Though it seems like biographical films or “biopics” are a recent trend with every semi-famous celebrity getting an on-screen adaptation, biopics have actually been around a long time. Both filmmakers and audiences share a fascination with recreations of the past exploring those who came before us, whether they’re vilified or admired. Mostly, it’s curiosity that drives our desire to watch these movies and answer the question, “Well, why did he/she choose to lead their life this way?”

Regular fiction or fantasy movies allow us to escape our reality. Biopics allow us to face our (sometimes common) pasts. They allow us to celebrate and rediscover each other as human beings.

In honor of today’s release of Jobs, the Steve Jobs biopic, we’ve put together our list of the 20 best biopics of all time.

20. Capote (2004)

In the same manner that In Cold Blood depicted the pristine scenes of Holcomb, Kansas, and the two men who disturbed them with a quadruple murder, Seymour Hoffman offered a precise-yet-chilling depiction of the man who helped found New Journalism. In turn, his performance burst apart Capote’s carefully crafted narrative to show just how haunted the writer himself had become.—Christina Lee

19. Brian’s Song (1971) 

 
Yes, it’s a TV movie and yes, it was part of something called ABC’s Movie of the Week. But that doesn’t mean it ended up overly sentimental and schmaltzy. In fact,this movie’s notorious tear-jerker qualities, particularly among men, actually stems from the fact that the deep friendship between the eponymous Brian Piccolo and Gayle Sayers is so well portrayed. And the friendship between the two football players and teammates for the Chicago Bears, was depicted in Brian’s Song in a way that shied away from setting an overly maudlin and emotional tone, even though one of the guys meets a tragic end. James Caan (Piccolo) and Billy Dee Williams (Sayers), like the football duo in real life, acted like real bros: You knew that they cared about each other, but there was never a shortage of insult humor and other jokes when they were around. Also, as it’s been said all over the internet: If you don’t cry during or after Billy Dee William’s/Gayle Sayers’ acceptance speech scene, you’re dead inside.—Anita George

18. The Elephant Man (1980)

 
David Lynch melds history and art in the true story of severely disfigured John Merrick, known as “The Elephant Man,” and his physician Frederick Treves. Abandoned by his parents and exhibited as a side-show freak, Treves rescues Merrick from squalor, educates him, and allows him to become the toast of London. Filmed in black and white, the film is a triumph of cinematography as well as prosthetic makeup design. By film’s end, we feel Merrick’s exhaustion and depression as he gently slips away, reminding us that there are many kinds of exploitation.—Joan Radell

17. The Social Network (2010)

 
It can be difficult to show the human side of technology, to go beyond the Nasdaq and the cold, hard metal and glass of today’s gadgets. But Fincher’s The Social Network accomplishes exactly that. The movie deftly brings forth raw emotion of all kinds: betrayal, anger, loneliness, jealousy. As the The Social Network chronicles the rise of social media, Mark Zuckerberg and Facebook, it also shows us the initial fall of the founder’s own social life starting with the break-up of his romantic relationship with Erica Albright and ending with the sad end to his friendship with co-founder Eduardo Saverin. It’s interesting that, according to this movie’s depiction of Zuckerberg, that the founder of Facebook, the person who essentially revolutionized human social interaction as we know it, seemed to have his own trouble connecting with others in his personal life. And therein lies the humanity amongst all of the algorithms. And with Sorkin’s trademark quick-witted writing and Jesse Eisenberg’s compelling portrayal of the iconic social media founder it is no wonder this biopic received a total of eight Academy Award nominations and won three of them: Best Film Editing, Best Adapted Screenplay and Best Original Score.—Anita George

16. The Last Emperor (1987)

 
The last emperor of China, Puyi, spends his youth and young-adulthood in unparalleled luxury, is imprisoned by the Red Army, and becomes a gardener under Mao’s regime in a dazzling epic by director Bernardo Bertolucci. The photography is breathtaking, the subject is exotic and intriguing, and the history lesson is subtle as this film comes full circle, beginning and ending at the Forbidden City.—Joan Radell

