That was good, but it really was just a nice character moment…not really a striking or artful "shot".

Yeah…as much as I *love* Sherlock, Jr, if you want an iconic Keaton shot, Steamboat Bill, Jr is the one.

Oh, hell, that's maybe my favorite single movie moment.

Really should have put the opening shot of the original Star Wars for 1977. I mean, c'mon.

It's Hans Zimmer. From "Inception".

Yeah, let's not forget the Muslim foreigner getting put in his place!

I hear you about "The Third Man" clip, but then again I recognized it as "The Third Man" in about a nanosecond, despite having seen the film only once quite a few years ago.

I'd accept "iconic performance", but I don't think there's a shot worth singling out in any of those overstuffed films.

The Avengers shot and even the Spider-Man shot definitely have some claim to "iconic" status, at least, although I would hope you could come up with something more worthy in their respective years. The Avatar kiss is a real head-scratcher.

Could throw in a bit more Keaton at least, eh?

For Eisenstein and Vertov, at least, for the years in question, probably only specialists would know *any* films…(and Eisenstein is in there, actually).

My vote goes to Shosanna in war paint.

It isn't "loaded", it's just 1 film per year. But, yeah, that's a lot of Chaplin.

"Frankly, if you get sick of something you like because you hear it too much, there's something wrong with you."

So be it.

While I'm not super clear why some of the shots were chosen, it's a lot better than that video of Academy Award winners for special effects, for which many of the chosen shots contained no special effects whatsoever.

That 2 second clip nearly made me gay. It stopped just in time. My wife would've been pissed.

I'm sure they had immigrants to do that work.

He finally got his own passion-project, with his own story and script and everything, and made Sucker Punch. That's all I needed to know about Zack Snyder's potential to become a great filmmaker.

I often think of Ebert drawing attention to that shot in his review of Minority Report: "There is poignancy in her helplessness, and Spielberg shows it in a virtuoso two-shot, as she hangs over Anderton's shoulder while their eyes search desperately in opposite directions. This shot has genuine mystery. It has to do…