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The 100 best movies of all time
Silent classics, noir, space operas and everything in between: Somehow we managed to rank the best movies of all time
Everyone has their favorites – that'southward why whatsoever argue over what makes the all-time movies of all time can take hours (or, in our cases, a lifetime). Can there e'er be one list to rule them all? A catechism, as critics like to call it, updated with today'due south game changers, that would glance upon all tastes, all genres, all countries, all eras, balancing affect with importance, brains with heart? The challenge was daunting. Nosotros only couldn't resist. Our list includes some of the nigh recognized activeness, feminist and foreign films. Please let us know how incorrect nosotros got information technology.
Written by Abbey Bender, Dave Calhoun, Phil de Semlyen, Bilge Ebiri, Ian Freer, Stephen Garrett, Tomris Laffly, Joshua Rothkopf and Anna Smith
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Best movies of all time
ane. 2001: A Infinite Odyssey (1968)
The greatest film ever made began with the meeting of ii vivid minds: Stanley Kubrick and sci-fi seer Arthur C Clarke. 'I understand he'south a nut who lives in a tree in India somewhere,' noted Kubrick when Clarke'southward name came up – along with those of Isaac Asimov, Robert A Heinlein and Ray Bradbury – every bit a possible writer for his planned sci-fi epic. Clarke was actually living in Ceylon (not in India, or a tree), but the pair met, striking information technology off, and forged a story of technological progress and disaster (hello, HAL) that'south steeped in humanity, in all its brilliance, weakness, courage and mad ambition. An audition of stoners, wowed past its eye-processed Star Gate sequence and pioneering visuals, adopted it as a pet movie. Were it not for them, 2001 might take faded into obscurity, only it'southward hard to imagine information technology would have stayed there. Kubrick's frighteningly clinical vision of the time to come – AI and all – still feels prophetic, more than l years on.—Phil de Semlyen
2. The Godfather (1972)
From the wise guys of Goodfellas to The Sopranos, all crime dynasties that came after The Godfather are descendants of the Corleones: Francis Ford Coppola'due south magnum opus is the ultimate patriarch of the Mafia genre. A awe-inspiring opening line ("I believe in America") sets the operatic Mario Puzo accommodation in motion, earlier Coppola's epic morphs into a chilling dismantling of the American dream. The corruption-soaked story follows a powerful immigrant family grappling with the paradoxical values of reign and religion; those moral contradictions are crystallized in a legendary baptism sequence, superbly edited in parallel to the murdering of four rivaling dons. With endless iconic details—a horse'southward severed caput, Marlon Brando'southward wheezy vocalism, Nino Rota'south tricky waltz—The Godfather'southward potency lives on.—Tomris Laffly
3. Citizen Kane (1941)
Back in the headlines thanks to David Fincher'south brilliantly acerbic making-of drama Mank , Denizen Kane always finds a way to renew itself for a new generation of flick lovers. For newbies, the journey of its bulldozer of a protagonist – played with inexhaustible strength past actor-director-wunderkind Orson Welles – from unloved child to thrusting entrepreneur to printing baron to populist feels entirely au courant (in unconnected news, Donald Trump came out as a superfan). You tin breast-stroke in the moving-picture show's groundbreaking techniques, like Gregg Toland's deep-focus photography, or the limitless self-conviction of its staging and its investigation of American capitalism. But it's as well just a damn good story that you definitely don't need to be a hardened cineaste to enjoy.—Phil de Semlyen
4. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975)
Long considered a feminist masterpiece, Chantal Akerman's quietly ruinous portrait of a widow's daily routine—her chores slowly yielding to a sense of pent-up frustration—should take its rightful place on any all-time list. This is non only a niche picture show, just a window onto a universal condition, depicted in a concentrated structuralist mode. More than hypnotic than you lot may realize, Akerman's uninterrupted takes turn the elementary acts of dredging veal or cleaning the bathtub into subtle critiques of moviemaking itself. (Pointedly, nosotros never run into the sex work Jeanne schedules in her bedroom to brand ends meet.) Lulling u.s.a. into her routine, Akerman and actor Delphine Seyrig create an boggling sense of sympathy rarely matched past other movies. Jeanne Dielman represents a total delivery to a adult female's life, hour by hour, minute by minute. And information technology even has a twist ending.—Joshua Rothkopf
five. Raiders of the Lost Ark (1981)
Starting with a dissolve from the Paramount logo and ending in a warehouse inspired by Citizen Kane, Raiders of the Lost Ark celebrates what movies can exercise more joyously than whatsoever other film. Intricately designed as a tribute to the craft, Steven Spielberg'due south funnest blockbuster has it all: rolling boulders, a barroom brawl, a sparky heroine (Karen Allen) who can concur her liquor and lose her temper, a treacherous monkey, a champagne-drinking villain (Paul Freeman), snakes ("Why did it have to exist snakes?"), movie house'south greatest truck hunt and a barnstorming supernatural finale where heads explode. And it'south all topped off by Harrison Ford'south pitch-perfect Indiana Jones, a model of reluctant merely resourceful heroism (look at his face when he shoots that swordsman). In brusk, it's cinematic perfection.—Ian Freer
6. La Dolce Vita (1960)
Made in the middle of Italy's boom years, Federico Fellini'south runaway box-part hit came to define heated glamour and celebrity culture for the entire planet. It also made Marcello Mastroianni a star; here, he plays a gossip journalist caught up in the frenzied, freewheeling world of Roman nightlife. Ironically, the movie's portrayal of this milieu as vapid and soul-corrodingly hedonistic appears to accept passed many viewers by. Peradventure that's because Fellini films everything with so much cinematic verve and wit that it'due south often hard not to go caught up in the delirious happenings onscreen. And then much of how nosotros view fame still dates dorsum to this film; it even gave us the give-and-take paparazzi.—Bilge Ebiri
7. Seven Samurai (1954)
It's the easiest 207 minutes of cinema you'll ever sit through. On the simplest of frameworks—a poor farming customs pools its resources to hire samurai to protect them from the brutal bandits who steal its harvest—Akira Kurosawa mounts a finely fatigued epic, by turns arresting, funny and exciting. Of course the action sequences stir the blood—the last showdown in the rain is unforgettable—but this is really a study in human strengths and foibles. Toshiro Mifune is superb as the half-crazed self-styled samurai, but it's Takashi Shimura'due south Yoda-like leader who gives the film its emotional eye. Since replayed in the Wild W (The Magnificent Seven), in space (Battle Across the Stars) and even with blithe insects (A Issues'south Life), the original still reigns supreme.—Ian Freer
8. In the Mood for Beloved (2000)
