"My last one is actually Moonlight. Kinda mix it up. That was one that I was super excited to watch, and I heard such good things about it. A friend of mine had a screener and he gave it to me, and I just… I probably watched it, I would say, like five times within two weeks. I just thought everybody’s performance in that was awesome, and it was shot so beautifully. From top to bottom, I really, really liked it."

"For me, this was the peak. I love Dangerous as well, but Bad feels more like a coherent body of work. You can feel the superstardom of the guy; he's at the top of the game. But still there is some weirdness: a song like "Speed Demon" is really weird. It came along with a whole film, Moonwalker. You get that the guy is now trying to recreate everything—defying gravity with "Smooth Criminal," and inventing shapeshifting ways of existing with the movie."

"Although Mike Leigh’s family dramas, such as High Hopes and Secrets & Lies, have had a more apparent influence on my work, Naked is my favorite film of Leigh’s. It’s in my top ten favorite films ever made. It’s an exhausting odyssey that never gets the characters (or the viewer) home again. “Tell me, love, are you aware of the effect you have on the average mammalian, Mancunian, XY-ly chromosome, slavering, lusty male member of the species?” Now, that’s dialogue!"

"Captured used to be my favourite Jenkins romance, but Night Hawk recently took the top spot because its lead couple is just so brilliant. This historical romance follows an infamous Wild West gunslinger turned US Marshall as he transports a feisty prisoner. They prove her innocence, fall in love, thwart various nefarious plots on their journey home, and generally run around being badass. I especially fell in love with the plucky, witty heroine and her completely relatable thirst for revenge."

"Donald Sutherland and Julie Christie both look amazing in this film. It’s also a brilliant document of Venice in the early ’70s. It’s a stunning-looking film. And interestingly, Geoff’s father-in-law was the main cameraman! The scene at the top of the bell tower in St. Mark’s Square, where Donald Sutherland’s legs are dangling—they’re Geoff’s father-in-law’s legs! I don’t think Donald fancied the climb?!! It’s also the best horror ending ever, without a doubt. —Billy Fuller"

"Natalie Portman plays a young teenage pop artist, Celeste, who starts making music after surviving a school shooting. Then it becomes a film about what the pop industry can do to people, what not to do within it, and about messiah complexes. It’s a really over-the-top, sinister film – it becomes almost alien. But it also reminds you to keep your ego in check, pull your baseball cap down, don’t get lost in the madness, and just keep working."

"I loved this film when I was younger (still do), dragging friends and family to revival houses to see its wonderful, pointed, sad satirical lunacy. It also has one of the best in-camera scene transitions ever done, and Peter O’Toole’s gloriously over-the-top performance is priceless. I understand some of the criticisms I’ve heard—it’s theatrical, it’s awkward at times, but it’s also fearless, funny, chilling, and unique, qualities that trump anything else you can say about it."