15. American Splendor (2003)

    
Harvey Pekar’s “American Splendor” books are fascinating in that Pekar believed that even the most mundane and seemingly uncomplicated lives were worth documenting. American Splendor does a great job of showcasing that theory by using real footage of Pekar, fictionalized versions and even the comic version to create a cohesive whole that documents a fascinating, albeit ordinary life.—Ross Bonaime

14. Coal Miner’s Daughter (1980)

Sissy Spacek ages from 14 to 45 in her career-defining role as Loretta Webb Lynn, the dirt-poor kid from Butcher Holler, Kentucky, who would become the First Lady of Country Music. This unapologetic film is almost a drama, almost a biography and almost a musical. Highlights are vocals by Spacek as Lynn and Beverly d’Angelo as Patsy Cline. Rock legend Levon Helm and folk music icon Phyllis Boyens (in her first and only credited film role) simply become Loretta’s parents Tom and Clary Webb.Coal Miner’s Daughter is all about perfection of performance, and set an incredibly high bar for musical biopics to come.—Joan Radell

13. Frida (2002) 

Inventive in its portrayal of the famous painter’s life, Frida even manages to free itself from the normal bounds of realism that most biopics adhere to. This is evident in how the movie even incorporates Kahlo’s vivid artist’s imagination into the depiction of the events of her life. Scene transitions are often still paintings come to life and Frida’s daydreams, however grandiose or fanciful they may be are played out in front of us alongside her real experiences. Through these fantasy-riddled moments and Salma Hayek’s moving performance as Kahlo, you really get a vivid sense of who Kahlo was as a woman. Kahlo’s life was the stuff of legend, but Hayek’s performance shows you the very human and flawed world behind all of that.—Anita George

12. The Aviator (2004) 

With Howard Hughes’ larger than life personality and those action-packed scenes of him flying (and crashing) planes, it’s hard not to first think of the famous businessman and aviator as a sort of superhero: a man capable of almost any feat, of withstanding any sort of struggle. But a movie that only captures that side of Hughes’ life would be an incomplete one. A hollow one. What makes The Aviator one of the greatest biopics of all time is that it shows Hughes’ vulnerabilities as well, most notably of which was his battle with Obsessive-Compulsive Disorder. Leonardo DiCaprio’s portrayal of Hughes at his lowest, during Hughes’ anxiety-ridden spirals is far more compelling and suspenseful than the Beverly Hills plane crash scene itself.—Anita George

11. Walk the Line (2005)

Before Joaquin Phoenix took a couple of years off from conventional acting roles for Casey Affleck’s I’m Still Here, he gave one of his most memorable performances as Johnny Cash in Walk the Line. The film tells the story of The Man in Black’s early career and his relationship with June Carter, portrayed by Reese Witherspoon who received an Academy Award for her performance.—Wyndham Wyeth

10. The Passion of Joan of Arc (1928) 

It’s the oldest film on this list and the only silent film. Released in 1928, The Passion of Joan of Arc depicts the trial and execution of France’s most famous martyr, Jeanne d’Arc, better known as Joan of Arc: the brave woman who led the French armies to victory during the Hundred Years’ War, only to have been captured and executed by her British (and some French) enemies a year later for crimes of heresy. But it isn’t just the compelling story, that makes this movie a favorite among critics like the New York Times’ A.O. Scott. It’s mostly the lead actress’ performance that pulls you into this film. Maria Falconetti’s vividly expressive portrayal of Joan’s suffering, fear and sadness, like Scott notes, “makes you feel like you know her” even if you don’t really understand (or believe) how Joan can be so sure that God spoke to her. Even in short clips, Falconetti’s face is haunting and the fear Joan feels is palpable. It’s a silent film, but it doesn’t need the sound of the actors’ voices to tell its story, or to make you feel something as strongly as Joan feels about God.—Anita George