Tin can a film really be an instant classic? Anyone who watched In The Mood for Beloved when information technology was released in 2000 may take said yes. The second this love story opens, you sense you are in the hands of a master. Wong Kar-wai guides us through the narrow streets and stairs of '60s Hong Kong and into the lives of ii neighbors (Maggie Cheung and Tony Leung) who observe their spouses are having an thing. Every bit they imagine—and partly reenact—how their partners might be behaving, they autumn for each other while remaining adamant to respect their hymeneals vows. Loaded with longing, the motion-picture show benefits from no less than three cinematographers, who together create an intense sense of intimacy, while the faultless performances shiver with sexual tension. This is cinema.—Anna Smith
9. There Will Be Claret (2007)
On the route to becoming the virtually pregnant filmmaker of the last 20 years, Paul Thomas Anderson transformed from a Scorsesian chronicler of debauched L.A. life into a hard-nosed investigator of the American confidence man. The pivotal betoken was In that location Volition Be Blood, an epic about a certain kind of hustler—the oil businesswoman and prospector. Daniel Plainview is, in the final assay, an ultra-scary Daniel Day-Lewis who volition drink your milkshake. Scored by Radiohead'southward Jonny Greenwood (himself emerging every bit a major composer), Anderson'due south mournful epic is the true heir to Chinatown'south os-deep cynicism. Every bit Phantom Thread makes clear, Anderson hasn't lost his sense of humour, not past a long shot. But there one time was a moment when he needed to become serious, and this is information technology.—Joshua Rothkopf
x. Singin' in the Rain (1952)
Forget The Creative person—sorry Uggie—and enjoy instead the sheer, serotonin-enhancing verve of MGM's glorious epitaph to cinema'southward silent era. Its trio of dancers—prophylactic-faced (and heeled) Donald O'Connor, sparkling newcomer Debbie Reynolds and co-manager and headline act Cistron Kelly—are a triple threat, nailing the stellar songs, intricate and physically demanding dance routines and selling all the comic beats with consummate skill. But kudos also belongs to Betty Comden and Adolph Light-green, whose effervescent screenplay provides the beat for the spectacle to move to, and Jessica Hagen, whose often-overlooked turn as croaky silent star Lina Lamont is the movie's funny-pitiful counterpoint. Not forgetting co-manager Stanley Donen, who was always happy to let his stars take the credit but deserves an equal share for a musical that never puts a human foot incorrect.–Phil de Semlyen
11. Goodfellas (1990)
Three decades on and still a shot of pure cinematic adrenaline, Martin Scorsese's gangster opus is a gloriously-executed epitaph to adolescence heroes who turn out to have feet of clay and blood-soaked hands. Information technology's famous for many things – the 300 f-bombs, the iconic Copacabana oner, the umpteen needle-drib moments, Baton Batts's death, Joe Pesci's shirt collars, et al – merely if there's a single reason why information technology'south a favourite with everyone from hardcore cineastes to professional person footballers (that, and Scarface ), it's surely the arc of Ray Liotta's antihero Henry Hill. He goes from starry-eyed kid to aspiring mobster to hard-bitten wiseguy to coked-upwards paranoiac in 150 breathless minutes. Moral corruption is rarely this alluring.—Phil de Semlyen
12. North by Northwest (1959)
There's no other thriller as elegant, light-touched and sexy every bit Hitchcock's silken caper. Cary Grant's suavely hollow adman Roger O. Thornhill ("What does the O. stand for?" "Nothing.") is Don Draper with a sense of humor, which he sorely needs when he contracts a bad instance of Wrong Man–itis. The set pieces, the villains, Eva Marie Saint'south femme fatale, Saul Bass's credits, Bernard Herrmann'south musical cues—somehow the film manages to be even more than the sum of its glorious parts. Oh, and somewhere in there, Thornhill even manages to find his soul.—Phil de Semlyen
13. Mulholland Drive (2001)
You could watch Mulholland Drive, undoubtedly ane of the greatest films of a new century, a hundred times and still become something different out of it with each revisit. David Lynch'south glamorous nightmare of Los Angeles is dense with mystery, terror and uncanny sexiness—themes that had long been a constant of the auteur's work, merely which here reached their lurid embodiment.—Abbey Bender
14. Bicycle Thieves (1948)
Vittorio de Sica's Neorealist masterpiece is fix in a world where owning a wheel is the central to working, but it could only every bit hands be prepare in ane where the absenteeism of car, or affordable childcare, or a home, or a social security number are insurmountable barriers in the constant slog to put food on the tabular array. That's what makes simultaneously it a moving picture for postwar Italy and modern-day anywhere-at-all. That's what makes it such a powerful, enduring landmark in humanist cinema. You tin can feel it in about every social drama yous care to mention, from Ken Loach to Kelly Reichardt.—Phil de Semlyen
xv. The Dark Knight (2008)
There'due south a new Batman in Gotham, in the shadowy course of Matt Reeves'south The Batman – and this is the bar it has to clear. The heart entry in Christopher Nolan'due south Bat-trilogy is an almost flawless instance study of how to do a sophisticated superhero ballsy for modernistic audiences – and the 'almost' is only because the final deed refreshingly tries to cram in almost too many ideas, much moral arithmetics. Heath Ledger'due south Joker, meanwhile, redefines big-screen villainy: It's not enough to be sinister, you need a party fob now too.—Phil de Semlyen
16. City Lights (1931)
Charlie Chaplin's full vision remains monumental: He wrote, directed, produced, edited and starred in his own movies, which he also scored with an orchestra. And when those cameras were rolling, they captured a self-made icon with a global audience. Still, Urban center Lights was something else. Chaplin, reticent to requite up the visual techniques he'd mastered, insisted on making his new one-act a silent motion picture even every bit viewers were growing thirsty for sound. As e'er, the star had the last laugh: Not merely was the movie a huge commercial success, it as well ended on the almost heartbreaking close-up in movie theatre history—the peak of the reaction shot (since cribbed past movies from La Strada to The Imperial Rose of Cairo), no dialogue required.—Joshua Rothkopf
17. K Illusion (1937)
There's never a bad time to revisit i of Jean Renoir's great masterpieces (forth with The Rules of the Game), but this current era of populists, nationalists and shouty rabble-rousers feels like a particularly good one. Set in a German POW camp during WWI, the film lays bare the fault lines of class and nationality amongst a group of French prisoners and their German captors and comes to the conclusion that all that really matters is man's nobility toward his fellow homo.—Phil de Semlyen
18. His Daughter Fri (1940)
Calling this one the peak of screwball comedy may be too limiting: Amongst the many topflight movies directed by journeyman filmmaker Howard Hawks, His Girl Friday is his virtually romantic and most verbose (the abiding barrack feels like foreplay). Though the laconic Hawks would downplay his own proto-feminism throughout his life, the moving-picture show is also his about liberated; strong women who had jobs and ran with newshounds were simply what he wanted to encounter. Near wonderfully, this comedy all-time celebrates the rule of wit: He—or, more often, she—with the sharpest tongue wins. If yous love words, you'll dear this film.—Joshua Rothkopf
19. The Red Shoes (1948)
You could stick nearly every Powell and Pressburger motion-picture show on this list; such was the dynamic duo's stellar output. But for our coin—and that of superfan Martin Scorsese—this dazzling ballet-set up romance is first among equals. It's a perfect expression of artists' bulldoze to create, set in a lush Technicolor world shot by the bully Jack Cardiff. Scorsese describes it as "the picture show that plays in my heart." We'll take two seats at the back.—Phil de Semlyen
