In All the President’s Men (1976), Washington Post reporters Bob Woodward and Carl Bernstein are under pressure to verify information from an anonymous source before reporting on the Watergate break-in.

In A Few Good Men (1992), the case turns on whether a Marine’s death was accidental, unauthorized, or the direct result of an order.

In Jaws (1975), officials treat the summer tourist economy as essential, dismissing warnings about the shark as threats to stability.

In The Matrix (1999), Neo’s choice hinges on an unstated belief that truth and freedom are preferable to comfort and illusion.

In Contact (1997), Ellie Arroway’s account rests on whether her credibility is enough to warrant belief without evidence.

In Schindler’s List (1993), Oskar Schindler undergoes a shift in his character during the liquidation of the Kraków ghetto.

In Inherit the Wind (1960), a sequence of questions tests Brady’s assertions, showing how logos can be used to test claims.

In Ocean’s Eleven (2001), Danny uses video evidence and Terry Benedict’s own words to reveal what kind of man Tess has trusted.

In Memento (2000), Leonard’s fractured perception and the film’s nonlinear structure combine to determine what the viewer knows and when it becomes knowable.

In The Music Man (1962), Harold Hill’s quick, charismatic patter rallies the residents of River City to his cause.