The Godfather
Directed by Francis Ford Coppola
1972
The summit of the American crime film: Coppola turned an immigrant family's rise and rot into the country's own epic, and made damnation look like a coronation.
★ 10.0
The Movies canon
Sourced and screened.
Every film chosen by hand and annotated for why it matters.
Browse all 731 films or filter by genre, director, place, and year.
Browse all 731 films or filter by genre, director, place, and year.
Vertigo
Directed by Alfred Hitchcock
1958
Nobody has ever made obsession look this beautiful or this sick: a man falls for an image instead of a person, and Hitchcock follows him past every point it should stop.
★ 9.9
Singin' in the Rain
Directed by Gene Kelly and Stanley Donen
1952
Nothing else on film is this happy, and the subject is an industry in a panic: Hollywood's terror at the arrival of sound became two hours of pure delight.
★ 9.7
Goodfellas
Directed by Martin Scorsese
1990
Every gangster film of the last thirty years is arguing with this one: Scorsese made the life so intoxicating for an hour that the comedown lands like a physical event.
★ 9.6
Taxi Driver
Directed by Martin Scorsese
1976
Travis Bickle escaped the picture and entered the language: Scorsese and De Niro made a lonely man's interior so exact that it stopped being about one man at all.
★ 9.6
Psycho
Directed by Alfred Hitchcock
1960
The film that invented modern horror: Hitchcock broke an unspoken rule about how a story is meant to behave, and every thriller since has been working in the space he opened.
★ 9.5
Pulp Fiction
Directed by Quentin Tarantino
1994
Young filmmakers were allowed to sound different after this one: Tarantino let two hitmen argue about hamburgers for ten minutes, and an entire decade of American cinema followed.
★ 9.5
Sunset Boulevard
Directed by Billy Wilder
1950
Hollywood has never been crueler about itself: Louis B. Mayer told Wilder he had disgraced the industry, which is the highest praise the film could possibly have received.
★ 9.5
Chinatown
Directed by Roman Polanski
1974
Screenwriters still take this one apart scene by scene to see how it works: Towne and Polanski built a mystery about stolen water that ends without a shred of mercy.
★ 9.4
Some Like it Hot
Directed by Billy Wilder
1959
American comedy has never been funnier, and the Legion of Decency was appalled: Wilder ran a single disguise for two hours without ever letting the joke thin out.
★ 9.4
There Will Be Blood
Directed by Paul Thomas Anderson
2007
Day-Lewis builds an American monster out of oil and resentment, and Jonny Greenwood's score scrapes at the nerves for two and a half hours without once letting up.
★ 9.4
Rear Window
Directed by Alfred Hitchcock
1954
Suspense has never been constructed more purely, and the real subject is the audience: Hitchcock traps you in one room with a man who cannot stop watching his neighbors.
★ 9.3
Jaws
Directed by Steven Spielberg
1975
Summer blockbusters start here: the mechanical shark kept breaking, so Spielberg hid it, and accidentally proved that what you cannot see is worse than what you can.
★ 9.2
The Dark Knight
Directed by Christopher Nolan
2008
Adults started arguing about superhero films because of this one: Ledger's Joker is so unnerving that the Academy gave a posthumous Oscar to a man in clown makeup.
★ 9.2
The Shining
Directed by Stanley Kubrick
1980
Whole documentaries exist about what this film means: Kubrick threw out most of King's novel, sent a Steadicam gliding down those corridors, and left a dread nobody can explain away.
★ 9.2
Blade Runner
Directed by Ridley Scott
1982
It flopped, then quietly redesigned the future: every rainy neon city of the last forty years is borrowing from Ridley Scott, and the mood still outlasts the plot.
★ 9.2
Mulholland Drive
Directed by David Lynch
2001
Lynch built a Hollywood that runs entirely on dream logic and trusted the audience to assemble it: the whole thing feels like a half-remembered dream, and people keep returning.
★ 9.1
The Wizard of Oz
Directed by Victor Fleming
1939
Decades of television broadcasts made it what the Library of Congress calls the most-seen film in history: the switch from sepia Kansas into Technicolor Oz still lands like a door opening.
★ 9.1
North by Northwest
Directed by Alfred Hitchcock
1959
Every spy thriller since owes it something, James Bond most of all: Hitchcock chases an innocent man across America by crop duster and over Mount Rushmore, enjoying himself throughout.
★ 9.1
Double Indemnity
Directed by Billy Wilder
1944
Film noir gets its blueprint here: Wilder and Chandler wrote dialogue nobody has matched for hardness, and set the pattern of the doomed man telling his own story.
★ 9.0
The Searchers
Directed by John Ford
1956
Other directors have been stealing from this western for seventy years: Ford put John Wayne's racism on screen without excusing it, and framed his story in a much-copied doorway.
★ 9.0
One Flew Over the Cuckoo's Nest
Directed by Milos Forman
1975
Nicholson against Nurse Ratched is the great screen battle of wills: a convict fakes insanity to serve his time in a hospital, and finds the ward already has a ruler.
★ 9.0
It's a Wonderful Life
Directed by Frank Capra
1946
A commercial failure that decades of Christmas television turned into a national ritual: it is far darker than its reputation, and the ending earns every tear it gets.
★ 9.0
The Shawshank Redemption
Directed by Frank Darabont
1994
It lost money in cinemas and has sat at the top of IMDb's ranking since 2008: a prison friendship, told patiently, that pays off better than almost anything.
