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The 100 best movies of all time
Silent classics, noir, infinite operas and everything in between: Somehow we managed to rank the best movies of all time
Everyone has their favorites – that's why any debate over what makes the best movies of all time tin can take hours (or, in our cases, a lifetime). Can at that place ever be one list to dominion them all? A canon, every bit critics like to telephone call it, updated with today's game changers, that would glance upon all tastes, all genres, all countries, all eras, balancing impact with importance, brains with middle? The challenge was daunting. We merely couldn't resist. Our list includes some of the well-nigh recognized action, feminist and foreign films. Please let us know how wrong we 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
1. 2001: A Infinite Odyssey (1968)
The greatest film ever made began with the meeting of 2 brilliant minds: Stanley Kubrick and sci-fi seer Arthur C Clarke. 'I understand he's a nut who lives in a tree in India somewhere,' noted Kubrick when Clarke'south name came upwards – along with those of Isaac Asimov, Robert A Heinlein and Ray Bradbury – as a possible writer for his planned sci-fi ballsy. Clarke was really living in Ceylon (not in Republic of india, or a tree), merely the pair met, hit it off, and forged a story of technological progress and disaster (how-do-you-do, HAL) that'southward steeped in humanity, in all its luminescence, weakness, courage and mad appetite. An audition of stoners, wowed by its heart-candy Star Gate sequence and pioneering visuals, adopted it as a pet movie. Were it not for them, 2001 might have faded into obscurity, just it'due south difficult to imagine it would have stayed there. Kubrick's frighteningly clinical vision of the hereafter – AI and all – still feels prophetic, more than 50 years on.—Phil de Semlyen
2. The Godfather (1972)
From the wise guys of Goodfellas to The Sopranos, all law-breaking dynasties that came after The Godfather are descendants of the Corleones: Francis Ford Coppola'south magnum opus is the ultimate patriarch of the Mafia genre. A monumental opening line ("I believe in America") sets the operatic Mario Puzo adaptation in motion, before Coppola's epic morphs into a chilling dismantling of the American dream. The abuse-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 iv rivaling dons. With countless iconic details—a horse'due south severed head, Marlon Brando'south wheezy vocalisation, Nino Rota's catchy waltz—The Godfather's authorisation lives on.—Tomris Laffly
3. Citizen Kane (1941)
Back in the headlines thanks to David Fincher's brilliantly acerbic making-of drama Mank , Citizen Kane e'er finds a style to renew itself for a new generation of picture show lovers. For newbies, the journey of its bulldozer of a protagonist – played with inexhaustible forcefulness past histrion-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 can bathe in the film's groundbreaking techniques, like Gregg Toland's deep-focus photography, or the limitless cocky-confidence of its staging and its investigation of American capitalism. But it'due south also just a damn good story that you definitely don't need to exist 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 identify on any all-fourth dimension list. This is not merely a niche film, but a window onto a universal condition, depicted in a full-bodied structuralist manner. More than hypnotic than y'all may realize, Akerman's uninterrupted takes turn the simple acts of dredging veal or cleaning the bathtub into subtle critiques of moviemaking itself. (Pointedly, we never meet the sex work Jeanne schedules in her bedroom to make ends meet.) Lulling united states into her routine, Akerman and player Delphine Seyrig create an boggling sense of sympathy rarely matched by other movies. Jeanne Dielman represents a total commitment to a woman's life, hour by hr, minute past minute. And information technology even has a twist catastrophe.—Joshua Rothkopf
five. Raiders of the Lost Ark (1981)
Starting with a deliquesce from the Paramount logo and ending in a warehouse inspired by Denizen Kane, Raiders of the Lost Ark celebrates what movies can do more joyously than whatever other flick. Intricately designed as a tribute to the craft, Steven Spielberg's funnest blockbuster has it all: rolling boulders, a barroom ball, a sparky heroine (Karen Allen) who can concord her liquor and lose her atmosphere, a treacherous monkey, a champagne-drinking villain (Paul Freeman), snakes ("Why did it accept to exist snakes?"), cinema'due south greatest truck hunt and a barnstorming supernatural finale where heads explode. And it's all topped off by Harrison Ford's pitch-perfect Indiana Jones, a model of reluctant merely resourceful heroism (expect at his face when he shoots that swordsman). In brusque, it's cinematic perfection.—Ian Freer
6. La Dolce Vita (1960)
Made in the center of Italy's smash years, Federico Fellini's runaway box-office 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 announcer caught upwards in the frenzied, freewheeling globe of Roman nightlife. Ironically, the picture show's portrayal of this milieu as vapid and soul-corrodingly hedonistic appears to accept passed many viewers by. Perchance that'south because Fellini films everything with so much cinematic verve and wit that it'south ofttimes hard non to become defenseless up in the delirious happenings onscreen. So much of how we view fame still dates back to this picture show; it even gave u.s. the word paparazzi.—Bilge Ebiri
seven. Seven Samurai (1954)
It's the easiest 207 minutes of cinema you'll ever sit through. On the simplest of frameworks—a poor farming community pools its resources to hire samurai to protect them from the fell bandits who steal its harvest—Akira Kurosawa mounts a finely drawn epic, past turns arresting, funny and exciting. Of form the action sequences stir the claret—the final showdown in the pelting is unforgettable—but this is actually a study in human strengths and foibles. Toshiro Mifune is superb as the half-crazed cocky-styled samurai, but it's Takashi Shimura's Yoda-similar leader who gives the picture show its emotional middle. Since replayed in the Wild West (The Magnificent Vii), in space (Battle Beyond the Stars) and even with animated insects (A Bug's Life), the original still reigns supreme.—Ian Freer
8. In the Mood for Love (2000)
Tin a film actually be an instant classic? Anyone who watched In The Mood for Love when it was released in 2000 may accept 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 2 neighbors (Maggie Cheung and Tony Leung) who find their spouses are having an affair. Equally they imagine—and partly reenact—how their partners might be behaving, they autumn for each other while remaining adamant to respect their wedding ceremony vows. Loaded with longing, the film 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 picture palace.—Anna Smith
ix. There Will Be Blood (2007)
