Not since "Rosemary's Baby" has the New York City skyline been suffused with such glorious creepiness. The opening titles for David Fincher's latest foray into darkness appear to float, disembodied, alongside the city rooftops, blending seamlessly with the structures and touched by the cold sunlight and shadows of a winter day. They're gone before the first words are spoken, but these credits, designed by Computercafe, are bona fide scene-stealers nonetheless.
The Piano Man conquers Broadway, Eminem goes Hollywood, plus the rest of TIME's picks for the best of the year