上班一条虫

　　Office Space

　　"I kept the staples for the Swingline stapler and it's not okay because if they take my stapler then I'll set the building on fire." Well said, Milton. Stephen Root's brilliant turn as perpetually put-upon corporate slug Milton Waddams is just one of the sublime joys in "Beavis and Butthead" creator Mike Judge's office satire. Criminally ignored during its initial release, the story of Peter Gibbons (Ron Livingston) and his quest to escape his job and do nothing struck a chord with anyone who ever had a passive-aggressive boss or filled out mindless reports. A scene in which office workers perform a gangland-style hit on a broken laser printer is one for the ages。

街区男孩

　　Boyz n the Hood

　　23-year-old John Singleton drew from his experiences growing up gangsta in piss poor South Central L.A. for this urban drama released in summer of '91, only four months after the incendiary Rodney King incident. Tré (Cuba Gooding Jr。) is a college-bound kid steering clear of gangs and getting good grades, but he can't say the same of his buddy Doughboy (Ice Cube)， whose life among the Crips will lead to tragedy. Laurence Fishburne's Furious Styles proves the value of a positive male figure in his son Tré's life, and the anti-violence message Singleton sent through the characters made him the first African American to earn an Oscar nomination for Best Director, as well as the youngest director ever to be nominated。

哭泣的游戏

　　The Crying Game

　　"The Sixth Sense" had nothin' on the twist in this thriller from Irish helmer Neil Jordan ("Interview with the Vampire")， who used his home country's political turmoil as the backdrop for some psychosexual brinksmanship. Stephen Rea's IRA man is attracted to alluring songstress Dil (Jaye Davidson)， who has a secret that only he and Ace Ventura know the answer to. Davidson was so effective that he (yes, he) received a Best Supporting Actor nod, and Jordan won for his screenplay; but it's Boy George's title track that's burned forever into our memories。

女巫布莱尔

　　The Blair Witch Project

　　Before "Paranormal Activity" or "Cloverfield" there was this super low-budget terror flick that kicked off the found-footage revolution. Taking a page or two from "Cannibal Holocaust," this "documentary" may have used shakycam and nightvision to scare the bejesus out of audiences to the tune of $250 million worldwide, but it also was one of the first films to utilize a transmedia experience spread across TV and the Internet to promote the story as if it really happened。

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