On the road to condign the almost significant filmmaker of the terminal 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 There Will Be Claret, an epic about a sure kind of hustler—the oil baron and prospector. Daniel Plainview is, in the terminal analysis, an ultra-scary Daniel Day-Lewis who will drink your milkshake. Scored by Radiohead's Jonny Greenwood (himself emerging as a major composer), Anderson'due south mournful ballsy is the truthful heir to Chinatown'southward bone-deep pessimism. Every bit Phantom Thread makes clear, Anderson hasn't lost his sense of humor, not by a long shot. Just there in one case was a moment when he needed to get serious, and this is it.—Joshua Rothkopf
10. Singin' in the Rain (1952)
Forget The Artist—sorry Uggie—and relish instead the sheer, serotonin-enhancing verve of MGM's glorious epitaph to cinema's silent era. Its trio of dancers—prophylactic-faced (and heeled) Donald O'Connor, sparkling newcomer Debbie Reynolds and co-manager and headline deed Gene Kelly—are a triple threat, nailing the stellar songs, intricate and physically demanding dance routines and selling all the comic beats with consummate skill. Just kudos too belongs to Betty Comden and Adolph Dark-green, whose effervescent screenplay provides the shell for the spectacle to move to, and Jessica Hagen, whose often-disregarded turn equally croaky silent star Lina Lamont is the flick'due south funny-sad counterpoint. Not forgetting co-manager Stanley Donen, who was ever happy to allow his stars accept the credit only deserves an equal share for a musical that never puts a foot wrong.–Phil de Semlyen
11. Goodfellas (1990)
Three decades on and all the same a shot of pure cinematic adrenaline, Martin Scorsese's gangster opus is a gloriously-executed epitaph to boyhood heroes who plough out to accept feet of clay and claret-soaked hands. It's famous for many things – the 300 f-bombs, the iconic Copacabana oner, the umpteen needle-drop moments, Baton Batts'due south decease, Joe Pesci's shirt collars, et al – but if there's a unmarried reason why it'southward a favourite with everyone from hardcore cineastes to professional person footballers (that, and Scarface ), information technology'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-upward paranoiac in 150 breathless minutes. Moral corruption is rarely this alluring.—Phil de Semlyen
12. Northward past Northwest (1959)
There's no other thriller as elegant, low-cal-touched and sexy as Hitchcock's silken caper. Cary Grant's suavely hollow adman Roger O. Thornhill ("What does the O. stand for?" "Zip.") is Don Draper with a sense of sense of humor, which he sorely needs when he contracts a bad instance of Wrong Human–itis. The set pieces, the villains, Eva Marie Saint's femme fatale, Saul Bass's credits, Bernard Herrmann'due south musical cues—somehow the film manages to exist even more than than the sum of its glorious parts. Oh, and somewhere in there, Thornhill fifty-fifty manages to detect his soul.—Phil de Semlyen
13. Mulholland Drive (2001)
You could watch Mulholland Drive, undoubtedly one of the greatest films of a new century, a hundred times and still get 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'due south work, but which here reached their lurid embodiment.—Abbey Bender
14. Bicycle Thieves (1948)
Vittorio de Sica'due south Neorealist masterpiece is set in a world where owning a bicycle is the key to working, just information technology could just as hands be set in i where the absence of motorcar, or affordable childcare, or a home, or a social security number are insurmountable barriers in the constant slog to put nutrient on the table. That's what makes simultaneously information technology a film for postwar Italy and mod-day anywhere-at-all. That's what makes information technology such a powerful, enduring landmark in humanist cinema. You can feel it in virtually every social drama you care to mention, from Ken Loach to Kelly Reichardt.—Phil de Semlyen
xv. The Dark Knight (2008)
There's a new Batman in Gotham, in the shadowy class of Matt Reeves's The Batman – and this is the bar information technology has to clear. The middle entry in Christopher Nolan's Bat-trilogy is an about flawless instance study of how to do a sophisticated superhero ballsy for modern audiences – and the 'almost' is only because the terminal act refreshingly tries to cram in almost too many ideas, much moral arithmetics. Heath Ledger's Joker, meanwhile, redefines big-screen villainy: It's not enough to exist sinister, you lot need a political party trick at present too.—Phil de Semlyen
xvi. City Lights (1931)
Charlie Chaplin'southward total vision remains monumental: He wrote, directed, produced, edited and starred in his own movies, which he too scored with an orchestra. And when those cameras were rolling, they captured a cocky-made icon with a global audience. Still, City Lights was something else. Chaplin, reticent to requite upwards the visual techniques he'd mastered, insisted on making his new one-act a silent film even every bit viewers were growing thirsty for audio. As ever, the star had the concluding express mirth: Not but was the film a huge commercial success, it also concluded on the most heartbreaking close-up in picture palace history—the peak of the reaction shot (since cribbed by movies from La Strada to The Purple Rose of Cairo), no dialogue required.—Joshua Rothkopf
17. Grand Illusion (1937)
At that place's never a bad fourth dimension to revisit one of Jean Renoir'south bully masterpieces (along with The Rules of the Game), but this current era of populists, nationalists and shouty rabble-rousers feels like a particularly good one. Gear up in a German POW army camp during WWI, the film lays blank the fault lines of class and nationality amidst a group of French prisoners and their German captors and comes to the decision that all that really matters is human's dignity toward his fellow man.—Phil de Semlyen
18. His Girl Friday (1940)
Calling this one the peak of screwball comedy may be too limiting: Among the many topflight movies directed past journeyman filmmaker Howard Hawks, His Girl Friday is his nigh romantic and virtually verbose (the abiding banter feels like foreplay). Though the laconic Hawks would downplay his own proto-feminism throughout his life, the film is too his most liberated; strong women who had jobs and ran with newshounds were simply what he wanted to come across. Most wonderfully, this comedy all-time celebrates the rule of wit: He—or, more often, she—with the sharpest tongue wins. If y'all love words, y'all'll dearest this flick.—Joshua Rothkopf
19. The Cherry-red Shoes (1948)
Y'all could stick nearly every Powell and Pressburger film on this list; such was the dynamic duo'due south stellar output. But for our money—and that of superfan Martin Scorsese—this dazzling ballet-set romance is first amid equals. It'southward a perfect expression of artists' drive to create, set in a lush Technicolor earth shot by the great Jack Cardiff. Scorsese describes information technology as "the movie that plays in my heart." Nosotros'll accept 2 seats at the back.—Phil de Semlyen
20. Vertigo (1958)
