Best Films of All Time – Ranked

I found more than 26 lists of the Best Films of All Time online and in books and magazines and combined them into one meta-list. The results are below: every movie on at least four of the original source lists, organized by rank (that is, with the movies on the most lists at the top). Movies on the same number of lists are arranged in chronological order. I have used the English-language titles, in most cases, unless the movie is commonly referred to in the US by its non-English title.  For a chronological list of the movies on the list, go here.  For a version of list organized by director, go here.

Note: These are not my personal opinions and I have not seen all these films.

On 26 lists
Citizen Kane (US, 1941) Dir: Orson Welles
Seven Samurai (Japan, 1954) Dir: Akira Kurosawa
Vertigo (US, 1958) Dir: Alfred Hitchcock

On 25 lists
Singin’ in the Rain (US, 1952) Dir: Gene Kelly & Stanley Donen

On 24 lists
Tokyo Story (Japan, 1953) Dir: Yasujiro Ozu
Psycho (US, 1960) Dir: Alfred Hitchcock
Apocalypse Now (US, 1979) Dir: Francis Ford Coppola
Pulp Fiction (US, 1994) Dir: Quentin Tarantino

On 23 lists
Casablanca (US, 1942) Dir: Michael Curtiz
Some Like It Hot (US, 1959) Dir: Billy Wilder
Breathless (France, 1960) Dir: Jean-Luc Godard
2001: A Space Odyssey (US/UK, 1968) Dir: Stanley Kubrick
The Godfather (US, 1972) Dir: Francis Ford Coppola
Taxi Driver (US, 1976) Dir: Martin Scorsese

On 22 lists
The Rules of the Game
 (France, 1939) Dir: Jean Renoir
Rashomon (Japan, 1950) Dir: Akira Kurosawa
Bicycle Thieves (Italy, 1948) Dir: Vittorio de Sica
The Seventh Seal (Sweden, 1957) Dir: Ingmar Bergman
The 400 Blows (France, 1959) Dir: François Truffaut
8 1/2 (Italy, 1963) Dir: Federico Fellini
Star Wars (Episode IV: A New Hope) (US, 1977) Dir: George Lucas

On 21 lists
M
 (Germany, 1931) Dir: Fritz Lang
Grand Illusion (France, 1937) Dir: Jean Renoir
Gone With the Wind (US, 1939) Dir: Victor Fleming
The Wizard of Oz (US, 1939) Dir: Victor Fleming
The Maltese Falcon (US, 1941) Dir: John Huston
Double Indemnity (US, 1944) Dir: Billy Wilder
La Dolce Vita (Italy, 1960) Dir: Federico Fellini
Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (US/UK, 1964) Dir: Stanley Kubrick
Aguirre, the Wrath of God (West Germany, 1972) Dir: Werner Herzog
Chinatown (US, 1974) Dir: Roman Polanski
Annie Hall (US, 1977) Dir: Woody Allen
Raging Bull (US, 1980) Dir: Martin Scorsese

On 20 lists
Metropolis
 (Germany, 1927) Dir: Fritz Lang
Sunset Blvd. (US, 1950) Dir: Billy Wilder
All About Eve (US, 1950) Dir: Joseph Mankiewicz
On the Waterfront (US, 1954) Dir: Elia Kazan
The Searchers (US, 1956) Dir: John Ford
Touch of Evil (US, 1958) Dir: Orson Welles
North by Northwest (US, 1959) Dir: Alfred Hitchcock
L’Avventura (Italy, 1960) Dir: Michelangelo Antonioni
Lawrence of Arabia (UK, 1962) Dir: David Lean
Blade Runner (US, 1982) Dir: Ridley Scott
Goodfellas (US, 1990) Dir: Martin Scorsese

On 19 lists
Battleship Potemkin (USSR, 1925) Dir: Sergei Eisenstein
Duck Soup (US, 1933) Dir: Leo McCarey
Rome, Open City (Italy, 1945) Dir: Roberto Rossellini
It’s a Wonderful Life (US, 1946) Dir: Frank Capra
The Third Man (UK, 1949) Dir: Carol Reed
Rear Window (US, 1954) Dir: Alfred Hitchcock
The Night of the Hunter (US, 1955) Dir: Charles Laughton
Pather Panchali (India, 1955) Dir: Satyajit Ray
12 Angry Men (US, 1957) Dir: Sidney Lumet
The Battle of Algiers (Italy/Algeria, 1965) Dir: Gillo Pontecorvo
Persona (Sweden, 1966) Dir: Ingmar Bergman
The Godfather Part II (US, 1974) Dir: Francis Ford Coppola
One Flew Over the Cuckoo’s Nest (US, 1975) Dir: Miloš Forman
Raiders of the Lost Ark (US, 1981) Dir: Steven Spielberg

On 18 lists
The General 
(US, 1926) Dir: Clyde Bruckman & Buster Keaton
Sunrise: A Song of Two Humans (US, 1927) Dir: F.W. Murnau
The Treasure of the Sierra Madre (US, 1948) Dir: John Huston
Andrei Rublev (USSR, 1966) Dir: Andrei Tarkovsky
The Conformist (Italy/France, 1970) Dir: Bernardo Bertolucci
Alien (US, 1979) Dir: Ridley Scott
The Shining (US/UK, 1980) Dir: Stanley Kubrick
Ran (Japan, 1985) Dir: Akira Kurosawa
Do The Right Thing (US, 1989) Dir: Spike Lee
Schindler’s List (US, 1993) Dir: Steven Spielberg
In the Mood for Love (China, 2000) Dir: Wong Kar-Wai
Spirited Away (Japan, 2001) Dir: Hayao Miyazaki

On 17 lists
L’Atalante
 (France, 1934) Dir: Jean Vigo
The Grapes of Wrath (US, 1940) Dir: John Ford
The Best Years of Our Lives (US, 1946) Dir: William Wyler
Notorious (US, 1946) Dir: Alfred Hitchcock
Ugetsu Monogatari
(Japan, 1953) Dir: Kenji Mizoguchi
Sansho the Bailiff (Japan, 1954) Dir: Kenji Mizoguchi
Sweet Smell of Success (US, 1957) Dir: Alexander Mackendrick
Hiroshima, Mon Amour (France/Japan, 1959) Dir: Alain Resnais
The Apartment (US, 1960) Dir: Billy Wilder
Jules and Jim (France, 1962) Dir: Francois Truffaut
The Wild Bunch (US, 1969) Dir: Sam Peckinpah
The Discreet Charm of the Bourgeoisie (France/Italy/Spain, 1972) Dir: Luis Buñuel
Jaws (US, 1975) Dir: Steven Spielberg
E.T.: The Extra-Terrestrial (US, 1982) Dir: Steven Spielberg
The Silence of the Lambs (US, 1990) Dir: Jonathan Demme
Fargo (US, 1996) Dir: Joel & Ethan Coen
Pan’s Labyrinth (Mexico/Spain, 2006) Dir: Guillermo del Toro

On 16 lists
Nosferatu, A Symphony of Horror (Germany, 1922) Dir: F.W. Murnau
It Happened One Night (US, 1934) Dir: Frank Capra
Children of Paradise (France, 1945) Dir: Marcel Carné
Ikiru (Japan, 1952) Dir: Akira Kurosawa
The Wages of Fear (France/Italy, 1953) Dir: Henri-Georges Clouzot
Wild Strawberries (Sweden, 1957) Dir: Ingmar Bergman
Paths of Glory (US, 1957) Dir: Stanley Kubrick
To Kill a Mockingbird (US, 1962) Dir: Robert Mulligan
The Good, the Bad, and the Ugly (Italy, 1966) Dir: Sergio Leone
The Graduate (US, 1967) Dir: Mike Nichols
Bonnie and Clyde (US, 1967) Dir: Arthur Penn
Belle de Jour (France, 1967) Dir: Luis Buñuel
A Clockwork Orange (UK/US, 1971) Dir: Stanley Kubrick
Mean Streets (US, 1973) Dir: Martin Scorsese
The Spirit of the Beehive (Spain, 1973) Dir: Victor Erice
Badlands (US, 1973) Dir: Terence Malick
This is Spinal Tap (US, 1984) Dir: Rob Reiner
Back to the Future (US, 1985) Dir: Robert Zemeckis
Groundhog Day (US, 1993) Dir: Harold Ramis
L.A. Confidential (US, 1997) Dir: Curtis Hanson