9. GoodFellas (1990) 

It’s not your typical shoot-em-up gangster flick. The charm of GoodFellas is in the details. The carefully chosen close-ups. The nuances in each of the characters’ personalities. No one in the film has a two-dimensional, flat persona. Even the scenes that involve murder and violence, though they are grotesque and can turn your stomach, they still aren’t flatly black-and-white. Because then one of the guys cracks a joke and weirdly, somehow in that moment, you can still laugh. Suddenly, those situations are grayer now, and suddenly you realize you still see these guys as fellow humans, even though the things they do are monstrous. All of these small details come together, and somehow they humanize the gory story of Henry Hill and his fellow made men. It’s a biopic that immerses you into Hill’s life and makes it hard for you to distance yourself from him and his friends. It’s special because this biopic chose to make the protagonist and the villain the same guy and, through very small details, kind of convinces you to like him anyway.—Anita George

8. La Vie en Rose (2007) 

An icon in France, the story of singer Édith Piaf, could have been filmed as just another stereotypical musician biopic or episode of Vh1’s Behind the Music. In fact, her life had all the hallmarks of the troubled, yet incredibly talented musicians that are often the subjects of such movies and documentaries. But it was actress Marion Cotillard’s stunningly moving performance as Piaf that really allowed La Vie en Roseto stand out among other musician biopics. Cotillard’s Oscar-winning performance really captured that charismatic soulfulness that Piaf had as a performer.—Anita George

7. The King’s Speech (2010)

It’s a biopic that covers a very specific part of King George VI’s life: the time period in which he learns to cope with a speech impediment in order to ultimately lead his country through World War II, and does so with the help of a speech therapist named Lionel Logue. While a masterful performance by Colin Firth and the film’s compelling writing undoubtedly led to The King’s Speech winning three Oscars, there’s something else that makes this such an amazing film to watch, and that’s the story itself. It’s a different kind of King’s tale. Instead of a just a movie about a king gloriously leading his countrymen to victory, it’s about a would-be king struggling to find his voice and the courage within himself to lead his people through one of the toughest times they’ve ever had to face. King George VI’s story is about the inner turmoil and struggle it took to reach a place of victory, not the victory itself; which makes the story a bit more relatable, which in turn makes it even more meaningful.—Anita George

6. Malcolm X (1992)

“Ya been took! Ya been hoodwinked! Bamboozled! Led astray! Run amok!” When director Spike Lee introduced us to Detroit Red, he reminded the world of a specific time in American history more readily forgotten by some than others. Based on The Autobiography of Malcolm X, Lee (in typical fashion, with a brilliant score and with the grand influence of French cinema throughout) brought us the story of a troubled boy who could have easily become any unknown black man in the ‘60s—who indeed, almost did until he committed his life to Allah and The Nation of Islam. Denzel Washington perfectly, eerily embodied the role of the young Detroit Red who would become Malcolm X. As a team, Lee and Washington (along with Angela Bassett as Betty Shabazz) created the perfect biopic, where all that we assumed about an icon was troubled or complicated by this new translation of his life.—Shannon Houston

5. My Left Foot (1989) 

It’s the story of Christy Brown, an Irish painter and writer who was born with severe cerebral palsy. The title of the film comes from the title of Brown’s autobiography on which the movie is based and refers to the only part of Brown’s body he was able to completely control even with cerebral palsy. Daniel Day Lewis’ and Brenda Fricker’s brilliantly artful performances as the unforgettable Christy Brown and Brown’s mother, respectively, are no doubt, the main reasons you should watch this movie. In fact, the interactions between Brown and his mother in the movie are some of the best, most moving scenes My Left Foot has to offer.—Anita George

4. Amadeus

The fine line between genius and insanity is the subject of this big-budget costume drama that proved just how hip classical musicians can be. Milos Foreman tickles the vulgar underbelly of the sublime and the result is Thomas Hulce’s braying, chittering laugh as the wild-child prodigy, Wolfgang Mozart. F. Murray Abraham’s portrayal of Antonio Salieri’s descent into madness fueled by jealousy is the perfect foil. Lust, envy, greed—all of the deadly sins are here, set to some of the greatest music ever written. —Joan Radell