★ 8.9
Eternal Sunshine of the Spotless Mind
Directed by Michel Gondry
2004
No romance this century has come close: Kaufman's premise, that you could pay to have someone erased, turns out to be the most honest thing anyone has said about breakups.
★ 8.9
No Country for Old Men
Directed by Coen Brothers
2007
The Coens made a chase film with almost no music in it at all: Javier Bardem's killer with a cattle gun became the most frightening figure of the decade.
★ 8.9
On the Waterfront
Directed by Elia Kazan
1954
Screen acting changed with Brando in the back of that taxi: Kazan made the film to justify naming names, which gives the whole thing an uncomfortable heat.
★ 8.9
The Good, the Bad and the Ugly
Directed by Sergio Leone
1966 · Italy
No spaghetti western got higher, and no film score is better known: Leone shoots faces like landscapes, and Morricone's music does as much work as the dialogue.
★ 8.9
Annie Hall
Directed by Woody Allen
1977
The romantic comedy has never recovered from it: Allen talks to the camera, walks into his own memories, drops subtitles over small talk, and breaks every rule the form had.
★ 8.8
Back to the Future
Directed by Robert Zemeckis
1985
Screenwriting teachers use it as the worked example: every joke and every prop planted early comes back later, and the whole machine runs without a single wasted second.
★ 8.8
Fargo
Directed by Coen Brothers
1996
Marge Gunderson is the warmest character the Coens ever wrote, and the reason this one lasts: a kidnapping goes wrong in the snow and she is the only calm person in it.
★ 8.8
The Apartment
Directed by Billy Wilder
1960
A comedy that breaks your heart and stays funny while doing it: Wilder took the sourest possible subject, a man lending his bed to his bosses, and made it warm.
★ 8.8
ET the Extra-Terrestrial
Directed by Steven Spielberg
1982
Highest grossing film in the world for a decade, and it earns every cent: Spielberg shot at child height so the adults are legs and voices, and wrecks entire cinemas.
★ 8.8
12 Angry Men
Directed by Sidney Lumet
1957
Nothing beats it as a filmed argument, and it happens in a single room: eleven jurors want to go home, one will not, and the temperature keeps rising.
★ 8.7
Unforgiven
Directed by Clint Eastwood
1992
Eastwood spent thirty years building the myth this film takes apart: no western has been harder on the pleasure of violence, or on the men who deal it out.
★ 8.7
The Exorcist
Directed by William Friedkin
1973
Still the one people watch with the lights on fifty years later: Friedkin shot a possession story like a documentary, and the restraint is what makes it unbearable.
★ 8.6
All About Eve
Directed by Joseph L. Mankiewicz
1950
The sharpest script ever written about ambition: an aging star takes in an adoring young fan, and theater people have been quoting the lines for three-quarters of a century.
★ 8.6
The Wild Bunch
Directed by Sam Peckinpah
1969
Peckinpah showed at once what the new ratings system had licensed: slow motion, six cameras firing together, and a body count that made every western before it look polite.
★ 8.6
Boyhood
Directed by Richard Linklater
2014
Nobody had tried this before: Linklater filmed the same cast a few days a year for twelve years, so you watch a real child turn into a real adult.
★ 8.5
The Graduate
Directed by Mike Nichols
1967
A generation was told their parents were wrong and believed it: Nichols made aimlessness look cinematic, and the soundtrack put Simon and Garfunkel into every house in America.
★ 8.5
LA Confidential
Directed by Curtis Hanson
1997
Modern film noir does not get better than this: three Los Angeles cops with nothing in common, and a plot so tightly wired people rewatch it to follow the connections.
★ 8.5
The Night of the Hunter
Directed by Charles Laughton
1955
Charles Laughton never directed again after it failed, and critics have spent seventy years calling it a masterpiece: a preacher with tattooed knuckles and two children on a river.
★ 8.4
Moonlight
Directed by Barry Jenkins
2016
One life told in three chapters by three different actors, and shot in blues and purples so tender the film almost hums: nothing about it looks like anything else.
★ 8.4
A Streetcar Named Desire
Directed by Elia Kazan
1951
Three of its four leads won Academy Awards and the fourth was Brando: this is where screen acting stopped being theatrical and started being something else entirely.
★ 8.4
12 Years a Slave
Directed by Steve McQueen
2013
The first Best Picture from a Black director, and the least evasive film ever made about American slavery: McQueen holds shots long past comfort and refuses to look away.
★ 8.3
Rosemary's Baby
Directed by Roman Polanski
1968
Horror discovered it did not need monsters: Polanski built two hours out of a young wife nobody believes, and the dread comes entirely from politeness and closed doors.
★ 8.3
To Kill a Mockingbird
Directed by Robert Mulligan
1962
Gregory Peck gave America the father it wanted to believe in: a small-town lawyer defends a Black man in a case the town has already decided, seen through his daughter's eyes.
★ 8.2
Terminator 2: Judgment Day
Directed by James Cameron
1991
Computer effects became believable overnight: Cameron spent more money than anyone ever had, put a liquid metal killer on screen, and every studio in town immediately started writing checks.
★ 8.2
Groundhog Day
Directed by Harold Ramis
1993
The title became a phrase people use without knowing the film: a comedy about repeating one day turned into the most quietly serious argument about how to live.
★ 8.2
The Departed
Directed by Martin Scorsese
2006
Scorsese remade a Hong Kong thriller and made it entirely his own: a cop inside the mob, a mobster inside the police, and a pitch that never once relaxes.
