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I've been evading this type of list like the plague. My current number of 1600-plus films watched was not enough even attempt a top 10 of all-time. So I've been trying to figure out how to do this list. That being said, I established some parameters for the movies chosen:
Representation matters. Although most of the films listed will be directed by white men, a significant percentage (more than 25%) must be films directed by women, BIPOC, LGBTTQ+ people, Asian people, or Latinx people.
Historic importance, cultural significance, and the impact it caused in me when I watched it.
Entries by the same directors must be limited to three films or less (unless the film is a classic).
A healthy combination of genres and mediums (live-action, animation, or mixed).
Unfortunately, no non-narrative films will be included because of the lack of documentaries I have seen. Also, only feature-length films (sorry shorties!).
Only films I have given a 4 to 5 stars rating will be considered.
With that, I managed to shorten the 1600+ films to just 265 films. Progress, but still can be better. Secondly, I handpicked some films that were non-negotiable and needed to be on the list. Those movies included some classics but also films that I really liked very much. That got me to roughly 70+ films, a little short of the goal. Finally, I began comparing some flicks to others and balancing their importance to film history, popularity, and the impact it caused me and got to the magic 100. Easy, done! But wait… Now I had to arrange them.
Arguably the most difficult part of making this type of list is the arrangement because even though you might be sure of some of the placements, you also begin to question your own judgment while doing it. To facilitate the process and to try to be as objective as possible, I did what most American people love: brackets. Yes, I’m a monster. I divided the films into subgroups: films I know were in my top 25, for example, films I knew were in my bottom 25, yadda, yadda, you get the idea.
After various tournaments of double elimination and some rearranging (but minimal compared to making it from scratch), I finally got to a mostly desirable favorite 100 films of all-time list. It is not perfect, but I like it enough to share it with all of you.
A fair warning before we dive into it: This is my list, not yours. Not to sound defensive, but if I’m sharing something this important to me with you it is because I trust you to be respectful of my opinion. This list doesn’t reflect who I am as a person, as a cinephile, nor writes in stone what are films I like. It’s like how olives might not be a thing for you when you were a kid, but suddenly you’re almost 30 and realize olives are great. Taste changes, so take it with a grain of salt. Now, without further ado:
100. Saving Private Ryan (Steven Spielberg, 1998)
One of the rawest and most real introductions to war.
99. Three Colors: Red (Krzysztof Kieślowski, 1994)
A dance of generations that learn from each other steps for a better life.
98. Memento (Christopher Nolan, 2000)
Daring in breaking that purist image of how cinema should be.
97. The Innocents (Jack Clayton, 1961)
One of the first films to portray spirits as something more than a mere scary entity.
96. High Noon (Fred Zinnemann, 1952)
A Western that reminded us of the importance of time.
95. The 400 Blows (François Truffaut, 1959)
This French New Wave essential is the grand-daddy of coming-of-age stories.
94. All About Eve (Joseph L. Mankiewicz, 1950)
It might have the best screenplay ever written for the silver screen; the best cast too.
93. Jaws (Steven Spielberg, 1975)
The first summer blockbuster, ingenious use of the villain, and a musical score for the ages.
92. Wild Strawberries (Ingmar Bergman, 1957)
We all see the professor, but the professor is us all along.
91. Shoplifters (Hirokazu Kore-eda, 2018)
Family always goes beyond blood.
90. Brief Encounter (David Lean, 1945)
This “what-if” tale is one that relies on dialogue and the director’s trust in what his cast can deliver.
89. Munich (Steven Spielberg, 2005)
Spielberg’s way of saying that war has never solved a problem in this world even when it appears to.
88. Modern Times (Charles Chaplin, 1936)
A funny social commentary on capitalism and its dark sides.
87. Heat (Michael Mann, 1995)
An action flick through and through, but with a lot of heart and technical prowess.
86. Moneyball (Bennett Miller, 2011)
A man decides to change the system in a place where business is usual and people are just numbers.
85. Bicycle Thieves (Vittorio De Sica, 1948)
There are still many bicycle thieves left in 2021 and change does not seem to be around the corner…
84. Before Sunrise (Richard Linklater, 1995)
This film showed us that conversations, when done right, can be a very engaging viewing experience.