20. Vertigo (1958)
A sexy Freudian mind-bough that'southward often considered Alfred Hitchcock's finest triumph, Vertigo is pitched in a world of existential obsession and cunning doubles. Shape-shifting her way through Edith Head'south transformational costumes, Kim Novak haunts in ii roles: Madeleine Elster and Judy Barton, both objects of want for James Stewart's curious ex-cop. Completing this vivid psychodrama is Bernard Herrmann's alarmingly duplicitous score, which twists its mode to a towering finale.—Tomris Laffly
21. Beau Travail (1999)
Increasingly a giant of world picture palace, France'southward Claire Denis continues to confound expectations, making movies in sync with her own offbeat rhythms and thematic preoccupations (colonialism, ability, repressed attraction). This one, her celebrated breakout, is something of a spin on Herman Melville's Billy Budd—just that'south like calling Jaws something of a spin on Moby-Dick. The genius is in Denis's technique, manifesting itself in images of shattering emotional precision: sinewy silhouettes of soldiers, abstract tests of will in the desert and, near ravishingly, the euphoria of breaking into trip the light fantastic, courtesy of a loose-limbed Denis Lavant and Corona's 'Rhythm of the Nighttime'.—Joshua Rothkopf
22. The Searchers (1956)
Showing some personal growth also equally filmmaking craft, John Ford makes some apology for his appearance in DW Griffith'southward virulently racist The Birth of a Nation with this landmark western. It'due south a story of hatred slowing giving way to compassion that strips away the toxic myths of the old frontier via the swaggering only cleaved-downwards figure of Ethan Edwards (John Wayne). Edwards is no white-hatted Shane type, but an embittered war veteran who hunts his own niece (Natalie Wood) with the intention of killing her for the criminal offense of have been assimilated with the Comanche. The shot of Edwards framed in that doorway is one of the most famous – and about mimicked – in cinema.—Phil de Semlyen
23. Persona (1966)
Ingmar Bergman'due south psychologically raw output has the potency to plough mere film fans into raging addicts; Persona is the hard stuff, a double-sided psychodrama that somehow feels similar it was shot concluding weekend with two of Ingy's coolest friends (Bibi Andersson and Liv Ullmann, both revelatory). For its intimacy and economy lonely, the film feels like a preview of the scrappy decade to come. Bergman, recovering from a serious tour of pneumonia, wrote the script in the hospital, grappling with a crunch of purpose that he turned into art of the highest caliber.—Joshua Rothkopf
24. Do the Correct Thing (1989)
Spike Lee's bitterly funny, ultimately tragic fresco of a Brooklyn neighborhood during one sweltering summertime 24-hour interval was hugely controversial at the time: Critics dinged Lee for his depiction of an uprising in the wake of a constabulary killing. The movie has lost none of its relevance or power; if anything, information technology'due south gained some. Simply the filmmaking is what makes this a classic, particularly the free energy, wit and style with which Lee presents this microcosm and the social forces at play inside information technology.—Bilge Ebiri
25. Rashomon (1950)
Information technology's no exaggeration to say that Akira Kurosawa's Rashomon redefined cinematic storytelling. With its shifting, unreliable narrative structure—in which four people give differing accounts of a murder—the film is remarkably daring and serves as a reminder of how course itself tin beguile us. Flashbacks have never been and so thrillingly deployed; nearly 70 years subsequently its release, filmmakers are yet trying to grab up to its achievements.—Abbey Bender
26. The Rules of the Game (1939)
Jean Renoir cemented his virtuosity with this pitch-perfect written report of social-strata eruptions amongst the ditzy, idle rich, well-nigh to be diddled sideways by WWII. Diplomacy among aristocrats and servants alike bloom during a weeklong hunting trip at a country manor, where the but offense is to trade frivolity with sincerity. Renoir captures his sparklingly acute ensemble cast with fluid, deep-focus camera movements, innovations that inspired directors from Orson Welles to Robert Altman.—Stephen Garre tt
27. Jaws (1975)
Rightly considered one of the most focused and suspenseful movies always fabricated, Steven Spielberg'due south tale of a shark terrorizing a embankment town remains effective more than four decades later. Jaws may have prepare the reputation of those grey-finned creatures back a few centuries, but it took the popular movie thriller to another level, demonstrating that B-flick cloth could exist executed with masterly skill. Spielberg proved that less is more when information technology comes to crafting a feeling of dread, barely even showing u.s. the beast that went on to haunt a whole generation.—Dave Calhoun
28. Double Indemnity (1944)
The deliciously nighttime, fashionable genre of moving-picture show noir merely wouldn't exist without Double Indemnity. This 1 truly has it all: flashbacks, murder, shadows and cigarettes galore, and, of form, a stray femme fatale (Barbara Stanwyck). As i of the great directors of Hollywood'due south gold age, Billy Wilder excelled across a variety of cinematic types, but this difficult-boiled precious stone is his most influential work.—Abbey Bender
29. The 400 Blows (1959)
The first in a five-film autobiographical series, Francois Truffaut'southward The 400 Blows is the story of Antoine Doinel (Jean-Pierre Léaud)—stuck in an unhappy home life but finding solace in goofing off, smoking and hanging with his friends—and it's movie house's greatest evocation of a troubled childhood. Plus, it'due south the perfect primer to go kids into subtitled movies.—Ian Freer
30. Star Wars (1977)
Popcorn pictures hit hyperdrive after George Lucas unveiled his intergalactic Western, an intoxicating gee-whiz space opera with dollops of Joseph Campbell–way mythologizing that obliterated the moral complexities of 1970s Hollywood. This postmodern movie-brat pastiche references a virtual syllabus of genre classics, from Metropolis and Triumph of the Will to Kurosawa's samurai actioners, Flash Gordon serials and WWII thrillers like The Dam Busters. Luke Skywalker's quest to rescue a princess instantly elevated B-movie elation to billion-dollar-franchise sagas.—Stephen Garrett
31. The Passion of Joan of Arc (1928)
Carl Theodor Dreyer's classic tale of the trial of Joan of Arc is somehow both ascetic and maximalist. The director shows restraint with setting and scope; the film focuses largely on the back-and-forth between Joan and her inquisitors. But the intense close-ups give free reign to Maria Falconetti's marvelously expressive plough equally the doomed Maid of Orleans. Fabricated at the close of the silent era, it set new standards in screen acting.—Bilge Ebiri
32. Once Upon a Time in the Due west (1968)
The ultimate cult film, Leone'southward spaghetti Western is set up in a civilizing America—though mostly shot in Rome and Spain—merely the real location is an abstract frontier of one-time versus new, of larger-than-life heroes fading into retention. It's a triumph of buried political commentary and purest ballsy cinema. Henry Fonda'south icy stare, composer Ennio Morricone'southward twangy guitars of doom and the awe-inspiring Charles Bronson as the last gunfighter ("an ancient race…") are just three reasons of a million to saddle upward .—Joshua Rothkopf
33. Conflicting (1979)