On 15 lists
The Cabinet of Dr. Caligari (Germany 1920) Dir: Robert Wiene
The Passion of Joan of Arc (France, 1928) Dir: Carl Theodor Dreyer
King Kong (US, 1933) Dir: Merian Cooper & Ernest Schoedsack
Bride of Frankenstein (US, 1935) Dir: James Whale
Modern Times (US, 1936) Dir: Charlie Chaplin
Brief Encounter (UK, 1945) Dir: David Lean
The Big Sleep (US, 1946) Dir: Howard Hawks
A Matter of Life and Death (Stairway to Heaven) (UK, 1946) Dir: Michael Powell & Emeric Pressburger
The Red Shoes (UK, 1948) Dir: Michael Powell & Emeric Pressburger
Mr. Hulot’s Holiday (France, 1953) Dir: Jacques Tati
The Earrings of Madame de… (France/Italy, 1953) Dir: Max Ophüls
The Bridge on the River Kwai (UK/US, 1957) Dir: David Lean
Viridiana (Spain/Mexico, 1961) Dir: Luis Buñuel
Playtime (France, 1967) Dir: Jacques Tati
Rosemary’s Baby (US, 1968) Dir: Roman Polanski
The Last Picture Show (US, 1971) Dir: Peter Bogdanovich
Nashville (US, 1975) Dir: Robert Altman
Close-Up (Iran, 1990) Dir: Abbas Kiarostami
Raise the Red Lantern (China, 1991) Dir: Zhang Yimou
Unforgiven (US, 1992) Dir: Clint Eastwood
Toy Story (US, 1995) Dir: John Lasseter
Mulholland Drive (US, 2001) Dir: David Lynch

On 14 lists
The Gold Rush (US, 1925) Dir: Charlie Chaplin
Bringing Up Baby (US, 1938) Dir: Howard Hawks
Stagecoach (US, 1939) Dir: John Ford
The Philadelphia Story (US, 1940) Dir: George Cukor
Rebecca (US, 1940) Dir: Alfred Hitchcock
His Girl Friday (US, 1940) Dir: Howard Hawks
My Darling Clementine (US, 1946) Dir: John Ford
Beauty and the Beast (France, 1946) Dir: Jean Cocteau
Kind Hearts and Coronets (UK, 1949) Dir: Robert Hamer
Los Olvidados (The Young and the Damned) (Mexico, 1950) Dir: Luis Buñuel
La Strada (Italy, 1954) Dir: Federico Fellini
Rebel Without a Cause (US, 1955) Dir: Nicholas Ray
Ashes and Diamonds (Poland, 1958) Dir: Andrzej Wajda
The World of Apu (India, 1959) Dir: Satyajit Ray
The Leopard (Italy, 1963) Dir: Luchino Visconti
A Hard Day’s Night (UK, 1964) Dir: Richard Lester
Au Hasard Balthazar (France, 1966) Dir: Robert Bresson
Once Upon a Time in the West (Italy/US, 1968) Dir: Sergio Leone
Butch Cassidy and the Sundance Kid (US, 1969) Dir: George Roy Hill
Solaris (USSR, 1972) Dir: Andrei Tarkovsky
The Conversation (US, 1974) Dir: Francis Ford Coppola
All the President’s Men (US, 1976) Dir: Alan J. Pakula
Close Encounters of the Third Kind (US, 1977) Dir: Steven Spielberg
The Deer Hunter (US, 1978) Dir: Michael Cimino)
Shoah (France, 1985) Dir: Claude Lanzmann
Wings of Desire (West Germany/France, 1987) Dir: Wim Wenders
Reservoir Dogs (US, 1992) Dir: Quentin Tarantino
Three Colors: Red (France/Poland/Switzerland, 1994) Dir: Krzysztof Kieślowski
Saving Private Ryan (US, 1998) Dir: Steven Spielberg

On 13 lists
Greed (US, 1924) Dir: Erich von Stroheim
Snow White and the Seven Dwarfs (US, 1937) Dir: David Hand, et al.
The Adventures of Robin Hood (US, 1938) Dir: Michael Curtiz
The Great Dictator (US, 1940) Dir: Charlie Chaplin
The Lady Eve (US, 1941) Dir: Preston Sturges
To Be or Not To Be (US, 1942) Dir: Ernst Lubitsch
Umberto D (Italy, 1952) Dir: Vittorio de Sica
West Side Story (US, 1961) Dir: Robert Wise & Jerome Robbins
The Hustler (US, 1961) Dir: Robert Rossen
The Manchurian Candidate (US, 1962) Dir: John Frankenheimer
Contempt (France, 1963) Dir: Jean-Luc Godard
Blow-Up (Italy/UK/US, 1966) Dir: Michelangelo Antonioni
Night of the Living Dead (US, 1968) Dir: George Romero
McCabe and Mrs. Miller (US, 1971) Dir: Robert Altman
The Exorcist (US, 1973) Dir: William Friedkin
Days of Heaven (US, 1978) Dir: Terence Malick
Fanny and Alexander (Sweden/France/West Germany, 1982) Dir: Ingmar Bergman
Amadeus (US, 1984) Dir: Miloš Forman
Aliens (US, 1986) Dir: James Cameron
Cinema Paradiso (Italy, 1988) Dir: Giuseppe Tornatore
The Decalogue (Poland, 1988) Dir: Krzysztof Kieślowski
The Shawshank Redemption (US, 1994) Dir: Frank Darabont
The Celebration (Denmark, 1998) Dir: Thomas Vinterberg
American Beauty (US, 1999) Dir: Sam Mendes
Amélie (France/Germany, 2001) Dir: Jean-Pierre Jeunet
The Lord of the Rings: The Fellowship of the Ring (New Zealand/US, 2001) Dir: Peter Jackson
City of God 
(Brazil, 2002) Dir: Fernando Meirelles

On 12 lists

City Lights (US, 1931) Dir: Charlie Chaplin
Trouble in Paradise (US, 1932) Dir: Ernst Lubitsch
Mr. Smith Goes to Washington (US, 1939) Dir: Frank Capra
Sullivan’s Travels (US, 1941) Dir: Preston Sturges
The Palm Beach Story (US, 1942) Dir: Preston Sturges
The Life and Death of Colonel Blimp (UK, 1943) Dir: Michael Powell & Emeric Pressburger
Meet Me in St. Louis (US, 1944) Dir: Vincente Minnelli
Great Expectations (UK, 1946) Dir: David Lean
Strangers on a Train (US, 1951) Dir: Alfred Hitchcock
A Streetcar Named Desire (US, 1951) Dir: Elia Kazan
The Big Heat (US, 1953) Dir: Fritz Lang
The Band Wagon (US, 1953) Dir: Vincente Minnelli
Diabolique (France. 1955) Dir: Henri-Georges Clouzot
Nights of Cabiria (Italy, 1957) Dir: Federico Fellini
Ben-Hur (US, 1959) Dir: William Wyler
Peeping Tom (UK, 1960) Dir: Michael Powell
Last Year at Marienbad (France/Italy, 1961) Dir: Alain Resnais
The Exterminating Angel (Mexico, 1962) Dir: Luis Buñuel
The Man Who Shot Liberty Valance (US, 1962) Dir: John Ford
The Umbrellas of Cherbourg (France, 1964) Dir: Jacques Demy
Point Blank (US, 1967) Dir: John Boorman
My Night at Maud’s (France, 1969) Dir: Éric Rohmer
The French Connection (US, 1971) Dir: William Friedkin
Don’t Look Now (UK/Italy, 1973) Dir: Nicholas Roeg
Dog Day Afternoon (US, 1975) Dir: Sidney Lumet
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Belgium/France, 1975) Dir: Chantal Akerman
Network (US, 1976) Dir: Sidney Lumet
Killer of Sheep (US, 1977) Dir: Charles Burnett
The Marriage of Maria Braun (West Germany, 1979) Dir: Rainer Werner Fassbinder
All That Jazz (US, 1979) Dir: Bob Fosse
The Empire Strikes Back (Star Wars: Episode V) (US, 1980) Dir: Irvin Kershner
Tootsie (US, 1982) Dir: Sydney Pollack
The King of Comedy (US, 1983) Dir: Martin Scorsese
Brazil (UK/US, 1985) Dir: Terry Gilliam
Come and See (USSR, 1985) Dir: Elem Klimov
Blue Velvet (US, 1986) Dir: David Lynch
The Piano (New Zealand/Australia/France, 1993) Dir: Jane Campion
Seven (US, 1995) Dir: David Fincher
The Usual Suspects (US, 1995) Dir: Bryan Singer
Taste of Cherry (Iran, 1997) Dir: Abbas Kiarostami
The Big Lebowski (US, 1998) Dir: Joel & Ethan Coen
The Matrix (US, 1999) Dir: The Wachowskis
Caché (Hidden) (France/Austria/Germany/Italy, 2005) Dir: Michael Haneke

