We all have those movies that we really enjoy, but for one reason or another aren’t in any hurry to revisit. Sometimes it’s because the material is full of gruesome violence or hard to watch moments, which can ruin our desire to sit through the torture ever again. Other times it’s hard to justify repeating another three and a half hours on a well-made, but painfully slow movie (we’re looking at you Jeanne Dielman!).  It’s easy to be torn on these films. We’re quick to sing their praises—but not as quick to recommend them.

Here’s a list of some of our favorite films we loved watching the first time, but don’t see ourselves returning to anytime soon. Enjoy watching them, but please don’t ask us over for the viewing.

#1. Irreversible

If you’re not aware of Irreversible, consider your lifespan lengthened by at least a few months, and know that the film tells the story of Alex (Monica Bellucci, in career-defining mode) and her boyfriend Marcel (Vincent Cassel, brilliantly unhinged) over the course of a single night, in reverse chronological order. In terms of raw emotion, it makes Memento look like a Cheerios commercial. Considering it’s been over 10 years since it came out, it’s no spoiler to say that Irreversible contains the most realistic rape scene I’ve ever seen in any film, and once that scene was over, I knew that Gaspar Noé had created something equal parts impactful and degenerate, and that one viewing was more than enough. Technically speaking, the film is genius (for the time it came out, its camera trickery was fresh and exciting). I may have been more affected than I would’ve otherwise had anyone but Bellucci been cast (full disclosure, guys: she’s my eternal crush), but I’m pretty sure that it’s Noé’s unflinching depiction of humanity at its most depraved, the scarily realistic performances, and that emotional sledgehammer of an ending/beginning, that makes me never want to see Irreversible again while simultaneously admiring its undeniable artistry. [Nik]

#2. The Act of Killing

It’s hard for me to think of any other film in the last several years with the same impact as The Act of Killing (review). Joshua Oppenheimer’s investigation into the deaths of millions during a military coup in 1960s Indonesia is like diving head first into the worst of humanity. What Oppenheimer observes (and participates in) is a world where evil prevails. Military leaders responsible for massacring entire villages are hailed as heroes, corruption runs rampant, and families of the survivors have to stay quiet if they want to live. What’s so bothersome about Oppenheimer’s film isn’t just seeing the casual disregard for human lives; it’s the way he implicates the viewer and their complicity in the on-screen horrors. The Act of Killing is a monumental piece of filmmaking, but it’s also one that forces viewers to confront the severe costs of their inaction and ignorance. It’s an ugly film, one that made me feel physically ill watching it, and one of the best documentaries I’ve ever seen. I just know that it’ll be a long time before I see it again. [CJ]

#3. Shame

It’s always hard to delve so deeply into the life of someone that is in many ways broken, and a second time might just prove too much for many. In the case of Steve McQueen’s Shame (review), Brandon’s life is certainly one that I don’t feel capable of entering again, even as a witness. Ultimately, this is a testament to the quality of the film—the raw emotion that we are confronted with is exactly what makes it so hard to watch. Fassbender is disconcertingly convincing as a man whose day-to-day life is an endless search for another orgasm, with each one simply acting as a step towards finding the next. The concept of dissatisfaction at every moment is portrayed so precisely it would be beautiful if it wasn’t thoroughly depressing. Both Fassbender and McQueen inject Brandon’s character with so much apathy that we can’t help but feel for him – it’s almost as though we are doing the feeling for him. And while that’s involving and highly compelling, it is also far too emotionally draining to go through again. [Pavi]

#4. Precious: Based on the Novel Push by Sapphire

There are films I describe as “essential” viewing while almost always following up with the word “once.” I don’t think there is any shame in admiring a film greatly and recognizing that being in the mood to watch it repeatedly in one’s lifetime is highly unlikely. I’d even go so far as to say that Precious (review) was one of those films I might never had seen if I’d truly known what I was getting into. Does it have amazing performances? Yes. Does it have moving emotional transformations? Yes. Does it have an unnecessarily long title due to someone’s ill-placed concern that there’d be any confusion whatsoever in confusing this film for a superhero action film released in the same year? Weirdly so. Additionally, it has the abuse of a pregnant teen by her welfare-addicted mother, repeated rape from her father, and a cast of characters who finally give this young woman the support she needs to take control of her life. But for every heart melting scene are about 10 scenes of a mother throwing pots and TVs at a girl living a hell that most of us couldn’t even dream up. The ratio is a tough balance. But I still say see it. Once. [Ananda]

