AFI Top Thrills

Based on Peter Benchley's best-selling novel, Steven Spielberg's 1975 shark saga set the standard for the New Hollywood popcorn blockbuster while frightening millions of moviegoers out of the water. One early summer night on fictional Atlantic resort Amity Island, Chrissie decides to take a moonlight skinny dip while her friends party on the beach. Yanked suddenly below the ocean surface, she never returns. When pieces of her wash ashore, Police Chief Brody (Roy Scheider) suspects the worst, but Mayor Vaughn (Murray Hamilton), mindful of the lucrative tourist trade and the approaching July 4th holiday, refuses to put the island on a business-killing shark alert. After the shark dines on a few more victims, the Mayor orders the local fishermen to catch the culprit. Satisfied with the shark they find, the greedy Mayor reopens the beaches, despite the warning from visiting ichthyologist Hooper (Richard Dreyfuss) that the attacks were probably caused by a far more formidable Great White. One more fatality later, Brody and Hooper join forces with flinty old salt Quint (Robert Shaw), the only local fisherman willing to take on a Great White--especially since the price is right. The three ride off on Quint's boat "The Orca," soon coming face to teeth with the enemy. ~ Lucia Bozzola, Rovi

While having lunch at the Plaza Hotel in New York, advertising executive Roger O. Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for a "George Kaplan." From that moment, Thornhill finds that he has stepped into a nightmare -- he is quietly abducted by a pair of armed men out of the hotel's famous Oak Room and transported to a Long Island estate; there, he is interrogated by a mysterious man (James Mason) who, believing that Roger is George Kaplan, demands to know what he knows about his business and how he has come to acquire this knowledge. Roger, who knows nothing about who any of these people are, can do nothing but deny that he is Kaplan or that he knows what they're talking about. Finally, his captors force a bottle of bourbon into Roger and put him behind the wheel of a car on a dangerous downhill stretch. Through sheer luck and the intervention of a police patrol car and its driver (John Beradino), Roger survives the ride and evades his captors, and is booked for drunk driving. He's unable to persuade the court, the county detectives, or even his own mother (Jesse Royce Landis) of the truth of his story, however -- Thornhill returns with them to the mansion where he was held, only to find any incriminating evidence cleaned up and to learn that the owner of the house is a diplomat, Lester Townsend (Philip Ober), assigned to the United Nations. He backtracks to the hotel to find the room of the real George Kaplan, only to discover that no one at the hotel has ever actually seen the man. With his kidnappers once again pursuing him, Thornhill decides to confront Townsend at the United Nations, only to discover that he knows nothing of the events on Long Island, or his house being occupied -- but before he can learn more, Townsend gets a knife in his back in full view of 50 witnesses who believe that Roger did it. Now on the run from a murder charge, complete with a photograph of him holding the weapon plastered on the front page of every newspaper in the country, Thornhill tries to escape via train -- there he meets the cooly beautiful Eve Kendall (Eva Marie Saint), who twice hides him from the police, once spontaneously and a second time in a more calculated rendezvous in her compartment that gets the two of them together romantically, at least for the night. By the next day, he's off following a clue to a remote rural highway, where he is attacked by an armed crop-dusting plane, one of the most famous scenes in Hitchcock's entire film output. Thornhill barely survives, but he does manage to learn that his mysterious tormentor/interrogator is named Phillip Vandamm, and that he goes under the cover of being an art dealer and importer/exporter, and that Eve is in bed with him in every sense of the phrase -- or is she? ~ Bruce Eder, Rovi

"In space, no one can hear you scream." A close encounter of the third kind becomes a Jaws-style nightmare when an alien invades a spacecraft in Ridley Scott's sci-fi horror classic. On the way home from a mission for the Company, the Nostromo's crew is woken up from hibernation by the ship's Mother computer to answer a distress signal from a nearby planet. Capt. Dallas's (Tom Skerritt) rescue team discovers a bizarre pod field, but things get even stranger when a face-hugging creature bursts out of a pod and attaches itself to Kane (John Hurt). Over the objections of Ripley (Sigourney Weaver), science officer Ash (Ian Holm) lets Kane back on the ship. The acid-blooded incubus detaches itself from an apparently recovered Kane, but an alien erupts from Kane's stomach and escapes. The alien starts stalking the humans, pitting Dallas and his crew (and cat) against a malevolent killing machine that also has a protector in the nefarious Company. ~ Lucia Bozzola, Rovi