On 11 lists
Intolerance: Love’s Struggle Through the Ages (US, 1916) Dir: D.W. Griffith
Sherlock, Jr. (US, 1924) Dir: Buster Keaton
Man with a Movie Camera (USSR, 1929) Dir: Dziga Vertov
L’Âge d’Or (France, 1930) Dir: Luis Buñuel
Top Hat (US, 1935) Dir: Mark Sandrich
The Thief of Bagdad (UK, 1940) Dir: Michael Powell, Ludwig Berger and Tim Whelan
Ivan the Terrible, Part I (USSR, 1944) Dir: Sergei Eisenstein
Laura (US, 1944) Dir: Otto Preminger
Out of the Past (US, 1947) Dir: Jacques Tourneur
Diary of a Country Priest (France, 1951) Dir: Robert Bresson
High Noon (US, 1952) Dir: Fred Zinnemann
Shane (US, 1953) Dir: George Stevens
Roman Holiday (US, 1953) Dir: William Wyler
Viaggio in Italia (Voyage to Italy) (Italy/France, 1953) Dir: Roberto Rossellini
Written on the Wind (US, 1956) Dir: Douglas Sirk
Rocco and his Brothers (Italy/France, 1960) Dir: Luchino Visconti
La Jetée (France, 1962) Dir: Chris Marker
Goldfinger (UK, 1964) Dir: Guy Hamilton
Cool Hand Luke (US, 1967) Dir: Stuart Rosenberg
The Producers (US, 1968) Dir: Mel Brooks
If… (UK, 1968) Dir: Lindsay Anderson
Midnight Cowboy (US, 1969) Dir: John Schlesinger
Easy Rider (US, 1969) Dir: Dennis Hopper
Cabaret (US, 1972) Dir: Bob Fosse
Last Tango in Paris (Italy/France, 1972) Dir: Bernardo Bertolucci
The Long Goodbye (US, 1973) Dir: Robert Altman
American Graffiti (US, 1973) Dir: George Lucas
The Texas Chain Saw Massacre (US, 1974) Dir: Tobe Hooper
Ali: Fear Eats the Soul (West Germany, 1974) Dir: Rainer Maria Fassbinder
Barry Lyndon (UK/US, 1975) Dir: Stanley Kubrick
Airplane! (US, 1980) Dir: Jim Abrahams, David Zucker & Jerry Zucker
Fitzcarraldo (West Germany, 1982) Dir: Werner Herzog
Paris, Texas (West Germany/France, 1984) Dir: Wim Wenders
Yi Yi: A One and a Two (Taiwan, 2000) Dir: Edward Yang
Eternal Sunshine of the Spotless Mind (US, 2004) Dir: Michel Gondry

On 10 lists
The Birth of a Nation (US, 1915) Dir: D.W. Griffith
Napoléon (France, 1927) Dir: Abel Gance
Un Chien Andalou (France, 1929) Dir: Luis Buñuel & Salvador Dali
All Quiet on the Western Front (US, 1930) Dir: Lewis Milestone
Zero for Conduct (France, 1933) Dir: Jean Vigo
The 39 Steps (UK, 1935) Dir: Alfred Hitchcock
The Lady Vanishes (UK, 1938) Dir: Alfred Hitchcock
Alexander Nevsky (USSR, 1938) Dir: Sergei Eisenstein
Shadow of a Doubt (US, 1943) Dir: Alfred Hitchcock
Paisan
 (Italy, 1946) Dir: Roberto Rossellini
Red River (US, 1948) Dir: Howard Hawks
La Terra Trema (Italy, 1948) Dir: Luchino Visconti
In a Lonely Place (US, 1950) Dir: Nicholas Ray
Orpheus (France, 1950) Dir: Jean Cocteau
An American in Paris (US, 1951) Dir: Vincente Minnelli
Johnny Guitar (US, 1954) Dir: Nicholas Ray
A Star is Born (US, 1954) Dir: George Cukor
East of Eden (US, 1955) Dir: Elia Kazan
Bob le Flambeur (France, 1955) Dir: Jean-Pierre Melville
Invasion of the Body Snatchers (US, 1956) Dir: Don Siegel
Aparajito (India, 1956) Dir: Satyajit Ray
Pickpocket (France, 1959) Dir: Robert Bresson
Rio Bravo (US, 1959) Dir: Howard Hawks
Anatomy of a Murder (US, 1959) Dir: Otto Preminger
Spartacus (US, 1960) Dir: Stanley Kubrick
The Birds (US, 1963) Dir: Alfred Hitchcock
The Gospel According to St. Matthew (Italy, 1964) Dir: Pier Paolo Pasolini
My Fair Lady (US, 1964) Dir: George Cukor
Doctor Zhivago (UK/Italy, 1965) Dir: David Lean
The Sound of Music (US, 1965) Dir: Robert Wise
Pierrot le Fou (France, 1965) Dir: Jean-Luc Godard
Le Samouraï (France/Italy, 1967) Dir: Jean-Pierre Melville
Z (France/Algeria, 1969) Dir: Costa-Gavras
Five Easy Pieces (US, 1970) Dir: Bob Rafelson
Performance (UK, 1970) Dir: Donald Cammell & Nicholas Roeg
M*A*S*H (US, 1970) Dir: Robert Altman
Dirty Harry (US, 1971) Dir: Don Siegel
Walkabout (UK/Australia, 1971) Dir: Nicolas Roeg
Day for Night (France, 1973) Dir: François Truffaut
Amarcord (Italy, 1973) Dir: Federico Fellini
The Mother and the Whore (France, 1973) Dir: Jean Eustache
A Woman Under the Influence (US, 1974) Dir: John Cassavetes
Celine and Julie Go Boating (France, 1974) Dir: Jacques Rivette
Saturday Night Fever (US, 1977) Dir: John Badham
Being There (US, 1979) Dir: Hal Ashby
The Elephant Man (US/UK, 1980) Dir: David Lynch
The Big Red One (US, 1980) Dir: Samuel Fuller
Scarface (US, 1983) Dir: Brian DePalma
Who Framed Roger Rabbit? (US, 1988) Dir: Robert Zemeckis
Die Hard (US, 1988) Dir: John McTiernan
Crimes and Misdemeanors (US, 1989) Dir: Woody Allen
La Belle Noiseuse (France/Switzerland, 1991) Dir: Jacques Rivette
Trainspotting (UK, 1996) Dir: Danny Boyle
The Lives of Others (Germany, 2006) Dir: Florian Henckel von Donnersmarck