If all it did was to launch a franchise centered on Sigourney Weaver's fierce survivor (still among the toughest action heroines of cinema), Ridley Scott'due south claustrophobic, deliberately paced sci-fi-horror classic would withal be cemented in the film canon. Simply Alien claims masterpiece status with its destructive gender politics (this is a picture that impregnates men), its shocking chestburster centerpiece and industrial designer H.R. Giger's strangely elegant double-jawed animal, a nightmarish vision of hostility—and ane of cinema's most unforgettable pieces of pure arts and crafts.—Tomris Laffly
34. Tokyo Story (1951)
Merely spun, Yasujiro Ozu's domestic drama is small just perfectly formed. Chishu Ryu and Chieko Higashiyama are dignified and moving equally parents who visit their children and grandchildren, only to be neglected. Delicately played, beautifully shot (often with the camera hovering just off the ground), Ozu's masterpiece is the family movie given grandeur and intimacy. If yous loved final year's Shoplifters, you'll love this.—Ian Freer
35. Lurid Fiction (1994)
What'southward the best part of Lurid Fiction? The twist contest at Jack Rabbit Slim's? Bruce Willis versus the Gimp? Jules's Ezekiel 25:17 monologue? Quentin Tarantino's film earns marvel with its grabby movie moments merely claims best status with its spellbinding achronological plotting, insanely quotable dialogue and a proper understanding of the metric system. Pulp Fiction marked its generation equally deeply as did Star Wars before it; information technology's a flourish of '90s indie attitude that still feels fresh despite a legion of chatty imitators.—Ian Freer
36. The Truman Show (1998)
The belatedly '90s spawned two prescient satires of reality TV, dorsum when it was even so in its pre-epidemic phase: the underrated EDtv and, this, Peter Weir'south profound argument on the way the media has its claws in united states. In some ways a kinder, gentler version of Network, The Truman Prove is a Goggle box parable in which a meek hero (Jim Carrey) wins back his life. It can also exist considered an angrier motion picture, slamming both the decision-making Tv networks (represented by Ed Harris's messiahlike Christof) and us, the viewing public, for making a game show of other people's lives.—Phil de Semlyen
37. Lawrence of Arabia (1962)
Notions of masculinity, conflicted sexuality and tribal identity (or lack of information technology) boil beneath the surface of David Lean'south historical epic like magma. They seeps through the cracks of its delineation of iconoclastic Edwardian nomad and Arab leader T E Lawrence (Peter O'Toole), locating its huge set up pieces within the megalomaniac compass of its hero and lending depth to its intimate moments when the cost of all is laid bare. Amid its sweeping Arabian landscapes, famously captured by cinematographer Freddie Immature'due south cameras, it'southward the interior mural of Lawrence himself that this great biopic maps out so memorably.—Phil de Semlyen
38. Psycho (1960)
Fun fact: Psycho is the commencement motion-picture show to ever describe a toilet flushing. Happily, Alfred Hitchcock's thriller broke new ground in other ways, too, from offing its heroine within the first third to diving deeper into a crazed mind (bravo, Anthony Perkins) than Hollywood had still managed earlier. Forget the shower shenanigans, the end is creepy AF.—Ian Freer
39. Sansho the Bailiff (1954)
Japanese cinema has produced no shortage of heavy hitters, only director Kenji Mizoguchi may deserve prime of place. He was able to plough out impeccable ghost stories (Ugetsu) and backstage dramas (The Story of the Last Chrysanthemums), just his greatest trait was a deep, unshakable empathy for women, browbeaten downwards by the patriarchy but heartbreaking in their suffering. These women are central to Sansho the Bailiff, a feudal tale of familial dissolution that volition wreck y'all. Make no apologies for your tears; everyone else will be crying, also.—Joshua Rothkopf
40. Andrei Rublev (1966)
Mournful, challenging and mesmerizing, Soviet manager Andrei Tarkovsky's ballsy portrait of the life and times of one of Russia's about famous medieval icon painters foregrounds qualities such as landscape and mood over story and grapheme. Ultimately, it'southward the tale of a man's attempt to overcome his crisis of faith in a earth that seems to take an endless supply of violence and strife—and it's a remarkable attestation to the persistence of artists working under oppressive regimes.—Bilge Ebiri
41. The Umbrellas of Cherbourg (1964)
The melancholy of Michel Legrand's glorious score washes over viewers' hearts from the beginning moment of Jacques Demy'southward nontraditional, sung-through musical. One of the about romantic films ever fabricated nigh the pains and purity of first dearest, the immaculately styled The Umbrellas of Cherbourg challenged the lighter Hollywood musicals of the era (like The Sound of Music and My Off-white Lady) and launched the sensational Catherine Deneuve into international stardom. Later, it would exist a major influence on La La Land.—Tomris Laffly
42. Chinatown (1974)
Director Roman Polanski and screenwriter Robert Towne took a modestly sleazy noir setup and turned it into a meditation on the horrors of American history and rapacious capitalism. The picture show also sports a perfect cast, with a elevation-of-his-game Jack Nicholson every bit a contemptuous private center, an impossibly alluring Faye Dunaway equally the femme fatale with a by so dark her final revelation still shocks, and the legendary John Huston every bit the monstrous millionaire at the middle of information technology all.—Bilge Ebiri
43. The Seventh Seal (1957)
Not but whatsoever picture show gets homaged past Bill and Ted. But Ingmar Bergman's bang-up treatise on bloodshed isn't just any film. Despite condign somehow synonymous with "hard art-firm statement," information technology's not all weighty themes, plague-strewn landscapes and chess games with the Grim Reaper. Equally Max von Sydow's medieval knight travels the land witnessing the apocalypse, loads of life-affirming moments lighten the load. Of course, it's a work of profound philosophical idea, as well, so you'll experience brainier for having seen information technology.—Phil de Semlyen
44. Lost in Translation (2003)
Worlds collide in Sofia Coppola'south pitch-perfect tale of a movie star (Bill Murray) and a newlywed (Scarlett Johansson) in Tokyo. Coppola approaches each of her characters with a warmth and sensitivity that exudes from the screen—and ensures that "Brass in Pocket" will remain a karaoke favorite around the world (pink wig optional). Why has the film endured so vividly in viewers' hearts? Mayhap because it captures those gloriously melancholic moments nosotros've all experienced that seem to be gone in a wink, yet linger forever.—Anna Smith
45. Taxi Driver (1976)
A time capsule of a vanished New York and a portrait of twisted masculinity that however stings, Taxi Commuter stands at the elevation of the vital, gritty auteur-driven filmmaking that defined 1970s New Hollywood. Martin Scorsese's vision of vigilantism is filled with an uncomfortable ambient, and Paul Schrader'southward screenplay probes philosophical depths that are brought to vicious life past Robert De Niro's unforgettable functioning.—Abbey Bough
46. Spirited Away (2001)
The precious stone in Japanese animation studio Studio Ghibli's crown, Spirited Abroad is a glorious bedtime story filled with soot sprites, monsters and phantasms—it's a moving-picture show with the power to coax out the inner child in the most grown-upward and jaded amidst united states. A spin on Alice'southward Adventures in Wonderland (with the same invitation to follow your imagination), Spirited Away has been ushering audiences into its dream earth for virtually two decades and seems only to grow in stature each year, a tribute to its hand-drawn artistry. Trivia time: It remains Japan'southward highest-grossing film ever, only ahead of Titanic.—Anna Smith