★ 8.2
Do the Right Thing
Directed by Spike Lee
1989
No American film has been braver about refusing to resolve: one Brooklyn block on the hottest day of the year, and Lee will not tell you who was right.
★ 8.2
Heat
Directed by Michael Mann
1995
Police forces train on the shootout and every heist film since has copied it: Mann also got De Niro and Pacino into one diner booth for the first time.
★ 8.1
The Big Lebowski
Directed by Coen Brothers
1998
It underwhelmed in cinemas and then grew a festival, a religion and a vocabulary: the Coens built a Chandler plot around a man whose only ambition is getting his rug replaced.
★ 8.1
Whiplash
Directed by Damien Chazelle
2014
Shot in nineteen days on three million dollars, and cut like a thriller: a drummer, a teacher who throws chairs, and the question of what greatness costs.
★ 8.0
Dog Day Afternoon
Directed by Sidney Lumet
1975
Pacino turned a real 1972 Brooklyn robbery into the most electric performance of the seventies: a bank job collapses in ten minutes and becomes a street carnival.
★ 8.0
Die Hard
Directed by John McTiernan
1988
Hollywood spent the next decade pitching films as Die Hard on a boat, a bus, a plane: McTiernan built the action machine everyone has been copying since 1988.
★ 8.0
Once Upon a Time in America
Directed by Sergio Leone
1984
American distributors cut ninety minutes out of it and destroyed the reviews: restored to full length, Leone's fifty-year gangster elegy drifts between decades like an opium dream.
★ 7.9
All the President's Men
Directed by Alan J. Pakula
1976
Every journalism film gets held up against this one: two reporters chase Watergate through phone calls and parking garages, and verifying a single fact becomes unbearably tense.
★ 7.9
Manhattan
Directed by Woody Allen
1979
It opens with the best love letter any city has received: Gershwin over black and white Manhattan, and then two hours of people ruining their lives beautifully.
★ 7.9
The Terminator
Directed by James Cameron
1984
Cameron made it for six million dollars and launched two careers and a franchise: a machine that cannot be bargained with, cannot be reasoned with, and absolutely will not stop.
★ 7.9
Boogie Nights
Directed by Paul Thomas Anderson
1997
Anderson was twenty-seven and announced himself completely: a San Fernando Valley porn crew who treat each other like family, filmed with far more warmth than the subject suggests.
★ 7.8
Brokeback Mountain
Directed by Ang Lee
2005
It changed what a mainstream American film could be about: Lee filmed twenty years of two men unable to say what they are, almost entirely in silence.
★ 7.7
The Gold Rush
Directed by Charlie Chaplin
1925
Chaplin said this was the film he wanted to be remembered for: the boiled boot eaten like a banquet, the dancing dinner rolls, and a cabin on a cliff edge.
★ 7.7
The Tree of Life
Directed by Terrence Malick
2011
It won the Palme d'Or and audiences walked out of it: Malick set a 1950s Texas boyhood against the formation of the universe and left the connections to you.
★ 7.7
The Maltese Falcon
Directed by John Huston
1941
Huston's first film as a director, and the one that finally made Bogart a star: everyone chasing the black bird lies about it for a hundred straight minutes.
★ 7.7
Badlands
Directed by Terrence Malick
1973
Malick's first film, and the model for every young couple on a killing spree since: the girl narrates it in the flat voice of a magazine horoscope.
★ 7.7
The Conversation
Directed by Francis Ford Coppola
1974
Written years before Watergate and released at its climax, it looked like prophecy: a surveillance expert starts hearing something terrible inside his own recording, and his paranoia does the rest.
★ 7.7
Lady Bird
Directed by Greta Gerwig
2017
Gerwig's first solo film became the best reviewed of its year: a Sacramento teenager and her mother fight about everything, and the film refuses to take a side.
★ 7.6
The French Connection
Directed by William Friedkin
1971
It made the car chase in Bullitt look choreographed: this one was shot without permits, at ninety miles an hour, through real Brooklyn traffic that nobody had cleared.
★ 7.6
Nashville
Directed by Robert Altman
1975
Altman's method arrives here fully formed: twenty-four characters, overlapping microphones, and five days of country music and politics that add up to a portrait of the whole country.
★ 7.5
Inside Llewyn Davis
Directed by Coen Brothers
2013
The Coens made the saddest film about failure that anyone has managed to make funny: a folk singer plays beautifully, sleeps on couches, and gets absolutely nowhere at all.
★ 7.5
High Noon
Directed by Fred Zinnemann
1952
Written as an allegory about the blacklist by a man about to be blacklisted: a marshal has eighty-five minutes before the noon train, and the film runs them in step.
★ 7.5
The Wolf of Wall Street
Directed by Martin Scorsese
2013
Three hours of pure excess that never once slow down: Scorsese was seventy-one years old, and it moves faster than films made by directors a third his age.
★ 7.5
Cool Hand Luke
Directed by Stuart Rosenberg
1967
American English took a line about failure to communicate from it, and Newman his best role: a man who will not be broken, on a chain gang that keeps trying.
★ 7.5
Hoop Dreams
Directed by Steve James
1994
Its exclusion from the documentary Oscar shortlist caused enough outrage that the Academy changed its rules: five years with two Chicago teenagers, and it is barely about basketball.
★ 7.5
The Last Picture Show
Directed by Peter Bogdanovich
1971
Bogdanovich insisted on monochrome in 1971, when absolutely nobody did that: a Texas town running out of reasons to exist, and the teenagers running out along with it.