A sexy Freudian heed-bender that's often considered Alfred Hitchcock'southward finest triumph, Vertigo is pitched in a world of existential obsession and cunning doubles. Shape-shifting her way through Edith Head's transformational costumes, Kim Novak haunts in two roles: Madeleine Elster and Judy Barton, both objects of desire for James Stewart's curious ex-cop. Completing this vivid psychodrama is Bernard Herrmann'south alarmingly duplicitous score, which twists its style to a towering finale.—Tomris Laffly
21. Young man Travail (1999)
Increasingly a giant of world cinema, French republic'south Claire Denis continues to confound expectations, making movies in sync with her ain offbeat rhythms and thematic preoccupations (colonialism, power, repressed attraction). This one, her historic breakout, is something of a spin on Herman Melville'due south Billy Budd—simply that's similar 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 volition in the desert and, nigh ravishingly, the euphoria of breaking into trip the light fantastic toe, courtesy of a loose-limbed Denis Lavant and Corona's 'Rhythm of the Night'.—Joshua Rothkopf
22. The Searchers (1956)
Showing some personal growth also as filmmaking craft, John Ford makes some amends for his appearance in DW Griffith'due south 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 abroad the toxic myths of the old frontier via the swaggering but broken-down figure of Ethan Edwards (John Wayne). Edwards is no white-hatted Shane type, merely an embittered state of war veteran who hunts his own niece (Natalie Wood) with the intention of killing her for the criminal offence of have been assimilated with the Comanche. The shot of Edwards framed in that doorway is one of the most famous – and well-nigh mimicked – in picture palace.—Phil de Semlyen
23. Persona (1966)
Ingmar Bergman'due south psychologically raw output has the authorisation to plow mere motion-picture show fans into raging addicts; Persona is the hard stuff, a double-sided psychodrama that somehow feels similar it was shot last weekend with two of Ingy's coolest friends (Bibi Andersson and Liv Ullmann, both revelatory). For its intimacy and economy lonely, the pic feels similar a preview of the scrappy decade to come. Bergman, recovering from a serious bout of pneumonia, wrote the script in the hospital, grappling with a crisis of purpose that he turned into art of the highest caliber.—Joshua Rothkopf
24. Practice the Right Thing (1989)
Fasten Lee'southward bitterly funny, ultimately tragic fresco of a Brooklyn neighborhood during 1 sweltering summer day was hugely controversial at the time: Critics dinged Lee for his depiction of an insurgence in the wake of a police killing. The movie has lost none of its relevance or power; if annihilation, it's gained some. But the filmmaking is what makes this a archetype, particularly the energy, wit and style with which Lee presents this microcosm and the social forces at play within it.—Bilge Ebiri
25. Rashomon (1950)
Information technology'south no exaggeration to say that Akira Kurosawa's Rashomon redefined cinematic storytelling. With its shifting, unreliable narrative construction—in which 4 people requite differing accounts of a murder—the film is remarkably daring and serves every bit a reminder of how class itself can beguile us. Flashbacks have never been so thrillingly deployed; nearly 70 years subsequently its release, filmmakers are yet trying to take hold of up to its achievements.—Abbey Bender
26. The Rules of the Game (1939)
Jean Renoir cemented his virtuosity with this pitch-perfect report of social-strata eruptions amid the ditzy, idle rich, about to be diddled sideways by WWII. Affairs among aristocrats and servants alike bloom during a weeklong hunting trip at a state manor, where the but criminal offence is to merchandise frivolity with sincerity. Renoir captures his sparklingly astute 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 ever made, Steven Spielberg's tale of a shark terrorizing a embankment town remains effective more than than four decades later. Jaws may have set the reputation of those greyness-finned creatures dorsum a few centuries, merely it took the pop movie thriller to another level, demonstrating that B-motion picture textile could be executed with masterly skill. Spielberg proved that less is more when it comes to crafting a feeling of dread, barely even showing the states the beast that went on to haunt a whole generation.—Dave Calhoun
28. Double Indemnity (1944)
The deliciously night, stylish genre of flick noir simply wouldn't exist without Double Indemnity. This 1 truly has it all: flashbacks, murder, shadows and cigarettes galore, and, of course, a devious femme fatale (Barbara Stanwyck). As one of the great directors of Hollywood's gilt age, Billy Wilder excelled beyond a variety of cinematic types, but this hard-boiled gem is his most influential piece of work.—Abbey Bender
29. The 400 Blows (1959)
The first in a five-film autobiographical series, Francois Truffaut'due south The 400 Blows is the story of Antoine Doinel (Jean-Pierre Léaud)—stuck in an unhappy home life merely finding solace in goofing off, smoking and hanging with his friends—and it'south picture palace's greatest evocation of a troubled childhood. Plus, information technology'due south the perfect primer to get kids into subtitled movies.—Ian Freer
thirty. Star Wars (1977)
Popcorn pictures hit hyperdrive subsequently George Lucas unveiled his intergalactic Western, an intoxicating gee-whiz infinite opera with dollops of Joseph Campbell–style mythologizing that obliterated the moral complexities of 1970s Hollywood. This postmodern movie-brat pastiche references a virtual syllabus of genre classics, from Urban center and Triumph of the Will to Kurosawa's samurai actioners, Flash Gordon serials and WWII thrillers like The Dam Busters. Luke Skywalker'southward quest to rescue a princess instantly elevated B-movie bliss 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 managing director shows restraint with setting and scope; the flick focuses largely on the back-and-along between Joan and her inquisitors. But the intense close-ups give complimentary reign to Maria Falconetti's marvelously expressive plow as the doomed Maid of Orleans. Made at the shut of the silent era, it set new standards in screen acting.—Bilge Ebiri
32. Once Upon a Time in the Westward (1968)
The ultimate cult flick, Leone'due south spaghetti Western is set up in a civilizing America—though mostly shot in Rome and Espana—only the real location is an abstract borderland of former versus new, of larger-than-life heroes fading into memory. It's a triumph of buried political commentary and purest epic cinema. Henry Fonda'due south icy stare, composer Ennio Morricone'due south twangy guitars of doom and the monumental Charles Bronson as the final gunfighter ("an ancient race…") are merely three reasons of a million to saddle up .—Joshua Rothkopf
33. Alien (1979)