47. Dark of the Living Expressionless (1968)
The first no-budget horror movie to get a bona-fide calling card for its manager, George A. Romero's seminal frightfest begins with a unmarried zombie in a graveyard and builds to an undead army attacking a secluded business firm. Most modern horror clichés first here. Just zilch betters it for style, mordant wit, racial and political undertow, and scaring the bejesus out of you, all some 50 years before Us.—Ian Freer
48. Battleship Potemkin (1925)
This rousing Russian silent film was conceived in the heat of Soviet propaganda and commissioned by the still-young Communist government to salute an result from 20 years earlier. It tells of a sailors' revolt that morphs into a total-diddled workers' insurgence in the city of Odessa; the movie is most famous for i breathtaking sequence—much copied and parodied since—of a baby wagon tumbling downward a huge flight of steps. But Battleship Potemkin is full of powerful images and heady ideas, and director Sergei Eisenstein is rightly considered ane of the pioneers of early pic language, with his influence felt through the decades.—Dave Calhoun
49. Modernistic Times (1936)
The only Charlie Chaplin flick to see the Lilliputian Tramp continue a massive cocaine binge, this relentlessly inventive silent archetype hardly needs the added kick. The gags come almost equally fast as you can process them, with the typically pinpoint Chaplin slapstick conjured here from scenarios that seem purpose-built to end in disaster. The sight of Chaplin literally feeding himself into a massive machine offers a all the same-germane satire on technological advancement.—Phil de Semlyen
50. Incoherent (1960)
Film critic Jean-Luc Godard's seismic directing debut is a bravado deconstruction of the gangster picture that too reinvented moviemaking itself. It features Cubistic jump cuts, restless handheld camerawork, location shoots, eccentric pacing (the 24-infinitesimal centerpiece is 2 lovers talking in a bedroom), and self-conscious asides about painting, poetry, pop culture, literature and film. A sexy fling between petty thief Jean-Paul Belmondo and Sorbonne-bound gamine Jean Seberg morphs into an oddly touching, existential meditation. It's pulp fiction, just alchemically profound.—Stephen Garrett
51. Dr. Strangelove or: How I Learned to Stop Worrying and Dearest the Bomb (1964)
So much of Stanley Kubrick's genius was conceptual, and this i asks his most audacious question: What if the earth came to an end—and it was hilarious? Nuclear annihilation was a subject in which Kubrick immersed himself, reading nearly every unclassified text. His conclusion was grim: There would be no winning. Via darkest comedy (the only way into the subject) and an unhinged Peter Sellers playing three separate parts, Kubrick made his point.—Joshua Rothkopf
52. Grand (1931)
One of those epochal films—in that location's only a handful—that sits on the divide between silent movie house and the sound era simply taps into the virtues of both, Fritz Lang's serial-killer thriller burns with deep-etched visual darkness while perking ears with its whistled "In the Hall of the Mount King" (performed by a handbag-lipped Lang himself; his star, Peter Lorre, couldn't whistle). The motion-picture show's theme is vigilance: We must protect our children, just who will protect society from itself? M is like a sonar listening to a pre-Nazi Germany on the cusp of shedding its humanity.—Joshua Rothkopf
53. Blade Runner
Fix in (eek!) 2019, Ridley Scott's vision of a dystopian future is ane of the well-nigh fashionable sci-fi films of all fourth dimension. With a noir-inspired artful and a haunting synth score by Vangelis (a massive influence on Prince), Bract Runner is iconic not merely for its era-defining look, but also for its deeper philosophical examination of what it means to exist homo. Many have tried to imitate the picture show's uncanny vibe, simply these rain-slicked streets and seedy vistas possess a atypical menace.—Abbey Bender
54. The Bitter Tears of Petra von Kant (1972)
The creative fecundity of Rainer Werner Fassbinder, dead from an overdose at historic period 37 subsequently completing more than xl features, deserves enshrinement by a new generation. This film is arguably his sharpest and most psychologically circuitous; inarguably, it'south his bitchiest. At that place is so much to love in Fassbinder's shag-carpeted showdown, which goes beyond the spectacle of two dueling fashionistas into a profound exploration of aging and obsolescence.—Joshua Rothkopf
55. Rome, Open Metropolis (1945)
Few film movements can boast the hit rate of Italian neorealism, a mail service-WWII moving ridge dedicated to working-class struggle that seems to contain only masterpieces. Robert Rossellini was responsible for a few of them, including Deutschland Twelvemonth Zippo and this earlier drama of repression and resistance, which boasts not one simply two of the nigh memorable death scenes in all of cinema.—Phil de Semlyen
56. Nosferatu (1922)
Caryatid for the country of phantoms and the call of the Bird of Death: I of the primeval (though unauthorized) adaptations of Dracula is still the about terrifying. Max Schreck's insectlike performance every bit the bloodthirsty Count Orlok is but as transfixing and repulsive as it was about a century ago. German Expressionist managing director F.Due west. Murnau'due south haunting images of a crepuscular world set the chilling standard for generations of cinematic nightmares.—Stephen Garrett
57. Airplane! (1980)
With near half dozen,500 zingers to choose from, everyone has their favorite Plane! gag. Directors David and Jerry Zucker and their partner in extreme silliness, Jim Abrahams, truly threw the kitchen sink at this dizzying spoof of the '70s disaster movies that were all the rage at the fourth dimension. Onscreen comedy, in turn, was modernized for what would be its most transforming decade. Our favorite joke? "Looks like I picked the wrong calendar week to quit amphetamines."—Phil de Semlyen
58. Nether the Skin (2013)
Hypnotic, bewitching, thought-provoking, disturbing, horrifying: All the same you lot react to information technology, you won't forget Jonathan Glazer's startling adaptation of Michel Faber's woman-who-cruel-to-earth novel. Using her celebrity in a radical way, Scarlett Johansson is perfectly cast as an alien in human form who roams Glasgow trying to pick up men in her van. Information technology was shot guerrilla-mode on the streets of the Scottish urban center, so look out for the footage of genuinely baffled passersby.—Anna Smith
59. Mad Max: Fury Route (2015)
Both a sequel and a reboot, the fourth entry in managing director George Miller'south series of post-apocalyptic gearhead epics fuses decease-defying stunts with modern special effects to give united states of america one of the best-great action movies. This one is a nonstop barrage of chases, each more than spectacularly elaborate and nightmarish than the last—only it'south all combined with Miller's surreal, poetic sensibility, which sends it into the realm of art.—Bilge Ebiri
sixty. Apocalypse Now (1979)
Francis Ford Coppola's evergreen Vietnam War classic proves state of war is swell, as assassin Martin Sheen heads upriver to kill renegade colonel Marlon Brando. En route, there's surfing, a thrilling helicopter raid, napalm smelling, tigers and Playboy bunnies, until Sheen steps off the gunkhole and into a different zone of madness—or is it genius? Who knows at this point?—Ian Freer
61. Brokeback Mount (2005)
