The 2010s were an interesting decade for film that changed the way we defined genres and where acclaim and popularity was frequently tied to new ideas and types of filmmaking. This decade saw the emergence of a new era of auteurs and an increase in the capabilities of independent film. This transformation can be seen extremely well in the growth of animated films in the 2010s.

Coming from the 2000s, perhaps the greatest decade for animated films ever, the leap to 3D CGI had been mastered and people were looking for fresh style and stories. With masters like Hayao Miyazaki reaching the ends of their careers, and powerhouse studios like Pixar inevitably regressing, audiences and animators alike leapt at new types of animated films. With ever improving technology, barriers were broken and many animation processes were made easier letting smaller animating studios take more risks and accomplish more than was previously possible.

The following list features the greatest animated movies of the 2010s, with varied animation styles and countries of origin; some popular, some acclaimed and some underrated.

20. From Up on Poppy Hill (Goro Miyazaki, 2011)

As a director, Goro Miyazaki, son of Hayao, was always going to face scrutiny and comparison to his father’s career. To be honest, so far he’s fallen a bit short, but From Up on Poppy Hill is a step in the right direction.

Essentially, the story follows a group of teens who come together to stop the demolition of a local building by the government, with a conflicted romance budding between the central pair. With the exception of a few interesting wrinkles the plot is fairly predictable and a little saccharine. Nonetheless, it’s an effective film with strong emotions and engrossing art that gives relief to the thought the future of Studio Ghibli without Hayao Miyazaki.

19. Rango (Gore Verbinski, 2011)

Gore Verbinski is one of the most unique directors working in big Hollywood. While he’s known for his big budget flicks like Pirates of the Caribbean and The Lone Ranger, his lesser known flops like The Weather Man and A Cure for Wellness are fascinating in that they are original, auteur driven films made by a large studio. Rango is a bit of a mix of these two sides of the director.

The film follows the titular character, a chameleon voiced by Johnny Depp, who finds himself as the sheriff of a desert town and in the middle of a gunslingin’ Western plot. Although anthropomorphised animals feels like kind of a cop out these days for a premise, there is more to the movie than that. It takes interesting turns, features colorful characters and, if shot live action, would be thought of as one of the most creative Westerns of the decade.

18. How to Train Your Dragon (Chris Sanders, Dean DeBlois, 2010)

Dreamworks does not have the same level pedigree as rival studios like Disney, Pixar or Ghibli, and for good reason as many of their films are not great, but every once in a while they hit on a great premise with a lot of heart. How to Train Your Dragon is to the 2010s what Shrek was to the 2000s. On the surface it looks like nothing special, with a standard adventure plot and unimaginative studio design, but it is very well executed and is surprisingly emotional.

The plot is a fairly standard coming-of-age tale following the cowardly son of a Viking chief who befriends a dragon and together they save the village. Far from the artistic fare that makes up most of this list, this is a heartwarming crowd pleaser, whose success has proven to be a hit with not just kids but parents as well.

17. When Marnie Was There (Hiromasa Yonebayashi, 2004)

Another acclaimed Ghibli film that has flown a bit under the radar since its release, When Marnie Was There is an enchanting and very moving coming of age story. The film follows a young girl, Anna, who has trouble making friends and suffers from debilitating asthma attacks.

She goes to live with her relatives out on the seashore, and suffers similar problems until she befriends Marnie, another girl who lives in a dilapidated mansion across the bay who only she can see. A touching film with an intriguing mystery and a satisfying ending, When Marnie Was There is not the most game-changing animated film of the decade but surpasses most when regarding plot development and emotional resonance.

16. Boy and the World (Ale Abreu, 2013)

This Brazilian gem pushed the boundaries for animated film. WIth widely varying and shifting animation styles, some crude and some gorgeous, the movie is a brief but engaging visual feast. Though the film is wordless, the imaginative scenes and art keep you captivated the entire runtime.

The plot itself follows a young boy who embarks on a vibrant journey through the countryside into the city, reminiscing on his childhood and discovering how his country is changing around him. Ultimately, it’s a film of personal and environmental growth, infused with dazzling art and fun music.

15. The Pirates! Band of Misfits (Peter Lord, 2012)

Peter Lord, founder of Aardman Animation and creator of Wallace and Gromit, headed this whimsical adventure story following a subpar pirate crew who try to make a name for themselves and win the “Pirate of the Year” award. This sends them on a silly journey, mixing company with Charles Darwin, Queen Victoria and pitting the Pirate Captain against his rival, Black Bellamy. It is not deep or profound like most of the films on this list but it is extremely entertaining.

The plot is captivating for a family film and the animation is world class and charmingly styled. Perhaps the film’s greatest asset is the cheeky British humour that imbibes the film throughout, that rides the slim line of appealing to all ages. It might not be remembered as a masterpiece but it is should surely not be forgotten.

14. The Illusionist (Sylvain Chomet, 2010)

Sylvain Chomet broke onto the international stage with the 2003 hit The Triplets of Belleville, a strange movie that garnered acclaim do to its inventive animation and quirky vibe. The Illusionist retains the animation but features a more grounded plot. Based on a story by the great mime-turned-auteur Jacques Tati, the film follows an aging magician who struggles to make ends meet in a quickly changing mid-20th century world.

The autobiographical connections are clear, but this deeply personal story feels nothing Tati’s trademark comedies. Chomet takes the story in a more sombre, sentimental direction, feeding off of the regrets of Tati as pertaining to his flawed relationship with his daughter. One wonders if it need be so melancholy, but the gorgeous animation is enough to stop questioning Chomet.

13. Kubo and the Two Strings (Travis Knight, 2016)

Kubo and the Two Strings is a visual marvel. Effortlessly mixing stop motion and CGI, Kubo creates a stunning environment of steeped in magic, with dynamic action and monsters. The plot follows Kubo, a young boy and Shamisen performer who is descended from god-like beings. His mother was banished from the upper world when she married Kubo’s father, a human samurai.

Kubo, accompanied by a beetle warrior and a talking monkey, go on a journey to defeat his grandfather, the Moon King, and reunite his family. With thrilling action, fascinating lore and unmissable animation, Kubo and the Two Strings is a terrific blend of art and entertainment.

12. Your Name (Makoto Shinkai, 2016)

Your Name was one of the most successful Japanese movies of the decades, setting box office records in the country. While it was well received by critics, the film did not take off as well in Western countries unlike the international Ghibli hits. There is a lot to like about this movie: the art is breathtaking and the plot is both complex and well executed. The story follows a teen boy and girl who start switching bodies with each other on a daily basis. A strange relationship forms between them as they navigate the difficult circumstances.

The plot gets more complex from here, but I won’t spoil it. That being said, there is a reason it does not have the universal appeal of say Spirited Away; first and foremost, Your Name is a teen romance movie, filled with cheesy dialogue and modern pop songs that take you out of the film’s greater artistry. A must see for fans of modern Japanese culture but if you’re not familiar with “youth dramas” be prepared for a bit different type of movie.

11. Ernest and Celestine (Stephane Aubier, Vincent Patar, Benjamin Renner, 2012)

In this simultaneously heartwarming and politically charged film, an anthropomorphised mouse and bear team up to live their lives their own way, flaunting society and tearing down the oppressive rules of their respective kinds. The central characters are cute and charming making their rebellious acts a little jarring, at least compared to similar characters in standard American animated fare.

The animation style is simple and endearing giving the characters personalities and relatability. While the animal-character universe in the film is a cliched pet peeve of mine there at least is some thematic relevance to using different species. It’s not essential viewing, but its charm and entertainment factor, along with some deeper themes, warrant its place on this list.

TV shows and movies, as entertainment mediums, are often compared but have some innate differences. By nature of the format, television are episodic, telling a new story every week. While the characters and overarching plot arc are consistent across the series, each episode has its own conflict and resolution. This not only allows for very complex plots but also fleshed out character progression and a stronger connection with the audience.

Based on these characteristics it may seem like almost all stories would be better off as shows than movies but there are several other factors to consider. The simplest reason is that not all stories need to be that long. More doesn’t always mean better, especially in storytelling. Some shows have great concepts but overstay their welcome and eventually grow dull.

Another issue is that, as the series goes on, it can become overly complex and won’t satisfyingly wrap up all the loose ends (*cough cough* Game of Thrones). The biggest drawback to the format, unfortunately, is the financial and organizational structure where the showrunner has to contend with the TV station input and can ultimately be cancelled before the story is over.

Shows have been getting the movie treatment for decades with huge variation in quality. Many of them are simply cash grabs by studios to tap into nostalgia and the existing fanbases. There are numerous of these, Bewitched, CHiPs, Charlie’s Angels, to name a few, that have taken successful series and delivered empty rehashes of the concept. Plenty of them, however, have offered fresh takes on solid concepts, and in some cases have exceeded the reputation of the source show entirely, like the Mission Impossible series.

The following ten shows are some that, for various reasons, would thrive if given the chance at a film incarnation.

10. The Six Million Dollar Man (1974 – 1978)

The 1970s had more fun television shows than any other era. Sure, they weren’t always the highest quality but the concepts were intriguing and were full of zany camp and thrilling action. The Six Million Dollar Man is maybe the definitive example of this style of show. Lee Majors stars as Col. Steve Austin, a test pilot who gets in a horrible crash, turned into a cyborg and put to work as a secret agent. Plots often surround kooky technology, political intrigue with Russian baddies and teaming up with the similarly gifted Bionic Woman.

Why it would make a good movie: It’s got all the makings of a modern action success: a great origin story, interesting premise and unlimited possibilities for story. This open slate, similar to the MIssion Impossible franchise, is more appealing to talented directors and writers who can come in and make it their own. The thematic material also allows for deeper exploration into the connection between man and technology a la Robocop or more recently Upgrade. Just maybe the filmmakers should stay a little on the serious side and avoid straying too far into camp, like the Wild Wild West remake.