3. Gandhi (1982)

Richard Attenborough’s Gandhi is often described as a huge, sweeping epic about the man that lead India to its independence from Great Britain in 1947. And it is. A little over three hours long, the film chronicles not Gandhi’s entire life, but his journey towards non-violence as a form of protest which in turn allows him to gain equal rights for Indians in South Africa and the eventual independence of India from Britain. Everything about this film works wonderfully together: there’s an all-star cast (Ben Kingsley, Daniel Day-Lewis, Candace Bergen and Martin Sheen, to name a few), the film itself is beautifully shot and makes good use of India’s natural beauty and the film’s music has the notable distinction of being composed by none other than Ravi Shankar. And so it should come as no surprise that in the year following its release, that Gandhi won eight Oscars, including Best Picture, Best Writing and Best Actor in a Leading Role.—Anita George

2. Raging Bull

The best film of the 1980s contains one of the all-time-great feats of directing and one of the all-time-great feats of screen acting. The status that Martin Scorsese’sRaging Bull has achieved in the years since its release is completely earned. Watching it is a fully felt experience. Over the years, much has been made of the weight Robert De Niro gained while filming Raging Bull to authentically capture the physical transformation of boxer Jake LaMotta. While it’s a great symbol of his commitment, the pounds don’t begin to explain the depths of the character portrait he and Martin Scorsese created. The film looks unforgivingly at a fragile, insecure man who communicates his need for love with jealousy, anger and violence. Scorsese’s shots convey the overly suspicious workings of LaMotta’s head, then back out to coldly observe the horrific violence that ensues. Then there are the boxing scenes. Scorsese deserves endless praise for finding such lively, inventive ways to capture the experience inside the ring. But what’s really amazing is that he goes beyond a great sports scene. Each fight serves as a window into LaMotta’s soul. The camera movement, the quick edits, the sudden shifts in speed all reflect his mental state, his need to damage himself or cause damage to others. Such expressive, visceral filmmaking has rarely been equaled.—Michael Burgin

1. Schindler’s List (1993)

It’d be hard to find a more inspiring, moving story to tell than that of Oskar Schindler. And before seeing this film, I assumed that Steven Spielberg was exactly the wrong person to tell it. But all thanks be to the movie gods that I wasn’t a studio head in the ‘90s, because Spielberg produced what was simply one of the most ambitious, wise, and moving motion pictures of our lifetime. The acting is superb—a career-making role for big lumbering Liam Neeson, so carefree and cocky at the beginning, so and concerned and determined in the middle, and so noble and humble at the end of the film. Ralph Fiennes and Ben Kingsley are perfect in supporting roles. A host of unknowns give everything in their one moment on the screen. John Williams’s haunting score and Janusz Kaminski’s breathtaking black-and-white cinematography sparkle. But the script—oh, Steven Zaillian’s majestic script is the biggest star. He manages to take a Holocaust tale and turn it into a story of triumph, the story of how much one man can do, and the regret we’ll each someday have that we didn’t do much, much more. Oskar’s “I could have gotten more out” speech is almost too much to bear.—Michael Dunaway

雖然它似乎像傳記片或“傳記片”是最近的趨勢，每一個半名人名言讓屏幕上的適應，傳記片實際上已經存在很長時間了。這兩個電影製作人及觀眾分享了過去的娛樂探索那些誰來到了我們面前，無論他們是詆毀或欽佩的魅力。大多數情況下，它的好奇心驅使我們希望觀看這些電影和回答這個問題：“那麼，為什麼他/她選擇將導致他們的生活這樣呢？”

定期小說或幻想電影讓我們逃過了我們的現實。傳記片讓我們面對我們的（有時是共同的）的過去。他們讓我們來慶祝，重新發現對方為人類。

為了紀念今天發布的喬布斯，史蒂夫·喬布斯的傳記片，我們已經把我們的所有時間的20個最佳傳記片的名單。

20。卡波特（2004）
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以同樣的方式冷血描繪霍爾庫姆，堪薩斯州和兩個男人誰打擾他們了四倍謀殺案的原始場景，西摩·霍夫曼誰提供幫助的人的精確，但心寒描述發現新新聞。反過來，他的表現崩裂卡波特的精心打造的敘述，顯示是多麼困擾作家本人曾become.，李芳齡

