. Gravity gets so close to being the astounding achievement it wants to be that it’s heartbreaking to watch it fall just short.—Tim Grierson

5. Moonrise Kingdom (avail. until 8/15)
Year: 2012
Director: Wes Anderson
After seven features, a Wes Anderson production is unmistakable: white, upper-middle-class dysfunctional families deadpanning wry dialogue amid meticulous mise-en-scène to an eclectic soundtrack. Also: exquisite, often centered, shot compositions; uninterrupted lateral tracking camerawork through dollhouse-like sets; and inserts of quasi-obscure cultural objects. The auteur’s calculated quality persists in his latest film as well, but where his past work can come off as chilly and detached, Moonrise Kingdom exudes a warmth and innocence generated by the earnest adolescent romance at its core. The year is 1965, and the sleepy New England island of New Penzance is stirred to action when Khaki Scout Sam Shakusky (Jared Gilman) and local resident Suzy Bishop (Kara Hayward) run away together. Delightfully, Anderson and co-writer Roman Coppola avoid clichés at every opportunity. The forces that would typically work to tear Sam and Suzy apart instead rally behind them, perhaps infected by the conviction of their love, which never wavers, even in argument: “I love you, but you don’t know what you’re talking about.” Moonrise Kingdom is whimsical and, yes, precious, but only in the very best sense of the word. —Annlee Ellingson

4. Life of Pi (avail. until 7/31)
Year: 2012
Director: Ang Lee
Leave it to director Ang Lee to create a thinking man’s blockbuster. In much of his past work, he has strived to imbue his stories with a deep sense of purpose—to explore themes of longing and connection. Even when dabbling in genre films, he’s tried to look past the Hollywood flash and stay true to this artistic vision, for better (Crouching Tiger, Hidden Dragon) or worse (Hulk). With Life of Pi, Lee may have found the perfect balance of spectacle and substance, creating his best outing in years.—Dan Kaufman

3. The Shining (avail. 7/15)
Year: 1980
Director: Stanley Kubrick
Though famously hated by author Stephen King—totaling the grand number of haters at approximately one—Stanley Kubrick’s adaptation of King’s chilling ghost story is still among the visually richest, best-paced chillers of the past three decades. Its iconic moments are among the most stolen and parodied in earnest, and Jack Nicholson’s method approach ensured nobody would ever approach him again without first checking to see if he was brandishing an axe.—Scott Wold

2. The Godfather, Part II (avail. until 7/31)
Year: 1974
Director: Francis Ford Coppola
With the success of The Godfather, Francis Ford Coppola’s second chapter—released just two years later—set a new precedent for sequels by proving just as triumphant. Anchored by prevailing performances from Al Pacino and Robert De Niro, the follow-up carries on the mafia saga and explores the parallels between father and son. It’s another tour de force with epic proportions.—David Roark

1. The Godfather (avail. until 7/31)
Year: 1972
Director: Francis Ford Coppola
What’s there to say about this cinematic staple that hasn’t already been said? Francis Ford Coppola’s classic crime drama epitomizes the word “epic” in every way. The performances, the characters, the narrative, the scope, the setting, the score—everything comes to the screen so, well, epically. For that and a whole slew of other reasons, The Godfather should “have your loyalty” as the greatest gangster film of all time.—David Roark

觀看HBO的圍棋25最佳電影（2014年7月）
由喬希·傑克遜
2014年7月2日|上午11時35分
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觀看HBO的圍棋25最佳電影（2014年7月）
我們已經得到了陷入了無數的HBO原創系列，但如果你有一個HBO轉到帳戶（或者你流浪你父母的），這是值得期待的每月電影的選擇。這個月，流媒體服務提供了一些歷史上最好的犯罪劇，最近幾次奧斯卡的最愛三韋斯·安德森的電影。下面是我們挑選的25個最佳電影觀看HBO的圍棋為2014年7月。