★ 7.4
Out of the Past
Directed by Jacques Tourneur
1947
If you want to know what film noir means, this is the film people hand you: a gas station owner's past arrives in the form of a woman he once found.
★ 7.4
First Cow
Directed by Kelly Reichardt
2019
Reichardt makes the quietest films in American cinema, and this one is her warmest: two men on the Oregon frontier, one borrowed cow, and one very small crime.
★ 7.4
Mean Streets
Directed by Martin Scorsese
1973
Scorsese found his whole method here at thirty: Little Italy, Catholic guilt, a handheld camera and a jukebox that never stops, most of it shot in Los Angeles.
★ 7.3
Reservoir Dogs
Directed by Quentin Tarantino
1992
Tarantino arrived fully formed with a heist film that never shows the heist: everyone is in a warehouse afterward, suspecting everyone else and talking far too much.
★ 7.3
Dazed and Confused
Directed by Richard Linklater
1993
Nothing happens and that is the entire point: Linklater catches the last day of school in 1976 so exactly that people who were not there remember it anyway.
★ 7.3
The Usual Suspects
Directed by Bryan Singer
1995
Almost nobody guesses where it is going the first time: five criminals meet in a police lineup, and the whole story reaches you secondhand from an interrogation room.
★ 7.3
Butch Cassidy and the Sundance Kid
Directed by George Roy Hill
1969
Two men have never been better company on screen: Newman and Redford spend the film running out of frontier and enjoying each other far too much to panic.
★ 7.3
American Graffiti
Directed by George Lucas
1973
One night of cruising in 1962, with the radio playing wall to wall from start to finish: Lucas caught an America that was about to stop existing.
★ 7.3
West Side Story
Directed by Robert Wise and Jerome Robbins
1961
Romeo and Juliet moved to two New York gangs, and the dancing spills out of the theater into real streets: nothing on film snaps like Robbins's choreography.
★ 7.3
East of Eden
Directed by Elia Kazan
1955
The only James Dean performance released while he was still alive: Steinbeck's Cain and Abel moved to a California lettuce valley, and Dean improvises his way through it.
★ 7.3
A Serious Man
Directed by Coen Brothers
2009
The Coens' most personal film and their least forgiving: a Minnesota physics professor's life comes apart for no reason at all, and nobody in it will explain anything.
★ 7.3
The Rider
Directed by Chloe Zhao
2017
Chloe Zhao cast a real rodeo rider and his real family to play themselves: the line between documentary and fiction never appears, and neither does a false note.
★ 7.3
Midnight Cowboy
Directed by John Schlesinger
1969
The only X-rated film that ever took Best Picture: a Texas hustler and an ailing con man share a condemned New York apartment, and the friendship is the whole thing.
★ 7.2
When Harry Met Sally
Directed by Rob Reiner
1989
Every romantic comedy since has been trying to write this conversation: two people argue for twelve years about whether men and women can be friends, and Ephron's dialogue wins.
★ 7.2
Tootsie
Directed by Sydney Pollack
1982
Hoffman said the part permanently changed how he saw women, and what he learned is worked out here as farce: an unemployable actor becomes a soap opera star.
★ 7.2
The Big Sleep
Directed by Howard Hawks
1946
Nobody has ever been able to follow the plot, including the men who wrote it: what you watch it for is Bogart and Bacall talking, which is more than enough.
★ 7.2
Strangers on a Train
Directed by Alfred Hitchcock
1951
The premise is so clean that thrillers have been borrowing it for seventy years: two men meet on a train and one of them proposes swapping murders.
★ 7.2
Good Will Hunting
Directed by Gus Van Sant
1997
Two unknown actors in their twenties wrote it for themselves and it worked: a janitor at MIT can solve anything except himself, and Robin Williams sits opposite him.
★ 7.1
The Best Years of Our Lives
Directed by William Wyler
1946
Wyler cast a veteran who had lost both hands to play a veteran who had lost both hands, and audiences in 1946 recognized their own living rooms.
★ 7.1
The Right Stuff
Directed by Philip Kaufman
1983
It answers the only question that matters about the space race, which is why anyone would climb in: test pilots, astronauts, and the real Chuck Yeager tending bar in a cameo.
★ 7.1
Ghostbusters
Directed by Ivan Reitman
1984
It should not work at all and it works completely: three academics start a small business catching ghosts in New York, and Murray ad-libs freely on top of the script.
★ 7.1
Bringing Up Baby
Directed by Howard Hawks
1938
Nobody talks faster than this: Hawks overlapped every line until the dialogue becomes a physical event, and it did badly enough that exhibitors called Hepburn box office poison.
★ 7.1
King Kong
Directed by Merian C. Cooper and Ernest B. Schoedsack
1933
Willis O'Brien animated it a frame at a time and audiences in 1933 had never seen anything like it: the ape on that building is known to people who never watched it.
★ 7.1
Shane
Directed by George Stevens
1953
The western seen entirely through a small boy's worship, which is the honest way to look at it: a gunfighter tries to stop being one and cannot.
★ 7.1
Stagecoach
Directed by John Ford
1939
It made John Wayne a star, invented Monument Valley as a place in the American mind, and put nine strangers in one coach: every road movie descends from it.
★ 7.0
McCabe and Mrs. Miller
Directed by Robert Altman
1971
Altman made a western out of mud, snow and Leonard Cohen songs: a small-time gambler and a businesslike madam build a frontier town out of almost nothing.