#5. Dear Zachary: A Letter to a Son About His Father

Easily one of the most shocking and disturbing documentaries I have ever witnessed (and not simply because one of the subjects shares my name), Dear Zachary: A Letter to a Son About His Father illustrates one man’s journey to memorialize his murdered friend, when that friend’s ex-girlfriend announces she’s expecting a son. The tone indicates early on that the only way this story will end is in disaster. Documentarian Kurt Kuenne tracks the life of Dr. Andrew Bagby from his childhood when he and Kurt made films together as friends, through Bagby’s adulthood, marriage, and ultimate murder. In speaking with Bagby’s family, Kuenne paints a picture not only of a good man killed in cold blood, but the frightening fallout from his murder. Throughout the film, you’re left angered that so little was done to prevent what ultimately occurred; however, it’s also easy to understand the inevitability of this tragedy. That doesn’t make watching events unfold within Dear Zachary any less devastating. The documentary may not be an intricately constructed masterpiece but the story it portrays is among the saddest realities an audience will have to face, just not one you’ll want to watch twice. [Zach]

#6. The Hunt

At about the 15-minute mark, The Hunt (review) takes a turn so unsettling that the film becomes uncomfortable to watch, and it remains uncomfortable to watch for its duration. The film tells the tale of a man—a kindergarten employee, no less—who is wrongly accused of being a pedophile. A young, confused child points the wrong finger at the wrong guy for the wrong reason and that guy’s life is over as quickly as word of his alleged actions can spread through the small, close-knit community and its micro-mob mentality. Pedophilia is like no other crime. When kids have potentially been exposed to a pedophile, there is no “innocent until proven guilty” in the court of public opinion. The film maximizes this wonderfully, especially in its depiction of the townspeople’s actions. What ultimately sells the tension, though, is that the viewer knows he’s innocent. This is no whodunit. There is no playing around with “did he or didn’t he?” and waiting for that “twist” to drive the final opinion on the film. His innocence is a fact, which raises the stakes on his pathos, which ratchets the unease of the viewer. Tack on a last shot for the ages and this unforgettable film is best left preserved in the memory. [Michael]

#7. Hard to be a God

It’s hard for me to add any other superlatives that CJ hasn’t already used in his fantastic write-up of the downright depraved Russian film Hard to be a God. Alesky German directed this brutal and savage film about a group of scientists who travel from Earth to another planet going through their own Medieval Age. Told not to interfere with the going-ons on the planet, they must sit back and watch as people are viciously murdered and treated like scum. German’s film is 3 hours of straight unholy debauchery where people trudge through mud, carcuses (human and animals) and mounds and mounds of excrement. If the setting isn’t disgusting enough, German constantly has objects (animate and not) directly in front of the action to add an immediacy to the ongoings, putting you right in the middle of all the action. About an hour in, I started to get queasy and almost had to stop watching. There has never been a film like Hard to be a God and there will probably never will be. [Blake]

#8. The Master

Initially my thoughts leaned to movies that evoked a positive memory such as Master and Commander or The Last Samurai–movies I only ever saw once but loved so much that I purchased them–and then never got around to watching them again. Their length and tendency towards tediousness always at the forefront when passing over them come movie night. The possibility for a future viewing is still there, however. On the other hand, it’s hard for me to say that I loved The Master (review). In fact, for a very long time I was determined to vocalize my absolute dislike for it. I don’t remember a second of that movie that I wasn’t cringing. But in thinking about where the roots of my aversion were, I couldn’t admit that it was the performances. Philip Seymour Hoffman, Joaquin Phoenix, and Amy Adams were outstanding. Ultimately I came to the realization that, in fact, this movie was really well done. Centered around self-worshiping, semi-psychotic, narcissistic con-men who prey on the weak and vulnerable, one has no choice but to respond with vitriol. So…kudos to everyone involved in the making of such a great movie, but I will never watch it again. [Scarlet]