最east.jpg25。東（無濟於事7月15日）
年份： 2013 導演：扎爾Batmanglij 主任扎爾Batmanglij和女主角英國人馬林再度聯手，為共同的作家在他們的快速移動的隨訪至2012年的聲音我的聲音了。東方是一家私營公司智能代理（馬林）尋找潛入反公司terrorsists的影子組的故事，很有趣地看到她的帳的另一邊（她是該集團的領導者被滲透的聲音）。馬林是美妙一如既往，亞歷山大Skarsgaard是適當玄象群的領導者，艾倫頁變成了她最好的表現年。該片由雷德利·斯科特（和他已故的兄弟托尼製造執行）產生的，好萊塢血統顯示; Batmanglij似乎在這裡做他的出價為黃銅戒指，他應該得到it.，邁克爾·達納韋

背後的candelabra.jpg24。燭台背後
年份： 2013 導演：史蒂芬·索德伯格 乍一看，主要平局的燭台背後似乎是其陣營呼籲：一個謙虛的抱負獸醫和利貝拉切之間的真實生活的愛情故事，媚俗的圖標，會心多餘。雖然該元素的導演史蒂芬·索德伯格的電影存在，有什麼共鳴更強烈的是與著名的人愛上了難度。這個人可能會愛你真誠的，但名氣始終礙事。這不是一個特別啟示的想法，但索德伯格和他的劇組至少找到一個活潑的方式說一遍。-時代的來臨五光十色的故事說，在熱水浴池和勞斯萊斯，後面的燭台不一定項目你預想索德伯格完成他的導演生涯決策的排序。但如果這是他最後的電影，這是值得注意的，這是他warmest.-之一蒂姆·格里爾遜

不夠，said.jpg23。說夠了（無濟於事，直到8月24日）
年份： 2013 導演：妮可Holofcener 在的心臟夠說是由固投與朱莉婭路易斯-德雷福斯和詹姆斯·甘多費尼的帶領下恆星的表演。甘多費尼的苦力自信的表現作為一個男人，誰知道他究竟是誰（大腹大懶蟲）和他想要的東西出來的關係起著非常反對一個女人誰建立的防禦機制來保護自己，而她的心臟，再次犯錯第二次左右。Holofcener的角色是極其不完善，說得夠多了顯示，就像在現實生活中，有時爸爸媽媽們不要把所有的answers.- 恭Ziemba

longford.jpg22。朗福德（無濟於事，直到7月31日）
年份： 2006 導演：湯姆·胡珀 電視最初提出，朗福德告訴上議院誰競選為一個臭名昭著的兇手假釋之家的英文成員的故事，相信她是改革。由湯姆·胡珀執導（國王的講話，悲慘世界，電影是一個機會，看看吉姆·布羅德本特的精彩演技，而且見證了靈魂誰選擇看到好的在humanity.- 喬希·傑克遜

thing.jpg
21 怪形（無濟於事，直到7月31日）
年份： 1982年導演：約翰·卡朋特 主演永不更斑白庫爾特拉塞爾和他的史詩鬍子，1951年的約翰·卡彭特的翻拍來自另一個世界的東西是不同的野獸完全。一個可怕的，粘糊糊的，生氣過獸在那。完美喚起Reagen時代的冷戰偏執狂，卡彭特的事情也擁有了繼續擔任怪異恐怖的30年後的生物效應。哎，有多少其他的電影你能看到的貴格會奧茨傢伙抓狂用斧頭- 斯科特·沃爾德

這 - ​​是 - 40.jpg20 這是40（無濟於事，直到8月15日）
年份： 2012 導演：賈德·阿帕圖 。賈德·阿帕圖可能只是最臟的moralizer在整個好萊塢，這是40，一個鬆散的續集阿帕圖的一夜大肚，是阿帕圖的另一個例子以價值觀為基礎講故事。它告訴皮特（保羅·拉德）和黛比（萊斯利·曼恩，阿帕圖的妻子），誰發現自己在一個中年爭取他們的婚姻既簡單又複雜的情感故事。通過影片的結尾，這是40不僅證實阿帕圖的熱情為家庭和婚姻（和他們所代表的道德結構），這也證實了有骯髒的木皮下面的物質，那導演的粗魯的審美就是由他傳達真相的手段。當然，它可以是一個苦差事涉水通過粗俗和褻瀆的過剩，這是40（儘管有強烈的幽默來的吧），但是，好了，這是阿帕圖。回報是值得it.- 大衛·洛克