If all it did was to launch a franchise centered on Sigourney Weaver's fierce survivor (still amidst the toughest action heroines of cinema), Ridley Scott's claustrophobic, deliberately paced sci-fi-horror classic would still be cemented in the picture show canon. But Alien claims masterpiece status with its subversive gender politics (this is a movie that impregnates men), its shocking chestburster centerpiece and industrial designer H.R. Giger'south strangely elegant double-jawed creature, a nightmarish vision of hostility—and one of movie theatre's almost unforgettable pieces of pure craft.—Tomris Laffly
34. Tokyo Story (1951)
Merely spun, Yasujiro Ozu'due south domestic drama is small but perfectly formed. Chishu Ryu and Chieko Higashiyama are dignified and moving every bit parents who visit their children and grandchildren, only to be neglected. Delicately played, beautifully shot (ofttimes with the camera hovering just off the basis), Ozu's masterpiece is the family flick given grandeur and intimacy. If yous loved terminal year's Shoplifters, yous'll love this.—Ian Freer
35. Pulp Fiction (1994)
What's the best part of Pulp Fiction? The twist competition at Jack Rabbit Slim'southward? Bruce Willis versus the Gimp? Jules's Ezekiel 25:17 monologue? Quentin Tarantino's film earns curiosity with its grabby movie moments only claims all-time status with its spellbinding achronological plotting, insanely quotable dialogue and a proper understanding of the metric system. Pulp Fiction marked its generation as deeply as did Star Wars before it; it's a flourish of '90s indie attitude that notwithstanding feels fresh despite a legion of communicative imitators.—Ian Freer
36. The Truman Show (1998)
The belatedly '90s spawned ii prescient satires of reality TV, back when it was still in its pre-epidemic stage: the underrated EDtv and, this, Peter Weir's profound argument on the way the media has its claws in u.s.a.. In some ways a kinder, gentler version of Network, The Truman Evidence is a Television set parable in which a meek hero (Jim Carrey) wins back his life. It tin can also be considered an angrier film, slamming both the controlling 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 it) boil below the surface of David Lean's historical epic like magma. They seeps through the cracks of its depiction of iconoclastic Edwardian nomad and Arab leader T E Lawrence (Peter O'Toole), locating its huge set pieces within the megalomaniac compass of its hero and lending depth to its intimate moments when the cost of all is laid blank. Amid its sweeping Arabian landscapes, famously captured by cinematographer Freddie Young'due south cameras, it'southward the interior landscape of Lawrence himself that this great biopic maps out and then memorably.—Phil de Semlyen
38. Psycho (1960)
Fun fact: Psycho is the get-go film to ever depict a toilet flushing. Happily, Alfred Hitchcock's thriller broke new ground in other ways, too, from offing its heroine inside the first tertiary to diving deeper into a crazed mind (bravo, Anthony Perkins) than Hollywood had yet managed earlier. Forget the shower shenanigans, the cease is creepy AF.—Ian Freer
39. Sansho the Bailiff (1954)
Japanese cinema has produced no shortage of heavy hitters, but director Kenji Mizoguchi may deserve prime of place. He was able to plow out impeccable ghost stories (Ugetsu) and backstage dramas (The Story of the Last Chrysanthemums), only his greatest trait was a deep, unshakable empathy for women, browbeaten downwardly by the patriarchy but heartbreaking in their suffering. These women are central to Sansho the Bailiff, a feudal tale of familial dissolution that will wreck you. Brand no apologies for your tears; everyone else will exist crying, too.—Joshua Rothkopf
40. Andrei Rublev (1966)
Mournful, challenging and mesmerizing, Soviet director Andrei Tarkovsky'south epic portrait of the life and times of i of Russia'due south virtually famous medieval icon painters foregrounds qualities such as landscape and mood over story and grapheme. Ultimately, it'south the tale of a man's endeavour to overcome his crisis of organized religion in a world that seems to take an endless supply of violence and strife—and it's a remarkable testament to the persistence of artists working under oppressive regimes.—Bilge Ebiri
41. The Umbrellas of Cherbourg (1964)
The melancholy of Michel Legrand'southward glorious score washes over viewers' hearts from the first moment of Jacques Demy's nontraditional, sung-through musical. One of the most romantic films ever made about the pains and purity of commencement love, the immaculately styled The Umbrellas of Cherbourg challenged the lighter Hollywood musicals of the era (like The Sound of Music and My Fair Lady) and launched the sensational Catherine Deneuve into international stardom. Subsequently, it would be a major influence on La La State.—Tomris Laffly
42. Chinatown (1974)
Director Roman Polanski and screenwriter Robert Towne took a modestly sleazy noir setup and turned information technology into a meditation on the horrors of American history and rapacious capitalism. The film too sports a perfect cast, with a tiptop-of-his-game Jack Nicholson equally a cynical private middle, an impossibly alluring Faye Dunaway every bit the femme fatale with a past and so dark her final revelation still shocks, and the legendary John Huston as the monstrous millionaire at the middle of it all.—Bilge Ebiri
43. The Seventh Seal (1957)
Not only any pic gets homaged by Neb and Ted. But Ingmar Bergman's great treatise on mortality isn't just any film. Despite condign somehow synonymous with "difficult art-house statement," information technology'due south non all weighty themes, plague-strewn landscapes and chess games with the Grim Reaper. As Max von Sydow'south medieval knight travels the land witnessing the apocalypse, loads of life-affirming moments lighten the load. Of course, it's a piece of work of profound philosophical thought, besides, so y'all'll feel brainier for having seen it.—Phil de Semlyen
44. Lost in Translation (2003)
Worlds collide in Sofia Coppola'southward pitch-perfect tale of a pic star (Beak 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 globe (pinkish wig optional). Why has the film endured so vividly in viewers' hearts? Maybe because information technology captures those gloriously melancholic moments we've all experienced that seem to exist gone in a flash, still linger forever.—Anna Smith
45. Taxi Driver (1976)
A time capsule of a vanished New York and a portrait of twisted masculinity that nevertheless stings, Taxi Driver stands at the peak 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's screenplay probes philosophical depths that are brought to vicious life by Robert De Niro'south unforgettable functioning.—Abbey Bough
46. Spirited Away (2001)
The jewel 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 motion-picture show with the power to coax out the inner child in the most grown-upward and jaded amidst us. A spin on Alice's Adventures in Wonderland (with the aforementioned invitation to follow your imagination), Spirited Abroad has been ushering audiences into its dream earth for almost two decades and seems only to abound in stature each year, a tribute to its hand-fatigued artistry. Trivia time: It remains Nihon'southward highest-grossing moving picture ever, just ahead of Titanic.—Anna Smith