Dream Directors: Christopher McQuarrie or Alex Garland, depending on if the focus is more on sci-fi or espionage.

9. Frisky Dingo (2006 – 2007)

Adam Reed and Matt Thompson, creators of the hit animated series Archer, started their television career on Adult Swim at its inception in 2000 with the hilarious show Sealab 2021.

Sealab was a clever parody of children’s adventure cartoons and after it ran its course they came out with Frisky Dingo, a parody of superheroes. The show revolves around a supervillain, named Killface, a giant bony monster, and his arch-nemesis/sometimes friend AwesomeX, a Batman parody. Like their other shows, Frisky Dingo’s best asset is its clever writing and colorful characters, but also has potential for action and social relevance.

Why it would make a good movie: Superheroes are much more relevant now than when the show aired, giving them much more content to work with. Parodies also tend to work better in shorter stints where the jokes can be boiled down to the best of the bunch. While a similar movie to this has been made already (Megamind), this take would be a more biting satire, similar to the comedy found in Deadpool. Frisky Dingo could fill a cult niche at a very relevant time for it’s subject matter, and with the Reed and Thompson currently writing better than ever, could be a hit

Dream Directors: Adam Reed and Matt Thompson would need to be involved in the writing. Maybe veteran directors of fun superhero films like Matthew Vaughn or James Gunn would be a good fit.

8. Nip/Tuck (2003 – 2010)

Medical drama mixed with crime show, Nip/Tuck combines the two most popular TV formats into a unique program. It follows the practice of two hotshot plastic surgeons: Sean McNamara and Christian Troy. McNamara is a family man trying to keep his tumultuous career from shaking up his marriage, while Troy is a brilliant doctor but unpredictable womanizer. Together they not only conduct lots of controversial procedures, but soon get too involved in LA’s seedy underbelly.

Why it would make a good movie: The concept is unique with lots of intriguing paths for the plot to go. The two main characters, while not tremendously original in design, offer decent enough chemistry and, if written correctly, have potential to be interesting studies. The show itself is not incredible, especially when compared to some of its contemporary dark dramas. One of it’s main problems is that it overstays the longevity of such a plot, an issue that wouldn’t be present in a film.

Dream Director: Brian DePalma or Paul Schrader, especially if this was made in the 80s. Although both directors have gone down different paths since then, both are capable of handling thrillers with a modicum of sleeze.

7. Fantasy Island (1977 – 1984)

One of the most iconic shows of the era, Fantasy Island is a highly conceptual show, perfect for film adaptation. Ricardo Montalban plays the mysterious Mr. Roarke, proprietor of Fantasy Island. The only other main character across the series is Roarke’s diminutive sidekick Tattoo. For the shows seven season run, there isn’t much in the way of continuity or overarching plot from episode to episode, just a new story each week. The plots are all of the same basic make-up: people come to the island to live out their wildest fantasies. Often, they don’t turn out quite how their dreamers expect.

Why it would make a good movie: Each episode is essentially its own separate story anyway so a film would just be a stretched, more complex, iteration of one, maybe with a brief introductory segment. Finding a suitable Mr. Rourke might be a challenge, but outside of that the writer/director would have free reign to create their own collection of moral tales, perhaps tinged with the supernatural or an O.Henry-esque twist.

Dream Director: It’s such an open ended concept that any strong director could take it and run with it. Steven Spielberg would give a balanced approach. Tim Burton would make it his own dark world. Yorgos Lanthimos might give us something a little deeper/weirder.

6. Gargoyles (1994 – 1997)

The 1990s were a golden age for children’s cartoons, with many animators catering as much to kids as they did adults. The high watermark for these was the operatic, noir laced Batman: The Animated Series, but right below it ranks Gargoyles. The show is about a group of gargoyles, mythical beasts from ancient Scotland who find a home on the NYC skyline. When the sun is out they become trapped in stone but at night, mobilize and protect the citizens from crime and evil. Similar in concept to Teenage Mutant Ninja Turtles, but less goofy jokes and more Shakespeare.

Why it would make a good movie: There are many aspects of the show that make it more appealing today than when it came out. For one, the market for big budget creature features is bigger than ever, and can even gain critical acclaim. WIth this film’s dramatic literary influences, as well as possibility for big action, not to mention interesting lore, it seems like a home run if put into the right hands.

Dream Directors: The obvious choice is Guillermo Del Toro, whose had more success than anyone in this genre. James Wan would also be good to mix action and horror into a blockbuster.

Nicolas Cage is the most enigmatic leading man in Hollywood history, polarizing audiences and critics for decades. He’s given countless brilliant performances and phoned in even more with his movies ranging from acclaimed dramas to action-packed blockbusters to dumpster B-movies.

Starting out with the help of his uncle, legendary director Francis Ford Coppola, Nicolas Cage started making a name for himself as the lead in smaller films and a memorable supporting roles in higher profile movies. Due to his unique, over the top acting style which Roger Ebert defined as “operatic,” Cage carried with him an electric charisma that made him stand out.

Soon talented directors like David Lynch and the Coen Brothers took notice of his talent, as did critics. With Leaving Las Vegas, Cage won an Academy Award and broke through as a superstar, going on to star in huge action films like Con Air and The Rock, cementing his place in Hollywood.

His reputation, unlike his fame, has varied greatly over the years, because for every memorable film he makes, there are a handful of forgettable, sloppy and just plain awful ones, especially in the last decade, where Cage has been making several low-budget flicks every year. But even if his movies are not always good, Cage’s performance is always, at the very least, interesting, taking his characters in unpredictable directions.This quality he brings to the roles have given him a legendary cult status, made up of both mockery and respect.

The following list analyzes Cage’s prolific filmography of over 80 films and ranks them, taking into account the quality of the film, Cage’s performance as well as how much the quality of the film relied on Cage. For this reason, movies where he was a leading man will be given an edge over those where he played a more supporting role. Besides from outlining his career, it will hopefully expose you to some hidden gems for you to go watch, as well as many to avoid.

Bonus: Sonny (Nicolas Cage, 2002)
Role: Acid Yellow

For this film, Nicolas Cage got behind the camera, letting James Franco take the lead in this misguided crime bust. Although there were good intentions in some of the creative choices Cage took, the sum of the parts amounted to a messy, boring film. Even Cage’s cameo as a man in yellow on acid is somehow empty. Only hardcore Cage fans should seek this one out.

Bonus: Grindhouse – Werewolf Women of the S.S. (Rob Zombie, 2007)
Role: Fu Manchu

These first three films mentioned are unranked due to the very minimal role Cage plays in them. Werewolf Women of the S.S., was one of the five fake trailers that accompanied Grindhouse, Quentin Tarantino and Robert Rodriguez’s send of 1970s B-Movies.

This one directed by Rob Zombie, teases a schlocky horror film with lots of blood and nudity, slammed together with no logic. Nicolas Cage appears for only a few seconds as Fu Manchu, a Chinese ruler who helps the Nazi’s. Honestly, this cameo is one of the funnier moments in the entire Grindhouse double feature, as Cage is playing a caricature of himself.

Bonus: Fast Times at Ridgemont High (Amy Heckerling, 1982)
Role: Brad’s Bud

Cage’s very first film role, where he was credited as Nicolas Coppola still, comes briefly in this 1980s classic. He plays a worker in the fast food joint where Judge Reinhold’s character works. He can be seen in a few shots reacting to a scene caused by an angry customer.

Bonus: Never on Tuesday (Adam Rifkin, 1989)
Role: Man in Red Sports Car

Cage was one of many cameos made by big stars, including Charlie Sheen, Emilio Estevez, Gilbert Gottfreid, in this forgotten 80s comedy. The plot follows two teenage guys and a gorgeous girl stranded in the desert. She’s a lesbian and they are trying to turn her straight. Cage’s pulls up to them in a fancy car, wearing a gigantic fake nose, offers help, laughs maniacally, then drives away. It is probably the best moment of the film.

80. Deadfall (Christopher Coppola, 1993)
Role: Eddie King

This is without a doubt the worst film on this list, and one of the worst films ever made. Written and directed by Nicolas Cage’s brother Christopher Coppola, due to connections, the film managed to get much more resources than it deserved. It features a big name cast, including Charlie Sheen and James Coburn, even they couldn’t manage to elevate this mess beyond pure garbage.

The plot is sloppy and boring, the production is awful and it is hard to make sense of what is actually going on. The only thing worth watching is Cage’s Eddie King, a lunatic gangster who shouts randomly at the top of his lungs. This is Cage’s most insane performance, which is saying something. Skip the movie and watch the highlights on Youtube.

79. Left Behind (Vic Armstrong, 2014)
Role: Rayford Steele

Another unwatchable movie that never had a chance. Nicolas Cage plays a man on a plane who finds that worldwide a large percentage of the population has disappeared, including the pilot. This premise is actually somewhat intriguing if done right (see The Leftovers), but in this case it simply acts as lazy Christian propaganda. Little to no effort was put into any aspect of the film, except hammering home the main religious theme.

The script and directing are below amateur and none of the actors, including Cage, want to be there or give any effort. Avoid at all costs. You won’t get back the two hours spent watching it.

78. 211 (York Shackleton, 2018)
Role: Mike Chandler

Marketed as a combination of End of Watch and Black Hawk Down, 211 is an embarrassment even when compared to much lesser films than those. Loosely based on the famous 1997 bank robbery in Hollywood, this disaster would have been better off if it had stuck closer to the facts.

Instead it is a horribly written film with zero-dimensional characters. It fails as a compelling heist movie, or a thriller, or whatever else this film was attempting to be. Common to many of these recent direct to streaming films, Cage is the only interesting thing on screen.

77. Pay the Ghost (Uli Edel, 2015)
Role: Mike Lawford

Is it really a horror film if its not scary on any level? Pay the Ghost is a nonsensical supernatural “horror” film slapped together with a “plot” seemingly based around the cliche of ghost children.

