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Honorable Mention: The Simpsons Movie (David Silverman), Bug (William Friedkin), Beyond Hatred (Olivier Meyrou), Broken English (Zoe Cassavetes), Jimmy Carter Man from Plains (Jonathan Demme), Summer ’04 (Stefan Krohmer), Away from Her (Sarah Polley), The Decomposition of the Soul (Nina Toussaint and Massimo Iannetta), The Bubble (Eytan Fox), and Descent (Talia Lugacy)

1. Citizen Kane (Orson Welles) 2. Sullivan’s Travels (Preston Sturges) 3. Ball of Fire (Howard Hawks) 4. How Green Was My Valley (John Ford) 5. Dumbo (Ben Sharpsteen) 6. The Little Foxes (William Wyler) 7. Hellzapoppin (H.C. Potter) 8. The Lady Eve (Preston Sturges) 9. Man Hunt (Fritz Lang) 10. 49th Parallel (Michael Powell)

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With The Girl in the Spider’s Web, a soft reboot of the American-produced Millennium series and indirect sequel to The Girl with the Dragon Tattoo, Fede Álvarez betrays his own talents and delivers a listless imitation of David Fincher’s signature style. The claustrophobia and deft craftsmanship of Evil Dead and Don’t Breathe is replaced by a slick but lifeless aesthetic that’s accompanied by a thudding score that could have been culled from any 1990s thriller made in the wake of Fincher’s Se7en. The Girl with the Dragon Tattoo possesses a daring and an empathy rarely found in studio thrillers, and Álvarez, hampered by an inane screenplay and denied the kind of cast that made Fincher’s characters so compelling, can’t conjure up anything even close to his predecessor’s caustic sense of mystery and dread. Greg Cwik

Finally, congratulations are in order. Takashi Miike, Japan’s most prolific genre jumper, has officially made 100 movies. And he’s crossed that staggering milestone with one of his better recent ones: the go-for-broke, 140-minute samurai extravaganza Blade Of The Immortal (Grade: B). Based on a popular manga by Hiroaki Samura, the film opens with a jaw-dropping, black-and-white, one-on-100 brawl, as Manji (Takuya Kimura) avenges his sister’s death by dispatching a veritable army of opponents. Miike then switches to full, vibrant color as the fallen swordsman, dying from wounds received in the battle, is granted unwanted immortality by an enchantress, who infects his blood with restorative magic worms. (Don’t ask.) The story, a kind of Eastern cousin to Logan, betrays episodic comic-book roots: What we’re watching is essentially a string of limb-hacking, blade-slicing showdowns, as Manji and teenage charge Rin (Hana Sugisaki) encounter one heavy after another. It’s neither as powerful nor as awesome as Miike’s 13 Assassins, a towering throwback masterpiece in his hefty oeuvre. But it is a nonstop barrage of kinetic, gory-goofy fun—and further proof that of all the genres he dabbles in, samurai cinema is the one that brings out the grandest entertainer in Miike. Here’s to 100 more.

If you believe the urban legend, filmmakers have been fooling audiences since at least the Lumiere brothers’ The Arrival of a Train at La Ciotat Station, a screening of which sent people scrambling from their seats as the moving image of a train steamed toward them on screen. The con at the core of George Roy Hill’s The Sting is a little more sophisticated than that: Johnny Hooker (Robert Redford) enlists veteran grifter Henry Gondorff (Paul Newman) to take down the brutal Irish gangster Doyle Lonnegan (Robert Shaw), who murdered Hooker’s mentor. Benefiting much from circumstance and luck, Hooker and Gondorff conspire to open up a fake betting parlor in an effort to bleed Lonnegan dry, financially speaking. There are elaborate conversations, apparent double-crosses, and costume changes aplenty. (Woe unto anyone who doesn’t pay strict attention during the first half hour or so, as the stakes for the scam are briskly outlined.) When this caper first opened, plenty of jaws probably dropped during its denouement, though not necessarily because of the filmmakers’ audacity. The Scott Joplin-soundtracked shenanigans collapse under their own weight, particularly if given a moment’s thought beyond the final fade-out. The Sting looks gorgeous, yes, but it ultimately proves to be as empty as the vacant building housing that fake betting parlor. Preston Jones

1. Femme Fatale (Brian De Palma) 2. Far from Heaven (Todd Haynes) 3. Spider (David Cronenberg) 4. What Time Is It There? (Tsai Ming-liang) 5. Spirited Away (Hayao Miyazaki) 6. Trouble Every Day (Claire Denis) 7. Late Marriage (Dover Kosashvili) 8. Minority Report (Steven Spielberg) 9. The Truth About Charlie (Jonathan Demme) 10. Sunshine State (John Sayles)

Honorable Mention: Street Angel (Frank Borzage), The Last Command (Josef Von Sternberg), Laugh, Clown, Laugh (Herbert Brenon), West of Zanzibar (Tod Browning), The Wedding March (Erich von Stroheim), The Circus (Charlie Chaplin), Beggars of Life (William A. Wellman), Storm Over Asia (Vsevolod Pudovkin), Steamboat Bill Jr. (Charles Reisner), and The Man Who Laughs (Paul Leni)

This report bifurcate the Metal Intramedullary Nail market based on the key players, Type, Applications, and Regions.

There are 15 Chapters to deeply display the global Mobile Crane market. Chapter 1, to describe Mobile Crane Introduction, product scope, market overview, market opportunities, market risk, market driving force; Chapter 2, to analyze the top manufacturers of Mobile Crane, with sales, revenue, and price of Mobile Crane, in 2016 and 2017; Chapter 3, to display the competitive situation among the top manufacturers, with sales, revenue and market share in 2016 and 2017; Chapter 4, to show the global market by regions, with sales, revenue and market share of Mobile Crane, for each region, from 2013 to 2019; Chapter 5, 6, 7, 8 and 9, to analyze the market by countries, by type, by application and by manufacturers, with sales, revenue and market share by key countries in these regions; Chapter 10 and 11, to show the market by type and application, with sales market share and growth rate by type, application, from 2013 to 2019; Chapter 12, Mobile Crane market forecast, by regions, type and application, with sales and revenue, from 2019 to 2024; Chapter 13, 14 and 15, to describe Mobile Crane sales channel, distributors, traders, dealers, Research Findings and Conclusion, appendix and data source.

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It was David Fincher’s Metropolis-inspired music video for 1989’s “Express Yourself” that introduced the world to Shep Pettibone’s remix, which, aside from the lethargic come-and-git-it cowbell that intermittently takes Madonna from the church steeple and straight onto the prairie, matches in its uptempo beat the soulful fervor of the singer’s call to arms. The album version evokes something altogether more subversive: Fritz Lang’s robot Maria hanging out inside a Detroit dance hall, forcing men to their knees as the big-band sound rocks the house. But it’s Pettibone’s reconstruction—which replaced producer Stephen Bray’s Sly Stone-indebted soul with sleek strings and a muscular house beat—that helped announce the arrival of Madonna the power feminist and set the stage for both “Vogue” and Erotica. Gonzalez