47. Night of the Living Dead (1968)
The start no-budget horror movie to get a bona-fide calling card for its director, George A. Romero's seminal frightfest begins with a unmarried zombie in a graveyard and builds to an undead regular army attacking a secluded house. Most modern horror clichés first here. But zilch betters it for style, mordant wit, racial and political undertow, and scaring the bejesus out of you lot, all some fifty years before U.s..—Ian Freer
48. Battleship Potemkin (1925)
This rousing Russian silent film was conceived in the estrus of Soviet propaganda and deputed by the still-young Communist authorities to salute an event from xx years earlier. It tells of a sailors' revolt that morphs into a full-diddled workers' uprising in the city of Odessa; the movie is nigh famous for one breathtaking sequence—much copied and parodied since—of a babe carriage tumbling downwards a huge flight of steps. But Battleship Potemkin is full of powerful images and exciting ideas, and director Sergei Eisenstein is rightly considered one of the pioneers of early on film language, with his influence felt through the decades.—Dave Calhoun
49. Modern Times (1936)
The only Charlie Chaplin picture to run across the Little Tramp get on a massive cocaine binge, this relentlessly inventive silent classic hardly needs the added kicking. The gags come most as fast as yous 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 still-germane satire on technological advancement.—Phil de Semlyen
50. Breathless (1960)
Film critic Jean-Luc Godard's seismic directing debut is a blowing deconstruction of the gangster pic that also reinvented moviemaking itself. Information technology features Cubistic leap cuts, restless handheld camerawork, location shoots, eccentric pacing (the 24-minute centerpiece is ii lovers talking in a bedroom), and self-witting asides about painting, poetry, pop culture, literature and flick. 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, but alchemically profound.—Stephen Garrett
51. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Then much of Stanley Kubrick's genius was conceptual, and this 1 asks his most adventurous question: What if the earth came to an end—and it was hilarious? Nuclear annihilation was a subject field in which Kubrick immersed himself, reading virtually every unclassified text. His conclusion was grim: There would exist no winning. Via darkest one-act (the only manner into the bailiwick) and an unhinged Peter Sellers playing three separate parts, Kubrick fabricated his point.—Joshua Rothkopf
52. M (1931)
One of those epochal films—in that location's but a handful—that sits on the divide between silent cinema and the audio era merely 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 Mountain King" (performed past a purse-lipped Lang himself; his star, Peter Lorre, couldn't whistle). The motion-picture show's theme is vigilance: We must protect our children, but who volition protect guild 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
Set in (eek!) 2019, Ridley Scott'south vision of a dystopian futurity is 1 of the well-nigh stylish sci-fi films of all time. With a noir-inspired artful and a haunting synth score by Vangelis (a massive influence on Prince), Blade Runner is iconic not just for its era-defining wait, but besides for its deeper philosophical test of what it means to be homo. Many have tried to imitate the moving-picture show'due south uncanny vibe, but these rain-slicked streets and seedy vistas possess a atypical menace.—Abbey Bough
54. The Bitter Tears of Petra von Kant (1972)
The creative fecundity of Rainer Werner Fassbinder, dead from an overdose at age 37 after completing more than xl features, deserves enshrinement by a new generation. This flick is arguably his sharpest and well-nigh psychologically complex; inarguably, it's his bitchiest. In that location is so much to beloved in Fassbinder'due south shag-carpeted showdown, which goes across the spectacle of two dueling fashionistas into a profound exploration of aging and obsolescence.—Joshua Rothkopf
55. Rome, Open Urban center (1945)
Few motion-picture show movements can avowal the hit rate of Italian neorealism, a postal service-WWII wave dedicated to working-course struggle that seems to comprise merely masterpieces. Robert Rossellini was responsible for a few of them, including Germany Twelvemonth Zero and this before drama of repression and resistance, which boasts non i but two of the near memorable expiry scenes in all of picture palace.—Phil de Semlyen
56. Nosferatu (1922)
Brace for the country of phantoms and the call of the Bird of Expiry: One of the earliest (though unauthorized) adaptations of Dracula is still the nigh terrifying. Max Schreck's insectlike operation as the bloodthirsty Count Orlok is only as transfixing and repulsive every bit it was almost a century ago. German Expressionist director F.W. Murnau's haunting images of a crepuscular world set the chilling standard for generations of cinematic nightmares.—Stephen Garrett
57. Plane! (1980)
With about 6,500 zingers to cull from, anybody has their favorite Airplane! gag. Directors David and Jerry Zucker and their partner in extreme silliness, Jim Abrahams, truly threw the kitchen sink at this boundless spoof of the '70s disaster movies that were all the rage at the fourth dimension. Onscreen one-act, in turn, was modernized for what would exist its most transforming decade. Our favorite joke? "Looks like I picked the wrong week to quit amphetamines."—Phil de Semlyen
58. Under the Skin (2013)
Hypnotic, bewitching, thought-provoking, disturbing, horrifying: Notwithstanding you react to it, you won't forget Jonathan Glazer's startling accommodation of Michel Faber'due south adult female-who-vicious-to-earth novel. Using her celebrity in a radical way, Scarlett Johansson is perfectly cast as an conflicting in human form who roams Glasgow trying to pick up men in her van. It was shot guerrilla-style on the streets of the Scottish city, so wait out for the footage of genuinely baffled passersby.—Anna Smith
59. Mad Max: Fury Road (2015)
Both a sequel and a reboot, the fourth entry in manager George Miller's series of postal service-apocalyptic gearhead epics fuses death-defying stunts with modern special effects to give us i of the best-great action movies. This one is a nonstop barrage of chases, each more spectacularly elaborate and nightmarish than the last—simply it'southward all combined with Miller's surreal, poetic sensibility, which sends information technology into the realm of art.—Bilge Ebiri
60. Apocalypse Now (1979)
Francis Ford Coppola's evergreen Vietnam War classic proves war is swell, every bit assassin Martin Sheen heads upriver to kill renegade colonel Marlon Brando. En route, there'southward 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 bespeak?—Ian Freer
61. Brokeback Mountain (2005)