★ 7.0
Rio Bravo
Directed by Howard Hawks
1959
Hawks made it as an argument against High Noon: instead of a marshal begging for help, four flawed men hold a jail and enjoy each other's company doing it.
★ 7.0
The Hustler
Directed by Robert Rossen
1961
Nobody has filmed a game better: Newman's pool hustler wants to be great and cannot get out of his own way, and the smoke never leaves the room.
★ 7.0
The Thin Blue Line
Directed by Errol Morris
1988
A documentary that overturned a real murder conviction: Morris reconstructed the same killing over and over from contradictory testimony, and the case collapsed within a year of release.
★ 7.0
Man on Wire
Directed by James Marsh
2008
Petit walked a wire between the Twin Towers in 1974 and Marsh tells it as a heist: the planning, the break-in, and forty-five minutes in the air.
★ 7.0
Red River
Directed by Howard Hawks
1948
Ford said he never knew Wayne could act until he saw this: a cattle drive turns into a mutiny, and the man in charge becomes the thing to escape.
★ 7.0
The Sting
Directed by George Roy Hill
1973
The con is played on the audience as much as on the mark, and every turn is earned: Newman and Redford again, with ragtime that put Scott Joplin back on the charts.
★ 7.0
A Woman Under the Influence
Directed by John Cassavetes
1974
Cassavetes mortgaged his house to finance it, and Gena Rowlands gives the most exposed performance in American film: a marriage where love and damage cannot be separated.
★ 7.0
Rebel Without a Cause
Directed by Nicholas Ray
1955
The teenager as a subject starts here: James Dean in a red jacket, a knife fight at an observatory, and parents who have no idea what is happening.
★ 7.0
The Long Goodbye
Directed by Robert Altman
1973
Altman dropped Chandler's detective into 1973 Los Angeles and let him be completely out of step with it: Elliott Gould mumbles through a city that has stopped caring.
★ 7.0
Stand By Me
Directed by Rob Reiner
1986
Nothing else captures being twelve years old this exactly: four boys walk along a railway line for two days, and the narration knows precisely how much it mattered.
★ 7.0
Crimes and Misdemeanors
Directed by Woody Allen
1989
Allen's most serious film, and his only one that asks whether anyone is watching at all: a respected doctor is cornered by a woman he cannot pay off.
★ 7.0
Million Dollar Baby
Directed by Clint Eastwood
2004
Eastwood spends an hour making you love a boxing underdog story and then does something else entirely: nothing in American film is tougher than where it ends up.
★ 6.9
Sideways
Directed by Alexander Payne
2004
It measurably dented cheap merlot sales and sent pinot noir soaring: two middle-aged men drive through wine country, one about to be married and one unable to move on.
★ 6.9
Raising Arizona
Directed by Coen Brothers
1987
The Coens' funniest film and by some way their fastest: a childless couple steal one of a furniture magnate's quintuplets, and the chase never once slows down afterward.
★ 6.9
Drive
Directed by Nicolas Winding Refn
2011
It looks and sounds like nothing else from its decade: neon Los Angeles, a synth score, a driver who barely speaks, and sudden violence that arrives without warning.
★ 6.8
Magnolia
Directed by Paul Thomas Anderson
1999
Three hours, nine storylines, and a last act nobody sees coming: Anderson made the most ambitious American film of the nineties and dared it to collapse under itself.
★ 6.8
The Sixth Sense
Directed by M. Night Shyamalan
1999
The ending changed how an entire generation watched films, and it is genuinely unguessable: a child psychologist takes on a boy who is frightened of something very specific.
★ 6.8
Minority Report
Directed by Steven Spielberg
2002
Spielberg hired futurists to design 2054 and most of what they invented has since arrived: gesture screens, targeted advertising, and a police force that arrests you beforehand.
★ 6.8
Black Swan
Directed by Darren Aronofsky
2010
Aronofsky filmed ballet as body horror and somehow made it work: a dancer's discipline turns on her, and Natalie Portman trained for a year to make it convincing.
★ 6.8
Ferris Bueller's Day Off
Directed by John Hughes
1986
Truancy has never looked this appealing: Ferris talks straight to the audience, takes a Ferrari and a parade, and the whole film is completely on his side.
★ 6.8
Casino
Directed by Martin Scorsese
1995
Scorsese's Las Vegas is a machine for taking money and the film shows you every gear: three hours of narration, costumes and a system that eats everyone inside it.
★ 6.8
Rocky
Directed by John G. Avildsen
1976
Stallone wrote it himself and would not sell the script unless he could star: a club fighter from Philadelphia is handed a title shot as a publicity stunt, and takes it completely seriously.
★ 6.8
O Brother, Where Art Thou?
Directed by Coen Brothers
2000
Homer's Odyssey rerouted through Depression-era Mississippi: the soundtrack of gospel and bluegrass sold eight million copies and sent a mass audience back to music first recorded in the 1920s.
★ 6.8
Boyz n the Hood
Directed by John Singleton
1991
Singleton came straight out of USC film school and filmed the neighborhood he grew up in: South Central rendered as a place where a father raising his son is itself a full-time job.
★ 6.8
Grizzly Man
Directed by Werner Herzog
2005
A hundred hours of video shot by a man who camped among Alaskan grizzlies, edited by Werner Herzog, who disagrees with him completely: two views of nature, arguing across the cut.