In Roman Polanski's first American film, adapted from Ira Levin's horror bestseller, a young wife comes to believe that her offspring is not of this world. Waifish Rosemary Woodhouse (Mia Farrow) and her struggling actor husband, Guy (John Cassavetes), move into the Bramford, an old New York City apartment building with an ominous reputation and only elderly residents. Neighbors Roman and Minnie Castevet (Sidney Blackmer and Ruth Gordon) soon come nosing around to welcome the Woodhouses to the building; despite Rosemary's reservations about their eccentricity and the weird noises that she keeps hearing, Guy starts spending time with the Castevets. Shortly after Guy lands a plum Broadway role, Minnie starts showing up with homemade chocolate mousse for Rosemary. When Rosemary becomes pregnant after a mousse-provoked nightmare of being raped by a beast, the Castevets take a special interest in her welfare. As the sickened Rosemary becomes increasingly isolated, she begins to suspect that the Castevets' circle is not what it seems. The diabolical truth is revealed only after Rosemary gives birth, and the baby is taken away from her. Polanski's camerawork and Richard Sylbert's production design transform the realistic setting (shot on-location in Manhattan's Dakota apartment building) into a sinister projection of Rosemary's fears, chillingly locating supernatural horror in the familiar by leaving the most grotesque frights to the viewer's imagination. This apocalyptic yet darkly comic paranoia about the hallowed institution of childbirth touched a nerve with late-'60s audiences feeling uneasy about traditional norms. Produced by B-horror maestro William Castle, Rosemary's Baby became a critically praised hit, winning Gordon an Oscar for Best Supporting Actress. Inspiring a wave of satanic horror from The Exorcist (1973) to The Omen (1976), Rosemary's Baby helped usher in the genre's modern era by combining a supernatural story with Alfred Hitchcock's propensity for finding normality horrific. ~ Lucia Bozzola, Rovi

Popularly viewed as one of the best American films ever made, the multi-generational crime saga The Godfather is a touchstone of cinema: one of the most widely imitated, quoted, and lampooned movies of all time. Marlon Brando and Al Pacino star as Vito Corleone and his youngest son, Michael, respectively. It is the late 1940s in New York and Corleone is, in the parlance of organized crime, a "godfather" or "don," the head of a Mafia family. Michael, a free thinker who defied his father by enlisting in the Marines to fight in World War II, has returned a captain and a war hero. Having long ago rejected the family business, Michael shows up at the wedding of his sister, Connie (Talia Shire), with his non-Italian girlfriend, Kay (Diane Keaton), who learns for the first time about the family "business." A few months later at Christmas time, the don barely survives being shot by gunmen in the employ of a drug-trafficking rival whose request for aid from the Corleones' political connections was rejected. After saving his father from a second assassination attempt, Michael persuades his hotheaded eldest brother, Sonny (James Caan), and family advisors Tom Hagen (Robert Duvall) and Sal Tessio (Abe Vigoda) that he should be the one to exact revenge on the men responsible.

After murdering a corrupt police captain and the drug trafficker, Michael hides out in Sicily while a gang war erupts at home. Falling in love with a local girl, Michael marries her, but she is later slain by Corleone enemies in an attempt on Michael's life. Sonny is also butchered, having been betrayed by Connie's husband. As Michael returns home and convinces Kay to marry him, his father recovers and makes peace with his rivals, realizing that another powerful don was pulling the strings behind the narcotics endeavor that began the gang warfare. Once Michael has been groomed as the new don, he leads the family to a new era of prosperity, then launches a campaign of murderous revenge against those who once tried to wipe out the Corleones, consolidating his family's power and completing his own moral downfall. Nominated for 11 Academy Awards and winning for Best Picture, Best Actor (Marlon Brando), and Best Adapted Screenplay, The Godfather was followed by a pair of sequels. ~ Karl Williams, Rovi

Lawrence Kasdan's first directorial effort is a throwback to the early days of film noir. The scene is a beastly hot Florida coastal town, where naive attorney Ned (William Hurt) is entranced by the alluring Matty (Kathleen Turner in her film debut). Ned is manipulated into killing Matty's much older husband (Richard Crenna), the plan being that Ned's knowledge of legal matters will enable both conspirators to escape scott-free. This might have been the case, had not Matty been infinitely craftier than the cloddish Ned. Just when it seems as though the film has run out of plot twists, we're handed yet another surprise. ~ Hal Erickson, Rovi