#9. Henry: Portrait of a Serial Killer

Honestly, the concept of loving a film despite never wanting to watch it again really doesn’t register with me. If there is something in a movie that works for me, no matter how violent, draining or depressing it might be, it’s going to be something I will consider revisiting. That said, John McNaughton’s troubling Henry: Portrait of a Serial Killer is a film I’m not itching to see again for a long time. Known primarily as a horror film—I remember seeing the VHS in the same vicinity of the video store as other 1980’s gems Chopping Mall and Brain Damage, but Henry is far, far from these silly blood-splatter flicks. It’s darkly honest and straight-ahead script and documentary shooting style is a fascinating approach to the genre, but also a bit icky. Truthfully, there aren’t a lot of scares, but the intense commitment of everyone involved (from the screenwriters, to the director, to star Michael Rooker) get us inside this character, eventually taking us places we really don’t want to be. Personally, the film is made all too real in part by the Chicago street cinematography—though Wicker Park and its surrounding areas have dramatically changed over the last 30 years, it’s still recognizable enough to make me a little more aware of my own environment. [Aaron]

#10. Enter the Void

Yes, another Gaspar Noé film on this list. Adding to his collection of challenging films, Noé trades the excessive violence and brutality of Irreversible for excessive visuals and runtime in Enter the Void. The film (review) is packed with intoxicating visuals from pulsating neon lights to ghost-like camera movements that pass through walls and buildings, completely disorienting the senses like an acid trip. And because it clocks in at over two and a half hours—it’s one long trip. There’s a lot to admire from artistic and technical standpoints as some moments in the film are unlike anything seen before in film. However, the sensory overload eventually becomes exhausting to the point you’d wish it would just end already. Not helping matters is a meandering script which stretches about 30 minutes worth of material into 161 minutes. If you ever wanted to experience DMT without actually doing it, one time through Enter the Void should do the trick. But unlike the drug, you won’t be itching to go back to it. [Dustin]

#11. Mr. Nanny

I’m pretty sure Mr. Nanny is legitimately considered one of the worst movies of all time. Hulk Hogan plays a former professional wrestler who becomes a nanny to make ends meet…so yeah. It’s ridiculous. But you know what? When I watched it as a kid in the early ‘90s, I had the time of my f*cking life! I’ve been a huge Hulkamaniac since birth (I had a plush toy and action figures and video games), so to see my red-and-yellow hero star in his own movie was the coolest thing ever! I remember laughing my little ass off at every single dumb gag and thinking the Hulkster was going to be a HUGE movie star (my taste in actors is better now, I promise). I saw the movie on a VHS tape rented from Blockbuster (those were the days) and never saw it again, probably because it sucked so much no network wanted to run it. But man, did I have a blast watching it that day. Sure, I could probably find it again online and replace my old memories with new, sh*tty ones, but what’s the use in that? [Bernard]

Since April starts with people getting fooled, Way Too Indie has decided to end the month by asking its writers when they’ve been fooled by a film. Plot twists have been popular in films for ages, and for good reason. Audiences love when a film manages to successfully pull one over on them, and when done well enough, the film can cement its place in cinematic history. After listing our favorites, we combined our picks and came up with a list of 15 movies that left us with our mouths wide open. Before you read on to see our list, please take note: We have tried to avoid spoilers in our descriptions, but some people might be more sensitive than others when it comes to what constitutes a spoiler. Read carefully, or better yet, just go see these great films already!

WARNING: Mild spoilers ahead

15 Films That Fooled Us

#15 – Dear Zachary

When Andrew Bagby was murdered by his pregnant girlfriend, director Kurt Kuenne set out on a personal project for his now deceased friend. Kuenne interviewed everyone who knew Bagby so that one day his child could learn about his father. Kuenne had no idea what would actually happen once he started filming, and Dear Zachary captures every single anguished moment of it. There’s a genuine, emotionally raw quality to Dear Zachary that viewers can immediately relate to, which makes the devastating ending hit like a wrecking ball to the gut. It’s one of the few films guaranteed to turn its viewers into a sobbing mess by the end, and the raw power of its story is why it still has a lasting impact with people today. [CJ]