At the end, we get some contrived explanation that the children ghosts are a Pagan Halloween curse. That’s about all there is to this film. Its a B-horror flick without any of the camp.

76. Arsenal (Steven C. Miller, 2017)
Role: Eddie King

There are really no excuses or explanations for this movie being made. It is a follow-up to Deadfall, number 81 on this list, and in a move of complete derangement, Cage reprises his role as the drugged out madman Eddie King. That’s about all I can tell you about this movie.

If there was a plot to talk of, it was completely overshadowed by Cage’s scenery chewing. John Cusack is also here, completely miscast as another scummy criminal. At least it looks like they had fun making it.

75. Rage (Paco Cabezas, 2014)
Role: Paul Maguire

Nicolas Cage stars as a ex-con whose past life catches up to him after he has started fresh, raising a family. Unfortunately for Cage and company, David Cronenberg already made this film with A History of Violence, and did it much better.

Rage is a cliche’d shell of an interesting film, with a boring script and unbelievable characters. Eventually, it does try to address some of the complex themes, but it is too late and too little. The worst part by far, however, is that Cage is boring.

74. Vengeance: A Love Story (Johnny Martin, 2017)
Role: John Dromoor

Apparently based off of a novella by esteemed writer Joyce Carol Oates, I can only assume that the screenwriters kept nothing except the same broad plotline. The script is exceedingly stupid, with the highlight occuring when a courtroom stood and applauded when violent rapists were acquitted because the victim “wanted it.” Cage plays the policeman who hunts down and kills the rapists. And like all of the rest of these low budget thrillers, it is not thrilling.

73. Seeking Justice (Roger Donaldson, 2011)
Role: Will Gerard

Another bad revenge movie where the characters stink and the thrills are empty, but at least this one made it to theaters. Like many others, it is a cheap copy of Death Wish, replacing Charles Bronson’s intensity with gratuitous violence and pointless plot convolutions.

The one positive is that Cage seems like he cares enough about the film to bring out more of his manic side, even if it did earn him a Razzie nomination. Guy Pearce also stars, bringing a little more quality to this otherwise forgettable film.

72. The Wicker Man (Neil Labute, 2006)
Role: Edward Malus

Probably the most infamous of all of Nicolas Cage’s films, The Wicker Man is not as bad as its reputation suggests. Of course, it’s not as good as the original, and the film is never scary, which is a problem for a horror movie, but the production and storytelling is significantly greater than the movies that came before on this list. People would like to fault Cage for making the film funny rather than scary, but once you realize that it is Cage alone that makes the film entertaining, it is actually a good time.

71. Christmas Carol: The Movie (Jimmy Murakami, 2001)
Role: Jacob Marley

The first and most forgettable animated film on this list, Nicolas Cage plays the small but important role of Jacob Marley, Ebenezer Scrooge’s old partner who gets him started on his holiday journey. Everything from the storytelling to the animation is underwhelming with this take on Dicken’s classic tale. There are so many great film versions of this tale so please don’t waste your time with this one.

70. Looking Glass (Tim Hunter, 2018)
Role: Ray

This was such a disappointment given the talent involved on both sides of the camera. Not only does Nicolas Cage play a relatively interesting role, but Tim Hunter, director of 80s gems Tex and River’s Edge, as well as some of the better episodes of Twin Peaks, was behind the camera. While the film builds up well the script does not wrap up solidly and the mystery is left more or less unanswered.

69. Fire Birds (David Green, 1990)
Role: Jake Preston

Nicolas Cage stars in this wannabe Top Gun as a helicopter pilot trying to take down a drug cartel in South America, with Tommy Lee Jones as his stern instructor and Sean Young as his girlfriend. Despite the well rounded cast, the movie stinks on pretty much every level.

The script is predictable, dialogue is unbelievable and the characters, especially Cage’s cocky pilot, have no depth. The worst part is they somehow made a movie about attack helicopters boring. Luckily Cage got better at being an action star a few years later.

68. 8MM (Joel Schumacher, 1999)
Role: Tom Welles

This is an extremely dark and unpleasant film and extremely surprising due to the fact that it comes from a big studio with huge stars. Of course, dark and unpleasant doesn’t mean bad if there is a good examination of the content. This is not the case. Cage plays a detective investigating the underground snuff film industry and the violence it shows is disturbing and explicit.

The problem is that the film is showing us this violence in an attempt to thrill us, hypocritically using the same ideas that it is trying to combat. 8MM is a distasteful piece that is guaranteed to make you feel miserable.

67. Outcast (Nick Powell, 2014)
Role: Gallain

Somehow Outcast was only the third worst movie that Cage made in 2014, and it is still bad. Set long ago in China, Cage plays Gallain, an ex-warrior turned bandit who, with another warrior played by Hayden Christensen, help the rightful successor to the Emperor take the throne.

The production value on this movie surprisingly is alright and the fight scenes are done well. The rest, however, is not well developed and the movie is a bore. One highlight is Cage’s wig, causing one critic to compare him to Gene Simmons.

66. The Humanity Bureau (Rob W. King, 2018)
Role: Noah Kross

Not as offensively bad as it is boring and pointless. Taking place in the future where the Earth’s resources have been depleted, Cage plays an agent of the Humanity Bureau, who decides which humans go to a concentration camp or stay alive. He veers from his strict professionalism when he meets a boy who turns out to be his son, where he takes him and goes on the run from the agency. Sorry for spoiling the plot, but I don’t think that you want to watch it anyways.

65. Trespass (Joel Schumacher, 2011)
Role: Kyle Miller

Cage reteams with Joel Schumacher for this home invasion thriller to not much better results than their first outing. Although Trespass sports an impressive cast with Nicole Kidman as Cage’s wife and Ben Mendelsohn as the villain, the film was doomed from the start.

The script is just awful, packed with so many pointless twists that add nothing but confusing to the story. To add on to that, the film is shot so bleakly with an unappealing atmosphere, that I find it hard to imagine anybody enjoying themselves while watching this film.

64. Zandalee (Sam Pillsbury, 1991)
Role: Johnny Collins

Almost completely forgotten since it came out on video in the 90s, this horribly titled film
Is actually quite memorable. Based on an Emile Zola play, the film follows Zandalee, a beautiful woman in a boring marriage who starts an affair with her husband’s old painter friend. Judge Reinhold plays the husband and Cage plays the painter.

The film takes a decent story and doesn’t do much with it, except throw in a lot of sex and nudity. Cage also does his best here, playing the eccentric, mysterious, drugged out lover. His performance steals almost every scene he’s in, and although the movie is bad by just about every other standard, it is entertaining enough to pass the time.

63. Inconceivable (Jonathan Baker, 2017)
Role: Brian

Another bad thriller with a bad name. Cage plays Brian who is married to Angela played by Gina Gershon, who is having trouble having a baby. They meet Katie, played by NIcky Whelan who digs herself into their lives, but they soon discover she hides a sinister past. Nothing new is explored here, the “thrills” made up of poorly executed cliches. This movie has basically been made several times, all better than this one.

62. Army of One (Larry Charles, 2016)
Role: Gary Faulkner

This movie should have been better. Starring Cage and funnyman Russell Brand, as well as directed by Larry Charles of Borat fame, it had the talent in place for success.

The plot is a bit odd, following Cage’s character, a construction worker, who goes to the Middle East to try and stop Osama Bin Laden, but it still had potential. The result is a comedy that fails to land any good jokes, instead full of misguided characters that don’t develop well. It tried to be too serious for a comedy and too goofy for an indie hit, ending up being completely forgettable.

61. Ghost Rider Spirit of Vengeance (Mark Neveldine and Brian Taylor, 2011)
Role: Johnny Blaze/Ghost Rider

Filmmaking team Neveldine/Taylor, the duo behind the Crank series, take on the second of Cage’s Marvel anti-hero film. The plot its not as good a the first film, focused on Ghost Rider a.k.a. Johnny Blaze transporting a young boy, fighting off demons as they go.

As you might have guessed from the directors, the character is more outrageous that in the first film, with Cage getting permission to let loose his wild side. Idris Elba does a fine job as a mysterious ally, but the plot and action of the film left a lot to be desired. Besides the newest Fantastic Four movie, this is probably the worst superhero film of the modern era.

60. Captain Corelli’s Mandolin (John Madden, 2001)
Role: Captain Antonio Corelli

Seeped in melodrama, this cheesy adaptation of a much greater novel takes place in WWII Greece. Cage plays Corelli, a Captain of the Italian Army who leads a battalion stationed on a Greek island. While there, he falls in love with a beautiful local girl Pelagia, played by Penelope Cruz, but they become separated by the war. Director John Madden, while capturing the beauty of the island, forgoes storytelling in exchange for artistry. The final product is a visually pleasing but unbelievable romance that the audience couldn’t care less about.

59. USS Indianapolis: Men of Courage (Mario Van Peebles, 2016)
Roles: Captain Charles B. McVay

Another World War II movie, somehow this direct to streaming film by Mario Van Peebles turned out better than the previous war story by an Oscar nominated director. But it’s not better by very much.

The plot follows the crew of the USS Indianapolis who are stranded at sea, only about 300 of whom make it back. Then the film shifts into a courtroom drama, with the establishment trying to place the blame onto Cage’s Captain. Here Cage is given a much meatier role than his modern cheap thrillers, but the rest of the film is still flat.

58. G-Force (Hoyt H. Yeatman Jr., 2009)
Role: Speckles

Yes, I think a film where Nicolas Cage voices a hyper-intelligent star-nosed mole is better than over twenty of his other movies. In case you don’t remember this one, it is about secret agent CGI rodents.

Voiced by a cast of stars and featuring Zach Galifianakis in one of his first big roles, G-Force is an inoffensive family film, that passes the time but that you’ll completely forget about after it’s over. I don’t have much else to say about this one, so I’ll throw in a fun fact: it features a soundtrack composed by Yes guitarist Trevor Rabin, who also scored five other films on this list.

