In the view of Chris Ashton, “the 20 greatest, or most powerful, uses of slow-motion in film” can be found in Rushmore, Reservoir Dogs, Chariots of Fire, Watchmen, Hurt Locker, Matrix, Zombieland, The Untouchables, Thelma & Louise, The Darjeeling Limited, Ferris Bueller’s Day off, 2001: A Space Odyssey, Raging Bull, Matrix Reloaded, Inception, Spider Man, 300 and a bullshit boxing sequence in Robert Downey‘s Sherlock Holmes. The list excludes two landmark ’60s films that put slow-mo on the map and pretty much revolutionized the aesthetic by turning rifle-fire death into strangely beautiful ballet — Arthur Penn‘s Bonnie and Clyde and Sam Peckinpah‘s The Wild Bunch. Ashton presumably omitted these two because he’s youngish (late 20s, early 30s) and considers films made in the ’80s to be ancient history and anything earlier to be prehistoric. Or he’s under-educated. Or he just forgot.