On 9 lists
The Last Laugh (Germany, 1924) Dir: F.W. Murnau
Pandora’s Box (Germany, 1929) Dir: G.W. Pabst
Earth (USSR, 1930) Dir: Alexander Dozvenko
Frankenstein (US, 1931) Dir: James Whale
The Public Enemy (US, 1931) Dir: William Wellman
Freaks (US, 1932) Dir: Tod Browning
The Awful Truth (US, 1937) Dir: Leo McCarey
Ninotchka (US, 1939) Dir: Ernst Lubitsch
Fantasia (US, 1940) Dir: Ben Sharpsteen, David Hand, et al.
The Magnificent Ambersons (US, 1942) Dir: Orson Welles
To Have and Have Not (US, 1944) Dir: Howard Hawks
Odd Man Out (UK, 1947) Dir: Carol Reed
Monsieur Verdoux (US, 1947) Dir: Charlie Chaplin
White Heat (US, 1949) Dir: Raoul Walsh
The Asphalt Jungle (US, 1950) Dir: John Huston
The Day the Earth Stood Still (US, 1951) Dir: Robert Wise
The African Queen (US, 1951) Dir: John Huston
Ace in the Hole (The Big Carnival) (US, 1951) Dir: Billy Wilder
Forbidden Games (France, 1952) Dir: René Clément
Pickup on South Street (US, 1953) Dir: Samuel Fuller
Ordet (Denmark, 1955) Dir: Carl Theodor Dreyer
Rififi (France, 1955) Dir: Jules Dassin
Throne of Blood (Japan, 1957) Dir: Akira Kurosawa
The Cranes are Flying (USSR, 1957) Dir: Mikhail Kalatozov
Mon Oncle (France, 1958) Dir: Jacques Tati
Shadows (US, 1959) Dir: John Cassavetes
Shoot the Piano Player (France, 1960) Dir: François Truffaut
Cléo from 5 to 7 (France, 1962) Dir: Agnès Varda
L’Eclisse (Italy, 1962) Dir: Michelangelo Antonioni
Shock Corridor (US, 1963) Dir: Samuel Fuller
Woman in the Dunes (Japan, 1964) Dir: Hiroshi Teshigahara
Who’s Afraid of Virginia Woolf? (US, 1966) Dir: Mike Nichols
Closely Watched Trains (Czechoslovakia, 1966) Dir: Jiří Menzel
Weekend (France, 1967) Dir: Jean-Luc Godard
Faces (US, 1968) Dir: John Cassavetes
Le Boucher (France, 1970) Dir: Claude Chabrol
W.R.: Mysteries of the Organism (Yugoslavia, 1971) Dir: Dušan Makavejev
Get Carter (UK, 1971) Dir: Mike Hodges
Deliverance (US, 1972) Dir: John Boorman
Cries and Whispers (Sweden, 1972) Dir: Ingmar Bergman
Monty Python and the Holy Grail (UK, 1975) Dir: Terry Gilliam & Terry Jones
Rocky (UK, 1976) Dir: John G. Avildsen
In the Realm of the Senses (Japan, 1976) Dir: Nagisa Oshima
Eraserhead (US, 1977) Dir: David Lynch
Manhattan (US, 1979) Dir: Woody Allen
Atlantic City (France/Canada, 1980) Dir: Louis Malle
Heimat (West Germany, 1984) Dir: Edgar Reitz
Breaking the Waves (Denmark/UK, 1996) Dir: Lars von Trier
Magnolia (US, 1999) Dir: Paul Thomas Anderson
A.I.: Artificial Intelligence (US, 2001) Dir: Steven Spielberg

On 8 lists
Broken Blossoms (US, 1919) Dir: D.W. Griffith
Nanook of the North (US, 1922) Dir: Robert J. Flaherty
The Crowd (US, 1928) Dir: Rouben Mamoulian
42nd Street (US, 1933) Dir: Lloyd Bacon & Busby Berkeley
The Scarlet Empress (US, 1934) Dir: Josef von Sternberg
The Thin Man (US, 1934) Dir: W.S. Van Dyke
Swing Time (US, 1936) Dir: George Stevens
My Man Godfrey (US, 1936) Dir: Gregory La Cava
Make Way for Tomorrow (US, 1937) Dir: Leo McCarey
Olympia 1. Teil: Fest der Völker (Germany, 1938) Dir: Leni Riefenstahl
Olympia 2. Teil: Fest der Schönheit (Germany, 1938) Dir: Leni Riefenstahl
Only Angels Have Wings (US, 1939) Dir: Howard Hawks
Le Jour Se Lève (France, 1939) Dir: Marcel Carné
The Bank Dick (US, 1940) Dir: Edward F. Cline
Pinocchio (US, 1940) Dir: Ben Sharpsteen & Hamilton Luske
Dumbo (US, 1941) Dir: Ben Sharpsteen
Yankee Doodle Dandy (US, 1942) Dir: Michael Curtiz
Now, Voyager (US, 1942) Dir: Irving Rapper
I Know Where I’m Going! (UK, 1945) Dir: Michael Powell & Emeric Pressburger
Detour (US, 1945) Dir: Edgar G. Ulmer
Black Narcissus (UK, 1946) Dir: Michael Powell & Emeric Pressburger
On the Town (US, 1949) Dir: Gene Kelley & Stanley Donen
The Quiet Man (US, 1952) Dir: John Ford
From Here to Eternity (US, 1953) Dir: Fred Zinnemann
Gentlemen Prefer Blondes (US, 1953) Dir: Howard Hawks
Kiss Me Deadly (US, 1955) Dir: Robert Aldrich
Smiles of a Summer Night (Sweden, 1955) Dir: Ingmar Bergman
A Man Escaped (France, 1956) Dir: Robert Bresson
Ivan the Terrible, Part II (USSR, 1958) Dir: Sergei Eisenstein
Yojimbo (Japan, 1961) Dir: Akira Kurosawa
The Servant (UK, 1963) Dir: Joseph Losey
Repulsion (UK, 1965) Dir: Roman Polanski
Daisies (Czechoslovakia, 1966) Dir: Věra Chytilová
In the Heat of the Night (US, 1967) Dir: Norman Jewison
The Color of Pomegranates (USSR, 1968) Dir: Sergei Parajanov
Memories of Underdevelopment (Cuba, 1968) Dir: Tomás Gutiérrez Alea
Tristana (Spain/France/Italy, 1970) Dir: Luis Buñuel
Harold and Maude (US, 1971) Dir: Hal Ashby
A Touch of Zen (Taiwan, 1971) Dir: King Hu
The Sting (US, 1973) Dir: George Roy Hill
Blazing Saddles (US, 1974) Dir: Mel Brooks
Young Frankenstein (US, 1974) Dir: Mel Brooks
Picnic at Hanging Rock (Australia, 1975) Dir: Peter Weir
Mirror (USSR, 1975) Dir: Andrei Tarkovsky
The Outlaw Josey Wales (US, 1976) Dir: Clint Eastwood
Suspiria (Italy, 1977) Dir: Dario Argento
Dawn of the Dead (US, 1978) Dir: George Romero
Halloween (US, 1978) Dir: John Carpenter
The Tree of Wooden Clogs (Italy, 1978) Dir: Emanno Olmi
Monty Python’s Life of Brian (UK, 1979) Dir: Terry Jones
The Tin Drum (West Germany/Poland/France, 1979) Dir: Volker Schlöndorff
Stalker (USSR, 1979) Dir: Andrei Tarkovsky
Mon Oncle d’Amerique (France, 1980) Dir: Alain Resnais
Platoon (US, 1986) Dir: Oliver Stone
Women on the Verge of a Nervous Breakdown (Spain, 1988) Dir: Pedro Almodovar
The Killer (Hong Kong, 1989) Dir: John Woo
Farewell My Concubine (China, 1993) Dir: Chen Kaige
Casino (US, 1995) Dir: Martin Scorsese
The Thin Red Line (US, 1998) Dir: Terence Malick
All About My Mother (Spain, 1999) Dir: Pedro Almodóvar
Y Tu Mamá También (Mexico, 2001) Dir: Alfonso Cuarón
Talk to Her (Spain, 2002) Dir: Pedro Almodóvar
The Lord of the Rings: The Return of the King (New Zealand/US, 2003) Dir: Peter Jackson