美國史，x.jpg19 美國X檔案（。無濟於事，直到7月31日）
年份： 1998 導演：托尼·凱 它的鐓粗的導演托尼·凱是如此不滿的晉級決賽美國X檔案，他試圖將其名字從信用刪除。如何更好的能在處女作切實得到，為什麼用它歸因於矮胖抹黑做過有關種族關係最偉大的電影之一？雖然影片的驅動力是愛德華·諾頓的內臟表現，凱讓他這麼多，現在，標誌性的黑色和白色組成的核心。晚宴現場即爆發成左右羅德尼·金的說法是如此逮捕，由於德里克Vinyard的憤怒之情溢於言表。但是，當Vinyard拋出了他母親的新男友出了家門，他轉過身，簡單地說，看到在風中的美國國旗吹，在他離開之前？這是托尼·凱知道如何創造了不可磨滅的image.- 艾莉孔蒂

go.jpg18。去（利用，直到7月31日）
年份： 1999 導演：道格·李曼 昆汀·塔倫蒂諾的異軍突起，在20世紀90年代帶來了仿冒的必然波，每個試圖捕捉導演的古怪，流行文化，了解和對話傾向非線性敘事。去積極地在成功的仿照塔倫蒂諾的電影的活力和趣味性，同時保留自己的所有聲音。將主要圍繞聖誕節前夕，該片跟踪三個獨立的犯罪故事發生衝突了，每個故事環環相扣，或打成了別人越來越有趣的方式。由未來的導演諜影重重赫爾默道格李曼和書面約翰八月（大魚，在花枝招展），該片還擁有一個令人印象深刻的演員，包括莎拉·波利，蒂莫西·奧利芬特，凱蒂·霍爾姆斯，塔耶迪格斯，Breckin邁耶，周杰倫莫爾和梅利莎·麥卡錫.- 馬克Rozeman

big.jpg17。大（無濟於事，直到7月15日）
年份： 1988 導演：竹篙馬歇爾 如果忽略內在的男人與一個13歲的心態進入了三十多的女人有關係的疑難問題，大仍然是迷人的它是在它的發行時間。湯姆·漢克斯是一個絕對的賞心悅目為中心的男孩，男人和標誌性的一幕，他和Robert Loggia酒店進行“心臟和靈魂”，“筷子”腳操作鍵盤上足以溫暖的蚶，即使是最憤世嫉俗觀眾hearts.- 馬克Rozeman

比賽point.jpg16。賽點（無濟於事，直到7月31日）
年份： 2005 導演：伍迪艾倫 賽點恢復了不少的信心，阿倫經過一系列令人失望的。本質上半罪行和的翻新輕罪，雖然細，有光澤，熟練節奏翻新，這部電影標誌著艾倫的關鍵出發到歐洲的第一個四個努力。喬納森·萊斯·梅耶斯和斯嘉麗·約翰遜做出了漂亮的毛坯，他可以預測他的崇高Dostoyevskian理想，在一個關於謀殺的故事，它是毀滅性的精神和道德後果。主題密集但一直引人注目，賽點是那種思想的人的驚悚片只阿倫知道如何使的。

munich.jpg15。慕尼黑（無濟於事，直到7月31日）
年份： 2005 導演：史蒂芬·斯皮爾伯格 史蒂芬·斯皮爾伯格的帳戶以色列絕密，政府批准的對1972年慕尼黑奧運會起謀殺案的報復很可能是導演的職業生涯中最黑暗的電影。而即使是殘酷辛德勒的名單結束了希望的信息，慕尼黑探討復仇的慘淡，心靈破碎的反響，以及它如何導致暴力的一個永無止境的循環。儘管它鎮定劑的主題，然而，這部電影也可以作為一種有效的懸疑驚悚片，斯皮爾伯格設立一些最扣人心弦的作品集他career.-的馬克Rozeman

hoosiers.jpg14，印第安納州（無濟於事，直到7月31日）
年份： 1986 導演：大衛Anspaugh 終極致敬印第安納籃球也有一些其他的東西：道德劇，歷史，小城鎮的優劣誠實清算生活。如果你沒有得到的情感，一邊看田園片頭，你從來沒有住在這裡，而你從來沒有lived.- 尼克·馬里諾