19，布萊恩之歌（1971）
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是的，這是一個電視電影，是的，它是一種叫做週ABC的電影的一部分。但是，這並不意味著它結束了過於多愁善感和傷感。事實上，這部電影的臭名昭著的淚jerker素質，尤其是男性，其實源於一個事實，即由此得名布賴恩短笛和蓋爾·塞耶斯之間的深厚友誼是如此出色刻畫。和芝加哥熊兩個足球運動員和隊友之間的友誼，被描繪在Brian的歌曲的方式，避開設定過於傷感和情感基調，即使球員之一滿足悲慘的結局。詹姆斯·凱恩（短笛）和比利·迪·威廉姆斯（塞耶斯），就像在現實生活中的足球雙雄，表現得像真正的兄弟：你知道，他們牽掛著對方，但從來沒有侮辱幽默和笑話等的短缺時，他們各地。此外，由於它已經表示，所有在互聯網上：如果您期間或之後比利迪伊威廉威廉/蓋爾·塞耶斯“的獲獎感言現場不要哭，你的內心就死定了- 喬治梅艷芳

18，像人（1980）
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大衛·林奇融合了歷史和藝術的嚴重毀容約翰梅里克，被稱為的真實故事“像人”，他的醫生弗雷德里克特里夫斯。他的父母遺棄而表現出作為一個小節目怪胎，特里夫斯搶救梅里克從骯髒，教育他，讓他成為倫敦的祝酒辭。在拍攝黑白，電影是電影藝術的勝利，以及假肢化妝設計。由電影結束的時候，我們覺得梅里克的疲憊和消沉，他輕輕地溜走，提醒我們，有許多種剝削- 瓊Radell

17，社 ​​交網絡（2010）
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它可以是難以顯示技術的人性化的一面，要超越納斯達克和冷，硬的金屬和今天的小工具玻璃。但芬奇的社交網絡正是完成該操作。電影巧妙地帶來了各種原始的情感：背叛，憤怒，孤獨，嫉妒。隨著社交網絡編年史社會化媒體的興起，馬克·扎克伯格和Facebook，這也說明我們的創始人自己的社交生活開始與分手的他與埃麗卡奧爾布賴特浪漫關係，並與悲慘的結局，以結束最初的秋天他的友誼與共同創始人愛德華多· ​​薩維林。有趣的是，根據扎克伯格的這部電影的描繪，表明Facebook，誰基本上徹底改變了人類的社會交往，因為我們知道它的人，的創始人似乎有自己的煩惱與他人連接在他的個人生活。而這其中就有人類在所有的算法。並與索爾金的商標機智寫作和傑西·艾森伯格的引人注目的標誌性的社交媒體創始人的寫照，難怪這個傳記片共收到八個奧斯卡獎提名，並贏得了其中三個：最佳剪輯，最佳改編劇本和最佳原創配樂- 喬治梅艷芳

16，末代皇帝（1987）
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中國，溥儀的最後一位皇帝，度過他的青春和年輕成年中無與倫比的豪華，由紅軍監禁，並在令人眼花繚亂的史詩導演貝納爾多·貝托魯奇成為在毛澤東的政權一個園丁。攝影是驚人的，主體是異國情調和迷人的，而歷史的教訓是很微妙的，因為這電影來了一圈，並開始在紫禁城結束- 瓊Radell

15，美國輝煌（2003）
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哈維PEKAR的“美國榮耀”的書是迷人在PEKAR認為，即使是最平凡的，看似簡單的生活是值得文檔化。美國輝煌確實使用PEKAR真實的畫面展示了該理論的一個偉大的工作，小說化的版本，甚至是漫畫版來創建一個有凝聚力的整體，記錄了一個迷人的，雖然普通的生活- 羅斯Bonaime