83. Selma (Ava DuVernay, 2014)
A very vivid film about the struggle of being black in America.
82. The Grand Budapest Hotel (Wes Anderson, 2014)
Storytelling done right. Ralph Fiennes running from the police is everything.
81. Gravity (Alfonso Cuarón, 2013)
One of the few films where I appreciated having 3-D glasses on. Thanks Chivo and Cuarón!
80. Rope (Alfred Hitchcock, 1948)
When the long take trope adds to the story rather than being just a gimmick.
79. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)
This slow-burner is a treat for those that appreciate the art of lighting, framing, and color in a scene.
78. Meek’s Cutoff (Kelly Reichardt, 2010)
An underrated modern Western, maybe one of the best out there.
77. The Devils (Ken Russell, 1971)
Known for the infamous big Christ Cross, erm, “playing”, it deserves more love for being this daring.
76. Nausicaä of the Valley of the Wind (Hayao Miyazaki, 1984)
Studio Ghibli would have never existed if it weren’t for the success of this film.
75. Stalker (Andrei Tarkovsky, 1979)
A sci-fi that reminds us that what we desire most of the time is already there.
74. Schindler’s List (Steven Spielberg, 1993)
Spielberg’s most personal film. A reminder about the worst and the best of humankind.
73. The Truman Show (Peter Weir, 1998)
Life only begins when you realize you are in charge of it.
72. Night of the Living Dead (George A. Romero, 1968)
A social commentary on racism and society. An inspiration for many of the filmmakers of today.
71. Her (Spike Jonze, 2013)
This beautiful but somehow scary film is a lesson on the importance of human interactions.
70. GoodFellas (Martin Scorsese, 1990)
The gangster film of all gangster films. A masterclass of editing by Thelma Schoonmaker.
69. Fargo (Ethan Coen and Joel Coen, 1996)
A tragic film about greed and responsibility, this movie is too funny for all the seriousness it involves.
68. Mother (Bong Joon-ho, 2009)
An expectations thriller that takes us elsewhere than where we thought we were going.
67. Phantom Thread (Paul Thomas Anderson, 2017)
A wickedly romantic piece that shows the versatility Anderson has.
66. Amores Perros (Alejandro González Iñárritu, 2000)
Love is not always what we think it is. Only dogs love sincerely and humans suck. Thank you Iñárritu.
65. The Last Picture Show (Peter Bogdanovich, 1971)
A careful look at the consequences of not knowing when to leave and that humans need to grow.
64. Pulp Fiction (Quentin Tarantino, 1994)
A fun film that owes its success to the many movies experiences Tarantino had back in his young days.
63. Witness for the Prosecution (Billy Wilder, 1957)
This movie is a wild ride and nothing is what it seems. Marlene Dietrich in everything, please.
62. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
When all else fails, just go to a doctor to erase all the memories of that significant other. What a ride.
61. The Pianist (2002)
One of the saddest films I have ever seen. Yet, it is very beautiful and humanistic.
60. Roma (Alfonso Cuarón, 2018)
She was not invisible. She was a person too.
59. Wings of Desire (Wim Wenders, 1987)
A beautiful exploration of the things we take for granted in life. Love is what makes us human.
58. Do the Right Thing (Spike Lee, 1989)
This is what we feel like whenever one of us loses to the monsters of racism and xenophobia in America.
57. Little Women (Greta Gerwig, 2019)
An excellent adaptation of a most adored book. Perfect use of the visual cinematic language.
56. Fanny and Alexander (Ingmar Bergman, 1982)
Bergman is at his peak here with excellent direction and making the audience feel like part of the story.
55. Shutter Island (Martin Scorsese, 2010)
This suspenseful almost neo-noir film is a masterclass in deception.
54. Mangrove (Steve McQueen, 2020)
Shaun Parkes is the heart of this film that deals with racism and oppression in 1970s Great Britain.
53. Silence (Martin Scorsese, 2016)
Scorsese’s most personal movie. An exploration of faith and how it makes us humans or monsters.