On 7 lists
Les Vampires (France, 1915) Dir: Louis Feuillade
The Blue Angel (Germany, 1930) Dir: Josef von Sternberg
Dracula (US, 1931) Dir: Tod Browning
La Chienne (France, 1931) Dir: Jean Renoir
À Nous la Liberté (France, 1931) Rene Clair
It’s a Gift (US, 1934) Dir: Norman Z. McLeod
Une Partie de Campagne (A Day in the Country) (France, 1936) Dir: Jean Renoir
Fury (US, 1936) Dir: Fritz Lang
Dodsworth (US, 1936) Dir: William Wyler
Gunga Din (US, 1939) Dir: George Stevens
The Shop Around the Corner (US, 1940) Dir: Ernst Lubitsch
How Green Was My Valley (US, 1941) Dir: John Ford
Ossessione (Italy, 1943) Dir: Luchino Visconti
The Miracle of Morgan’s Creek (US, 1944) Dir: Preston Sturges
Mildred Pierce (US, 1945) Dir: Michael Curtiz
The Killers (US, 1946) Dir: Robert Siodmak
Force of Evil (US, 1948) Dir: Abraham Polonsky
They Live By Night (US, 1949) Dir: Nicholas Ray
She Wore a Yellow Ribbon (US, 1949) Dir: John Ford
A Letter to Three Wives (US, 1949) Dir: Joseph L. Mankiewicz
The Bad and the Beautiful (US, 1952) Dir: Vincente Minnelli
Senso (Italy, 1954) Dir: Luchino Visconti
Lola Montès (France, 1955) Dir: Max Ophüls
All That Heaven Allows (US, 1955) Dir: Douglas Sirk
The Killing (US, 1956) Dir: Stanley Kubrick
Imitation of Life (US, 1959) Dir: Douglas Sirk
Splendor in the Grass (US, 1961) Dir: Elia Kazan
The Misfits (US, 1961) Dir: John Huston
What Ever Happened to Baby Jane? (US, 1962) Dir: Robert Aldrich
Ride the High Country (US, 1962) Dir: Sam Peckinpah
Lolita (UK/US, 1962) Dir: Stanley Kubrick
Tom Jones (UK, 1963) Dir: Tony Richardson
Mary Poppins (US, 1964) Dir: Robert Stevenson
Alphaville (France, 1965) Dir: Jean-Luc Godard
Chimes at Midnight (Falstaff) (Spain/Switzerland, 1965) Dir: Orson Welles
Loves of a Blonde (Czecholsolvakia, 1965) Dir: Miloš Forman
Juliet of the Spirits (Italy/France, 1965) Dir: Federico Fellini
In Cold Blood (US, 1967) Dir: Richard Brooks
Dont Look Back (US, 1967) Dir: D.A. Pennebaker
Planet of the Apes (US, 1968) Dir: Franklin J. Schaffner
Gimme Shelter (US, 1970) Dir: Albert Maysles, David Maysles & Charlotte Zwerin
Claire’s Knee (France, 1970) Dir: Eric Rohmer
Sunday Bloody Sunday (UK, 1971) Dir: John Schlesinger
Straw Dogs (UK/US, 1971) Dir: Sam Peckinpah
Fat City (US, 1972) Dir: John Huston
Bring Me the Head of Alfredo Garcia (Mexico/US, 1974) Dir: Sam Peckinpah
1900 (Italy/France/West Germany, 1977) Dir: Bernardo Bertolucci
The American Friend (West Germany/France, 1977) Dir: Wim Wenders
National Lampoon’s Animal House (US, 1978) Dir: John Landis
Reds (US, 1981) Dir: Warren Beatty
Pixote (Brazil, 1981) Dir: Hector Babenco
Videodrome (Canada, 1982) Dir: David Cronenberg
Diner (US, 1982) Dir: Barry Levinson
L’Argent (France, 1983) Dir: Robert Bresson
The Right Stuff (US, 1983) Dir: Philip Kaufmann
Berlin Alexanderplatz (West Germany, 1983) Dir: Rainer Werner Fassbinder
Stranger than Paradise (US, 1984) Dir: Jim Jarmusch
A Nightmare on Elm Street (US, 1984) Dir: Wes Craven
Platoon (US, 1986) Dir: Oliver Stone
Raising Arizona (US, 1987) Dir: Joel & Ethan Coen
Moonstruck (US, 1987) Dir: Norman Jewison
The Dead (Ireland/UK/US/West Germany, 1987) Dir: John Huston
Red Sorghum (China, 1987) Dir: Zhang Yimou
The Princess Bride (US, 1987) Dir: Rob Reiner
Au Revoir, Les Enfants (France/West Germany/Italy, 1988) Dir: Louis Malle
The Thin Blue Line (US, 1988) Dir: Errol Morris
Dead Ringers (Canada/US, 1988) Dir: David Cronenberg
Ju Dou (China, 1990) Dir: Zhang Yimou
Thelma & Louise (US, 1991) Dir: Ridley Scott
My Own Private Idaho (US, 1991) Dir: Gus Van Sant
Beauty and the Beast (US, 1991) Dir: Gary Trousdale & Kirk Wise
Howards End (UK/US/Japan, 1992) Dir: James Ivory
The Crying Game (Ireland/UK/Japan, 1992) Dir: Neil Jordan
Sátántangó (Hungary/Germany/Switzerland, 1994) Dir: Béla Tarr
Wild Reeds (France, 1994) Dir: André Téchinée
The Sweet Hereafter (Canada, 1997) Dir: Atom Egoyan
Happy Together (Hong Kong/China, 1997) Dir: Wong Kar-Wai
Memento (US, 2000) Dir: Christopher Nolan
Gladiator (US, 2000) Dir: Ridley Scott
Oldboy (South Korea, 2003) Dir: Park Chan-wook
There Will Be Blood (US, 2007) Dir: Paul Thomas Anderson

On 6 lists
Dr. Mabuse, the Gambler (Germany, 1922) Dir: Fritz Lang
Safety Last! (US, 1923) Dir: Fred Newmeyer & Sam Taylor
The Big Parade (US, 1925) Dir: King Vidor
October (Ten Days that Shook the World) (USSR, 1927) Dir: Sergei Eisenstein
Little Caesar (US, 1931) Dir: Mervyn LeRoy
Vampyr (Germany/France, 1932) Dir: Carl Theodor Dreyer
Boudu Saved from Drowning (France, 1932) Dir: Jean Renoir
Love Me Tonight (US, 1932) Dir: Rouben Mamoulian
Triumph of the Will (Germany, 1934) Dir: Leni Riefenstahl
A Night at the Opera (US, 1935) Dir: Sam Wood
Wuthering Heights (US, 1939) Dir: William Wyler
The Story of the Last Chrysanthemum (Japan, 1939) Dir: Kenji Mizoguchi
Cat People (US, 1942) Dir: Jacques Tourneur
The Ox-Bow Incident (US, 1943) Dir: William A. Wellman
The Lost Weekend (US, 1945) Dir: Billy Wilder
Gilda (US, 1946) Dir: Charles Vidor
Letter From an Unknown Woman (US, 1948) Dir: Max Ophüls
Spring in a Small Town (China, 1948) Dir: Mu Fei
Adam’s Rib (US, 1949) Dir: George Cukor
Winchester ’73 (US, 1950) Dir: Anthony Mann
A Place in the Sun (US, 1951) Dir: George Stevens
The Lavender Hill Mob (UK, 1951) Dir: Charles Crichton
Seven Brides for Seven Brothers (US, 1954) Dir: Stanley Donen
The Man with the Golden Arm (US, 1955) Dir: Otto Preminger
Bad Day at Black Rock (US, 1955) Dir: John Sturges
Marty (1955) Dir: Delbert Mann
An Affair to Remember (US, 1957) Dir: Leo McCarey
Gigi (US, 1958) Dir: Vincente Minnelli
Dracula (UK, 1958) Dir: Terence Fisher
Saturday Night and Sunday Morning (UK/US, 1960) Dir: Karel Reisz
Breakfast at Tiffany’s (US, 1961) Dir: Blake Edwards
Lola (France/Italy, 1961) Dir: Jacques Demy
An Autumn Afternoon (Japan, 1962) Dir: Yazujiro Ozu
Vivre sa Vie (My Life to Live) (France, 1962) Dir: Jean-Luc Godard
Gertrud (Denmark, 1964) Dir: Carl Theodor Dreyer
Band of Outsiders (France, 1964) Dir: Jean-Luc Godard
Two or Three Things I Know About Her (France, 1967) Dir: Jean-Luc Godard
Kes (UK, 1969) Dir: Ken Loach
Fellini Satyricon (Italy, 1969) Dir: Federico Fellini
The Sorrow and the Pity (France/West Germany/Switzerland, 1969) Dir: Marcel Ophüls
Little Big Man (US, 1970) Dir: Arthur Penn
Patton (US, 1970) Dir: Franklin J. Schaffner
Wanda (US, 1970) Dir: Barbara Loden
Woodstock (US, 1970) Dir: Michael Wadleigh
Klute (US, 1971) Dir: Alan J. Pakula
Pat Garrett and Billy the Kid (US, 1973) Dir: Sam Peckinpah
The Wicker Man (UK, 1973) Dir: Robin Hardy
Scenes from a Marriage (Sweden, 1973) Dir: Ingmar Bergman
Carrie (US, 1976) Dir: Brian De Palma
Das Boot (West Germany, 1981) Dir: Wolfgang Petersen
Mad Max 2 (The Road Warrior) (Australia, 1982) Dir: George Miller
A Room with a View (UK, 1985) Dir: James Ivory
Withnail and I (UK, 1987) Dir: Bruce Robinson
When Harry Met Sally… (US, 1989) Dir: Rob Reiner
Say Anything… (US, 1989) Dir: Cameron Crowe
To Live (China, 1994) Dir: Zhang Yimou
Three Colors: White (France/Poland/Switzerland, 1994) Dir: Krzysztof Kieślowski
Beau Travail (France, 1999) Dir: Claire Denis
Russian Ark (Russia, 2002) Dir: Aleksandr Sokurov
The Lord of the Rings: The Two Towers (US/New Zealand, 2002) Dir: Peter Jackson
Lost in Translation (US, 2003) Dir: Sofia Coppola
4 Months, 3 Weeks and 2 Days (Romania, 2007) Dir: Cristian Mungiu
Wall-E (US, 2008) Dir: Andrew Stanton
Mad Max: Fury Road (Australia/US, 2015) Dir: George Miller

