90. Chinatown (Roman Polanski, 1974)
Classy, brooding, and that feel of what we like to call a "classic", Polanski's Chinatown is one of those true American greats. It manages to show and handle some tough things but maintain that air of sophistication throughout. Nicholson is on top form as private investigator J.J. Gittes, and he is supported brilliantly by Faye Dunaway, amongst others. One of Polanski's multiple masterpieces.
89. The Thing (John Carpenter, 1982)
A true example that you can have copious amounts of blood and gore and yet still have a point. Unlike recent films like Hostel and the Saw sequels, the gore is fitting and justified here. On top of that, it's damn scary, even after 25 years have past. Hostel director Eli Roth has named Carpenter is favourite director and this his favourite film, and both influenced Roth to become a horror director and what Roth chooses to include in his films. This works as an example that Carpenter actually knows what he's doing, unlike some.
88. Dog Day Afternoon (Sidney Lumet, 1975)
Although not Lumet's best, and the guy has a career spanning almost 60 years so that's not exactly an insult, this is undoubtedly a near-masterpiece. It's not quite perfect in every way, but certainly good enough to be mentioned in the same breath as other all--time greats. A pre-The Godfather Al Pacino sinks his teeth into the lead role and without him I sense the film wouldn't have the same effect, and he, Lumet, and screenwriter Frank Pierson turn something that could have been dragged out and boring into a thoroughly engaging and quite emotionally exhaustive experience.
87. Misery (Rob Reiner, 1990)
In my opinion one of the best genuine "thrillers" out there. Reiner took what seemed like an unadaptable novel and adapted it perfectly. Kathy Bates is haunting and sometimes terrifying as Annie Wilkes, while James Caan fittingly just lies there and let's her do the work, and Reiner's keen eye for tension makes this almost unbearably nerving.
86. Collateral (Michael Mann, 2004)
Who'd have thought that leading man Tom Cruise could play such a great villain, and play it so well? Collateral goes to prove that it's not only possible, but that it also might be Cruise's best role and performance of his career. Mann's directorial trademarks of night-time cityscapes, diving into the deep end of the events mentality, and that effortless air of cool are all present here. And, on top of the technical aspects, the film is as interesting, tense, and downright entertaining as you could want from a crime/thriller. For all taxi drivers out there - be wary who gets in your cab next time.
85. Groundhog Day (Harold Ramis, 1993)
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