57. Dog Eat Dog (Paul Schrader, 2016)
Role: Troy

Yes, Paul Schrader, the legendary screenwriter behind Taxi Driver and Raging Bull, is also responsible for this nasty little crime picture. The movie, along with the lead actors, Cage and Willem Dafoe, are completely unhinged as they go down a twisted crime path, focused on kidnapping a baby.

It meets the fate of too many modern low budget crime films, trying too much to be like Tarantino to find a character of its own, and the violence is a little too much and too dark to be a whole lot of fun. At least it shows that Cage still cares enough to invest in his roles.

56. Stolen (Simon West, 2012)
Role: Will Montgomery

One of the more competent of Cage’s contemporary thrillers, Stolen is at its best a cheap Taken ripoff, but it rarely works. Cage does his best, playing a sincere ex-con whose daughter is taken by his old partners, but the script doesn’t give him the most to work with.

The rest of the characters are even more poorly developed and the plot is predictable. It also completely fails at being either an action movie or thriller, lacking a strong vision. Given a little more effort, this one could have beens serviceable.

Since the beginning of cinema, horror has been one of the most popular genres with audiences, but one that’s most ridiculed by critics. This poor reputation was not unfounded, as still, the majority of horror films are below average, relying on cheap jump scares, underdeveloped characters, and gratuitous blood.

Unfortunately, the horror movies that are made with care and feature well thought out plots have to fight an uphill battle to be taken seriously. Luckily, some of cinema’s most talented filmmakers have taken on the challenge through the years, mastering the art of terror and thrills.

Still, it takes a very rare horror movie to elevate itself above the stigmas of the genre and present itself as what one might call a “profound” movie. As with other outliers of genre pictures, the setting of horror is used to convey a deeper message.

Infused within the scares are manifestations of real human problems and complexities, providing the audience with a complete experience that is enlightening and electrifying. The films on this list do both tasks tremendously, leaving a lasting mark on their viewers, either in their wandering thoughts or their nightmares.

15. The Brood (David Cronenberg, 1979)

The king of body horror, David Cronenberg is one of two directors to have two films featured on this list. “The Brood” is one of the filmmaker’s earliest successes, but also one of the most memorable.

The film follows a desperate husband trying to gain custody of his child and uncover the secret his separated wife is hiding from him, regarding her psychological stay with the illusive Dr. Raglan. The wife and doctor, played by the brilliant Samantha Eggar and Oliver Reed, respectively, provide much of the mystery and unsettling atmosphere that set the stage for the disturbing horrorshow of the film’s final act, which is bizarre for even Cronenberg.

The special effects are considerably dated and the plot develops slowly, but the odd mood and occasional shocking event keeps the viewer involved and on their toes. Almost more compelling than the plot is the troubled relationship of the central couple, taking commonplace marital problems and amplifying them to dark extremes. It’s as if the husband’s worst nightmares came to life, and all the audience can do is watch as it careens out of control.

14. The Wicker Man (Robin Hardy, 1973)

No, this is not the infamous Nicolas Cage vehicle (which is actually quite enjoyable due to its campy merits), but an entirely different approach to the haunting story. Wrongfully forgotten, even before it was hidden under its remake’s shadow, this British classic provides a unique approach to the much-ventured genre.

A policeman travels to a remote isle in the Hebrides to investigate a young girl who went missing. To his surprise, he finds that the island’s people, led by Lord Summerisle, played by Christopher Lee, worship pagan gods and flout the customs of society.

Much of the film plays out more like a mystery than a horror film, revealing clues and building intrigue, but it makes a brilliant shift into one of the most horrifying endings of all time. It is this twist that much of the film’s legacy rides on, including its presence on this list.

While the originality of the plot and setting already elevate it above common fare, the closing scene’s power and connotations are what is burned into the viewer’s mind, provoking deeper terrors than are even shown on screen.

13. The Babadook (Jennifer Kent, 2014)

Coming out of nowhere, this indie flick from Australia became an international success thanks to word of mouth. Most of the reason for this hype is because, quite simply, “The Babadook” is one of the scariest movies of the decade. The plot follows a mother who is struggling to raise her young son with behavior issues after her husband passes.

As her son begins acting out more and more, she is plagued by something else: a book. This book, which shares the name of the movie, appears to be a children’s book at first glance, but grows darker, with very disturbing content and illustrations, and as much as she tries to destroy the book, it always comes back, and soon, so does the monster it contains.

The movie’s interesting characters, plot devices, and horrifying scenes already cement it as a modern horror classic, but director Jennifer Kent takes it further. Dropping hints along the way, she unfolds the true cause of the terror in the family’s life, opening up discussion for what exactly the film means and the what the motives of the characters are. Instead of just a straightforward horror movie, it also comments on coping with loss and moving on with your life.

12. Get Out (Jordan Peele, 2017)

A cultural phenomenon of the last year, sketch comedian turned feature filmmaker Jordan Peele hit the ground running with this explosive debut. Combining his famed wit and humor with an interesting premise, sharp directing, and strong social commentary, Peele somehow created a perfectly balanced movie that performed on all levels, and appealed to just about everyone.

Daniel Kaluuya stars as a young black man who goes on a trip to visit his white girlfriend’s parents. At first all goes well, but without going into spoilers, he slowly starts realizing small things out of the ordinary until he unravels the sinister plot behind the events.

The wonderful thing about this film is that, although it is completely politically charged, it is well enough crafted that it can be enjoyed as a pure horror/thriller. The racial theme, of course, adds another important level to the work, earning it an Oscar for Best Original Screenplay and universal acclaim. Although what is being is said is nothing new, it is nonetheless refreshing to see a popular horror film that makes you think.

11. The Orphanage (J.A. Bayona, 2007)

This Spanish gem impressed critics worldwide for its ability to be very scary without resorting to cheap scares like so many of the other horror movies of the time. Modeled after classic Spanish cinema, “The Orphanage” follows a mother, Laura, who goes back to the orphanage where she grew up, accompanied by her husband and child. Laura’s plans are to turn the old estate into a new home for troubled children, but these plans are soon interrupted by disturbing events.

Produced by Bayona’s friend Guillermo del Toro, the film’s style is similar to many of his recent films, such as its atmosphere and creature design. One of the most interesting things about the film is that although the events may be scary to the characters (and viewers), the spirits are not necessarily malevolent.

Instead, the fear is used to convey the confused and lost nature of the characters. With a brilliant combination of chills and drama, “The Orphanage” is a must-see gem of international horror.

10. Repulsion (Roman Polanski, 1965)

Aside from Cronenberg, Roman Polanski is the only other director with two films on this list.   Polanski’s second film, and the first in the English language, stars Catherine Deneuve as Carol, a bored manicurist in London who lives with her sister. Carol is seemingly disinterested in everything, and has a great impatience for men, including her sister’s boyfriend and her many suitors.

When her sister goes on vacation, Carol becomes even more isolated than before, hallucinating and losing her grip on reality. Polanski shows Carol’s descent into insanity with dark, surreal imagery, eventually leading to her acting violently toward men.

This chilling tale of psychological torment and sexuality is one of Polanski’s most effective works, being frightening as well as commenting on the limited role of women in society. Deneuve is also one of the strong points of the film, delivering one of the best performances of her career as the emotionally devoid beauty. Noted as much for its surreal imagery as its complex thematic material, “Repulsion” started Polanski on a career as one of the greatest horror/thriller directors of his time.

9. It (Andy Muschietti, 2017)

Arguably the greatest film adaptation of a Stephen King novel, based on one of his most profound tales, “It” is equal parts moving and scary. The story is set in the small Maine town of Derry, which is plagued by frequent disappearances of children and follows a gang of kids trying to uncover the mystery.

The gang’s leader, Bill, drives the search because his kid brother George is one of the missing children. They soon discover that the culprit is an evil alien in the form of a demonic clown called Pennywise, who navigates the town through the sewers. He comes out every 27 years to feed on the children of Derry, and the gang sets out to end him for good.

The film is only part one of two, with the second part coming out in September of next year, focusing on the gang as adults 27 years later. There is much to be afraid of in this movie, most obviously the terrifically designed Pennywise, played by Bill Skarsgard. But there are other monsters in the film as well, many of which are not supernatural at all, like deranged bullies and abusive stepfathers. It is this combination of the real world fears of the children and the otherworldly horrors in the town that make the film so thought-provoking, tying the scares to real life.

No directors in recent memory have been as successful as Tim Burton in marrying their unique vision with universal popularity. Since his beginning, he has been able to captivate audiences with his arresting artistic design and keep them around with his goofy sense of humor and natural storytelling ability.

His filmography has one of the most distinct director’s footprint in mainstream Hollywood. Filled typically with quirky, supernatural settings and equally twisted visuals, a Burton picture is almost instantly recognizable to any movie fan.

Over the years, Burton has built his body of work on several key partnerships that are integral to his films’ creative power. The most prominent of these is his recurring star, Johnny Depp, whose film career started and rose to fame in Burton’s pictures. Another key addition to his films is the music, provided mainly by Oingo Boingo frontman Danny Elfman whose reputation as a composer has now eclipsed his fame as a rocker.

Like all filmmakers, Burton has his ups and downs, and as he has grown older his films seem to have become less daring, but his genius is still visible in every one of his works. Please enjoy the following list, ranking the films of his career and feel free to agree, or more likely, disagree with the placements.

18. Planet of the Apes (2001)

Few remakes of classic films are well received, but even fewer have been as reviled as Burton’s revamping of the science fiction landmark of the same name. The basis of the plot is the same as the original.

A human spaceman, played by Mark Wahlberg, crash lands on a planet which he finds to be ruled by Apes. He is then taken prisoner and made a slave along with the rest of the humans on the planet. He escapes and attempts a revolt but clashes with the General of the apes. Some other time travel plot twists happen and the film muddles into the thoroughly miscalculated ending: a foul rehash of the originals legendary twist.