14，礦工的女兒（1980）
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西西史派克年齡從14至在她的職業生涯定義的角色，洛雷塔·韋伯林恩，從屠夫喊叫，肯塔基州，誰將會成為鄉村音樂的第一夫人的污垢，可憐的孩子45。這毫無歉意電影幾乎是一場戲，幾乎是一個傳記，幾乎一部音樂劇。亮點是主唱由史派克為Lynn和富康德安傑洛為懦夫Cline。搖滾傳奇Levon舵和民間音樂圖標菲利斯BOYENS（在她的第一個也是唯一入賬電影角色）簡直成了洛雷塔的父母湯姆和克拉里韋伯。礦工的女兒是所有關於性能完善，並設置了一個令人難以置信的高酒吧的音樂傳記片來- 瓊Radell

13，弗里達（2002）
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發明了著名畫家的生活寫照，弗里達甚至設法擺脫寫實的正常範圍，大多數傳記片堅持。這是顯而易見的，在電影甚至是如何結合卡蘿的生動的藝術家的想像力了她的生活的事件的描述。場景轉換往往仍不畫作來的生活，Frida的白日夢，但浮誇或稀奇的，他們可能會在我們面前沿著她的實際經驗發揮出來。通過這些幻想充斥的時刻和薩爾瑪·海耶克的移動性能，卡蘿，你真的得到了生動的感覺誰卡蘿是作為一個女人。卡蘿的一生，是傳奇的東西，但哈耶克的表現說明你身後所有的非常人性化和有缺陷的世界- 喬治梅艷芳

12的飛行員（2004）
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與霍華德·休斯'比生命的個性和他那些動感十足的場面較大的飛（和崩潰）的飛機，它很難不先想到著名的商人和飛行員作為一種超級英雄：一個男人能夠承受任何形式的鬥爭幾乎任何壯舉。但一部電影，只有抓住休斯生活的那一邊會是一個不完整的。空心之一。是什麼讓飛行者所有時代最偉大的傳記片之一是，它顯示了休斯的漏洞，以及，最值得注意的是這是他的戰鬥與強迫症。休斯的萊昂納多·迪卡普里奧的寫照在他的最低，在休斯的焦慮纏身的螺旋是更為引人注目的懸念比佛利山墜機場景本身- 喬治梅艷芳

11，走線（2005年）
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之前，華金鳳凰從傳統的表演角色花了幾年了凱西阿弗萊克的我仍然在這裡，他給他的最難忘的表演，約翰尼·卡什1 走線。影片講述了在黑色的早期職業生涯的男人的故事以及他與6月卡特，通過誰獲得了奧斯卡獎，她的表現瑞茜·威瑟斯彭描繪的關係- 溫德姆惠氏

10，聖女貞德（1928）的激情
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正是這個名單，唯一的默片上最古老的電影。在1928年發布的，聖女貞德受難記描述了法國最有名的烈士，貞德，更好地稱為聖女貞德的審判和執行：勇敢的女人誰領導的法國軍隊走向勝利的百年戰爭期間，只有已被抓獲，並通過她的英國（和一些法國）的敵人，一年後為異端罪處決。但它不僅僅是引人注目的故事，才使得這部電影評論家如紐約時報“AO斯科特的喜愛。這主要是女主角的表現，拉你到這部電影。瑪麗亞法爾科內蒂的生動表現力瓊的痛苦，恐懼和悲傷，就像斯科特指出，寫照“讓你感覺像你知道她的”即使你真的不明白（或相信）瓊怎麼能這麼肯定，上帝跟她說話。即使在短片，法爾科內蒂的臉是令人難忘和恐懼瓊感覺是顯而易見的。這是一部無聲電影，但它並不需要演員的聲音的聲音，告訴它的故事，或讓你覺得某事的強烈的感覺瓊神- 喬治梅艷芳