On 5 lists
Häxan: Witchcraft Through the Ages (Sweden/Denmark, 1922) Dir: Benjamin Christensen
Foolish Wives (US, 1922) Dir: Erich von Stroheim
The Thief of Bagdad (US, 1924) Dir: Raoul Walsh
Strike (USSR, 1925) Dir: Sergei M. Eisenstein
The Phantom of the Opera (US, 1925) Dir: Rupert Julian
Tabu: A Story of the South Seas (US, 1931) Dir: F.W. Murnau
Le Million (France, 1931) Dir: Rene Clair
Shanghai Express (US, 1932) Dir: Josef von Sternberg
Scarface (US, 1932) Dir: Howard Hawks & Robert Rosson
I Walked with a Zombie (US, 1943) Dir: Jacques Tourneur
Day of Wrath (Denmark, 1943) Dir: Carl Theodor Dreyer
The Lady From Shanghai (US, 1948) Dir: Orson Welles
Gun Crazy (US, 1949) Dir: Joseph H. Lewis
The River (France/India/US, 1951) Dir: Jean Renoir
Europa ’51 (Italy, 1952) Dir: Roberto Rossellini
Bigger Than Life (US, 1956) Dir: Nicholas Ray
Man of the West (US, 1958) Dir: Anthony Mann
Floating Weeds (Japan, 1959) Dir: Yasujiro Ozu
Eyes Without a Face (France/Italy, 1960) Dir: Georges Franju
The Cloud-Capped Star (Italy, 1960) Dir: Ritwik Ghatak
Knife in the Water (Poland, 1962) Dir: Roman Polanski
The Great Escape (US, 1963) Dir: John Sturges
Red Desert (Italy, 1964) Dir: Michelangelo Antonioni
Black God, White Devil (Brazil, 1964) Dir: Glauber Rocha
Shadows of Forgotten Ancestors (USSR, 1964) Dir: Sergei Parajanov
The Young Girls of Rochefort (France, 1967) Dir: Jacques Demy
Bullitt (US, 1968) Dir: Peter Yates
Army of Shadows (France/Italy, 1969) Dir: Jean-Pierre Melville
Zabriskie Point (US, 1970) Dir: Michelangelo Antonioni
The Devils (UK/US, 1971) Dir: Ken Russell
Two-Lane Blacktop (US, 1971) Dir: Monte Hellman
Death in Venice (Italy/France, 1971) Dir: Luchino Visconti
The Bitter Tears of Petra Von Kant (West Germany, 1972) Dir: Rainer Werner Fassbinder
F for Fake (France/West Germany/Iran/US, 1973) Dir: Orson Welles
Enter the Dragon (Hong Kong/US, 1973) Dir: Robert Clouse
Touki Bouki (Senegal, 1973) Dir: Djibril Diop Mambéty
The Enigma of Kaspar Hauser (West Germany, 1974) Dir: Werner Herzog
The Travelling Players (Greece, 1975) Dir: Theodoros Angelopoulos
India Song (France, 1975) Dir: Marguerite Duras
The Killing of a Chinese Bookie (US, 1976) Dir: John Cassavetes
Grease (US, 1978) Dir: Randal Kleiser
An American Werewolf in London (UK/US, 1981) Dir: John Landis
Chariots of Fire (UK, 1981) Dir: Hugh Hudson
Blow Out (US, 1981) Dir: Brian De Palma
Mephisto (Hungary, 1981) Dir: István Szabó
Ghostbusters (US, 1984) Dir: Ivan Reitman
Full Metal Jacket (UK/US, 1987) Dir: Stanley Kubrick
My Left Foot (Ireland/UK, 1989) Dir: Jim Sheridan
Terminator 2: Judgment Day (US, 1991) Dir: James Cameron
JFK (US, 1991) Dir: Oliver Stone
Hoop Dreams (US, 1994) Dir: Steve James
La Haine (France, 1995) Dir: Mathieu Kassovitz
Heat (US, 1995) Dir: Michael Mann
The Fly (US, 1996) Dir: David Cronenberg
Fight Club (US, 1999) Dir: David Fincher
Werckmeister Harmonies (Hungary, 2000) Dir: Béla Tarr & Agnes Hranitzky
Crouching Tiger, Hidden Dragon (China/Taiwan/US, 2000) Dir: Ang Lee
Brokeback Mountain (US, 2005) Dir: Ang Lee
No Country For Old Men (US, 2007) Dir: Joel & Ethan Coen
The Dark Knight (US, 2008) Dir: Christopher Nolan
Boyhood (US, 2014) Dir: Richard Linklater