52. Rear Window (Alfred Hitchcock, 1954)
An examination of the voyeuristic nature of cinema and its audience. Also, a cool thriller.
51. Amour (Michael Haneke, 2012)
When love is tested in extraordinary ways is when we know we chose right and it is worth it.
50. Memories of Murder (Bong Joon-ho, 2003)
This film uses perfectly sound and color to create an expectation from the audience. Very Hitchcockian.
49. I’m Thinking of Ending Things… (Charlie Kaufman, 2020)
A cinematic look at how the mind works without explicitly telling you.
48. Whiplash (Damien Chazelle, 2014)
The constant battle between our minds and our desire for perfection.
47. Perfect Blue (Satoshi Kon, 1997)
This film also deals with the struggle of aiming at perfection. It is also a critique of fandom culture.
46. City Lights (Charles Chaplin, 1931)
One of the most heartwarming films ever made. The Tramp makes it look effortless.
45. The Rules of the Game (Jean Renoir, 1939)
An essential picture. A critique on social status and a depth of field for story purposes pioneer.
44. Inglourious Basterds (Quentin Tarantino, 2009)
This one ends with a “bang!” Even the haters would agree is very satisfying. Sally Menke is missed.
43. Before Sunset (Richard Linklater, 2004)
Engaging and relatable conversations. One of the best endings of all time. An essential film to watch.
42. Barry Lyndon (Stanley Kubrick, 1975)
The MVP is John Alcott’s amazing camera and lighting work. Every frame, a painting.
41. Magnolia (Paul Thomas Anderson, 1999)
An exploration of paternal relationships and how they can seriously affect your life. Amazing blocking.
40. Short Term 12 (Destin Daniel Cretton, 2013)
A look at the repercussions abuse on young people do to their mental and emotional health.
39. Zodiac (David Fincher, 2007)
This film is less about the enigmatic figure and more about the obsession with knowing who he was.
38. Portrait of a Lady on Fire (Céline Sciamma, 2019)
The beauty and tragedy of real first love.
37. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)
One of the best comedies ever made thanks to the memorable triple performance by Peter Sellers.
36. Never Rarely Sometimes Always (Eliza Hittman, 2020)
Hittman takes us on the tough road of getting an abortion in America and asks us to empathize.
35. Mad Max: Fury Road (George Miller, 2015)
Action from beginning to end without losing its narrative to the explosions all around.
34. The Exorcist (William Friedkin, 1973)
This is more than a mere scary flick. It’s an allegory. An allegory for what? Depends how you watch it.
33. Get Out (Jordan Peele, 2017)
A Horror-Comedy about America’s tumultuous and ugly relationship with Black people.
32. No Country for Old Men (Ethan Coen and Joel Coen, 2007)
Javier Bardem’s performance still gives me the chills to this day.
31. Spotlight (Tom McCarthy, 2015)
Spotlight is a homage to all journalists. It also is the best film to perfectly portray the Church as a villain.
30. Rashomon (Akira Kurosawa, 1950)
A tale of perspective and a lesson on what is the real truth.
29. Up (Pete Docter, 2009)
A reminder that we should always appreciate those little moments in life. We can change someone.
28. Princess Mononoke (Hayao Miyazaki, 1997)
This one shines a light on the importance of protecting nature and our home, planet Earth.
27. Being John Malkovich (Spike Jonze, 1999)
A story so bizarre that only in film, it can make sense.
26. The Godfather (Francis Ford Coppola, 1972)
A masterclass on cinema and character development.
25. Arrival (Denis Villeneuve, 2016)
A very humanistic film dressed as a sci-fi thriller. Amy Adams’s performance was robbed of recognition.
24. Paris, Texas (Wim Wenders, 1984)
An allegory of depression and its aftermath. A journey of acceptance and growth.
23. Sunrise: A Song of Two Humans (F.W. Murnau, 1927)
A simple story told in an extraordinary way. Sunrise is what the cinematic language should aspire to be.
22. 2001: A Space Odyssey (Stanley Kubrick, 1968)
Life in its past, present, and future form. It created the standard of what visual effects should look like.