萊mis.jpg13。悲慘世界（無濟於事，直到7月15日）
年份： 2012 導演：湯姆·胡珀 傑克曼遇到了一些段落不適合他的聲音。（其他歌曲，如“把他帶回家，”適應它完美。）但他很清楚自己的局限性，以及如何解決它們。最重要的是，他懂得音樂背後的情感，能夠從它創建一個完整的字符。- 傑里米·馬修斯

大吉嶺，limited.jpg12。大吉嶺有限公司（無濟於事7月15日）
年份： 2007 導演：韋斯·安德森 在韋斯·安德森的第五部影片的編劇/導演，周圍可能是新的，但有很多熟悉的她，他以前的作品的粉絲。將通過印度火車旅行，長期安德森同胞歐文·威爾遜和傑森施沃茨曼加入阿德里安·布羅迪作為兄弟三人。家庭紐帶進行測試。父母的霸道存在感覺。華麗，風格化的鏡頭和驚人的色彩口味呈現。和小勝利都贏了。如果所有的韋斯·安德森的電影是有點一樣的，還是有沒有像韋斯·安德森movie.- 喬希·傑克遜

離開-LAS-vegas.jpg11，離開拉斯維加斯（無濟於事7月15日）
年份： 1995年導演：邁克·菲吉斯 說你會約尼古拉斯·凱奇，當他的好，他真的很不錯。從來沒有這樣更明顯比他的奧斯卡獲獎表現為一種自殺的作家誰到拉斯維加斯喝酒而死的明確目的。同樣引人入勝是伊麗莎白樹的妓女，他開始一個另類，偶爾有破壞性的關係。不用說，離開拉斯維加斯是不輕的手錶，但它是一個強烈的和有益的經驗對於任何誰可以忍受it.- 馬克Rozeman

casino.jpg10。賭場（無濟於事，直到7月31日）
年份： 1995年導演：馬丁·斯科塞斯 的三小時的考試罪與罰-與忠誠與背叛，在拉斯維加斯，馬丁·斯科塞斯的賭場可能是長期的，緩慢的，但是，在相同的時間，它完全陶醉，而經驗是有益的。斯科塞斯帶來的相同的樣式好傢伙背了炫耀的表現的視覺效果和搖滾搖滾樂配樂，和莎朗·斯通給了一生的性能。

heat.jpg9 熱（無濟於事，直到7月31日）
年份： 1995年導演：邁克爾·曼 獨自吃飯的客人現場有重量級阿爾·帕西諾和羅伯特·德尼羅面臨關閉（第一次在電影史）就足以把熱就行了，但整個搶劫和貓捉老鼠的故事，通過容納所有的方式。這是黑暗的，人性化和整體配合。-Josh傑克遜

rushmore.jpg8拉什莫爾山（無濟於事7月15日）
年份： 1998 導演：韋斯·安德森 （？還有誰可以拯救拉丁美洲）最大菲舍爾是20世紀90年代最偉大，最原始的人物之一，拉什莫爾山仍然是我們最喜歡的韋斯·安德森電影。但如果電影介紹傑森施沃茨曼，也擔任過比爾·默里的職業生涯，從廣闊的漫畫藝術之家劍聖樞軸（加菲貓電影除外）。幾部電影依然rewatchable到兩位數，但是這一次只是不斷得到funnier.- 喬希·傑克遜

argo.jpg7阿爾戈（無濟於事7月15日）
年份： 2012 導演：本·阿弗萊克 為這些人提供有關本·阿弗萊克的人才揮之不去的問題作為一個導演，阿爾戈應該消除任何疑慮。演員現在已經執導勤勞的三人，血抽劇，他最近加入失踪人口和城市 -covering像綁架和外交事務與活力的希望往往從好萊塢今天缺少的話題。阿爾戈，精確融合了經典敘事風格，是阿弗萊克的背後的攝像頭工作至今的封口機，從一個相當基本的，一步一步的框架，建立了一個非常好雕刻的電影。阿爾戈看起來像一個小的任務，扮演像一個大的好萊塢電影，成功，儘管數以百計的方式也可能有failed.- 規範施拉格

gravity.jpg6，比重（無濟於事7月12日）
年份： 2013 導演：阿方索·卡隆重力是一個啟示，令人驚嘆的影院體驗。那是綽綽有餘，使之成為偉大的電影，以及突破性的一個，但導演阿方索·卡隆的最新作品，不禁感到有些失望的同時。這麼多的專業知識和視野都被帶到熊，但在某些方面電影的偉大之處不僅使得它的缺陷更加明顯。重力變得如此接近到是驚人的成就它想成為它的令人心碎的看著落在剛剛short.- 添格里爾遜