Forget what the Oscars crowned as the Best Picture of 2005: Ang Lee's tragic gay romance is the nominee that stands the test of time. Anchored by Rodrigo Prieto's swoonworthy cinematography and a contemplative Heath Ledger (whose performance toppled societal perceptions of masculinity), Brokeback Mountain is a milestone in LGBTQ art-house cinema. It reimagined the Western genre and became a part of the zeitgeist.—Tomris Laffly
62. Duck Soup (1933)
Biting political satires don't have to be long and complicated: This 68-infinitesimal masterpiece is perfectly pithy, exposing the absurdities of international politics with swift wit and spot-on slapstick. Frequently regarded as the funniest of the Marx Brothers' oeuvre, the film is as well—sadly—timeless, as its portrayal of a war-mongering dictatorship remains relevant to this twenty-four hour period.—Anna Smith
63. The Blair Witch Project (1999)
An unlikely pick? Not when you consider the low-budget sensation in a larger context. Many films emerge from Sundance with a deafening buzz; how do you explain a $250 one thousand thousand global box-office gross? Credit a revolutionary internet entrada, chilling and immersive, that's now a tactic in every publicist's playbook. And let's non forget the movie itself, which kicked off the "found-footage" trend. Even more than prophetically, The Blair Witch Projection is about a generation that can't cease filming itself, even when lost in the woods—it'south ground zippo for selfie horror.—Joshua Rothkopf
64. All the President's Men (1976)
With the ink barely wet on Richard Nixon'southward 1974 resignation, managing director Alan J. Pakula, actor-producer Robert Redford and screenwriter William Goldman created a hot-off-the-presses docudrama about the Watergate break-in that crackles with live-wire tension. This is nose-to-the-grindstone investigative work in an analog world—think rotary phones, electric typewriters, handwritten notes on legal pads, ruby-red-pen edits and Xerox copiers—and a master course in making movie dialogue absolutely riveting. It'south an essential touchstone for every political thriller since.—Stephen Garrett
65. The Apu trilogy (1955, 1956, 1959)
Nosotros're cheating by including all iii films (Pather Panchali, Aparajito and The World of Apu), but actually, how do y'all separate the installments of Satyajit Ray's magnificent coming-of-age trilogy? The Bengali great follows young Apu (Apurba Kumar Roy) from boyhood to developed life via schooling and a motion from his remote hamlet to the big city, too as loves and losses. Some of the nigh intimate Indian movie house ever captured, information technology's also completely relatable, whether you hail from Kolkata, Kansas or Camden Town.—Phil de Semlyen
66. The General (1926)
Male child meets train. Male child loses train. Boy chases Union forces who stole train, wins dorsum train and fires off in the contrary management. It may non audio similar your average honey story, but that'south exactly what Buster Keaton'southward deadpan and expiry-defying silent comedy is: a purple sit-in of trick photography, balletic backbone and comic timing, all underpinned by genuine eye. Trust u.s., information technology's loco-motional.—Phil de Semlyen
67. Eternal Sunshine of the Spotless Mind (2004)
There are endless movies near romantic relationships, still few explore the subject more creatively than Michel Gondry's breakthrough, scripted past Charlie Kaufman (who was then becoming a household proper name with Existence John Malkovich and Accommodation). The sci-fi–inflected tale of two halves of a broken-upwards couple going through a memory-erasing procedure takes many surprising, poignant turns; the movie's impeccably executed combination of authentically quirky imagery and philosophical inquiry has become a signpost of mod independent cinema.—Abbey Bough
68. The Texas Chain Saw Massacre (1974)
The championship is even so a killer piece of marketing, suggesting something much gorier than what y'all get. That'southward not to say Tobe Hooper's masterpiece doesn't deliver. A grungy vision of horror captured during a palpably sweaty and stenchy Texas summer, the film has taken its rightful place as a definitive parable of Nixonian class warfare, eat-or-be-eaten social envy and the essentially unknowable nature of some unlucky parts of the earth.—Joshua Rothkopf
69. Come and See (1985)
As unsparing every bit movie theater gets, the influence of Elem Klimov's sui generis war motion-picture show transcends the genre in a way that not fifty-fifty Steven Spielberg's Saving Private Ryan can match. At its heart information technology'due south a coming-of-age story that follows a young Byelorussian boy (Aleksei Kravchenko) through unspeakable horror as Nazi death squads visit an apocalypse on his region. Aslope its historical truths, the film's grammer and visual language—at that place are passages that play like an ultra-violent acid trip—are what truly elevates it. Like an Hieronymus Bosch masterpiece, the images here can never be unseen.—Phil de Semlyen
70. Heat (1995)
Writer-director Michael Mann'due south heist masterpiece put ii of our greatest actors, Robert De Niro and Al Pacino, together onscreen for the beginning time—one as a stoic master criminal, the other equally the obsessive cop adamant to bring him downwardly. In weaving their stories together, Mann presents dueling only equally weighted perspectives, with our fidelity as viewers constantly shifting. The last word on cops-and-robbers movies, it's suffused with a magic that crime thrillers try to recapture to this solar day.—Bilge Ebiri
71. The Shining (1980)
Our listing doesn't lack for Stanley Kubrick movies (nor should it). Still, information technology's shocking to remember that The Shining—so redolent of the director's pet themes of mazelike obsession and the banality of evil—was once considered a minor work. Information technology's since come to represent the most concentrated smash of Kubrick's total command; he's the god of the film, Steadicam-ing around corners and making the audition notice that he was born to redefine horror. Even if we can't ringlet with the beatnik fan theories about how Kubrick allegedly faked the Apollo moon landing, we'll readily admit that this film contains cosmic multitudes.—Joshua Rothkopf
72. Toy Story (1995)
The one that got Pixar's (Luxo) ball rolling and yet an absolute loftier-h2o mark for CG animation, Toy Story reinvented what a family movie could be. On the surface, it's a unproblematic story about a couple of miniature rivals sizing each other up (Woody was originally going to exist a whole mess meaner), before falling into peril at the hands of side by side-door pyrotechnics genius Sid. But information technology's also about jealousy, ability dynamics and our relationships with our own childhoods. With it, Pixar took storytelling to infinity and far, far beyond.—Phil de Semlyen
73. Killer of Sheep (1977)
Shot on sixteen-millimeter moving picture in sketchy light, Charles Burnett's UCLA graduate thesis film stitches together seemingly mundane vignettes to course a compelling mosaic of tardily-'70s African-American life. A landmark of independent black cinema, it's set to a great soundtrack ranging from blues and classical to Paul Robeson. Poetic, compassionate, angry, ironic: All man life is present here.—Ian Freer
74. A Woman Under the Influence (1974)
There's a tendency in these greatest-of-best exercises to prioritize the director, the camerawork or the screenplay. Only respect must be paid to the performer, too: In a decade of brilliant acting, no turn was quite as galvanizing as the one given by Gena Rowlands in this stunning peek into a fraying mind. A fluky Los Angeles housewife and female parent who's constantly existence told to calm down, Rowlands's Mabel is the apotheosis of John Cassavetes'southward improvisatory cinema; our business concern for her never flags as she teeters through excruciating scenes of breakdown and regrouping.—Joshua Rothkopf