Forget what the Oscars crowned as the Best Flick of 2005: Ang Lee's tragic gay romance is the nominee that stands the test of time. Anchored past Rodrigo Prieto'southward swoonworthy cinematography and a wistful Heath Ledger (whose performance toppled societal perceptions of masculinity), Brokeback Mount is a milestone in LGBTQ art-house cinema. Information technology 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-minute masterpiece is perfectly pithy, exposing the absurdities of international politics with swift wit and spot-on slapstick. Often regarded as the funniest of the Marx Brothers' oeuvre, the movie is also—sadly—timeless, equally its portrayal of a war-mongering dictatorship remains relevant to this day.—Anna Smith
63. The Blair Witch Projection (1999)
An unlikely pick? Not when yous consider the depression-upkeep sensation in a larger context. Many films emerge from Sundance with a deafening fizz; how exercise you explain a $250 million global box-function gross? Credit a revolutionary net entrada, spooky and immersive, that'south now a tactic in every publicist's playbook. And permit'due south non forget the movie itself, which kicked off the "plant-footage" trend. Even more prophetically, The Blair Witch Project is about a generation that tin't stop filming itself, even when lost in the woods—information technology'due south ground naught for selfie horror.—Joshua Rothkopf
64. All the President'due south Men (1976)
With the ink barely wet on Richard Nixon'southward 1974 resignation, director Alan J. Pakula, thespian-producer Robert Redford and screenwriter William Goldman created a hot-off-the-presses docudrama nigh the Watergate break-in that crackles with live-wire tension. This is olfactory organ-to-the-grindstone investigative work in an analog world—call back rotary phones, electric typewriters, handwritten notes on legal pads, red-pen edits and Xerox copiers—and a master form in making film dialogue absolutely riveting. It'due south an essential touchstone for every political thriller since.—Stephen Garrett
65. The Apu trilogy (1955, 1956, 1959)
We're cheating by including all three films (Pather Panchali, Aparajito and The World of Apu), only really, how do y'all divide the installments of Satyajit Ray'south magnificent coming-of-age trilogy? The Bengali great follows immature Apu (Apurba Kumar Roy) from boyhood to developed life via schooling and a move from his remote village to the big metropolis, as well as loves and losses. Some of the nigh intimate Indian movie theatre ever captured, it's also completely relatable, whether you hail from Kolkata, Kansas or Camden Town.—Phil de Semlyen
66. The Full general (1926)
Male child meets train. Boy loses train. Boy chases Marriage forces who stole train, wins back train and fires off in the opposite direction. It may not sound similar your average dearest story, but that's exactly what Buster Keaton's deadpan and death-defying silent comedy is: a majestic demonstration of trick photography, balletic courage and comic timing, all underpinned by genuine heart. Trust us, it's loco-motional.—Phil de Semlyen
67. Eternal Sunshine of the Spotless Mind (2004)
There are countless movies about romantic relationships, still few explore the subject field more creatively than Michel Gondry's breakthrough, scripted past Charlie Kaufman (who was then becoming a household proper name with Being John Malkovich and Adaptation). The sci-fi–inflected tale of 2 halves of a broken-up couple going through a retention-erasing procedure takes many surprising, poignant turns; the film's impeccably executed combination of authentically quirky imagery and philosophical inquiry has become a signpost of modern independent cinema.—Abbey Bender
68. The Texas Chain Saw Massacre (1974)
The championship is still a killer piece of marketing, suggesting something much gorier than what you get. That's non to say Tobe Hooper's masterpiece doesn't deliver. A grungy vision of horror captured during a palpably sweaty and stenchy Texas summertime, the film has taken its rightful place as a definitive parable of Nixonian grade warfare, eat-or-exist-eaten social envy and the substantially unknowable nature of some unlucky parts of the world.—Joshua Rothkopf
69. Come up and See (1985)
As unsparing as cinema gets, the influence of Elem Klimov'due south sui generis war moving picture transcends the genre in a way that non even Steven Spielberg's Saving Private Ryan tin match. At its middle it'south a coming-of-age story that follows a young Byelorussian boy (Aleksei Kravchenko) through unspeakable horror equally Nazi death squads visit an apocalypse on his region. Alongside its historical truths, the film's grammar and visual linguistic communication—at that place are passages that play like an ultra-violent acid trip—are what truly elevates it. Similar an Hieronymus Bosch masterpiece, the images here can never be unseen.—Phil de Semlyen
70. Heat (1995)
Writer-director Michael Isle of man's heist masterpiece put two of our greatest actors, Robert De Niro and Al Pacino, together onscreen for the get-go fourth dimension—one as a stoic master criminal, the other equally the obsessive cop determined to bring him downward. In weaving their stories together, Mann presents dueling but equally weighted perspectives, with our allegiance as viewers constantly shifting. The last word on cops-and-robbers movies, it'southward suffused with a magic that crime thrillers effort to recapture to this day.—Bilge Ebiri
71. The Shining (1980)
Our list doesn't lack for Stanley Kubrick movies (nor should it). Withal, it'south shocking to remember that The Shining—and so redolent of the manager's pet themes of mazelike obsession and the banality of evil—was once considered a pocket-sized work. It'southward since come to stand for the most full-bodied nail of Kubrick's full command; he'due south the god of the moving-picture show, Steadicam-ing effectually corners and making the audience find that he was born to redefine horror. Even if we can't roll with the beatnik fan theories most 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 however an absolute high-water mark for CG animation, Toy Story reinvented what a family unit movie could be. On the surface, it's a elementary story nigh 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 easily of adjacent-door pyrotechnics genius Sid. Simply it'south also about jealousy, power 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 16-millimeter motion picture in sketchy light, Charles Burnett's UCLA graduate thesis film stitches together seemingly mundane vignettes to form a compelling mosaic of late-'70s African-American life. A landmark of independent black movie theater, it's set to a great soundtrack ranging from dejection and classical to Paul Robeson. Poetic, compassionate, aroused, ironic: All man life is nowadays here.—Ian Freer
74. A Woman Under the Influence (1974)