An unusually tense and intelligent political thriller, The Manchurian Candidate was a film far ahead of its time. Its themes of thought control, political assassination, and multinational conspiracy were hardly common currency in 1962, and while its outlook is sometimes informed by Cold War paranoia, the film seemed nearly as timely when it was reissued in 1987 as it did on its original release. It opens with a group of soldiers whooping it up in a bar in Korea as their commander, Sgt. Raymond Shaw (Laurence Harvey), arrives to inform them that they're back on duty. These men obviously have no fondness for Shaw, and he feels no empathy for them. While on patrol, Shaw and his platoon are ambushed by Korean troops. Months later, Shaw is receiving a hero's welcome as he returns to the United States to accept the Congressional Medal of Honor, and several of the soldiers who served under Shaw repeatedly refer to him as "the bravest, finest, most lovable man I ever met." It soon becomes evident that after their capture by the Koreans, Shaw and his men were subjected to an intense program of brainwashing prior to their release. While several are troubled by bad dreams and inexplicable behavior, it's Capt. Bennett Marco (Frank Sinatra) who seems the most haunted by the experience. In time, Marco is able to piece together what happened; it seems Raymond Shaw was programmed by a shadowy cadre of Russian and Chinese agents into a killing machine who will assassinate anyone, even a close friend, when given the proper commands. On the other side of the coin, Shaw is also used for political gain by his harridan mother (Angela Lansbury), who guides the career of her second husband, John Iselin (James Gregory), a bone-headed congressman hoping to win the vice-presidential nomination through a campaign of anti-Communist hysteria.

The Manchurian Candidate features a host of remarkable performances, several from actors cast cleverly against type. Frank Sinatra's edgy, aggressive turn as Marco may be the finest dramatic work of his career; Laurence Harvey's chilly onscreen demeanor was rarely used to s better advantage than as Raymond Shaw; James Gregory is great as the oft-befuddled Senator Iselin; and Angela Lansbury's ultimate bad mom will be a shock to those who know her as the lovable mystery writer from Murder, She Wrote. George Axelrod's screenplay (based on Richard Condon's novel) is by turns compelling, witty, and horrifying in its implications, and John Frankenheimer's direction milks it for all the tension it can muster. While Frankenheimer's career has had its ups and downs, The Manchurian Candidate and Seconds (1966) suggest that he deserves to be recognized as one of the most brilliantly paranoid American filmmakers of the '60s. Entertaining yet unsettling, both films indicate that things in the '60s were not what they seemed, with a resonance that still echoes uncomfortably in the present. ~ Mark Deming, Rovi

"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, Rovi

Directed by Billy Wilder and adapted from a James M. Cain novel by Wilder and Raymond Chandler, Double Indemnity represents the high-water mark of 1940s film noir urban crime dramas in which a greedy, weak man is seduced and trapped by a cold, evil woman amidst the dark shadows and Expressionist lighting of modern cities. Phyllis Dietrichson (Barbara Stanwyck) seduces insurance agent Walter Neff (Fred MacMurray) into murdering her husband to collect his accident policy. The murder goes as planned, but after the couple's passion cools, each becomes suspicious of the other's motives. The plan is further complicated when Neff's boss Barton Keyes (Edward G. Robinson), a brilliant insurance investigator, takes over the investigation. Told in flashbacks from Neff's perspective, the film moves with ruthless determinism as each character meets what seems to be a preordained fate. Movie veterans Stanwyck, MacMurray, and Robinson give some of their best performances, and Wilder's cynical sensibility finds a perfect match in the story's unsentimental perspective, heightened by John Seitz's hard-edged cinematography. Double Indemnity ranks with the classics of mainstream Hollywood movie-making. ~ Linda Rasmussen, Rovi