On 4 lists
Steamboat Bill, Jr. (US, 1928) Dir: Charles Reisner & Buster Keaton
The Private Life of Henry VIII (UK, 1933) Dir: Alexander Korda
The Informer (US, 1935) Dir: John Ford
Ruggles of Red Gap (US, 1935) Dir: Leo McCarey
Mutiny on the Bounty (US, 1935) Dir: Frank Lloyd
You Only Live Once (US, 1937) Dir: Fritz Lang
Young Mr. Lincoln (US, 1939) Dir: John Ford
Midnight (US, 1939) Dir: Mitchell Leisen
Destry Rides Again (US, 1939) Dir: George Marshall
The Great McGinty (US, 1940) Dir: Preston Sturges
Sergeant York (US, 1941) Dir: Howard Hawks
Woman of the Year (US, 1942) Dir: George Stevens
Bambi (US, 1942) Dir: David Hand, et al.
Hail the Conquering Hero (US, 1944) Dir: Preston Sturges
Henry V (UK, 1944) Dir: Laurence Olivier
Spellbound (US, 1945) Dir: Alfred Hitchcock
The Spiral Staircase (US, 1946) Dir: Robert Siodmak
The Postman Always Rings Twice (US, 1946) Dir: Tay Garnett
Shoeshine (Italy, 1946) Dir: Vittorio De Sica
The Snake Pit (US, 1948) Dir: Anatole Litvak
All the King’s Men (US, 1949) Dir: Robert Rossen
Late Spring (Japan, 1949) Dir: Yasujiro Ozu
The Heiress (US, 1949) Dir: William Wyler
Viva Zapata! (US, 1952) Dir: Elia Kazan
Life of Oharu (Japan, 1952) Dir: Kenji Mizoguchi
Gate of Hell (Japan, 1953) Dir: Teinosuke Kinugasa
The Naked Spur (US, 1953) Dir: Anthony Mann
Carmen Jones (US, 1954) Dir: Otto Preminger
Richard III (UK, 1955) Dir: Laurence Olivier
Summertime (US, 1955) Dir: David Lean
Giant (US, 1956) Dir: George Stevens
A Face in the Crowd (US, 1957) Dir: Elia Kazan
Funny Face (US, 1957) Dir: Stanely Donen
The Defiant Ones (US, 1958) Dir: Stanley Kramer
Big Deal on Madonna Street (Italy, 1958) Dir: Mario Monicelli
Black Orpheus (Brazil/France/Italy, 1959) Dir: Marcel Camus
Elmer Gantry (US, 1960) Dir: Richard Brooks
The Innocents (UK, 1961) Dir: Jack Clayton
Long Day’s Journey Into Night (US, 1962) Dir: Sidney Lumet
The Pink Panther (US, 1963) Dir: Blake Edwards
America America (US, 1963) Dir: Elia Kazan
This Sporting Life (UK, 1963) Dir: Lindsay Anderson
The Silence (Sweden, 1963) Dir: Ingmar Bergman
Hud (US, 1963) Dir: Martin Ritt
The Americanization of Emily (US, 1964) Dir: Arthur Hiller
Seven Up! (UK, 1964) Dir: Paul Almond
A Man for All Seasons (UK, 1966) Dir: Fred Zinnemann
The Dirty Dozen (US, 1967) Dir: Robert Aldrich
Salesman (US, 1969) Dir: Albert Maysles, David Maysles & Charlotte Zwerin
They Shoot Horses, Don’t They? (US, 1969) Dir: Sydney Pollack
This Man Must Die (France/Italy, 1969) Dir: Claude Chabrol
The Damned (Italy/West Germany, 1969) Dir: Luchino Visconti
The Garden of the Finzi-Continis (Italy, 1970) Dir: Vittorio De Sica
The Go-Between (UK, 1971) Dir: Joseph Losey
Shaft (US, 1971) Dir: Gordon Parks
Ulzana’s Raid (US, 1972) Dir: Robert Aldrich
Sleeper (US, 1973) Dir: Woody Allen
Alice Doesn’t Live Here Anymore (US, 1974) Dir; Martin Scorsese
Lacombe, Lucien (France/West Germany/Italy, 1974) Dir: Louis Malle
The Parallax View (US, 1974) Dir: Alan J. Pakula
The Sugarland Express (US, 1974) Dir: Steven Spielberg
Seven Beauties (Italy, 1975) Dir: Lina Wertmüller
Night Moves (US, 1975) Dir: Arthur Penn
Harlan County, USA (US, 1976) Dir: Barbara Kopple
That Obscure Object of Desire (France/Spain, 1977) Dir: Luis Buñuel
Mad Max (Australia, 1979) Dir: George Miller
Kagemusha (Japan, 1980) Dir: Akira Kurosawa
The Long Good Friday (UK, 1980) Dir: John Mackenzie
Ordinary People (US, 1980) Dir: Robert Redford
Diva (France, 1981) Dir: Jean-Jacques Beineix
Gregory’s Girl (UK, 1981) Dir: Bill Forsyth
Poltergeist (US, 1982) Dir: Tobe Hooper
The Verdict (US, 1982) Dir: Sidney Lumet
Terms of Endearment (US, 1982) Dir: James L. Brooks
The Year of Living Dangerously (Australia, 1982) Dir: Peter Weir
Return of the Jedi (Star Wars: Episode VI) (US, 1983) Dir: Richard Marquand
Local Hero (UK, 1983) Dir: Bill Forsyth
The Killing Fields (UK, 1984) Dir: Roland Joffé
28 Up (UK, 1984) Dir: Michael Apted
Once Upon a Time in America (US/Italy, 1984) Dir: Sergio Leone
The Terminator (US, 1984) Dir: James Cameron
Beverly Hills Cop (US, 1984) Dir: Martin Brest
My Life as a Dog (Sweden, 1985) Dir: Lasse Hallström
Prizzi’s Honor (US, 1985) Dir: John Huston
The Breakfast Club (US, 1985) Dir: John Hughes
The Purple Rose of Cairo (US, 1985) Dir: Woody Allen
Down by Law (US, 1986) Dir: Jim Jarmusch
Hannah and Her Sisters (US, 1986) Woody Allen
The Sacrifice (Sweden/France, 1986) Dir: Andrei Tarkovsky
Ferris Bueller’s Day Off (Dir: 1986) Dir: John Hughes
Fatal Attraction (US, 1987) Dir: Adrian Lyne
The Last Emperor (UK/Italy, 1987) Dir: Bernardo Bertolucci
Broadcast News (US, 1987) Dir: James L. Brooks
The Last Temptation of Christ (US/Canada, 1988) Dir: Martin Scorsese
The Unbearable Lightness of Being (US, 1988) Dir: Philip Kaufman
Akira (Japan, 1988) Dir: Katsuhiro Otomo
Grave of the Fireflies (Japan, 1988) Dir: Isao Takahata
Landscape in the Mist (Greece/France/Italy, 1988) Dir: Theo Angelopoulos
Drugstore Cowboy (US, 1989) Dir: Gus Van Sant
Sex, Lies, and Videotape (US, 1989) Dir: Steven Soderbergh
Europa Europa (Germany/Poland/France, 1990) Dir: Agnieszka Holland
Reversal of Fortune (US, 1990) Dir: Barbet Schroeder
The Match Factory Girl (Finland/Sweden, 1990) Dir: Aki Kaurismäki
Delicatessen (France, 1991) Dir: Marc Caro & Jean-Pierre Jeunet
Barton Fink (US, 1991) Dir: Joel & Ethan Coen
Boyz n the Hood (US, 1991) Dir: John Singleton
A Brighter Summer Day (Taiwan, 1991) Dir: Edward Yang
The Player (US, 1992) Dir: Robert Altman
Naked (UK, 1993) Dir: Mike Leigh
Three Colors: Blue (France/Poland/Switzerland, 1993) Dir: Krzysztof Kieślowski
Eat Drink Man Woman (Taiwan, 1994) Dir: Ang Lee
Léon: The Professional (France, 1994) Dir: Luc Besson
Chungking Express (Hong Kong, 1994) Dir: Wong Kar-Wai
Crumb (US, 1995) Dir: Terry Zwigoff
La Cérémonie (France/Germany, 1995) Dir: Claude Chabrol
Leaving Las Vegas (US, 1995) Dir: Mike Figgis
Lone Star (US, 1996) Dir: John Sayles
Secrets and Lies (UK, 1996) Dir: Mike Leigh
Boogie Nights (US, 1997) Dir: Paul Thomas Anderson
Rushmore (US, 1998) Dir: Wes Anderson
The Truman Show (US, 1998) Dir: Peter Weir
Being John Malkovich (US, 1999) Dir: Spike Jonze
Amores Perros (Mexico, 2000) Dir: Alejandro González Iñárritu
The Royal Tenenbaums (US, 2001) Dir: Wes Anderson
Adaptation. (US, 2002) Dir: Spike Jonze
Far from Heaven (US, 2002) Dir: Todd Haynes
The Social Network (US, 2010) Dir: David Fincher
Inception (US, 2010) Dir: Christopher Nolan
12 Years A Slave (US/UK, 2013) Dir: Steve McQueen
Whiplash (US, 2014) Dir: Damien Chazelle

8 thoughts on “Best Films of All Time – Ranked

  1. Sam Kapan

    I find these lists of yours extremely useful but have a methodological worry. A crucial question is the length of the lists you use to make your count. If a list has a thousand films on it (for example – and of course I’m exaggerating to clarify a point – would you include a movie listed 979th? So it would be useful, i think, to include in your prefatory remarks some idea of the nature of the lists you’ve used as your source.

    Reply
    1. beckchris

      Thanks for your concern, Sam – I have thought about this issue quite a bit and I feel confident that using lists of different lengths (top 10, top 100, top 500, top 1001) doesn’t affect the quality or legitimacy of the meta-lists. As I plan to explain in an upcoming post (inspired by your comment), we’re measuring the lists against the total number of possible items in the group (works of literature, works of art, photographs, recordings, films, inventions, scientific discoveries, athletes), which is usually in the hundreds of thousands if not millions. From a mathematical perspective, then, a top 10 list and a top 1000 list are almost equal because each of them represents only a tiny percentage of the total items being rated (usually less than 1%). If a top 1000 list were rating items that totaled 1000 or slightly more than 1000, I could see being concerned about including the 979th item on the list. But the 979th movie out of the total 500,000 movies ever filmed (it’s a guess – the Internet couldn’t give me a consensus) is still in the top 0.2 percent of all movies. I don’t have a problem combining lists of different lengths as long as all the lists are culling the top 1-2% or less.

      Reply
      1. Sam Kapan

        Thanks so much for your swift and thoughtful reply.

        I’m writing an academic paper which tries to explain why Italian and German operas dominate the history of opera and the current international repertory. There’s no question they do. But I’m also curious to know which operas dominate critical judgments of artistic greatness. Judging from your meta-list, it’s once again Italian and German operas. I have no doubt it’s true. Nonetheless, it is possible that using very long lists can introduce distortion. Suppose an opera – perhaps one not so obscure but not very highly regarded – gets named over and over again at around (let’s say) 60th position. Let’s say it’s named sixteen times. It ends up high on the meta-list, tied with the Ring cycle (which I find hard to think of as one opera) and ahead of Die Meistersinger and Der Rosenkavalier, in part because (possibly) a number of lists naming only the 20 greatest operas didn’t include Meistersinger or Rosenkavalier, perhaps considering them to rank only 23rd and 25th. On the other hand, when I look at your meta-list I nod my head in agreement (though occasionally I’m baffled or even outraged by individual rankings) and think, “Yes, these are the operas the critics and historians most admire – and, curiously, the audience too.” (There aren’t many arts for which such agreement exists.) But academic papers require a finicky degree of clarity and precision – you’re always anticipating what will seem like trivial complaints.