75. Annie Hall (1977)
Quotable, endearing and bursting with artistic moments, Annie Hall is i of the nigh revolutionary of romantic comedies. This quintessential New York movie turned endless viewers on to the joys of verbose dialogue (and experimentation in menswear for women), and has long been lauded for both its accessibility and its poignancy, a rest that few movies accept since accomplished and so memorably.—Abbey Bender
76. Some Like It Hot (1959)
Clocking it at number xv on our listing of the 100 Greatest Comedies Ever Made , Billy Wilder'southward classic gangster farce plays similar Scarface on helium. Tony Curtis and Jack Lemmon make 1 of cinema'southward most delightful double acts as a couple of musicians on the run from the Mob, merely Marilyn Monroe steals the picture every bit the coquettish, blatant and entirely loveable Sugar. Nobody'southward perfect but this moving-picture show gets pretty darn shut.—Phil de Semlyen
77. Metropolis (1927)
Hugely expensive for its time, Metropolis is Bract Runner, The Terminator and Star Wars all rolled into ane (non to mention l years prior). Fritz Lang's silent vision of a totalitarian social club notwithstanding astounds through its stunning cityscapes, groundbreaking special effects and a bewitchingly evil robot (Brigitte Captain). It's science fiction at its most aggressive and breathtaking—the not-so-modest ancestry of onscreen genre seriousness.—Ian Freer
78. The Maltese Falcon (1941)
The accepted wisdom is that the noir era really kicked off during the difficult-bitten postal service-WWII years, which makes John Huston'southward adaptation of Dashiell Hammett's detective novel a real trailblazer. Information technology'south a template for the swathe of noir flicks that would follow, offering upwards a jaded-but-noble gumshoe in Humphrey Bogart's Sam Spade, a femme fatale (Mary Astor), a couple of shifty villains (Sydney Greenstreet, Peter Lorre) and a labyrinthine plot that drags you around by the nose. If the motion picture were any more than hard-boiled, you'd crack your teeth on it.—Phil de Semlyen
79. This Is Spinal Tap (1984)
Exploding drummers, amps that become to xi, tiny Stonehenges, "Dobly": This spoof stone documentary—rockumentary, if you must—is monumentally influential on cinema, blench one-act and, possibly, the music industry itself. (There'south not a ring out there without at least one Spinal Tap moment to its proper noun.) Christopher Guest, Michael McKean and Harry Shearer are comic royalty, and nosotros can merely genuflect in their presence; shortly after this film, Guest kicked off his own directorial make of sense of humour, directly inspired by Rob Reiner's heavy-metal satire.—Phil de Semlyen
fourscore. It Happened 1 Dark (1934)
If only Hollywood made 'em like they used to: crackling romantic comedies that conquered the Oscars. Frank Capra's hilarious detest-at-first-sight love story is still one of the fastest movies e'er made. Claudette Colbert'due south spoiled heiress and Clark Gable's opportunistic reporter striking the road and bicker their style toward a happily-ever-after ending, form barriers be damned. Not merely did this smart and suggestively sexy pre-Code screwball shape every rom-com that followed, information technology still has a leg upwardly on most of them.—Tomris Laffly
81. Dice Difficult (1988)
The perfect action movie? Information technology's hard to call back of one ameliorate than this tower-block spectacular—nor 1 more imitated. At that place's since been "Die Hard on a boat" (Nether Siege), "Die Hard in a hockey arena" (Sudden Decease) and even "Die Hard in a individual school" (1997's Masterminds). None, though, is fit to tie the laces on John McClane's quickly discarded shoes. The stunts are awesome, the dialogue is endlessly quotable, and Bruce Willis and Alan Rickman are a white-hat–black-hat duo straight out of a archetype Western.—Phil de Semlyen
82. The Conformist (1970)
In Mussolini's Italy, a repressed homosexual (Jean-Louis Trintignant) joins the Fascist political party in order to blend in and hide his true self. Function psychoanalysis session, part colorful genre fantasia, managing director Bernardo Bertolucci's enormously influential drama journeys through different styles and aesthetics. Every bit much equally Orson Welles's Denizen Kane did with the films of the '20s, '30s, and early on '40s, The Conformist offers a powerful compendium of cinematic techniques from the eras preceding it.—Bilge Ebiri
83. The Thing (1982)
Let John Carpenter'south existent masterpiece—the i that horror mavens bow down to—take its place in the pantheon. A passion project that got clobbered by audiences and critics alike, The Thing was, in fact, that rarest of remakes: one that improves upon its source. Carpenter'southward widescreen elegance and spooky synth minimalism (here furthered by composer Ennio Morricone) establish a new counterpoint in some of the about disgusting practical special effects ever sprung on a paying audition. Simply the film's ice-cold paranoia, uncut and pharma-grade, has been its almost lasting legacy: a template of perfection for all since.—Joshua Rothkopf
84. Daughters of the Dust (1991)
Writer-managing director Julie Nuance should have become an Ava DuVernay-level success after her poetic feature debut, an accomplishment of otherworldly beauty. The outset film made by an African-American adult female to receive theatrical distribution, Daughters of the Dust is permeated with pride, history and matriarchal wisdom. Set in 1902, information technology follows the Gullah, descendents of slaves living off the coast of South Carolina, who painfully reckon with their fading traditions. Singularly ahead of its time, Daughters mourns the indelible tragedy of enslavement. Its tranquil strength later establish an repeat in Beyoncé's Lemonade.—Tomris Laffly
85. Barry Lyndon (1975)
Back in 1975, Stanley Kubrick's somber adaptation of William Makepeace Thackeray's novel about a young Irishman's journey from lovestruck exile to cynical grifter in 18th-century Europe seemed out of footstep with the gritty, intense output of contemporary cinema. Years later, information technology'due south considered by many to be Kubrick'south masterpiece, and its deliberate, highly aestheticized arroyo has influenced everybody from Ridley Scott to Yorgos Lanthimos.—Bilge Ebiri
86. Raging Balderdash (1980)
Martin Scorsese's hallucinogenic biography of the tenacious boxer Jake LaMotta (Robert De Niro) is a assuming mash-up of neorealist grit and hyperstylized, gossamer beauty. Put on the gloves and LaMotta is in his element; have them off and he's an insecure sociopath consumed past sexual jealousy. De Niro's monstrous portrayal is miraculously empathetic, merely what's truly revolutionary is Scorsese's technique: Like a modern-twenty-four hours Verdi, the Italian-American auteur elevates the profane to the operatic.—Stephen Garrett
87. Seven (1995)
David Fincher is the almost signature manager of his era: a crafter of iconic music videos and decade-defining dramas like Zodiac and The Social Network. Merely his transition to Hollywood was rocky; it was a town that barely understood him. The turning point was Vii, the offset fourth dimension that Fincher'due south fearsome vision arrived uncut. Stylistically, the dark movie (shot by an inspired Darius Khondji, working with a silver-nitrate-retention process) has proven more durable than even The Silence of the Lambs, but information technology's that meme-able sucker punch of an ending that even so rattles audiences.—Joshua Rothkopf
