My Top 101 Movies of All Time

My Top 101 Movies of All Time

Below is a list, of what I regard as the 101 greatest movies I've ever seen in terms of artistic merit and entertainment value.

101. Aguirre: The Wrath Of God (1972, W. Herzog) 

 Set in the Amazonian rainforest it tells the story of an insane 16th century expeditionary's vain search for El Dorado. Klaus Kinski is probably the most enigmatic actor I've ever seen on screen, this is probably the film that highlights this the most. Though the film has somewhat low production values, it just emphasises the genius of Herzog in producing such an engaging piece of work for us the audience.

100. Airplane! (1980, J. Abrahams)
 Often miscredited as being the first spoof moive, it is undeniably one of the greatest. Who would've thought, that casting established serious actors and sports stars (Peter Graves, Lloyd Bridges, Robert Stack, Kareem Abdul-Jabbar and of course Leslie Nielsen), would work so well. The film remains hilarious after repeated viewings. The best example of the stupid humour this film exudes is when the stewardess asks for a doctor, before being informed by a passenger who believes the man she's sitting next to might be a doctor, cue Leslie Nielsen with stephoscope.

99. Toy Story (1996, J. Lasseter)
 The film that made Pixar mainstream, they've never looked backed since. This though remains their best (possibly) and has now spawned 2 "as good" sequals. Although Pixar had been using computer generated films for over 10 years, this was their first full length feature, and garnered great exposure under the Disney Logo and two time Oscar winner Tom Hanks to it's name. Who would've thought the life of toys would be so action packed, fun and poignant. Oh and lucrative also.
 

98. The Grapes of Wrath (1940, J. Ford)

 Though best known for his westerns John Ford also had a great craft for creating social dramas. His transition of John Steinbecks classic novel to screen is his best in this genre. Wonderfully cast as well, Henry Fonda is wonderful as the ex-convict Tom Joad as he struggles to help his family make ends meet. They make a trans-American journey in search of work and land during the depression. Hautingly beautiful, a bonafide classic about morality and justice.

97. The Deer Hunter (1978, M. Cinimo)

 There have been many war films down the years, a lot about the Vietnam war. This is one of the few that deals with the war's impact on a community; those who go, as well as those who stay. The movie remains intense throughout, and of course is only heightened with it's famous Russian roulette scenes. The performances from the cast are deeply moving, espescially Streep, De Niro and Walken who get entangled in a bizarre love triangle that is a result of the war. Stanley Myers' score most notably Cavatina provides the audio gravitas needed for such a film. Powerful.

96. Eternal Sunshine of a Spotless Mind (2004, M. Gondry) 

Not a lot of people realise that Jim Carrey is a terrific actor, and in this offbeat Kaufmann drama he has terrific chemistry with Kate Winslet. They play couple who try to erase their memories of each other after recently breaking up. But through Carrey's character we relive these memories that are being erased, and he realises that he doesn't want to lose her or the memories. It's everything a modern romantic drama should be: quirky and intriguing.




95. Umberto D (1952, V. De Sica)

 Though many will point to 'The Bicycle Thieves', the master of neo-realist cinema's best work is in fact a tale of an old man and his dog. Thoroughly depressing, but incredibly moving, it shows that films shouldn't all be rose-tinted and should tell the story of life how it is, not how we want it to be.

94. Bringing Up Baby (1938, H. Hawks)

 Bringing Up Baby couldn't have arrived at a better time for Katherine Hepburn, after a string of flops she was labelled as 'box office poison'. This screwball comedy proved huge success not only at the box-office but with critics too; and it's rightly regarded as the archetypal screwball comedy, with the sharp wit, quick dialogue and right amount of slapstick that became synonymous with Howard Hawks films. Here a paleontologist (played by the exquisitely debonair Cary Grant), who runs into the ditzy heiress Hepburn who makes his life hell. There's fantastic interplay between the two stars as they negotiate through the absurdities of the screenplay. It's a comedy that still holds up today, and it's a shame that these types of comedies are no longer produced; though Peter Bogdanovich's 1973 film What's Up Doc? worked as a wonderful homage to the screwballs of the Golden Age.

93. The Battle of the Algiers (1966, G. Pontecervo)

  "One man's freedom fighter, is another man's terrorist" although first coined after this movie was made, it's a phrase that summises what this film is all about. Set during the Algierian war of independence, it doesn't try to justify the bombing of public places, or the opression of the French government on the Algerian people. Instead it attempts to paint a picture of life during those time, in a pseudo documentary format. An important film that shows why films can be more than just a film.

