A lot has been said about what a great spy movie is, and while the answer is a resounding yes, the question has to be asked again.

This week, IGN sat down with Academy Award-winning director Oliver Stone and producer Simon Barrett to discuss the best movies of all-time.

The answer: ahem…

The Matrix (1979)I don’t think that any movie in my collection could claim to be as timeless as The Matrix.

I mean, how many of us can say that our favorite movie is a timeless masterpiece?

But that doesn’t mean I don’t like the movie!

It’s still pretty entertaining, and the story of the film, which follows the story-arc of an FBI agent working in a shadowy agency, is still as exciting and satisfying as ever.

That said, the Matrix is one of the most influential spy films of all.

And, for that, we owe a lot to the movie’s director, Oliver Stone.

He made the Matrix a blockbuster and a cult classic, but it wasn’t until he wrote the script that he knew exactly how to make the film work.

Stone’s script and his careful handcrafted vision helped make The Matrix an iconic film, and it’s a movie that I would love to see revisited in an animated feature.

A different approach, different genre, different plotline, and different action, it’s hard to argue with Stone’s vision of what made the original film so great.

The Matrix was the first movie that put a camera on the hero, the first to introduce the concept of a Matrix and the first time a Matrix-based action sequence was ever filmed.

But that’s not to say the rest of the Matrix wasn’t groundbreaking in its time.

It certainly was.

The first-ever live action movie that came out on a TV network was a film called The Muppet Show, which was shot on location in Los Angeles.

Its story of a group of puppets living in the same house, and of course, a love triangle between the Muppets and their human friends.

While there were other early live-action movies, this was the only live-to-film action film made that included CGI.

The film was a smash hit and became the first major hit to ever be released on home video, but that didn’t stop its producers from thinking about making a sequel to the first film.

That sequel, the Muppet Adventures, came out in 1969, which is still the year that the first live-tweeted Muppet Movie was made.

And although there was never a live-motion Muppet movie made, the live-animated version of The Muppeteer has made quite a name for itself in the years since.

But I think the film that really deserves the honor of being the best movie ever made is The Mummy, which comes to us from Universal Pictures in 1976.

It was based on a story of vampires, a supernatural force known as the Mummy and the Tomb of Horrors, and stars James Caan as the titular villain, and Sam Neill as the tomb’s guardian.

The original film was so successful that Universal would go on to make several sequels, and, despite the fact that it wasn-not a reboot-and was shot in color, it still became one of those iconic movies that fans and filmmakers alike still talk about.

It was the beginning of the end for the horror genre, as horror movies and blockbusters continued to dominate the box office.

While it was in the midst of a period of relative stability, studios began to re-invent the wheel and bring more sophisticated, dark, and disturbing elements to the genre.

In 1976, Universal was on the verge of making the first all-digital movie, The Haunting, and this was a bold step for the studio.

Universal Pictures, a studio known for being secretive and controlling, began marketing the film as a film that could be viewed on digital, but also as an allegory of horror and violence.

It became one the most successful horror films ever made, and its influence has remained strong to this day.

Universal, however, had no intention of doing anything else with The Hauntings, so when it was announced in 1978 that Universal Pictures was making a new all-color, high-definition film based on the first-born of the Haunt, I knew that Universal was going to take a big risk.

The Haunters would be the first of a series of three films, which would go by the same name.

The Hauners would be a major departure from the previous films, but not a drastic one.

Universal was able to get away with the dark, spooky nature of the previous movies and, instead of trying to capture the spirit of the original, it took advantage of the genre’s more contemporary elements to bring a different feel to the films.

The movie would be called The Haunts, and would be released in theaters in theaters nationwide in the spring of