88. Aguirre, the Wrath of God (1972)
Ever-overshadowed by the Herculean feat that was Fitzcarraldo, Werner Herzog's other exploration of male vainglory in the remotest parts of Due south America applies another coolly obversational lens to the cancerous madness of out-of-control obsession. It'due south colder, greedier here: Klaus Kinski's conquistador craves gilded, non civilization. Featuring a river journeying, a haunting, synthy Popul Voh score and a bunch of taunting monkeys, information technology'due south Herzog's Apocalypse Now.—Phil de Semlyen
89. The Boxing of Algiers (1966)
Political thrillers still owe a debt to Gillo Pontecorvo's ever-timely tour de force. Recounting the Algerian uprising against French colonial occupiers in the 1950s, The Boxing of Algiers boldly examines terrorism, racism and even torture as a ways of intelligence-gathering. Screened at the Pentagon for its topical significance during the early phases of the Iraq War, Algiers has its rebellious legacy vested in numerous politically charged epics, from Z to Steven Spielberg's Munich.—Tomris Laffly
90. Women on the Verge of a Nervous Breakdown (1988)
Pedro Almodóvar broke into the mainstream with this gloriously colorful ensemble comedy, an entry indicate for many into a style of smart, sexually liberated European cinema. Women on the Verge of a Nervous Breakdown offers juicy roles for a range of Spain'due south finest female actors (plus a charmingly babe-faced Antonio Banderas) and consistently delights with its artistic choices in costuming and interior design. The combination of screwball dynamics and the garishness of the 1980s is perfectly calibrated and fun.—Abbey Bender
91. Adolescence (2014)
Shot over 12 years with a bandage of actors that ages before our eyes, Richard Linklater's modern-day coming-of-age classic is a peerless artistic risk, comparable merely to Michael Apted's Up series and Francois Truffaut'due south Antoine Doinel films. Nevertheless, Boyhood'southward astonishing compactness catches you off guard similar no other movie. Adorned past Linklater's signature effortless rhythms, the motion-picture show bottles the fleeting spirit of time, maturing into a cogitating meditation on life's ordinary moments.—Tomris Laffly
92. The Discreet Charm of the Bourgeoisie (1972)
Movies take always been a gateway into radical art; Hollywood may have made them sleek and attainable, but experimentation was there from the kickoff. Luis Buñuel counts among the summit rank of dreamers to ever grace the field of filmmaking. Without him, there'due south no David Lynch, no Wong Kar-wai—even Alfred Hitchcock was a fan. Of Buñuel'due south many seismic features (don't skip his slicin'-upwardly-eyeballs curt, "Un Chien Andalou"), begin with this radical satire of class warfare, which sums upward everything he did well. Information technology even won him an unlikely Oscar.—Joshua Rothkopf
93. Paths of Celebrity (1957)
An antiwar movie, a court thriller, an upstairs-downstairs study of social condition, a religious critique, an absurdist satire and, finally, a heartbreakingly futile plea for pity in the face of destruction, Stanley Kubrick's humanist masterpiece dissects all the delusional facets of the male psyche. Battlegrounds abound—psychological, emotional, physical—making the bleakly entrenched soldiers of 1916, and the officers who confuse folly for fame, all the same feel painfully relevant.—Stephen Garrett
94. Secrets & Lies (1996)
Actors are the lifeblood of director Mike Leigh's famous process, a much-discussed method of workshopping, graphic symbol exploration, grouping improvisation and collaborative writing. Information technology can often be months before the camera rolls. The results have been consistently exquisite over the years, funneled into period musical-comedies (Topsy-Turvy) and fell contemporary dramas (Naked) alike. We recommend Leigh's disquisitional breakthrough, featuring nervy turns by Brenda Blethyn and Timothy Spall, as the perfect place to begin your deep swoop.—Joshua Rothkopf
95. Sweet Smell of Success (1957)
This smoky, jazzy noir from manager Alexander Mackendrick (The Ladykillers) is one of the great movies about power, influence and print journalism at its midcentury height. It's a seedy, intoxicating tale that unfolds in Manhattan's backroom bar booths, and it features brain-searing performances from Tony Curtis as Sidney Falco, a lesser-feeding gossip monger, and Burt Lancaster as J.J. Hunsecker, a towering, corrupt paper columnist. The dialogue is snappy and delicious; the morals are as empty equally Times Square at dawn—Dave Calhoun
96. The Cabinet of Dr. Caligari (1920)
This German Expressionist masterpiece came out in 1920, a long time before the invention of the spoiler warning. We simply hope that audience members instinctively knew non to requite away cinema's starting time ever twist catastrophe and ruin the sting of this fractured horror-legend for their pals. Manager Robert Wiene conjured up something truly dark and lingering from its shadows: You can experience Dr. Caligari'southward influence in everything from Tim Burton'due south movies to Shutter Island.—Phil de Semlyen
97. Nashville (1975)
This multilayered ballsy of state music, politics and relationships is Robert Altman's signature achievement. With its overlapping dialogue and roving photographic camera, Nashville created an earthy, idiosyncratic panorama of American life, featuring many of the near memorable actors of the decade. The 1970s were U.South. cinema's virtually exciting catamenia, and Nashville—broadened by its beauteous scope and freewheeling energy—is emblematic of that creativity.—Abbey Bough
98. Don't Look Now (1973)
Nicolas Roeg influenced and inspired a generation of filmmakers, from Danny Boyle to Steven Soderbergh – and here'southward why. Roeg shrouds Daphne du Maurier's short story in an icy chill, seeding the idea of supernatural forces at play in a wintry Venice through sheer filmmaking craft and the power of his editing. He finds a deep humanity in the horror, too, with Julie Christie and Donald Sutherland's grieving parents reconnecting and drifting apart similar flotsam on some invisible tide. His masterpiece, Don't Look Now remains a central weep of grief that shakes you to the core.—Phil de Semlyen
99. Bonnie and Clyde (1967)
Arthur Penn's game-changing activeness film was made in the aforementioned spirit of the revisionist Westerns of the '60s and '70s—irreverent, fun, morally all over the place, and unafraid of claret and bullets. The movie takes us back to the 1930s during the legendary criminal offence spree of lovers Bonnie Parker (Faye Dunaway) and Clyde Barrow (Warren Beatty), careening around Depression-era America and robbing it blind. Why did this film resonate so well at the end of its decade? With the Vietnam State of war, inner-metropolis rioting and Nixon on the rise, all bets were off. Add together the swoony pair of Beatty and Dunaway, and y'all've got a classic on your easily: a revolution in period dress.—Dave Calhoun
100. Get Out (2017)
Lookout man this space: Hashemite kingdom of jordan Peele's newly minted horror classic is certain to rise in the rankings. Taking cues from grand main George A. Romero and his counterculture-defining Night of the Living Dead, Peele infused white liberal guilt with a scary racial subtext; the "sunken place" is precisely the kind of metaphor that merely horror movies can exploit to the fullest. During its theatrical run—which stretched into a summer that also saw the white-supremacist Charlottesville rally—Go Out felt like the only film speaking to a deepening carve up.—Joshua Rothkopf
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