Much of the time, remakes are chided for being unnecessary money grabs. This cannot be said for Planet of the Apes, a reboot of a series that had been silent for decades, and the current series in the franchise proves it could have been done well. No, the main problem of the film was in the confusing and poorly paced script, which left viewers baffled after.

The acting was passable at best and Burton’s vision was similarly uninspired. It seems everyone involved was just in it for the money. The one bright spot in the film was the prosthetics, but those did not begin to make up for the film’s shortcomings and the infamous monkey-fied Lincoln Monument.

17. Miss Peregrine’s Home for Peculiar Children (2016)

The most recent of Burton’s films as of the writing of this list, Miss Peregrine’s Home for Peculiar Children represents perfectly the faults in Burton’s recent pictures and his current slump.

Ever since Alice in Wonderland Burton has seemingly spent all of his efforts in crafted the most visually dazzling and crowded films with his newfound style of CGI effects. He has certainly shown that he is one of the masters of the craft, but the unique art that made his early works classics has been replaced by much less daring design. Much worse than this change is that the director has appeared to have lost his touch at creating emotionally connective characters.

Eva Green, Burton’s muse as of late, plays Miss Peregrine, the headmistress of a special group of super powered children. The group lives in a “time loop” set in World War II and fight off nasty monsters who wish to steal their eyes. The premise, based on the novel of the same name, is interesting enough, but it soon spirals out of Burton’s control with many time jumps and a rushed pace.

It is certainly an entertaining film, despite the plot’s weaknesses, but in the end there is nothing very memorable about the whole thing. The character’s are mostly hollow, due in no part to the acting, and the beautiful effects are not enough to hold it together. Hopefully Burton’s next big film, a live-action version of the classic Dumbo, will mark a return to form, but with Disney’s involvement, I doubt that he will be allowed the creative control he needs for another masterpiece.

16. Alice in Wonderland (2010)

Based on the universe of Lewis Carroll’s Alice in Wonderland, Tim Burton’s overblown fantasy extravaganza takes place many years after the initial stories. Alice, played by Mia Wasikowska, is now of age and is to be married off to a snob and enter into the world of adulthood.

Before she goes through with it, however, she spots a white rabbit and, following, falls down the rabbit hole into Wonderland. Picking up where “Through the Looking Glass” left off, the White Queen (Anne Hathaway) and the Red Queen (Helena Bonham Carter) are at war. It is up to Alice to save the day and defeat the wicked Red Queen and her lackeys.

Rejoining Alice in her new adventures are nearly all of the notable characters from before. There’s the Cheshire cat, the hookah-smoking caterpillar, and most notably The Mad Hatter, played vividly by Johnny Depp.

Unfortunately, despite the wholehearted performances by the impressive cast and the absolutely dazzling special effects, Alice in Wonderland has a weak , underdeveloped storyline and is one of Burton’s most poorly realized projects. Despite bad reviews, the film performed amazingly at the box office, especially overseas, spawning a sequel and a string of real-life remakes of Disney films, like The Jungle Book and Beauty and the Beast.

15. Mars Attacks (1996)

Loosely based on a campy trading card game of the same name, this wacky cult film from Tim Burton satires both the science fiction B movies of the past and the big budget alien blockbusters of the present.

The plot is nothing special, simply focusing on several different characters as martians arrive on Earth and start terrorizing all humans. Some of the characters include boxing champions, news reporters, soldiers, the President of the United States and sleazy Las Vegas developers, the latter two being both played by Jack Nicholson.

As the human population is quickly being decimated by the martians, the heroes must act quickly to find a way to save their planet. Clearly not a perfect film, Mars Attacks still features a lot of funny gags and a lot of enjoyable plot points.

The over the top appearance of the aliens, taken from the trading cards, destroys any hope of scariness for the film but adds a lot to the wacky comic atmosphere. Burton more-or-less created what he set out to do, and and the ensemble cast similarly plays their parts to the fullest. Due to the perhaps too-goofy plot and design of the film, however, it never exceeds the potential of a campy diversion.

14. Dark Shadows (2012)

This film version of the gothic soap opera of the same name is a light but fun flick from Burton. Johnny Depp stars as Barnabas Collins, who in 1776 is cursed by the witch Angelique, played by Eva Green, because of her spurned advances and turns him into a vampire. After being finally dug from his coffin in 1972, Barnabas returns to his family’s manor. Now residing in the home is the current Collins matriarch Elizabeth, played by Michelle Pfeiffer, her children and her son’s psychologist, played by Helena Bonham Carter.

His reappearance is noted by Angelique who is immortal as well and who has taken over the fishing business of the town that once made the Collins family so wealthy. It is up to Barnabas to return the family to its past glory and unite them with pride, all the while defeating the evil magic of angelique and capturing the heart of the beautiful young Victoria.

The art direction of the gothic manors mixed with the 1970s culture is stunning and very lively. The performances throughout the main and supporting cast are well realized too. The plot, however, being adapted from a soap opera, lacks a strong narrative fitting for a feature film which is why Dark Shadows ranks so low on this list.

13. Charlie and the Chocolate Factory (2005)

Although the earlier Willy Wonka and the Chocolate Factory starring Gene Wilder is generally more well regarded, Burton’s rendition of Roald Dahl’s seminal children’s book is still an ambitious and creative effort.

Freddie Highmore stars as Charlie Bucket, a young kid from a poor family who wins a tour of the famous chocolate factory run by Willy Wonka in a contest. He is accompanied on his tour by his Grandfather, as well as the other contest winners consisting a fat German, a TV addict, a rich daddy’s girl and a bubble gum chewing champion.

On a visual level, the film is certainly a triumph, if not a bit too quirky. Johnny Depp’s performance as Willy Wonka, maligned by some, is a highly unique portrayal and helps holds the bulk of the plot together. Unfortunately, Burton takes many liberties with the classic tale including adding many unnecessary plotlines. Not as classic or as magical as the original film, Charlie is nonetheless a highly enjoyable and unique family film of visual splendor.

There are few directors in film history as polarizing as Peter Greenaway. Initially trained as a painter, Greenaway has a terrific mind for visual framing and composition. This inspired stylistic mind and passion for details make his filmography like no other, with each frame a calculated painting, and sometimes several paintings in one.

Not only does Greenaway use his mastery of the camera to create his visions, but he is one of the greatest utilizers of after effects and editing tricks in the business, leaving his films with an instantly recognizable feeling.

Just as importantly, of course, Greenaway makes very interesting films in terms of content as well, and his subject matter is similarly unique and eccentric. The plots of his films are never conventional and often told in an experimental style. Thematically, Greenaway is as adventurous as he is with his visuals, taking on controversial topics in graphic form, often featuring somewhat gratuitous nudity as well as disturbing imagery.

The quality of each of these films, and this list’s rankings, is somewhat subjective, but there are clear standouts on both the good and bad sides of the spectrum. Near the top of the list you will find carefully thought out films with gorgeous visuals, captivating plots and a good balance of form and substance. While all of the films exhibit the director’s strong vision, some of Greenaway’s films near the top of the list show less restraint and are more indulgent in style over substance.

15. 8 ½ Women (1999)

One thing that can be said about Peter Greenaway is that his films never lack vision. Even his least enjoyable films, like 8 ½ Women, are precisely, or very nearly, the films that he set out to create. Another thing that can be said about the director is that he does not seem to care if his audience enjoys watching his movies.

This curious film, about loss, grief and sexuality, certainly has a clear direction with every shot, but it is certainly not an enjoyable film to watch. It follows a father and son who, after losing their wife/mother, cope with their loss by enlisting eight and a half women (the half being an amputee) to live at their mansion and have sex with them.

Unfortunately, this is the bulk of the film’s plot and much of the time is spent discussing, but curiously, not showing the sex. Greenaway’s calculated dialogue and eccentric shots and effects maintain the audience’s attention, and even presents some interesting food for thought, but certainly to a lesser, and more uncomfortable, extent than his greater movies. The title, of course, stems from Fellini’s film 8 ½ which the father and son watch several times throughout the film.

While I could not determine exactly the reason for this reference, I am quite sure that the realization would not improve the experience much. Although 8 ½ Women is a unique film and challenges the viewer more than most mainstream fare, unless you are a completionist, I wouldn’t bother searching this one out.

14. Goltzius and the Pelican Company (2012)

The second film in Greenaway’s supposed “Dutch Masters” trilogy, the first being Nightwatching and the final being a rumored picture on Hieronymus Bosch, this movie follows Hendrik Goltzius, a master engraver. He convinces a rich Margrave, played by F. Murray Abraham, to buy him a printing press so that he can make books of his, mostly erotic, prints. An addition to the deal is that Goltzius must put on a show for the Margrave and his guests, depicting in real life each of the acts in the prints.

The plot itself is not alienating, in fact it is quite compelling in many instances, however, this film is certainly one of the director’s least accessible, and unfortunately, one of the least worthwhile. The combination of visual effects here are at an all time high, including but not limited to, extreme color-correction, overlaid text and frames in frames.

These efforts make the screen nearly always oversaturated with information and action. Not only is this exhausting on the eyes, but it also significantly clouds the mind of the viewer, making it impossible to pick up on all of the film’s messages.

13. Eisenstein in Guanajuato (2015)

Finally Greenaway makes a filmmaker the central character of his films, rather than the many artists of his past films. It has been no secret in his career that classical painting has held a large influence over the director’s work but finally we see him pay tribute to a master of a craft that he pursues professionally.

The great Russian director Eisenstein, of classics such as Battleship Potemkin and Ivan the Terrible, is shown here in the middle of his career as he attempts to make a film in Mexico. Like all of Greenaway’s biopics, the historical facts are shaky at best, but of course, this is never a concern for such a formalist director.

Heavily stylized still, but Eisenstein in Guanajuato is a welcome display of self-control from Greenaway who keeps his weird techniques simmering, partially because of the heavy utilization of footage from Eisenstein’s own films. Other than being an interesting character study, the film regrettably does not venture much further in scope.