At that place'south a tendency in these greatest-of-all-fourth dimension exercises to prioritize the director, the camerawork or the screenplay. But respect must be paid to the performer, too: In a decade of brilliant interim, no plow was quite as galvanizing as the one given past Gena Rowlands in this stunning peek into a fraying mind. A fluky Los Angeles housewife and female parent who's constantly being told to at-home downward, Rowlands'due south Mabel is the embodiment of John Cassavetes'south improvisatory cinema; our 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 creative moments, Annie Hall is one of the about revolutionary of romantic comedies. This quintessential New York movie turned countless 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 balance that few movies have since achieved so memorably.—Abbey Bough
76. Some Like It Hot (1959)
Clocking information technology at number 15 on our list of the 100 Greatest Comedies Always Made , Billy Wilder'due south classic gangster farce plays like Scarface on helium. Tony Curtis and Jack Lemmon brand ane of movie theatre'due south near delightful double acts equally a couple of musicians on the run from the Mob, merely Marilyn Monroe steals the picture equally the coquettish, breathy and entirely loveable Sugar. Nobody's perfect simply this movie gets pretty darn close.—Phil de Semlyen
77. Metropolis (1927)
Hugely expensive for its time, City is Blade Runner, The Terminator and Star Wars all rolled into ane (not to mention l years prior). Fritz Lang'southward silent vision of a totalitarian society withal astounds through its stunning cityscapes, groundbreaking special effects and a bewitchingly evil robot (Brigitte Helm). It's scientific discipline fiction at its most aggressive and scenic—the not-then-modest beginnings of onscreen genre seriousness.—Ian Freer
78. The Maltese Falcon (1941)
The accustomed wisdom is that the noir era really kicked off during the hard-bitten postal service-WWII years, which makes John Huston'due south adaptation of Dashiell Hammett's detective novel a real trailblazer. Information technology's a template for the swathe of noir flicks that would follow, offering up 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 picture show were any more hard-boiled, y'all'd crack your teeth on it.—Phil de Semlyen
79. This Is Spinal Tap (1984)
Exploding drummers, amps that go to xi, tiny Stonehenges, "Dobly": This spoof rock documentary—rockumentary, if you lot must—is monumentally influential on cinema, cringe comedy and, mayhap, the music industry itself. (There'south not a band 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 tin only genuflect in their presence; shortly afterwards this film, Guest kicked off his own directorial make of humor, directly inspired by Rob Reiner's heavy-metallic satire.—Phil de Semlyen
80. It Happened 1 Nighttime (1934)
If but Hollywood made 'em like they used to: crackling romantic comedies that conquered the Oscars. Frank Capra's hilarious detest-at-start-sight love story is still 1 of the fastest movies ever fabricated. Claudette Colbert's spoiled heiress and Clark Gable'due south opportunistic reporter hit the road and bicker their way toward a happily-always-afterward catastrophe, class barriers be damned. Non only did this smart and suggestively sexy pre-Code screwball shape every rom-com that followed, information technology withal has a leg up on most of them.—Tomris Laffly
81. Die Hard (1988)
The perfect action movie? Information technology'south hard to think of one amend than this tower-block spectacular—nor one more imitated. At that place'south since been "Die Hard on a gunkhole" (Nether Siege), "Die Hard in a hockey arena" (Sudden Death) and even "Die Hard in a private schoolhouse" (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-chapeau–black-hat duo straight out of a classic Western.—Phil de Semlyen
82. The Conformist (1970)
In Mussolini'south Italian republic, a repressed homosexual (Jean-Louis Trintignant) joins the Fascist party in social club to blend in and hide his truthful cocky. Function psychoanalysis session, function colorful genre fantasia, manager Bernardo Bertolucci'southward enormously influential drama journeys through different styles and aesthetics. Every bit much as Orson Welles's Citizen Kane did with the films of the '20s, '30s, and early '40s, The Conformist offers a powerful compendium of cinematic techniques from the eras preceding it.—Bilge Ebiri
83. The Matter (1982)
Let John Carpenter's real masterpiece—the one that horror mavens bow downward to—take its place in the pantheon. A passion project that got clobbered by audiences and critics alike, The Matter was, in fact, that rarest of remakes: one that improves upon its source. Carpenter'due south widescreen elegance and spooky synth minimalism (here furthered by composer Ennio Morricone) found a new counterpoint in some of the nigh disgusting practical special furnishings ever sprung on a paying audition. Just the picture show's ice-cold paranoia, uncut and pharma-grade, has been its about lasting legacy: a template of perfection for all since.—Joshua Rothkopf
84. Daughters of the Dust (1991)
Writer-managing director Julie Dash should take go an Ava DuVernay-level success afterward her poetic feature debut, an achievement of otherworldly beauty. The first flick made by an African-American adult female to receive theatrical distribution, Daughters of the Dust is permeated with pride, history and matriarchal wisdom. Prepare in 1902, it 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 enduring tragedy of enslavement. Its tranquil strength later found an echo in Beyoncé's Lemonade.—Tomris Laffly
85. Barry Lyndon (1975)
Back in 1975, Stanley Kubrick'due south somber adaptation of William Makepeace Thackeray'due south novel most a young Irishman's journeying from lovestruck exile to cynical grifter in 18th-century Europe seemed out of step with the gritty, intense output of contemporary cinema. Years afterwards, information technology'south considered by many to be Kubrick's masterpiece, and its deliberate, highly aestheticized arroyo has influenced everybody from Ridley Scott to Yorgos Lanthimos.—Bilge Ebiri
86. Raging Bull (1980)
Martin Scorsese's hallucinogenic biography of the tenacious boxer Jake LaMotta (Robert De Niro) is a bold brew-upwards of neorealist dust and hyperstylized, gossamer dazzler. Put on the gloves and LaMotta is in his chemical element; have them off and he's an insecure sociopath consumed by sexual jealousy. De Niro'southward monstrous portrayal is miraculously empathetic, but what's truly revolutionary is Scorsese's technique: Like a modern-day Verdi, the Italian-American auteur elevates the profane to the operatic.—Stephen Garrett
87. Seven (1995)
David Fincher is the most signature director of his era: a crafter of iconic music videos and decade-defining dramas like Zodiac and The Social Network. But his transition to Hollywood was rocky; information technology was a town that barely understood him. The turning point was Seven, the kickoff time that Fincher's fearsome vision arrived uncut. Stylistically, the dark pic (shot by an inspired Darius Khondji, working with a silver-nitrate-retentivity procedure) has proven more than durable than even The Silence of the Lambs, but it's that meme-able sucker punch of an ending that even so rattles audiences.—Joshua Rothkopf