★ 6.7
Moneyball
Directed by Bennett Miller
2011
A film about a spreadsheet that plays like a thriller: Sorkin and Zaillian turn Billy Beane's 2002 Oakland roster into an argument between a broke general manager and every scout in his building.
★ 6.7
Mystic River
Directed by Clint Eastwood
2003
Eastwood's bleakest film: three boys from one Boston block grow into three men, and a murder pulls them back to the afternoon that separated them, with no interest in comforting anyone.
★ 6.6
Blow Out
Directed by Brian De Palma
1981
Travolta's best performance is in a thriller that flopped and spent forty years being rediscovered: a movie sound man records an accident and hears something that should not be on the tape.
★ 6.6
The Untouchables
Directed by Brian De Palma
1987
Mamet wrote it and Morricone scored it: De Palma stages a shootout on a station staircase in open tribute to Battleship Potemkin, and turns Prohibition Chicago into pure American myth.
★ 6.6
Requiem for a Dream
Directed by Darren Aronofsky
2000
Nobody who has seen the last twenty minutes forgets them: Aronofsky films four people chasing different highs around Coney Island in split screen and body-mounted cameras, with Clint Mansell's string theme underneath.
★ 6.6
The Royal Tenenbaums
Directed by Wes Anderson
2001
The film where Wes Anderson's dollhouse precision finally serves real grief: Gene Hackman plays a father who lies his way back into a house full of ruined prodigies.
★ 6.6
Mr. Smith Goes to Washington
Directed by Frank Capra
1939
Capra built the most stirring film ever made out of parliamentary procedure: an amateur senator holds the floor with nothing but his voice and the rulebook, and Washington's press corps hated it.
★ 6.6
The Philadelphia Story
Directed by George Cukor
1940
Katharine Hepburn was labeled box-office poison and controlled the rights to her comeback vehicle: she picked the director and approved the cast, then let Cary Grant and James Stewart crash her wedding.
★ 6.6
Sullivan's Travels
Directed by Preston Sturges
1942
Preston Sturges aimed the sharpest dialogue of his career at Hollywood itself: a director of hit comedies decides to make something serious about poverty, and goes looking for it in person.
★ 6.5
Anatomy of a Murder
Directed by Otto Preminger
1959
The Army-McCarthy hearings lawyer Joseph Welch plays the judge and Duke Ellington wrote the score: a murder trial turning on an alleged rape, argued in language so frank that 1959 audiences were shocked.
★ 6.5
A Fistful of Dollars
Directed by Sergio Leone
1964 · Italy
The spaghetti western became a genre with this, and Clint Eastwood became a star: Ennio Morricone's whistle, a poncho and a cheroot, and a drifter who tells nobody what he wants.
★ 6.5
Being There
Directed by Hal Ashby
1979
Peter Sellers chased this part for years and considered it the best work he ever did: a gardener who has only ever watched television is mistaken for a sage.
★ 6.5
The Straight Story
Directed by David Lynch
1999
The strangest thing in David Lynch's filmography is this: a G-rated Disney picture in which an old man drives a riding lawnmower from Iowa to Wisconsin to reach his estranged brother.
★ 6.5
The Outlaw Josey Wales
Directed by Clint Eastwood
1976
Eastwood fired the director and took over, and the union wrote a rule to stop it happening again: a Missouri farmer rides out after the war and keeps collecting strays he never wanted.
★ 6.5
The Wrestler
Directed by Darren Aronofsky
2008
Mickey Rourke had been out of serious work for fifteen years and walked straight back into this: a broken-down wrestler working autograph shows in New Jersey, filmed like a documentary from behind.
★ 6.5
Dirty Harry
Directed by Don Siegel
1971
Pauline Kael called it fascist and the argument has never really ended: Eastwood's inspector chases a Zodiac-like killer through San Francisco with a .44 Magnum and open contempt for procedure.
★ 6.4
The Birds
Directed by Alfred Hitchcock
1963
Alfred Hitchcock threw live gulls at Tippi Hedren for five days and gave the film no conventional score: only electronic shrieks, a quiet California town, and crows gathering on a schoolyard jungle gym.
★ 6.4
Broadcast News
Directed by James L. Brooks
1987
James L. Brooks got the newsroom exactly right and predicted what television news would become: three colleagues tangled up in each other, and the one who is best on camera knows the least.
★ 6.4
Serpico
Directed by Sidney Lumet
1973
Frank Serpico was a real New York cop who would not take an envelope: Lumet films departmental corruption as an ordinary daily fact, and Pacino plays stubbornness as an entire personality.
★ 6.3
Election
Directed by Alexander Payne
1999
Reese Witherspoon has never been better used: a high-school student council election becomes a study of ambition and resentment, and Payne refuses to let a single character off the hook.
★ 6.3
Leon: The Professional
Directed by Luc Besson
1994
Natalie Portman was twelve and had never acted: Besson pairs her with a hitman who waters his houseplant like a dependent, and the film has been argued about ever since.
★ 6.3
Clueless
Directed by Amy Heckerling
1995
Amy Heckerling relocated Jane Austen's Emma to Beverly Hills without losing a thing: she collected the vocabulary from real teenagers, the film sent it back amplified, and the heroine is never the joke.
★ 6.3
My Darling Clementine
Directed by John Ford
1946
Ford claimed Wyatt Earp himself described the gunfight to him: what stays with people is not the shootout but a church dance on a bare wooden floor under an unfinished roof.
★ 6.3
In the Heat of the Night
Directed by Norman Jewison
1967
Poitier refused to film in the Deep South, so Mississippi was recreated in Illinois: a Philadelphia detective is arrested for being Black in a small town and then asked to solve its murder.