After two previous film versions of Dashiell Hammett's detective classic The Maltese Falcon, Warner Bros. finally got it right in 1941--or, rather, John Huston, a long-established screenwriter making his directorial debut, got it right, simply by adhering as closely as possible to the original. Taking over from a recalcitrant George Raft, Humphrey Bogart achieved true stardom as Sam Spade, a hard-boiled San Francisco private eye who can be as unscrupulous as the next guy but also adheres to his own personal code of honor. Into the offices of the Spade & Archer detective agency sweeps a Miss Wonderly (Mary Astor), who offers a large retainer to Sam and his partner Miles Archer (Jerome Cowan) if they'll protect her from someone named Floyd Thursby. The detectives believe neither Miss Wonderly nor her story, but they believe her money. Since Archer saw her first, he takes the case -- and later that evening he is shot to death, as is the mysterious Thursby. Miss Wonderly's real name turns out to be Brigid O'Shaughnessey, and, as the story continues, Sam is also introduced to the effeminate Joel Cairo (Peter Lorre) and the fat, erudite Kasper Gutman (Sydney Greenstreet, in his film debut). It turns out that Brigid, Cairo and Gutman are all international scoundrels, all involved in the search for a foot-high, jewel-encrusted statuette in the shape of a falcon. Though both Cairo and Gutman offer Spade small fortunes to find the "black bird," they are obviously willing to commit mayhem and murder towards that goal: Gutman, for example, drugs Spade and allows his "gunsel" Wilmer (Elisha Cook Jr.) to kick and beat the unconscious detective. This classic film noir detective yarn gets better with each viewing, which is more than can be said for the first two Maltese Falcons and the ill-advised 1975 "sequel" The Black Bird. ~ Hal Erickson, Rovi

One of several 1978 films dealing with the Vietnam War (including Hal Ashby's Oscar-winning Coming Home), Michael Cimino's epic second feature The Deer Hunter was both renowned for its tough portrayal of the war's effect on American working class steel workers and notorious for its ahistorical use of Russian roulette in the Vietnam sequences. Structured in five sections contrasting home and war, the film opens in Clairton, PA, as Mike (Robert De Niro), Nick (Christopher Walken), and Stan (John Cazale, in his last film) celebrate the wedding of their friend Steve (John Savage) and go on a final deer hunt before the men leave for Vietnam. Mike treats hunting as a test of skill, lecturing Stan about the value of "one shot" deer slaying and brushing off Nick's urgings to appreciate nature's beauty. As Mike ruminates post-hunt, the film cuts to the horror of Vietnam, where the men are captured by Vietcong soldiers who force Mike and Nick to play Russian roulette for the V.C.'s amusement. Mike turns the game to his advantage so they can escape captivity, but the men are permanently scarred by the episode. Steve loses his legs; Nick vanishes in the Saigon Russian roulette parlors. Mike returns alone to Clairton a changed man, as he rejects the killing of the deer hunt and finds solace with Nick's old girlfriend Linda (Meryl Streep). Disgusted by the antics of his male cohorts at home, Mike decides to bring Steve back from a veterans' hospital, and he returns to Saigon to find Nick. As Saigon falls, Mike discovers how far gone Nick is; the survivors gather in Clairton for a funeral breakfast, singing an impromptu rendition of "God Bless America." ~ Lucia Bozzola, Rovi

This 1993 box-office smash partly adheres to the 1960s TV series on which it is based and partly goes off on several tangents of its own. Harrison Ford stars as Dr. Richard Kimble, convicted of murdering his wife. While being transferred to prison by bus, Kimble is involved in a spectacular bus-train collision (one of the best of its kind ever filmed). Surviving the disaster, Kimble escapes, vowing to track down the elusive professional criminal whom he holds responsible for the murder. Dogging the fugitive every foot of the way is U.S. marshal Sam Gerard (an Oscar-winning turn by Tommy Lee Jones), who announces his intention to search "every whorehouse, doghouse, and outhouse" to bring Kimble to justice. Unlike his dour TV-series counterpart Barry Morse, Jones plays the role with a sardonic sense of humor: when a cornered Kimble screams, "I didn't kill my wife," Gerard shrugs and famously replies, "I don't care." Once the premise has been established, scripters Jeb Stuart and David Twohy and director Andrew Davis pull off several audacious plot twists, ranging from Kimble's rendezvous with a sympathetic lab technician to a jaw-dropping dive into a huge waterfall. The second half of the film offers one surprise after another (including the true identity of the murderer), brilliantly avoiding the letdown that plagues many movie adaptations of old TV series. ~ Hal Erickson, Rovi

Robert L. Pike's crime novel Mute Witness makes the transition to the big screen in this film from director Peter Yates. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt. The story begins with Bullitt assigned to a seemingly routine detail, protecting mafia informant Johnny Ross (Pat Renella), who is scheduled to testify against his Mob cronies before a Senate subcommittee in San Francisco. But when a pair of hitmen ambush their secret location, fatally wounding Ross, things don't add up for Bullitt, so he decides to investigate the case on his own. Unfortunately for him, ambitious senator Walter Chalmers (Robert Vaughn), the head of the aforementioned subcommittee, wants to shut his investigation down, hindering Bullitt's plan to not only bring the killers to justice but discover who leaked the location of the hideout. ~ Matthew Tobey, Rovi