Like too many of Greenaway’s more recent films, it too often ventures into gratuitous nudity in absence of any intrigue or plot. Similarly, the acting in this film is more similar to caricature than actually human. While not his most notable or memorable film, this portrait of a filmmaker is a welcome show of control and a welcome reminder of Greenaway’s mastery of the camera, rather than application of after effects.

12. The Baby of Macon (1993)

The Baby of Macon is a very interesting entry in Greenaway’s filmography. The film concentrates on a play of the same name, set in the 1600s, being performed in front of an audience. The central play follows a small town where all the women have become sterile through disease.

Miraculously, an old hag gives birth one day to a boy who becomes adored throughout the town. One conniving girl claims that it was herself who was the mother, through virgin birth, paralleling the birth of Jesus. She enlists a young man, played by Ralph Fiennes, to pose as her husband but soon enough her lies are exposed and she is punished, horribly.

Unlike many of Greenaway’s films, this movie does not place visual splendor over thematic content. In fact, this is quite certainly his least visually impactful film, mostly due to it being a filmed play. The themes, however, are more developed than usual, if not too much so, where the metafictional layers and boundaries between what is a play and what is real blur.

The effect can be at many times confusing, and the ideas are some of the darkest that he has ever explored, mostly in the form of commentaries on society and religion. It is by no means an easy film to get through, with a slow pace and disturbing content, but it presents some very interesting ideas and packs a powerful punch.

11. Prospero’s Books (1991)

Based on Shakespeare’s play, The Tempest, this experimental treat focuses on the legendary library of the main character Prospero, played by the iconic Shakespearean actor John Gielgud, that he famously saves from the storm and obsesses over. Lacking a central or cohesive plot, the film instead tells the story of each of Prospero’s 24 books, narrated by Gielgud. The scope and topic of these books are extremely varied, ranging from indexes, atlases to stories of the minotaur.

Despite not having a driving plotline, the films is very captivating. With each book, Greenaway paints a unique picture. He places the subjects on screen with as much intent as an artist painting a figure, and recreates Renaissance masterpieces in real life.

To further add to the visual splendor, Greenaway experiments with multiple layers overlaid and text on screen, which he now utilizes frequently in his films. The beautiful composition of the shots, in addition to the great choreography, music and voice talents, make Prospero’s Book a fascinating study, even if it is not making an important statement.

10. Nightwatching (2007)

Marking Greenaway’s first major project since the enormous “Tulse Luper” endeavor, Nightwatching is a very personal film, and it shows, forming a much more well thought out film than usual. An idea that spreads not only to Nightwatching’s sister film Rembrandt’s J’Accuse, but also starting Greenaway on a series about Dutch artists, including Goltzius, the movie stars Martin Freeman as the iconic painter Rembrandt van Rijn.

The movie depicts the artist at a high point in his career as he paints his, now most iconic, work The Night Watch. Greenaway posits, however, that behind the famous painting lies a nefarious murder, perpetrated by its subjects, that Rembrandt tried to hint to through the use of visual clues.

Perhaps it was his passion for the painter, the painting or simply the idea, but thankfully Greenaway relies on his older knowledge of framing and visual style for this gorgeously shot film. A more conventional film for sure, the movie tackles his common themes of sexuality and art, but also tries to engage the audience with a captivating plot.

It also helps that Freeman does a terrific job in the main role; a factor that so many of his movies of late have been missing. Not without his faults, but still a welcome return to an older Greenaway, this little talked about movie is a treat for both for story and visuals.

9. The Pillow Book (1996)

The Pillow Book takes its name from an ancient diary from Japan and follows a young model, Nagiko, who, obsessed with calligraphy, seeks to find a lover who is skilled at both handwriting, to write on her skin, and pleasuring her. After much searching and no luck, Nagiko meets Jerome, played by Ewan McGregor, a British translator who changes her obsession when he suggests instead that she write on him. She then sets on a path, writing a series of thirteen books on the skin of others.

An explanation of the film’s fractured and loose plot does not do the movie justice, as it in itself, not its true appeal. The notable aspect of the movie is instead Greenaway’s unique stylization. The Pillow Book is a change of style or the director.

Gone are the sweeping, symmetric shots of his films from the 1980s, replaced now by a wild combination of close-ups, moving text and graphic imagery all overlaid many times to create a very overwhelming, but powerful, viewing experience. I cannot say that one leaves the film feeling any more enlightened, or even with an idea of why the movie was made, but from a purely aesthetic standpoint, it is revolutionary and quite entrancing.

If you are reading this list I realize that you must be familiar with Dan Gilroy’s neo-noir masterpiece Nightcrawler. As you have presumably already seen the film in question, I will not bore you with a detailed summary of the plot. Simply as a refresher, Nightcrawler follows the rise of Lou Bloom, played by Jake Gyllenhaal, who uses his manipulative personality, questionable morals and unrelenting ambition to make his way to the top of freelance video journalism in Los Angeles.

This plot makes for a taut and disturbing thriller, which alone would be worth watching but the other thematic elements elevate the film to being one of the greatest thrillers of the decade. A major undercurrent in the film is the poisonous influence of the fame and exposure of the media.

Another, thank mostly to the career best performance by Gyllenhaal, is that of the transformation of character under these circumstance, as well as the addictive continuation of success, no matter what the means.

It is with these two of the film’s characteristics that the bulk of the reasoning for the following list of like films is composed, as well as the approach to atmosphere and other superficial details. I encourage you to seek out the films on this list and watch them with these points in mind, or if you have already seen them, perhaps to reevaluate their content, as well as to further delve in the mastery of Gilroy’s Nightcrawler.

1. Ace in the Hole (Billy Wilder, 1951)

Ace in the Hole is a powerful noir film from Billy Wilder, one of the great American masters of his time. The story follows Kirk Douglas as Chuck Tatum, a self centered reporter who will do anything to get his big break, including manufacture the story. After being kicked out of all the big city papers, Tatum lands a job at a newspaper in Albuquerque and stumbles into the story of his lifetime; a local man has become trapped in a cave.

Tatum then takes charge of the situation and plants ideas in the authorities minds in order to prolong the media circus (and eventually literal circus), of which he is in the center. Along the way he convinces many others, including the trapped man’s unfaithful wife and many, once pure hearted, members of the local paper.

It is quite obvious the connections between Wilder’s and Gilroy’s films. The plots both feature a highly ambitious and manipulative newsman stretching past the ethical limits of their professions. Both also have conflicted femme fatales as well as various other small similarities. Beyond the surface, there is more in common with the movies than you might think.

Although made over 50 years prior, Billy Wilder’s daring picture feels like it could have been made today. Ahead of its time, Ace in the Hole was very controversial due to Douglas’s brutal anti-hero and the disturbing portrayal of how low humans can sink to get what they want. Thankfully, modern critics have reevaluated the work as a gritty masterpiece of the era is a must watch for any fan of Film Noir.

2. The King of Comedy (Martin Scorsese, 1982)

Many of Martin Scorsese’s films would fit in this list, if only for their disturbed, ambitious central characters. The King Of Comedy, one of the director’s most underrated works, also has this sort of protagonist, Rupert Pupkin played, of course, by Robert De Niro, but it offers other similarities as well.

Pupkin is a mentally unstable comedian who becomes obsessed with a TV show host Jerry Langford, played by comedy icon Jerry Lewis. Driven by the delusion that Langford wants him to perform on his show, Pupkin stalks him, going to his office constantly and even his house. After being berated by Langford, Pupkin hatches a plan, along with a fellow stalker, to kidnap Langford and demand to perform on his show.

De Niro’s Pupkin is much more delusional and less sinister than Gyllenhaal’s Bloom, and the two’s ambitions don’t exactly line up, but there are more subtle similarities. Both are socially awkward and, for better or worse, have an inextinguishable drive to follow their goals.

The most prominent theme in common between the two films is the scathing look at the corruption of the media and how, much of the time, in order to get ahead you have to break all the rules. A gem in the director’s impeccable filmography and featuring one of De Niro’s most impressive performances, The King of Comedy is a classic worthy of much more praise.

3. Man Bites Dog (Remy Belvaux, Andre Bonzel, Benoit Poelvoorde, 1992)

One of the only films on the list whose tone and atmosphere reach darker places than Nightcrawler, Man Bites Dog is one of the most controversial films of the 1990s. This Belgian cult favorite is one of the blackest black comedies ever made, about a documentary crew following a brutal serial killer.

The killer, Ben, is charming and chilling, but it is not he who relates the film to Nightcrawler. The film crew following Ben and capturing in disturbing detail the murders, start out the film as merely passive observers but as the film progresses they become more involved in the crimes.

The descent into criminal madness of Gyllenhaal’s Bloom and the film crew in Man Bites Dog is by far the most compelling aspect of both films. To make this all the more intriguing, neither parties are portrayed as people of high morals in the beginning of the films, as is common of these stories.

The moral midground that they serve to represent is more relatable and helps bring in the audience to the story, making the already creepy stories that much more effective. This film is not for those with weak stomachs but if you have no problem with shock films, making it through the disturbing content is well worth the powerful film.

4. Peeping Tom (Michael Powell, 1960)

Michael Powell, one of the most prominent and influential British filmmakers, made some of the greatest masterpieces of their era, and very ahead of their time. His beautiful career was all but erased in the public’s eyes, however. with the release of Peeping Tom.

The film stars Carl Boehm as Mark Lewis, a disturbed and introverted photographer. Lewis is also a serial killer who records his women victims’ expressions before they die. One of his housemates, Vivian, befriends him, but as she gets closer to learning his secret she becomes closer to danger.

The controversy surrounding the film, while admittedly quite shocking considering the era, was certainly unfair considering the effectiveness of Powell’s film, which, as you might have guessed, creates a similar effect as Nightcrawler.