88. Aguirre, the Wrath of God (1972)
Always-overshadowed by the Herculean feat that was Fitzcarraldo, Werner Herzog's other exploration of male person vainglory in the remotest parts of S America applies some other coolly obversational lens to the malignant madness of out-of-control obsession. It's colder, greedier hither: Klaus Kinski's conqueror craves gold, not civilization. Featuring a river journeying, a haunting, synthy Popul Voh score and a bunch of taunting monkeys, it's Herzog's Apocalypse Now.—Phil de Semlyen
89. The Boxing of Algiers (1966)
Political thrillers even so owe a debt to Gillo Pontecorvo's e'er-timely bout de forcefulness. Recounting the Algerian uprising against French colonial occupiers in the 1950s, The Boxing of Algiers boldly examines terrorism, racism and even torture every bit a means 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'southward Munich.—Tomris Laffly
90. Women on the Verge of a Nervous Breakup (1988)
Pedro Almodóvar broke into the mainstream with this gloriously colorful ensemble one-act, an entry point for many into a mode of smart, sexually liberated European picture palace. Women on the Verge of a Nervous Breakdown offers juicy roles for a range of Spain's finest female person actors (plus a charmingly baby-faced Antonio Banderas) and consistently delights with its creative 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. Boyhood (2014)
Shot over 12 years with a cast of actors that ages earlier our eyes, Richard Linklater's modern-day coming-of-age classic is a peerless artistic gamble, comparable merely to Michael Apted'southward Up serial and Francois Truffaut's Antoine Doinel films. Still, Boyhood's amazing compactness catches you lot off guard like no other movie. Adorned past Linklater's signature effortless rhythms, the motion-picture show bottles the fleeting spirit of time, maturing into a reflective meditation on life's ordinary moments.—Tomris Laffly
92. The Discreet Charm of the Bourgeoisie (1972)
Movies take ever been a gateway into radical art; Hollywood may take made them sleek and accessible, but experimentation was there from the start. Luis Buñuel counts among the top rank of dreamers to always grace the field of filmmaking. Without him, at that place's no David Lynch, no Wong Kar-wai—even Alfred Hitchcock was a fan. Of Buñuel'south many seismic features (don't skip his slicin'-upward-eyeballs short, "United nations Chien Andalou"), begin with this radical satire of course warfare, which sums up everything he did well. It even won him an unlikely Oscar.—Joshua Rothkopf
93. Paths of Glory (1957)
An antiwar movie, a courtroom thriller, an upstairs-downstairs report of social status, a religious critique, an absurdist satire and, finally, a heartbreakingly futile plea for pity in the face of destruction, Stanley Kubrick'due south humanist masterpiece dissects all the delusional facets of the male person psyche. Battlegrounds grow—psychological, emotional, physical—making the bleakly entrenched soldiers of 1916, and the officers who misfile folly for fame, yet experience painfully relevant.—Stephen Garrett
94. Secrets & Lies (1996)
Actors are the lifeblood of managing director Mike Leigh'southward famous process, a much-discussed method of workshopping, graphic symbol exploration, group improvisation and collaborative writing. It tin oftentimes be months before the camera rolls. The results accept been consistently exquisite over the years, funneled into menses musical-comedies (Topsy-Turvy) and cruel contemporary dramas (Naked) alike. We recommend Leigh's critical quantum, featuring nervy turns by Brenda Blethyn and Timothy Spall, as the perfect identify to begin your deep dive.—Joshua Rothkopf
95. Sweet Smell of Success (1957)
This smoky, jazzy noir from director Alexander Mackendrick (The Ladykillers) is one of the neat movies almost power, influence and print journalism at its midcentury tiptop. Information technology'due south a seedy, intoxicating tale that unfolds in Manhattan's backroom bar booths, and information technology features brain-searing performances from Tony Curtis as Sidney Falco, a bottom-feeding gossip monger, and Burt Lancaster as J.J. Hunsecker, a towering, decadent newspaper columnist. The dialogue is snappy and delicious; the morals are as empty as Times Square at dawn—Dave Calhoun
96. The Chiffonier of Dr. Caligari (1920)
This German Expressionist masterpiece came out in 1920, a long time before the invention of the spoiler warning. Nosotros but promise that audition members instinctively knew not to give abroad cinema'due south first always twist ending and ruin the sting of this fractured horror-fable for their pals. Director Robert Wiene conjured up something truly dark and lingering from its shadows: You can experience Dr. Caligari's influence in everything from Tim Burton's movies to Shutter Island.—Phil de Semlyen
97. Nashville (1975)
This multilayered ballsy of land music, politics and relationships is Robert Altman's signature accomplishment. With its overlapping dialogue and roving photographic camera, Nashville created an earthy, idiosyncratic panorama of American life, featuring many of the well-nigh memorable actors of the decade. The 1970s were U.Due south. cinema'southward nearly exciting period, and Nashville—broadened past its admirable scope and freewheeling free energy—is emblematic of that inventiveness.—Abbey Bender
98. Don't Expect Now (1973)
Nicolas Roeg influenced and inspired a generation of filmmakers, from Danny Boyle to Steven Soderbergh – and hither'southward why. Roeg shrouds Daphne du Maurier's short story in an icy chill, seeding the thought of supernatural forces at play in a wintry Venice through sheer filmmaking craft and the ability of his editing. He finds a deep humanity in the horror, too, with Julie Christie and Donald Sutherland's grieving parents reconnecting and drifting autonomously like flotsam on some invisible tide. His masterpiece, Don't Look At present remains a primal cry of grief that shakes you lot to the core.—Phil de Semlyen
99. Bonnie and Clyde (1967)
Arthur Penn's game-changing action film was made in the same spirit of the revisionist Westerns of the '60s and '70s—irreverent, fun, morally all over the place, and unafraid of blood and bullets. The movie takes us dorsum to the 1930s during the legendary criminal offense 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 stop of its decade? With the Vietnam War, inner-city rioting and Nixon on the rise, all bets were off. Add the swoony pair of Beatty and Dunaway, and you've got a archetype on your hands: a revolution in period apparel.—Dave Calhoun
100. Become Out (2017)
Watch this space: Jordan Peele'due south newly minted horror classic is certain to ascent 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 only horror movies can exploit to the fullest. During its theatrical run—which stretched into a summer that also saw the white-supremacist Charlottesville rally—Get Out felt similar the simply movie speaking to a deepening dissever.—Joshua Rothkopf
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