34-32

34. Sweet Sixteen
Is this a parochial choice perhaps? Do I just want to crowbar a Scottish film (or at least a film set in Scotland) into the top 50 somehow? Maybe. Actually, thinking about it, almost certainly. Nevertheless, this is quality stuff. Young Liam runs around selling drugs, getting into (often highly improbable) situations so that he can make some money for his mother and 'save' her from his evil stepdad. It's pretty grim stuff to be honest, though not without a few laughs. The strongest part is the relationship between Liam, his mother and his sister. Liam convinces his sister to give their mother another chance, and he goes apeshit when the mother betrays them. His sister, meanwhile, wearily accepts it - she's more angry at herself for being sentimental enough to believe she could change. Oh Liam, what a waste.

33. DiG!
There's nothing deep about Anton and Courtney. They're just a pair of arseholes. This film is a simple document of their stupidity, greed, arrogance, self-destructiveness, and treachery. The question is whether it is better to be an arsehole who sells out and sucks corporate cock-and-balls, or an arsehole so obsessed with authenticity that conventional standards of decency and humanity no longer seem to apply. I don't know. Neither option seems particularly attractive, but it sure is fun watching these two object lessons in arseholery.

32. Sexy Beast
I think that Don has to be one of the scariest baddies ever. I mean, think about it, most baddies normally intimidate through actions or words. But Don talks a load of rubbish really, and by the time he gets violent he's already put the willies up poor old Gal. So, he manages to be scary without the normal crutches. How does he do it? I remember someone complementing Ben Kingsley on his stillness. It's true, he is very still here. Except when he gets really angry and his head starts shaking a bit. But that stillness, it's eerie. It suggests great will and self-possession, and more importantly it makes his starey eyes even starier.