#14 – Se7en

“What’s in the box?!” are four words that changed the way people thought of serial killers (and boxes) forever. In 1995 the world was introduced to David Fincher, before Fight Club and Zodiac solidified his status as one of the most revered directors in Hollywood, and after Alien 3 could leave too bad of a taste in our mouths. If you call yourself a Fincher fan, you’re all too familiar with the story of detectives Mills (Brad Pitt) and Somerset (Morgan Freeman) hunting the serial killer John Doe (Kevin Spacey) who orchestrates his murders years in advance, and bases them off the seven deadly sins. With every murder more sordid than the previous one, nothing prepares them – or us – for the heart-pulsating shocker at the end, when the contents of that box made John Doe into one of the most notorious on-screen villains. Here’s a funny story about that: producer Arnold Kopleson at first refused to allow the end to pass because of its sheer psychological brutality. Brad Pitt came to the rescue and said he’d walk if they didn’t allow Fincher to film the intended finale. So, we have Pitt and Fincher to thank for all those sleepless nights. On a personal note, its still my favorite Fincher film by a country mile. [Nik]

#13 – The Usual Suspects

Lately, Bryan Singer’s something of a usual suspect himself (it was right there, I’m sorry…) but forget all about that for a second. Before he ventured into the world of comic books and beanstalks, Singer directed a little film you may have seen called The Usual Suspects. The success of Suspects put him on the map and gave him carte blanche to work on X-Men, which rippled into the insane popularity of superheroes today. So, in a way, we can blame Keyser Soze for the mind-numbing number of comic book movies today. Regardless, nothing could change our thoughts about one of the greatest tricks the devil ever pulled. Premiering in 1995 (a year that turned out great for shockers), the story follows Kevin Spacey’s Verbal Kint, a survivor of a bust gone terribly wrong, as he recounts the events to Agent Kujan (Chazz Palminteri) while drinking coffee in a police station. That’s all brilliant minds need sometimes, and a film that was compelling enough with its intricate narrative and colorful cast of degenerates, became an entirely different beast with its final sequence, putting the twist in plot-twist more memorably than M. Night Shyamalan could ever dream of. Thanks in large part to this ingenious turn of events, the film went on to win two deserving Oscars for Spacey and screenwriter Christopher McQaurrie. [Nik]

#12 – The Prestige

It’s no coincidence two of my picks on this list of twisty films are from Christopher Nolan and his screenwriting partner/brother Jonathan Nolan. The two know how to tell a story that keeps you guessing. The Prestige is often overlooked among Nolan’s work, it had the misfortune of releasing between Batman Begins (Nolan’s fabulous reinvention of what comic-based film could be) and The Dark Knight (quite possibly the best comic-based film ever released, if I have anything to say about it). So you may have missed this one. Starring Nolan favorites Christian Bale and Michael Caine, along with Hugh Jackman and Scarlett Johansson, The Prestige follows two up-and-coming magicians in 19th century London. While at first partners in the same act, the two become competitors, and indeed nemeses, when a magic act goes tragically wrong. From then on their careers are a series of attempts to get vengeance on the other, while also trying to attain top magician status. Their hate filled ambition leads both to drastic and questionable measures, but it isn’t until the very end when–like their magic tricks–the real secrets behind just how far each was willing to go are revealed, and its truly astonishing. When you discover the secret to a magic trick, all you want is to re-watch it and see if you can spot the illusion, so too does The Prestige demand repeat viewings. [Ananda]

#11 – Tell No One

This is a film that I love to recommend to people who normally scoff at having to read subtitles because this French whodunit film is that good. Tell No One doesn’t waste any time setting up the central plot. Alexandre Beck (played by the French Dustin Hoffman lookalike, François Cluzet) jumps into the water upon hearing his wife Margot scream from the other side of the secluded lake. As he climbs up the dock he gets knocked unconscious yet remains the prime suspect after the police find Margot brutally murdered. Despite evidence piling up that supports Alex as the murderer, he seems too distraught to actually be guilty of the crime. Then the film reveals the first of many plot twists. Eight years after the tragic event, Alex receives an email proving that Margot is still alive. Boom! Just when you think you are close to figuring it out, Tell No One presents a new piece of the puzzle. [Dustin]

#10 – Star Wars: The Empire Strikes Back

We’ve all seen the (unnecessary) prequels of the insanely ubiquitous Star Wars series by now so the mystery of Luke Skywalker’s origin is somewhat ruined. But for us older folks who had just the OT (Original Trilogy) while growing up, seeing the arc of Luke’s daddy issues culminate at the end of The Empire Strikes Back blew everyone’s mind. It starts in Episode 4 A New Hope, when Luke begins questioning Obi-Wan Kenobi about his enigmatic father who fought alongside Kenobi during the Clone Wars. Kenobi reveals Skywalker’s father was murdered by the heinously sinister Darth Vader. But then in Episode 5 everything changes. Luke is locked in a duel with Vader in the pit of the monstrous floating Cloud City on the planet Bespin. While it looks as if Vader is about to put Skywalker to the sword, he instead reveals the answer Luke has been waiting for. Skywalker is left in ruin and audiences around the world were left with a three year break before the finale of the series wrapped everything up. [Blake]