9。好傢伙（1990）
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這不是典型的射擊em起來黑幫輕彈。魅力好傢伙在於細節。精心挑選的特寫。在每個人物的性格的細微差別。沒有人在該薄膜具有一個2維的，平面的人物。即使是涉及謀殺和暴力，雖然都是奇形怪狀的，可以把你的胃，他們仍然沒有斷然的黑色和白色的場景。因為那時在那一刻的傢伙裂縫笑話和古怪，不知何故之一，你仍然可以笑。突然間，這些情況 ​​現在是灰暗，突然你意識到你仍然可以看到這些傢伙是人類同胞，即使他們做的事情是可怕的。所有這些小細節走到了一起，而且不知何故，他們人性化的亨利·希爾的血淋淋的故事和他的同事做的人。這是一個傳記片，讓您沉醉成山的生活，使你很難從他和他的朋友疏遠自己。這是特殊的，因為這傳記片選擇讓主角和反派一樣的傢伙，並通過非常小的細節，那種說服你喜歡他呢- 喬治梅艷芳

8，玫瑰人生（2007）
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在法國的圖標，歌手伊迪絲琵雅芙的故事，本來是作為拍攝只是一個刻板的音樂家傳記片VH1的或情節的音樂背後。事實上，她的生活有困擾，但令人難以置信的天才音樂家，往往這樣的電影和紀錄片的科目的所有特點。但它是女演員瑪麗昂·歌迪亞的令人震驚的移動性能，琵雅芙，真正讓玫瑰人生脫穎而出除其他音樂家傳記片。歌迪亞的奧斯卡獲獎表現著實吸引了魅力soulfulness的皮亞芙了作為一個演員- 喬治梅艷芳

7，國王的講話（2010年）
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這是一個傳記片，涵蓋英王喬治六世的生活中非常特殊的一部分：他在學習應對語言障礙，以便通過二戰，最終導致他的國家的時間段，並且做所以用一個名為梅西羅格言語治療師的幫助。而由科林·弗斯一個熟練的表現和電影的令人信服的寫作無疑導致了國王的演講贏得三項奧斯卡大獎，還有，使這個這樣一個驚人的電影看別的東西，這就是故事本身。這是一個不同類型的國王的故事。而不是只是一個電影，講述一個國王光榮領先他的同胞的勝利，它是關於一個想成為國王苦苦尋找他的聲音和勇氣內通過自己他們曾經有過的最艱難的時期之一，帶領他的人的臉。喬治六世國王的故事是關於內心的騷動和鬥爭花了到達一個地方的勝利，不是勝利本身; 這使得這個故事一點聲音誕生，這反過來又使得它更加有意義- 喬治梅艷芳

6，馬爾科姆X（1992）
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“ 雅已經花了！雅被忽悠！迷惑！帶壞了！橫行！“當導演斯派克·李把我們介紹給底特律紅，他提醒的具體時間世界在美國歷史上一些更容易被遺忘的比別人多。基於馬爾科姆X的自傳，李（在典型的時尚，與輝煌的成績，並與法國電影的整個盛大的影響）給我們帶來的困擾男孩誰可以很容易地變成任何未知的黑人男子在上世紀60年代，故事誰的確，幾乎沒有，直到他犯了他的生活真主和伊斯蘭國家。丹澤爾·華盛頓完美，詭異地體現了年輕的底特律紅的作用，誰就會成為馬爾科姆X。作為一個團隊，李和華盛頓（連同安吉拉巴塞特貝蒂沙巴茲）創造了完美的傳記片，所有我們認為有關的圖標是困擾或並發了他人生的這個新的翻譯- 香農休斯敦

5，我的左腳（1989）
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這是克里斯蒂布朗，一位愛爾蘭畫家和作家誰是出生重度腦性麻痺的故事。影片的標題來自布朗的自傳上的電影是基礎，是指布朗的身體，他甚至能與腦癱完全控制只有部分的標題。丹尼爾·戴·劉易斯“和布倫達弗里克的精闢巧妙的表演，令人難忘的克里斯蒂·布朗和布朗的母親，分別是毫無疑問的，你應該看這部電影的主要原因。事實上，布朗和他的母親在電影之間的相互作用是一些最好的，最感人的場面我的左腳所提供的- 喬治梅艷芳