★ 6.3
The Producers
Directed by Mel Brooks
1968
A comedy built around a Nazi musical, released twenty-three years after the war: Brooks designed Springtime for Hitler to be unwatchable, and it remains the funniest sequence of the decade.
★ 6.2
For a Few Dollars More
Directed by Sergio Leone
1965 · Italy
Leone found the shape of his westerns here: two bounty hunters circle each other for two hours, a musical pocket watch counts down the duel, and Morricone times the whole film.
★ 6.1
Sex, Lies and Videotape
Directed by Steven Soderbergh
1989
American independent film became a business the week Soderbergh took the Palme d'Or at twenty-six: he made it for a million dollars, and it is four people talking about what they want.
★ 6.1
The Blues Brothers
Directed by John Landis
1980
It held the record for cars destroyed on film and works as a music documentary besides: Aretha Franklin, Ray Charles, James Brown and Cab Calloway all get a full number.
★ 6.1
Lone Star
Directed by John Sayles
1996
Sayles moves between past and present without a cut, panning from one decade into another: a Texas border town excavates a forty-year-old murder and finds the whole town's history attached.
★ 6.1
Misery
Directed by Rob Reiner
1990
Kathy Bates turned a fan into the most frightening character of the decade: a novelist wakes up in the house of the reader who saved him, and she has opinions about his ending.
★ 6.1
From Here to Eternity
Directed by Fred Zinnemann
1953
The kiss in the surf was scandalous enough to define the decade: Pearl Harbor sits at the end of it, and Sinatra took a role for almost nothing to save his career.
★ 6.1
Harold and Maude
Directed by Hal Ashby
1971
It failed on release and then ran 115 straight weeks at a single Minnesota theater: a death-obsessed teenager falls for a seventy-nine-year-old, and Cat Stevens scores the whole thing.
★ 6.0
American History X
Directed by Tony Kaye
1998
Edward Norton added thirty pounds of muscle for it and Tony Kaye tried to take his own name off the finished cut: a former neo-Nazi leaves prison and finds his brother following him.
★ 6.0
Nebraska
Directed by Alexander Payne
2013
Payne wanted monochrome and the studio fought him over it: an old man believes a sweepstakes letter and sets off walking toward Nebraska, and his son drives him rather than argue.
★ 6.0
Winter's Bone
Directed by Debra Granik
2010
Jennifer Lawrence was eighteen and unknown when Debra Granik cast her: a girl in the Ozarks has a week to find her father or lose the house, and nobody local will help.
★ 6.0
Lincoln
Directed by Steven Spielberg
2012
Day-Lewis found a high, reedy voice for Lincoln because the historical accounts describe one: Spielberg and Tony Kushner build a whole film out of counting votes for the Thirteenth Amendment.
★ 6.0
The Naked Gun
Directed by David Zucker
1988
The Zucker team moved their television cop parody to the big screen and improved it: Leslie Nielsen anchors a squad room where three more gags are running behind every line.
★ 6.0
Carlito's Way
Directed by Brian De Palma
1993
De Palma's best film with Pacino, and it took people twenty years to notice: an ex-convict tries to go straight in 1975 New York, and the Grand Central chase is a masterclass.
★ 5.9
Gran Torino
Directed by Clint Eastwood
2008
Clint Eastwood cast Hmong non-actors from open auditions across the country and put his own screen history on trial: a widowed Korean War veteran hates his new neighbors and runs out of reasons.
★ 5.9
Friday Night Lights
Directed by Peter Berg
2004
High-school football is the surface; the subject is a town with nothing else: Odessa, Texas in 1988, filmed handheld and close, where a losing season is a civic emergency.
★ 5.9
Ocean's Eleven
Directed by Steven Soderbergh
2001
The most relaxed heist film there is: Soderbergh assembles eleven movie stars, lets them amuse one another across two hours, and treats a Las Vegas vault as an excuse for the hangout.
★ 5.9
Fast Times at Ridgemont High
Directed by Amy Heckerling
1982
Cameron Crowe enrolled in a California high school undercover for a year and wrote down what he heard: the result launched half a decade of careers and still sounds like actual teenagers.
★ 5.9
School of Rock
Directed by Richard Linklater
2003
Linklater cast children who could really play and let them: Jack Black gives the performance his whole career was building toward, teaching a class of ten-year-olds the history of rock.
★ 5.9
Wall Street
Directed by Oliver Stone
1987
Oliver Stone meant it as an indictment and a generation took it as a recruitment ad: Gordon Gekko's speech about greed is the most misread scene in American film.
★ 5.9
Woodstock
Directed by Michael Wadleigh
1970
Martin Scorsese and Thelma Schoonmaker were on the editing crew, cutting three days of festival into split-screen: half a million people, no violence, and a mud field that became a permanent reference.
★ 5.8
The Lost Weekend
Directed by Billy Wilder
1945
Distillers reportedly offered to buy the negative and destroy it: Wilder filmed four days of a writer's drinking with none of the period's usual comedy, and Best Picture followed.
★ 5.8
A Bronx Tale
Directed by Robert De Niro
1993
Chazz Palminteri turned down large offers for his one-man play until someone would let him star: De Niro directed his first film out of it, about a boy with two fathers competing.
★ 5.8
The Interrupters
Directed by Steve James
2011
Steve James followed former gang members whose entire job is talking people out of retaliation: Chicago violence filmed as something interruptible, one conversation on one corner at a time.