#9 – American Psycho

As far as revelations go, the final twist in American Psycho is more bewildering than earth-shattering, but that’s what makes it great. Watching Christian Bale gruesomely plow through hapless victims as New York trader Patrick Bateman only to eventually realize that the murders may not have played out the we we or Patrick thought, is ambiguous and ambitious in the best way. Bale sells the crap out of Bateman’s revelation, and Herron conjures a maelstrom of paranoia and anxiety to swirl around him. The plot twist in American Psycho has been seen before and is a tired tune at this point, but Herron and Bale play it pitch-perfect. It’s one of those reveals that, like the one in Oldboy (also on our list), sticks with you long after the credits roll instead of dissipating immediately. [Bernard]

#8 – The Sixth Sense

The Sixth Sense holds a certain stigma around it that has everything to do with someone either ruining the hugely shocking surprise ending for others, or because once you’ve seen it all the way through, it feels like the magic is gone. However, I’d argue this is absolutely a mistake on the part of potential viewers (thank goodness for a generation of younger people who are blissfully unaware) and of those who’ve already seen this gem of a horror film. Wildly creepy and excellently paced, the twist ending shouldn’t be the only thing that people remember about this film. Bruce Willis is perfect in his role as Dr. Malcolm Crowe, a children’s therapist whose marriage has lost steam. When he takes on a new patient, Cole (Oh, Haley Joel Osment if only cuteness lasted), with a very particular issue–seeing dead people–he begins to feel his methods may not work, until he starts to give Cole the benefit of the doubt. M. Night Shyamalan has tried so hard to duplicate the brilliance of his deception in this film’s ending with almost every other film he’s done since, and unfortunately has never been quite as successful. But anyone wanting a truly good scare, mixed with the sort of heartfelt character investment that makes the plot that much more enthralling, will never be disappointed with The Sixth Sense, time and time again. [Ananda]

#7 – Saw

Just mentioning the Saw series nowadays will result in an eye roll or a sigh because of how ridiculous the franchise got with pumping out a new film every year. But before Saw spiraled off into a massive cash cow of a franchise, it began as an original thriller/horror film featuring a serial killer named Jigsaw who devised puzzles for his victims to figure out. Gruesome puzzles. The film opens (watch a clip) with two strangers who find themselves chained to opposite sides of a bathroom. Between them is a dead man holding a tape player and a gun. They both discover a cassette in their pocket and work together to retrieve the tape player that is just out of their reach. Their jaded past gets exposed after listening to each other’s tapes, discovering the only way out is for one to kill the other. Say what you want about the acting or even the franchise as a whole, but Saw includes one of the most unforgettable endings that you won’t see coming. [Dustin]

#6 – Diabolique

Diabolique‘s now-famous plot twist is perfect, sublime in its execution and ahead of its time by decades. Henri-Georges Clouzot’s nail-biter masterpiece gets my vote for best non-Hitchcock Hitchcock picture, and its brilliance all hinges on one final, heart-stopping surprise in the bathroom. When the wife and mistress of a headmaster conspire to murder their shared ex-lover, sightings of the deceased begin to pop up all over the school premises. When the wife finally arrives at that fateful moment in front of the bathtub, get ready for one of the most classic shocks in all of cinema. Sure, the plot and premise of Diabolique are absurdly implausible, but that’s the power of good movies: they make you believe in the impossible. [Bernard]