The character and actions of Peeping Tom’s Lewis are strikingly similar to Bloom in Nightcrawler. The two are cameramen by trade, although in different fields, and while Gyllenhaal’s character never quite reaches the crimes of his counterpart, the pair each experience similarly creepy stimulation from their filming of the grotesque.

The films were made in such different environments and ages that the overall atmospheres of the films are not quite comparable, but as a similar character study they are a great match.

5. Sex, Lies, and Videotape (Steven Soderbergh, 1989)

The feature film debut of director Steven Soderbergh, Sex, Lies and Videotape was a controversial film that played a large role in popularizing the american independent film scene.

The movie stars James Spader as Graham Dalton, the ‘stranger’ in this story. Dalton returns to his hometown after almost a decade and stays with his old friend John, played by Peter Gallagher, with whom he hasn’t seen since high school. Things don’t go as swimmingly as they had in their younger days and they realize they can no longer be friends, but not before Dalton has infiltrated and, in the process, torn apart John’s life.

One of the most bizarre and intriguing details about Dalton is his peculiar fetish of videotaping women about their sexual habits. Unexpectedly charming, Dalton manages to seduce John’s wife and his mistress, capturing all on tape to his creepy pleasure. This pleasure that Dalton gets from his tapes is similar to Bloom’s fascination of recording crime.

Another similarity is in the characters disarming personality with which they manage to twist other around their wishes. Although not as sinister of a character or as dark of a plot, Sex, Lies and Videotape is just as compelling of a picture with as interesting of characters.

The horror genre is one of the most widely varied film types in the medium. The slasher films are perhaps the most popular of the horror sub-genres while tales of hauntings are the most classic format.

Due to the fact that the basic requirement of horror is to instill fear, it can be applied to virtually any setting. Some of the unexpected horror combinations that have sprung up throughout film history include science-fiction horror, romance horror and even comedy horror.

While horror has been one of the most popular genres, it has a bad reputation due to the large number of low quality films that are churned out every year. Some visionary directors, however, are attracted to the genre or more than its typical cheap thrills and stretch its boundaries into the surreal.

The inventive directors of the films in this list do not settle for jump scares or mindless gore but use the horror setting to analyze the psychology of the characters and explore deeper, more complex themes. Although some of these film may be more unsettling and disturbing than the common horror film, if you can stomach their bizarre nature you will find them more rewarding.

10. Tetsuo the Iron Man (Shunya Tsukamoto, 1989)

This brief but incredibly memorable cult film is one of the most energetic and bizarre movies ever made. The film’s scattered, fantastical plot starts when a “metal fetishist” gets hit and killed by a businessman and his girlfriend in a car. They dispose of the body but the fetishist’s spirit comes back to torment the businessman.

The businessman begins to grow metal from inside his body until eventually he becomes a walking pile of scrap metal. After accidentally killing his girlfriend, the businessman flees and is confronted by the fetishist’s spirit and the two merge in an extremely stylized, psychedelic climax.

Even the previous summation of the film’s plot cannot do justice to the surreal oddity that is film. A cyberpunk version of a Cronenberg horror film, interlaced with hints of anime style and a thumping industrial soundtrack, saying that Testuo is a wild ride is an understatement.

The film’s one of kind aesthetics have understandably given it a large cult following and a reputation as one of the most significant underground films of its time.

9. House (Nobuhiko Obayashi, 1977)

One of the most jarringly weird films on this list, this Japanese haunted house picture switches up the common haunted house scenario by infusing it with goofy, dated special effects that were popular in Japan at the time.

The film follows a young girl named Gorgeous who visits her aunt’s house with her three school girl friends. Things start out normally until one of the girls goes go missing. When they go looking for the missing girl, one finds the girl’s decapitated head, which promptly flies across the room and bites her on the rear.

Things only get weirder from here. The girls try to escape the house but become stopped as the house has come alive and throws everything at them. Some of these traps include violent mattresses, pianos that bite and possessed spirits. While the film does not offer as much intellectual content and nuances as most of the other surreal horror films on the list, its exaggerated style and unique atmosphere elevate it above the common horror pack.

8. Possession (Andrzej Zulawski, 1981)

Andrzej Zulawski’s cult masterpiece stars Sam Neill as Mark, an international spy, whose life shatters when his wife, and the mother of his child, asks him for a divorce. He separates himself but keeps visiting for the sake of his son.

Mark begins to notice his wife acting more and more bizarre, sometimes leaving their child alone for hours. He becomes obsessed with her behavior and begins following her, but cannot figure out where she spends all of her time. Eventually, Mark hires a private investigator to track her down, making a horrifying discovery.

Without giving away the film, I will try to explain its strengths. The plot and twist of the movie are not what make Possession special, but rather the unnerving way in which they are carried out. The supernatural events that occur in the film are displayed with such abruptness that the supernatural feels eerily realistic.

Combining that with the sudden, brutal violence that is interspersed and the creepy atmosphere, Possession is an utterly unique psychological horror film that should be searched out by horror fans.

7. The Serpent and the Rainbow (Wes Craven, 1988)

From one of the most influential master of horror, Wes Craven, The Serpent and the Rainbow is one of the most original horror films to come out in 1980s Hollywood. Bill Pullman stars as Dennis Alan, a botanist who is hired by a pharmaceutical company to investigate a drug that is used by the Voodoo doctors in Haiti that is said to induce zombie-like symptoms.

Haiti is undergoing a revolution, and to make matters worse the government is aggressively suggesting he leave. After drawing suspicion from with doctors, Dennis is beaten badly, but instead of fleeing the country, determines to stay and uncover the secret of the drug.

On its surface, the film does not seem to be of the horror genre, but it in fact has a frightening atmosphere. The surreal nature of the Voodoo culture that Dennis surrounds himself with is filled with mysticism and the unknown that an air of unpredictability surrounding the plot makes the viewer second guess everything they see.

Most terrifying are the hallucinogenic dreams that occur when the Voodoo drugs are ingested. This underrated gem deserves a wider audience and is a bright spot in the great director’s career.

6. The Cabinet of Dr. Caligari (Robert Weine, 1920)

One of the very first horror movies and an integral piece in the development of German Expressionism, The Cabinet of Dr. Caligari is a must see classic for all students of film due to its brilliant artistic design.

The plot follows a young man, Francis, who is telling a story of his past grief to an older man. Frances’s carefree life was interrupted when, during a town festival, a mysterious man named Dr. Caligari takes the stage with his somnambulist partner, Cesare, who magically answers the crowd’s questions while asleep. Frances’s friend asks Cesare how long he will live, and gets the response that he will only live until dawn.

Indeed, that night an intruder sneaks into the friend’s room and kills him, leading Frances on an investigation of the killer and the mysterious Dr. Caligari. The film is important for many reasons as well as being one of the first horror films. German Expressionism is in full force here, with kaleidoscopic sets, wacky camera angles and extensive use of shadows to convey fear and other emotions.

The film is also notable for implementing a great twist ending, that has been copied countless times since. Even if horror movies are not your cup of tea, the artistic expression in The Cabinet of Dr. Caligari and its innovation of the craft make this a must see for film lovers.

Science fiction is one of today’s most popular movie genres, with its movies making up most of the year’s box office smashes. The possibilities of science fiction are what make the genre so exciting for both filmmakers and audiences alike.

The futuristic intrigue resonates with viewers even more strongly than fantasy films because much of the wondrous elements in science fiction films seem more conceivably possible. When you throw in today’s advanced visual effects, this elevates the movies of the genre to very involving and relatable levels.

Although the genre has become much more successful in the second half of the 20th century, thanks to the popularity of franchises like Star Wars and Star Trek, science fiction has been a subject for filmmakers ever since the beginning of movies.

Early pioneers like Georges Melies and Thomas Edison started the craze and the genre soon took off in many different directions. Many early science fiction movies focused on alien encounters or monster attacks while another subset tackled the subject of the future of humanity.

To modern eyes, the special effects in these films are extremely cheesy, which adds a certain charm, but if you get past the dated visuals there are often very captivating, sometimes thought provoking, stories being told.

10. This Island Earth (Jack Arnold & Joseph M. Newman, 1955)

Like many of the other science fiction films of its time, This Island Earth was based on a successful novel, this one by Raymond F. Jones. Rex Reason stars in this intergalactic adventure, playing Dr. Cal Meacham, an aviation scientist who becomes entangled in otherworldly affairs when he and his former lover are abducted by a race of aliens called the Metalunans.

The Metalunans want Meacham’s help in fighting off an enemy race called the Zagons, but when things get violent, Meacham has to find a way off the planet and return to Earth.

Despite being acclaimed upon its release as a revolutionary science fiction film with incredible special effects, This Island Earth’s reputation has declined over the years.

It even was subject to the farcical show Mystery Science Theater 3000, which somewhat unfairly made people think of it as just another “B Movie” even though it is of much higher quality than most of the films that are featured in the show. Despite some shortcomings in the film’s acting department, This Island Earth is a highly engrossing space adventure with amazing visuals.

9. The War of the Worlds (Byron Haskin, 1953)

Taking its name and basic concept from the story by H.G. Wells, The War of the Worlds is the first and best movie adaptation of the breakthrough science fiction novel. This George Pal production takes Wells’s story and resets it from Victorian England to 1950s California. Haskin’s story starts with a martian aircraft crash landing in Southern California.

Initially nobody knows what to make of it, but after lasers from the ship start killing people, the army gets involved. Soon, the martians are destroying buildings and killing scores of people and our hero, nuclear scientist Clayton Forrester, must fight to try and save humanity.

Some might argue that the campiness and the now aged special effects of this classic make it lesser than some of the other adaptations, most notably Steven Spielberg’s 2005 remake. While the new film certainly has more advanced effects, the slightly cheesy, Technicolor manta-ray ships of the original film give off an aura that is just as eerie.

Unlike many of Pal’s productions during that time, The War of the Worlds actually features some worthwhile thematic content, such as the clashing of religion and warfare, as well as many genuinely thrilling moments.