4，艾瑪迪斯
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的天才和瘋狂之間的界線是這種大手筆的古裝戲被證明臀的古典音樂家是多麼可以是主題。米洛斯·福爾曼發癢崇高的庸俗軟肋，其結果是托馬斯·休斯克的叫聲，chittering笑與野生神童，莫扎特。安東尼奧·薩列裡的後裔陷入瘋狂助長嫉妒F.默里亞伯拉罕的寫照是完美的陪襯。慾望，嫉妒，貪婪，所有的七宗罪在這裡，設置一些最偉大的音樂寫過。，瓊Radell

3。甘地（1982）
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理查德·阿滕伯勒的甘地經常被描述為有關領導印度獨立從英國在1947年的人一個巨大的，廣泛的史詩。它是。有一點超過三小時之久，電影編年史不是甘地的一生，但他對非暴力抗議的形式，又使他獲得印度人在南非和印度從英國的最終獨立平等權利的旅程。關於這部電影的一切奇妙的作品一起：有一個全明星陣容（本·金斯利，丹尼爾·戴-劉易斯，坎迪斯卑爾根和馬丁·辛，僅舉幾例），電影本身是美麗的拍攝和很好的利用了印度的自然風光和這部電影的音樂有由莫屬所組成的顯著區別拉維香卡。所以它應該是在今年跟隨它的發行是毫不奇怪，那甘地贏取了八奧斯卡獎，包括最佳影片，最佳創作和最佳男演員在主角- 喬治梅艷芳

2，憤怒的公牛
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在80年代的最佳影片包含一個指揮的所有時間-偉大的功勳和屏風表演的所有時間-偉大的壯舉之一。馬丁·斯科塞斯的地位憤怒的公牛已經在幾年因為它的發行實現完全賺來的。看它是一個完全感覺體驗。多年來，很多已經取得了羅伯特·德尼羅獲得了拍攝時的重量憤怒的公牛來捕捉真實的拳擊手傑克LaMotta的物理改造。雖然這是他的承諾，一個偉大的象徵，斤不開始解釋他和馬丁·斯科塞斯創造的人物肖像深處。影片講述unforgivingly在一個脆弱，沒有安全感的人誰傳達他需要愛與嫉妒，憤怒和暴力。斯科塞斯的鏡頭傳達拉莫塔的頭部過於可疑運作，然後再返回來冷冷地觀察了可怕的暴力隨之而來。再就是拳擊場面。斯科塞斯值得稱讚不已尋找這樣的熱鬧，創造性的方式來捕捉環內的經驗。但是，什麼是真正令人驚訝的是，他超越了一個偉大的運動場景。每次吵架作為一個窗口，進入拉莫塔的靈魂。相機運動，快速編輯，在速度上的突然變化都反映了他的精神狀態，他需要自己損壞或造成他人損害的。這樣的表現，內臟拍片很少被追平- 邁克爾•布爾金

1。辛德勒的名單（1993）
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這將會是很難找到一個更令人振奮的，動人的故事，告訴比奧斯卡·辛德勒的。，看到這部電影之前，我以為史蒂芬·斯皮爾伯格是完全錯誤的人來告訴它。但是，這一切都歸功於是電影的神，我不是一個工作室負責人在20世紀90年代，因為斯皮爾伯格製作的東西只是我們一生中最雄心勃勃，聰明，和移動電影之一。演技是大笨重的利亞姆·尼森精湛，職業生涯決策作用，那麼無憂無慮和臭屁開頭，所以和關注，並在中間決定的，所以尊卑在影片的結尾。拉爾夫·費因斯和本·金斯利是完美的配角。主機未知數付出一切在他們的一個時刻在屏幕上。約翰·威廉姆斯的令人難忘的得分和雅努什·卡明斯基令人嘆為觀止的黑與白攝影火花。但腳本哦，史蒂芬哉利安的雄偉劇本是最大的明星。他設法採取大屠殺的故事，並把它變成勝利的故事，多少一個人能做到的故事，遺憾，我們將每一天都認為我們沒有做很多，很多。奧斯卡的“我能得到更多”的講話幾乎讓人不忍卒- 邁克爾·達納韋