#5 – Fight Club

David Fincher is well represented on this list, Se7en is a personal favorite, and while his films have plenty of plot curveballs, what Fincher excels at is the art of the twisty character. He is at his best when working with deplorably questionable characters and while John Doe is terrifying in his sociopathy, there have been few characters in film that demand attention the way Tyler Durden does in Fight Club. Adapted from Chuck Palahniuk’s novel of the same name, Fight Club follows Edward Norton’s Narrator as he gets in with Tyler Durden, Brad Pitt’s most memorable role. Depressed, sleep-deprived, and caught in lethargic consumerism, the Narrator meets Tyler on a plane and is immediately sucked into his charismatic anarchist world. Together they form Fight Club (of which we do not speak), and its barbaric, therapeutic appeal to bored blue-collar workers like the Narrator turns into a nationwide underground movement. When Tyler’s power becomes chaotic and dangerous the Narrator tries to uncover his plans, and ends up learning more about himself. All to mind-blowing effect. [Ananda]

#4 – Chinatown

Say what you want about Roman Polanski and his messed up private life, but the man has proven time and time again that he can direct circles around most of his contemporaries. None is perhaps so potently absorbing as his 1974 crime mystery Chinatown, starring Jack Nicholson and Faye Dunaway in peak form. What starts off as a routine investigation into the disappearance of an L.A. Department of Water and Power engineer, turns into something much more intriguing, complex and diabolical and all before P.I. Jake Gittes (Nicholson) can say “I cut myself shaving.” His life completely changes when he meets and falls for Evelyn Mulwray (Dunaway), daughter of powerful tycoon Noah Cross (John Huston,) and decides to help her with her… predicament. It’s not for nothing that Robert Towne’s Oscar-winning screenplay is mentioned ad nauseam in every screenwriting course, lauded for its brilliant structure and build-up to a – you guessed it – shocking finale that still leaves me jaw-dropped after countless repeat viewings. I’m just not sure which scene gets to me more; the reality of Evelyn’s sickening family history revealed slap by slap, or the cruel end securing “Forget it Jake, it’s Chinatown” as one of the most haunting final words in cinema. [Nik]

#3 – Psycho

Despite many believing the “big reveal” in Hitchcock’s Psycho happens at the end of the movie in the Bates’ basement, the true twist comes halfway through the film in the motel. What happens to Janet Leigh’s Marion Crane in that famous shower scene is one of the most innovative, forward-thinking jukes in movie history, and the film’s revolutionary (at the time) plot structure is seldom used to this day, as few filmmakers dare to be so audacious. The shower scene is immaculate, obviously, but few pay homage to what it actually meant for the movie. From that scene forward, all bets are off. We’re disoriented, we’re confused, our allegiances are shifted, and Hitchcock ingeniously puts himself one step ahead of us. They don’t call him the master for nothing: we’re just followers, guinea pigs he’s tickled to toy with. [Bernard]

#2 – Memento

Oh, Chris Nolan, how you love to mess with our minds. It would be annoying if it wasn’t always so genius-ly well done. Memento isn’t just a film with a twist ending; its scatterbrained storytelling literally keeps you guessing with every scene and because it’s literally told backwards, its twist end is actually a twist beginning. Guy Pearce stars as Leonard, a man with short-term memory loss and the inability to create new memories. Leonard uses a system of notes, Polaroids and tattoos to continually remind himself of his mission: to find and kill the man who murdered his wife. Two storylines portray Leonard, one that runs straight forward chronologically of Leonard on his motel phone telling the story of Sammy Jenkins, a man he encountered in his days as an insurance fraud investigator, who had a similar memory problem that led to the accidental murder of his own wife when he gave her too much insulin. The second storyline is told backwards as Leonard searches for his own wife’s killer, trusting and untrusting all the wrong people. The end/beginning reveals a truth that is far more complicated than just solving a murder, but gets at the very nature of revenge itself. I did not catch all the nuance in this film and it’s ending upon my first viewing, repeat viewings are absolutely necessary. [Ananda]

#1 – Oldboy

When Oh Dae-Su is let go after 15 years of captivity, the first question on his mind is who put him there. It doesn’t take long before he’s told that the “who” doesn’t matter, it’s the “why.” That “why” is what puts Oldboy at the top of our list. Dae-Su’s quest for vengeance is director Chan-Wook Park, and the “Korean New Wave”, at its peak; gorgeous cinematography, powerful writing, and bravura sequences (any mention of Oldboy must mention the classic one-take fight scene). But none of this could prepare audiences for the climax, when Dae-Su’s captor unveils his own master plan of revenge. It’s a twist almost nobody saw coming, and to this day people still get unsettled thinking about it. That twist ending is why Oldboy has grown such a large following since its release, and is required viewing for any cinephile. [CJ]