        An aside: when I was a film critic in Boston in the 1980s and deeply interested in the history of movies, I tried to determine the number of feature films ever made. The best sources – not on-line then, of course, but books – indicated the number was about 1,100,000. I was startled but, as you probably know, a number of countries around the world make several hundred movies a year and have been doing so for decades – India, China,Japan, Egypt. Maybe the 500,000 figure is more reasonable, given that Hollywood can’t have made even 100,000, but I wonder.

        Again, thanks for your reply. I’m appreciative – and I thoroughly understand your passion for making lists. My friends think I’m similarly obsessed and it’s true I often make lists myself, including a series of movie lists – the ten I’d want on a tropic island, the ten I most want my children to love, the ten I’d want to see in the month before my death (Grand Illusion, Tokyo Story, Wild Strawberries, Vertigo, Singin’ in the Rain, The Earrings of Madame de…, L’Atalante – you get the idea), and so on. If you ever need one, just ask!

        Sam

        . . ,

      2. beckchris

        Thanks for your comment – it’s good to know I’m not the only list-obsessed person out there. The opera paper sounds fascinating! As for the opera lists, I can assure you that none of the lists I used to make the meta-list was much longer than 100-150 operas, so you don’t have to worry about the 939th opera being compared with number 1. I agree that the “low on the list” problem exists, but it doesn’t bother me too much as long as we are talking about a category with thousands of items in it. I’m not sure how many operas there are, but even to be rated 60th on 16 “Best Operas” lists, I would think the opera would have to be excellent and better than the vast number of operas ever written (in other words, the statistical difference between the opera rated #1 and the opera rated #60 is quite small if the total number of operas is very large). The real problem, I guess, is that what a meta-list really does is determine “most listed”, not “best.” But as I say in my recent post, in most cases, there won’t be much difference. Your desert island lists intrigue me. Lately I’ve been avoiding the painful experience of whittling down my favorites to a Top 10 or Top 100. I tend to rate books, films and music on a 1-10 scale on various websites, so I’ve been making lists of my Top Rated books, films and music, without a limit on the number of items in the list. I find this method much less stressful and also realistic (no one is ever going to tell you you can only take 10 books with you to a desert island, for example, and of course they would have to include books on survival skills, edible wild plants, first aid and boatbuilding). But I was tempted by your opera projects to list my top 10 operas. Unfortunately, I haven’t listened to very many operas from start to finish (how do you find the time?), so my selection is quite limited. Nevertheless, here goes (in chronological order): L’Orfeo (Monteverdi, 1607), Dido and Aeneas (Purcell, 1683), Orfeo ed Euridice (Gluck, 1762), Le nozze di Figaro (Mozart, 1786), Tristan und Isolde (Wagner, 1865), Otello (Verdi, 1887), Elektra (Strauss, 1909), Der Rosenkavalier (Strauss, 1911), Wozzeck (Berg, 1925) and Peter Grimes (Britten, 1945). If I had to pick a favorite it would be the Mozart, although Monteverdi and Berg are close behind. A Top 10 movies list would be too painful, I think. All I know is that 8 1/2 would be in there, maybe at the top. Same thing with books. Moby Dick and 9 others.

      3. Sam Kapan

        We belong to more or less the same taste culture, though of course there are differences. When it comes to opera, my taste is ultra-conventional. I love Mozart, Verdi, and Wagner in equal measure and increasingly have come to love the work of Richard Strauss. We agree about Moby Dick and 8 1/2. .

        I would be pleased to send you a copy of the opera paper when it’s finished, probably in a month. And if you want any of my movie lists and if I can find them, I’d be happy to send those along too. I’ll add that my efforts long ago to transmit my love of movies to my children was only partially successful. My daughter resisted, but my son, writing under the name Joshua Clover, became a talented, erudite, and witty film critic despite his infatuation with Star Wars. .

        Perhaps you could help me with a bibliographical problem. How would you prefer I list your website? I’ve temporarily used James M. Becker with the short- form URL. I need a date (year of publication) too, but can’t figure out what it should be. Many thanks.

        Yours,
        Sam

      4. beckchris

        I’d love to see the paper. Where did you work as a film critic in Boston? I was a journalist here in the late 80s. As for the bibliography, this link shows the post where I introduced the opera lists back on February 20, 2014 (although there may have been revisions since then): https://beckchris.wordpress.com/2014/02/20/kill-da-wabbit-i…-the-opera-lists/

        BTW, my name is John M. Becker, not James, although I haven’t displayed it prominently anywhere on the site.

        As for my taste in classical music (including opera), I appreciate most everything I’ve heard, but I tend to favor the earlier and later periods – I love medieval motets, Renaissance masses and madrigals (Josquin, Palestrina, Lassus, Byrd, Gesualdo), Baroque fugues, cantatas, and operas, Bach (pretty much everything), Handel (operas, oratorios, concerti grossi), Haydn (symphonies, oratorios, string quartets), Mozart (operas, piano concertos, chamber music), Beethoven (symphonies, piano concertos, late string quartets, mid & late piano sonatas). Although I appreciate Berlioz, Chopin (ballades), Schubert, Schumann, Liszt (sonata in B minor), Brahms (symphonies, quintets, late piano works), Dvorak, etc., my interest really rises with R.Strauss, Schoenberg, Berg, Stravinsky and all those crazy 20th Century guys. As the music gets weirder and more modern (or, going in the other direction, more ancient), I find it more challenging, but more intriguing too. Still, the big problem I have with classical music generally and opera specifically is that I rarely have enough time to actually sit and listen to an entire piece of music. A movement maybe, or a scene. I wish I had to listen to music for my job, but the fact is, when I turn on Spotify, I am either too distracted to work or I don’t even hear it because I’m so consumed in my job. Plus, I’d probably listen to more classical if that was the only kind of music I listened to, but I also listen to almost all the other genres out there: jazz, rock, folk, country, hip hop, pop, world – so little time, so much to listen to. And then you need time to read books! I need longer days or a less time-consuming job.

      5. Sam Kapan

        Oh – my apologies! I realize my objection makes no sense. Any list that included my imaginary obscurity of an opera would also include, given its supposed length, the better known ones, so the inversion I feared would be most unlikely to happen.

  2. Sam Kapan

    Sorry for the delay in replying. Sorry too about getting your name wrong. I guarantee it won’t be mistaken in the paper. Thanks for letting me know.

    I did film criticism, mostly on a free-lance basis, from about 1975 to about 1985, for The Phoenix and The Real Paper, both now vanished, and, in the ’80s, for The News Hour on WGBH-TV. It was all moonlighting since I was also teaching sociology at BU. It was great fun. You never see anyone on the T reading your latest article in a sociology journal, but I often had the chance to study the facial expressions and body language of strangers reading one of my reviews. It was always fascinating – there is nothing like the egocentricity of a writer – even when the reader was clearly exasperated with my brilliance.

    My own classical music tastes pretty much run from Bach into the twentieth century. Again, I think of my taste as conventional and dull, but I am also a partisan, sometimes zealous, of Schubert, who I think belongs in the upper tier – Bach, Haydn, Mozart, Beethoven, Schubert, Brahms. A platoon occupies the second tier and includes Berlioz, Bartok, Mahler, Stravinsky, Prokofiev, R. Strauss (a great favorite) and many others. I suspect you’ll object to the absence of Handel and maybe I do too.

    I’m retired so I have more time to listen than you seem to, but since I continue to read and write in the usual way of a retired pedant, I mostly listen – really half listen – while doing other things. Music plays almost every alert moment except when I’m paying close and anxious attention to the political news, which these days is overflowing , But every now and then I stop and listen carefully – last week to Meistersinger, the week before to Traviata, fairly often to chamber music from Haydn (a great favorite) and Beethoven (ditto). Both of them can stop me in my tracks. There are movements in the Haydn quartets that at least temporarily incapacitate me, just the way a great aria can, and one of the great experiences of my life came when I was working in London one year (1986) and I heard the late Beethoven quartets on Southbank. (Alas, I’ve forgotten which famous quartet did the playing.) It was in a small auditorium in Queen Elizabeth Hall and I was just overwhelmed. So was everyone else. The quartet would end, there’d be silence, and then a tumult of cheering and applause and people hugging one another as if they needed help to avoid collapsing – we were, I suppose, bowled over. The next experience like that came when the Red Sox rallied in 2004 to beat the Yankees in the playoffs. So – I have already known heaven and therefore don’t mind that there isn’t one. .

    Cheers,
    Sam

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