21. The Dark Knight (Christopher Nolan, 2008)
The best live-action superhero film to date (sorry MCU fans). Heath Ledger’s performance is golden.
20. Citizen Kane (Orson Welles, 1941)
The most essential film every film lover should watch. The reason B&W movies are more beautiful.
19. WALL•E (Andrew Stanton, 2008)
The best stories are told with just a few words and a lot of heart. A warning for the future.
18. Se7en (David Fincher, 1995)
The backdrop? The seven deadly sins. The point of the film? Show us hell.
17. Children of Men (Alfonso Cuarón, 2006)
There is always a light at the end of the tunnel. We can survive 2022 onwards, hopefully.
16. The Godfather: Part II (Francis Ford Coppola, 1974)
The way Coppola uses Michael’s and Vito’s storylines to bring up parallelisms is a marvel to watch.
15. Oldboy (Park Chan-Wook, 2003)
A thriller that goes beyond our expectations and an ending that would make Hitchcock proud.
14. The Thing (John Carpenter, 1982)
Can you imagine yourself living without trusting in others? That is true horror.
13. Pan’s Labyrinth (Guillermo Del Toro, 2006)
Sometimes the real monsters are not the monsters themselves. It’s like a wolf dressed as sheep.
12. Amadeus (Miloš Forman, 1984)
How to use a narrator successfully in film. Music has never been so elegantly used for storytelling.
11. Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, and Rodney Rothman, 2018)
The best superhero film ever made (sorry DC fans). A relatable tale on how to deal with expectations.
10. Parasite (Bong Joon-ho, 2019)
This is the story you want to tell at a campfire, but can never manage to tell it right, but Bong can.
9. M (Fritz Lang, 1931)
This German Expressionist classic is a technical marvel of cinematography and sound.
8. Moonlight (Barry Jenkins, 2016)
The coming-of-age film every other film should aspire to be.
7. Vertigo (Alfred Hitchcock, 1958)
A study of obsession, overcoming challenges, and an example on how to do a tragic story right.
6. Seven Samurai (Akira Kurosawa, 1954)
The mother of all epic adventures and the model of many Westerns to come.
5. Inception (Christopher Nolan, 2010)
This ending of this film is probably responsible for the birth of film analysis culture on YouTube.
4. The Silence of the Lambs (Jonathan Demme, 1991)
A film that knows how to tell itself. Great story, performances, and masterful use of editing.
3. Alien (Ridley Scott, 1979)
The xenomorph appears about ten times in this film. The impact it causes, however, is timeless.
2. Spirited Away (Hayao Miyazaki, 2001)
A masterpiece of storytelling. This coming-of-age fairytale is what Disney wanted their stories to be. A character that shows growth, whose actions affect the story logically in its world, and that can also serve as social commentary. Bonus: it is animated. Miyazaki gave to the world the best gift not asked for and for that we will always be eternally grateful.
1. 12 Angry Men (Sidney Lumet, 1957)
Sidney Lumet’s Making Movies is one of the most-read books when it comes to filmmaking. This film (and the many others in his catalog) is the reason why. A room, 12 people, a hot day outside, a verdict to decide, and a man that feels something is not right, that’s all Lumet needed to create such an engaging story. The story isn’t his though, it is Reginald Rose’s. What makes it Lumet’s is the way he tells it. Look at how he takes advantage of lighting to create the illusion of heat. Look how he uses framing to emphasize what the audience should pay attention to. Look how he uses dialogue to say something about society rather than saying something in the movie. Look how he uses editing to create madness and ire. The cast, led by the legendary Henry Fonda also helped, but this is a masterpiece through and through that can only be better if it were more diverse, but considering its time, that’s an exemption. This film is a masterpiece and that is why it is my favorite film of all time.
Hope you enjoyed this adventure with me. The best I can wish for is that this list motivates you to search those films mentioned here that you haven’t watched yet (many of them are in streaming services) or at least create a healthy discussion between you and your film-lover friends. This list will change in the future, I’m sure, as I continue watching more and more movies and I grow as a cinephile.
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