★ 5.7
Best in Show
Directed by Christopher Guest
2000
The mockumentary found its permanent subject here, the American hobbyist: five sets of owners take their dogs to a national championship, and each of them reveals far more than intended.
★ 5.7
Paper Moon
Directed by Peter Bogdanovich
1973
Tatum O'Neal was ten and is still the youngest winner of a competitive Academy Award: a Depression-era orphan running a Bible scam alongside someone who may be her father.
★ 5.7
Milk
Directed by Gus Van Sant
2008
Van Sant shot in the actual Castro Street storefront where Harvey Milk ran his campaigns: Sean Penn plays the first openly gay man elected to major office in California, and plays him delighted.
★ 5.7
Giant
Directed by George Stevens
1956
James Dean died before it was finished and his last scenes had to be dubbed: three hours of Texas oil money, filmed as a family argument that runs thirty years.
★ 5.7
Breaking Away
Directed by Peter Yates
1979
No sports film is sweeter, and the sport barely matters: an Indiana teenager pretends to be Italian because he loves bicycle racing, and the town's class divide does the rest.
★ 5.7
Juno
Directed by Jason Reitman
2007
Diablo Cody won an Oscar for dialogue that no teenager has ever spoken, and it works anyway: a sixteen-year-old handles a pregnancy with more composure than every adult around her.
★ 5.6
Escape from Alcatraz
Directed by Don Siegel
1979
Shot on the actual island, in the actual cells: Don Siegel films a 1962 escape as pure method, spoons and paint and papier-mache heads, and explains nothing to anyone.
★ 5.6
Big
Directed by Penny Marshall
1988
Penny Marshall became the first woman to direct a film that made a hundred million dollars: Tom Hanks plays a thirteen-year-old in an adult body and never once winks at the audience.
★ 5.6
Ordinary People
Directed by Robert Redford
1980
Redford directed this before anyone thought he could, and it goes at what American families do not discuss: a Chicago suburb where everyone is fine, and a son in therapy who is not.
★ 5.6
The Town
Directed by Ben Affleck
2010
Affleck filmed in the Charlestown blocks the story is about: bank crews in nun masks, and a robber who wants out of a neighborhood with no intention of releasing him.
★ 5.6
The Fighter
Directed by David O. Russell
2010
Christian Bale plays the older brother who threw away his own career and cannot stop coaching: Lowell, Massachusetts shot from inside the family, which is the hardest opponent in it.
★ 5.6
Thief
Directed by Michael Mann
1981
Michael Mann's first theatrical feature, with Tangerine Dream on the score and real ex-burglars advising: a safecracker who has planned his whole future on a diner napkin tries to buy his way out.
★ 5.5
127 Hours
Directed by Danny Boyle
2010
Boyle built a thriller around someone who cannot move: James Franco is pinned by a boulder in a Utah canyon, and the camera keeps finding movement in a space three feet wide.
★ 5.5
Silver Linings Playbook
Directed by David O. Russell
2012
A widow and a man just out of a state hospital strike a deal: David O. Russell keeps the camera close enough to be uncomfortable, and Jennifer Lawrence shot it at twenty-one.
★ 5.5
Kramer vs. Kramer
Directed by Robert Benton
1979
Meryl Streep rewrote her own courtroom speech because she thought the script had the mother wrong: a custody fight filmed at kitchen-table level, where the child is the only honest party.
★ 5.5
Trading Places
Directed by John Landis
1983
A regulation passed in 2010 is nicknamed after this film: two rich brothers bet a dollar on whether a broker and a hustler can swap lives, and Eddie Murphy runs away with it.
★ 5.4
Field of Dreams
Directed by Phil Alden Robinson
1989
They built the field on an Iowa farm and people still drive to see it: a man plows under his corn because a voice tells him to, and the last reel gets everyone.
★ 5.4
Capote
Directed by Bennett Miller
2005
Philip Seymour Hoffman spent months on the voice and it never sounds like an impression: Truman Capote gets the book of his life out of two condemned men, and knows what that costs.
★ 5.4
The Green Mile
Directed by Frank Darabont
1999
Darabont's second Stephen King prison film runs three hours and nobody notices: a death row guard in 1935 takes delivery of the largest, quietest inmate the block has ever held.
★ 5.4
Blue Jasmine
Directed by Woody Allen
2013
Cate Blanchett plays a Manhattan wife whose husband's fraud has taken everything, arriving in San Francisco with nothing but luggage and manner: Allen's harshest film, and she is unsparing in it.
★ 5.4
The Descendants
Directed by Alexander Payne
2011
Hawaii has never looked less consoling: George Clooney plays a landowner left in charge of two daughters and a vast family trust while his wife lies unconscious after a boating accident.
★ 5.3
Lethal Weapon
Directed by Richard Donner
1987
Shane Black sold the script at twenty-three and set the buddy-cop template for two decades: one cop is counting down to his pension, the other is a widower nobody trusts to be careful.
★ 5.3
Dances With Wolves
Directed by Kevin Costner
1990
Costner directed it himself, shot a third of it in Lakota with subtitles, and everyone expected disaster: a Union officer posted to an empty frontier fort starts keeping company with his neighbors.
★ 5.3
Donnie Darko
Directed by Richard Kelly
2001
It failed in theaters weeks after September 11 and became a cult object on DVD: Richard Kelly was twenty-six, and nobody has ever fully agreed on what happens in it.
★ 5.2