8. Flash Gordon (Frederick Stephani, 1936)

This classic campy serial remains one of the most innocently fun, over the top science fiction adventures of all time. Released in thirteen parts, this space epic stars Buster Crabbe as Flash Gordon, a space ranger who gets caught up in many thrilling adventures, with his main focus being to take down his adversary Ming the Merciless. He is accompanied through space by his companion Dale Arden, played by Jean Rogers, and meets many other colorful characters along the way.

Flash Gordon was a success and inspired several other science fiction serials that followed, including Buck Rogers, also starring Crabbe. The serial itself was based on a comic strip and the characters have been revived in several other serials, as well as more modern movies.

Flash Gordon’s success has only increased over time and now the film and character have a sizable cult following. Reportedly, a new adaptation of the comic is currently in the works.

7. The Lost World (Harry Hoyt, 1925)

This landmark film, based on the novel by Sherlock Holmes creator Arthur Conan Doyle, was one of the most important breakthroughs in special effects throughout film history.

The story follows members of an expedition who set out to rescue the explorer Maple White. His daughter, Paula White, leads the initiative and is accompanied by several others including a professor and a newspaperman. They journey to a plateau in Venezuela where they find the land is inhabited by many ferocious dinosaurs.

While the plot and performances are good enough to convey an exciting story, the real reason for the continued fame of this movie is the animation of the dinosaurs. Willis H. O’Brien, a pioneer of stop motion animation who would go on to create the monsters in King Kong, shocked the world with his revolutionary effects.

The exciting battles between the dinosaurs were like nothing ever before seen on film and caused an international sensation, bringing about the popularity of more effects driven films in Hollywood.

6. The Invisible Man (James Whale, 1933)

Master of the “Monster Movie,” James Whale struck another enormous success with this pre-Code flick based on a novel by H.G. Wells. Having reached great fame for his masterful gothic adaptation of Frankenstein a few years earlier, Whale continued his career with this “monster” movie.

Claude Rains, in his first American role, stars as the titular figure, Jack Griffin, a scientist who has discovered the secret to invisibility. Unfortunately, the chemical that makes him invisible is also turning him insane and Griffin starts off on an endless murder spree.

This surprisingly dark and fresh entry into the early horror/sci-fi genres shot Whale and Rains to stardom and helped popularize the craze of the monster movie. Like the novel, the film also raises some interesting thematic ideas.

The science fiction elements of the story are not as grandiose as in many of the other films on this list, instead playing a more subtle and realistic role. The film spawned many sequels in the years that followed but none came close to the great atmosphere and story set up by Whale in the original.

Since the beginning of cinema, the French people have been at the forefront of the cinematic landscape. During the silent and early experimental periods, great French auteurs helped revolutionize the medium, shaping the way for films to come.

As movies evolved, so did France and throughout the different styles and periods maintained a strong role in the international film scene, continuing to transcend the norms and innovate. Perhaps the most well known of all the periods in French cinema is the “French New Wave” during the 1950s and 60s which took the world by storm with its threadbare, emotionally exposed films.

There were many other highly notable and influential periods in French film. In the earlier decades of the twentieth century, many of the big movies and directors in France were admired and imitated by the best of Hollywood. The country’s cinematic output was not limited to a certain style or genre either, excelling in every different form, including animation and documentary.

Over the years, while the movies of some countries have gone in and out of the spotlight, France has always managed to stay in the game with its captivating and challenging films that are enjoyed worldwide.

25. Claire Denis (active 1988 – present)

Best film: Beau Travail

This powerful voice of modern French film was born in France but spent most of her childhood living in Africa. This unique experience has played a large role in Denis’s typically politically charged films, many of which talk about the themes and effects of colonialism.

Her debut film, Chocolat (not the one with Johnny Depp), is a semi-autobiographical movie about a French family that lives Cameroon, following their lives and interactions with the Africans. Denis’s breakthrough success, the film was nominated at Cannes and put Denis on the map.

Over the next few decades, Denis continued to make, as well as teach, film. While not many of them reached as big of a success as her first, there are several other bright points of her career. One of her greatest achievements is the powerful film, Beau Travail, based on Herman Melville’s novel Billy Budd.

The film follows a group of French Foreign Legion soldiers stationed in Djibouti, focusing on a conflict between a sergeant and a lowly soldier. Not as well known as some of her other contemporary filmmakers, Denis is a strong and unique voice in French cinema and is still active today.

24. Jean-Pierre Jeunet (active 1991 – present)

Best Film: Amelie

Jean-Pierre Jeunet is a visionary director, known for his distinct and eccentric visual style. The beginning of his career was especially known for having a unique aesthetic and atmosphere, partially because he had an artistic partnership with artist Marc Caro.

Although they only made two film together, Delicatessen and The City of Lost Children, these films became some of the most famous works for both of them. Set in bleak but fantastical settings these two films helped push the boundaries for French cinema which was not known for its adventurous visual styles, at the time. The movies also helped gain Jeunet popularity worldwide.

The success of The City of Lost Children, which starred Ron Perlman, gave way for Jeunet’s big break in Hollywood: the directing of the fourth film in the Alien franchise, Alien: Resurrection.

While this film was quite forgettable, it helped promote Jeunet’s name in America and he followed it up with his greatest success to date, Amelie. Nominated for many awards, including several Oscars, Amelie is a visually vibrant romantic comedy about a quirky shy girl, played by Audrey Tautou, who lives in Paris and goes around helping her neighbors and friends.

With a unique French charm, Amelie captured the hearts of audiences worldwide. Another notable film of Jeunet’s is the World War I drama A Very Long Engagement, also starring Tautou.

23. Olivier Assayas (active 1986 – present)

Best Film: Clouds of Sils Maria

Starting out writing for the iconic magazine “Cahiers du Cinema,” Olivier followed in the footsteps of the great New Wave directors a generation earlier. Unlike many of the other directors of his time, Assayas did not take long to make his films, always working and his career is considerably more prolific than many of his peers.

Starting out directing feature films in the 1980s, Assayas first reached acclaim with Cold Water, a story about rebellious teenagers in love during the rock and roll revolution of the 1970s. He had another hit a couple years later with Irma Vep, starring Hong Kong actress Maggie Cheung, about a director trying to remake the classic silent serial Les Vampires.

Throughout the 2000s, Assayas continued to create intriguing and somewhat experimental films such as Demonlover, a futuristic thriller, and Summer Hours, about a family who must cope with a loss. The director’s most ambitious film to date is the five and a half long epic Carlos, about “Carlos the Jackal,” a Venezuelan revolutionary warrior in the 1970s.

Originally premiering as a mini-series, this violent political film was a smash hit, receiving universal acclaim and giving Assayas his first huge step into the international film scene. More recently, he has made two films with Twilight actress Kristen Stewart: Clouds of Sils Maria and Personal Shopper.

22. Rene Laloux (active 1960 – 1998)

Best Film: Fantastic Planet

France is generally not the main country that audiences think of when they think about animated movies. Typically, peoples minds jump to the anime style films of Japan or the Disney style cartoons from America. France, however, does have a long tradition of its own unique animated arts and Rene Laloux is one of the most famous French cartoonists to ever make it big.

After working for years as an artist on short films and other people’s projects, Laloux, with the help of fellow artist Roland Topor, came out with his first and largest ever success: Fantastic Planet. This international art house sensation takes place on an alien planet where humans are dwarfed, living alongside humongous aliens.

Although none of Laloux’s other projects ever reached the same level of international success and acclaim as Fantastic Planet, his other two feature length films are also great and worth tracking down.

Time Masters, about a small boy who becomes stranded on a deadly planet, and Gandahar, about an alien civilization that is attacked by a robot army, are similarly wondrous as Fantastic Planet but are more plot heavy instead of philosophical. Even if science fiction is not your favorite genre, Laloux’s films are a must see, if only for the beautiful design and animation they contain.

21. Abel Gance (active 1911 – 1971)

Best Film: Napoleon

One of the most influential French directors of the Silent Era, Abel Gance contributed much to the medium including many innovative techniques and practices. Starting out as a screenwriter, Gance slowly moved to directing, although his career got interrupted early due to the war.

After spending a brief time working on the front as a filmer, Gance got the inspiration to make his first great film, J’accuse, a romantic drama focusing on the grief and damage caused by the Great War. The film gained international acclaim not only for its powerful depiction of the conditions of the war but also for its technical and stylistic achievements.

Shortly after this success, Gance embarked on one of the largest cinematic projects ever proposed: a six part film about the life of Napoleon.

After much work, the first installment of the project was completed, running at over six hours in length and featuring extremely complex accomplishments in cinematic techniques, Napoleon received universal praise and its reputation has grown considerably over the years and is now considered to be one of the most important films of all time.

Gance continued to make films into the sound era, although none reached the success of his monumental success, and Napoleon remains the sole film upon which his legacy rests.

20. Leos Carax (active 1984 to present)

Best Film: Holy Motors

One of the most intriguing filmmakers working today, Leos Carax makes extremely original pictures that both reference older French cinema as well as convey something new. His first film, Boy Meets Girl, stars Denis Lavant as an aspiring film director who falls in love with a suicidal girl ,played by Mireille Perrier.

This debut garnered Carax a great deal of international acclaim and he followed this with two more interesting films, Mauvais Sang and The Lovers on the Bridge, both of which also starred Denis Lavant and Juliette Binoche.

As Lavant’s career continued, his vision grew stronger and his films got more and more unique. His next big picture was Pola X, a controversial film about an incestuous relationship based on a novel by Herman Melville.

In 2012, Lavant made his first true masterpiece, Holy Motors. The film is a perplexing visual treat with a bizarre storyline that follows Denis Lavant as he transforms into different characters and travels around the city, interacting with all of the strange people. A revolutionary step in avant-garde storytelling, Holy Motors is Lavant’s most masterful production yet, leading a path for a brilliant career to follow.