月出-kingdom.jpg5 月出王國（無濟於事，直到8月15日）
年份： 2012 導演：韋斯·安德森 經過七年的功能中，韋斯·安德森的生產是明白無誤的：白色，上層中產階級家庭功能deadpanning際細緻的場面調度烯現場苦笑對話一個折衷的配樂。另外：精緻，常為本，出手成分; 通過娃娃屋般的套不間斷的橫向追踪攝影機; 和準不起眼的文物插入。在他的最新電影的導演的計算質量持續為好，但在那裡他過去的工作可以摘下來的寒冷和超脫，月出王國散發著溫暖和純真的少年認真的戀情，其核心產生的。這一年是1965年，而新彭贊斯的困倦新英格蘭島攪拌動作時，卡其色童軍薩姆Shakusky（賈里德·吉爾曼）和當地居民蘇西主教（卡拉海沃德）一起私奔。興高采烈，安德森和聯合作家羅曼·科波拉避免陳詞濫調的每一個機會。將一般工作撕裂山姆和蘇茜的力量，而不是分開團結在他們身後，也許感染了他們的愛情，從未動搖，即使在爭論的信念：“我愛你，但你不知道你在說什麼關於“ 月出王國是異想天開，是的，珍貴的，但只有在這個詞的最好的意義。-Annlee Ellingson

的壽命，即用pi.jpg4 生命的Pi（無濟於事，直到7月31日）
年份： 2012 導演：李安 給它導演李安創造思想的人的重磅炸彈。在很多他過去的工作中，他一直努力地灌輸他的故事與濃濃的目的，探索的渴望和連接的主題。即使是在類型電影涉足的時候，他試圖尋找過去的好萊塢閃光燈和忠於這種藝術視野，更好的（臥虎藏龍龍）或更差（綠巨人）。隨著皮的生命，李某可能已經發現眼鏡和內容的完美平衡，造就了他最好的郊遊years.- 丹考夫曼

最shining.jpg3閃靈（無濟於事7月15日）
年份： 1980 導演：斯坦利·庫布里克 雖然由作者斯蒂芬·金，共計仇敵的大數目著名討厭約為國王的寒蟬鬼故事一斯坦利·庫布里克的改編依然位居最富有視覺，最佳節奏在過去三十年的冷水機組。其標誌性的時刻是最被盜模仿認真，和傑克·尼科爾森的方式方法確保沒有人會接近他同樣沒有先檢查，看看他揮舞的axe.- 斯科特·沃爾德

最教父-2.JPG2，教父，第二部分（無濟於事，直到7月31日）
年份： 1974年導演：弗朗西斯·福特·科波拉 憑藉成功的教父，弗朗西斯·福特·科波拉的第二章發布僅僅兩年被證明後，設置續集了新的先例正如勝利。由阿爾·帕西諾和羅伯特·德尼羅當時的演出挂靠，後續進行黑手黨傳奇故事，探討父親和兒子之間的相似之處。它的另一個傑作與史詩proportions.- 大衛·洛克

最godfather.jpg1，教父（無濟於事，直到7月31日）
年份： 1972年導演：弗朗西斯·福特·科波拉 那裡的東西說這個電影的主要觀點就是，尚未說的嗎？弗朗西斯·福特·科波拉的經典罪案劇集中體現在各個方面的單詞“史詩”。表演，人物，敘事，適用範圍，設定，比分，所有的事情都在屏幕的話，好了，epically。對於和其他原因整體 ​​轉換，教父應該“有你的忠誠”，因為所有time.-最大的警匪片大衛·洛克