92. Rear Window (1954, A. Hitchcock)

 The first of five entries on my list for Alfred Hitchcock, it is also one of his most parodied. Jimmy Stewart plays a photo-journalist who is bound to a wheelchair after breaking his leg. He starts spending time spying on his neighbours who range from a promiscuous newly-wed couple, to a frustrated pianist and more worryingly a man across his courtyard who he suspects has murdered his wife. He enlists the help of his friends to try an confirm his suspicions. Although it loses some of it suspense on repeated viewing, it's still great viewing. 

91. Black Hawk Down (2001, R. Scott)

 I think this is one of the best war film ever made because it's one of the purist. It focuses solely on the one mission and the audience are at ground level with the soldiers the whole way through. There's mininmal peripheral the whole way through, and it doesn't deviate into sentiment. I think it's a brave film by Ridley Scott, it was made before 9/11, released after and as a result suffered at the box office. It's a movie though that acheives what it's meant to do, and is executed brilliantly by the ever reliant Scott. Underrated.

90. Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964, S. Kubrick)

 This was released at the same time as Sindey Lumet's cold war classic 'Fail-Safe'. Both follow a similar plot of a renegade general who ignites a potential nuclear holocast. Whilst Lumet's version is very poignant, Kubrick takes a more novel approach with this satire. Peter Seller's dominates the film in three equally amusing roles, proving his comedic ability knows no bounds.

89. Reservoir Dogs (1992, Q. Tarantino)

 Reservoir Dogs was the breakthrough film for Tarantino that won him Palm D'or at Cannes. It's new brand of violence would go on to become his trademark, and Dogs is probably his most brutal. It centres around a group of robbers, whose heist has gone wrong, and leads to them each suspecting each other of being an informant. Very conventional for Tarantino, with a great script to boot.



88. L'Áge D'or (1930, L. Buñuel)

 Though many films, espescially in Europe had used surrealist techniques, this is one of the first fully surrealist films. Buñuel teamed up with Salvador Dalí for this ultra-modern take on society. Another important film that showed the scope of cinema, it tested the boundaries of what is "good and proper".  It was banned for over 40 years due to it's questionable moral and somewhat sacreligious content, but this of course is open to interpretation. Afterall who's to dictate what is right and wrong, with standards changing throughout history. Subversive to the Nth degree, it still proves a fascinating watch 80 years on.

87. Chinatown (1974, R. Polanski)

 A simple case of adultery, or so Jake Gittes believes. Polanski's mystery brings back film noire in roaring fashion. A P.I. (Jack Nicholson) unravels a web of deceit, murder, corruption and incest that seems to all be connected to the city's water supply. John Huston is unnerving as Noah Cross as he tries to control and manipulate everyone around him. The films style (a form of avant-garde noir) has been copied many times since, not only in movies but video games too. Rivetting.

86. Stagecoach (1939, J. Ford)

 A group of people travel across the west in a stagecoach whilst being chased by the indian war chief Geronimo. Probably the first western that wasn't just good vs. evil, as along the way they learn a bit more about each other's past. It's a formula that's been used in many different genres since. This is the one that made Wayne, as the Ringo Kidd, a star and Ford's use of Monument Valley famous. The most remarkable part of the film comes towards it's climax as Yakima Canutt's stunts take centre stage (below).

85. Brazil (1985, T. Gilliam)

 This is a offbeat take of '1984' is refreshingly less downbeat and has a varied cast that work well on screen. Gilliam achievement is in blending a rather depressing alternate world, with visions of fantacism. The protagonist is a worker for the state, who becomes an enemy of the state after trying to correct an administrative error. A film that reminds us of the dangers of leftist extremists which was originally voiced by Orwell back in the 30's. V for Vendetta is a recent film that tries to take on the same themes, but ultimately fails to capture the imagination.

84. Battleship Potemkin (1925, S. Eisenstein)

 Maybe not as intriguing as the Riefenstahl propaganda pieces of Hitler's Third Reich, but it's secondary objective of being a movie is what propels it into the annuls of greatness. It's Eisenstein's most celebrate work, and for good reason. It tells the story of the 1905 revolution which started at sea, before spreading to the Odessan streets. To think it's over 80 years old is remarkable. It's grandeur and provocative images pack just as much of punch today as it was aimed to do back then. The Odessa steps sequence (above) is perhaps it's most famous, and after watching it you wants to stand up and wave the red flag.

83. On The Waterfront (1954, E. Kazan)

 A movie you can view in two ways. The first as a powerhouse performance by Brando (as well as Steiger, Malden, Cobb and Saint) as a failed prizefighter who unwittingly partakes in a murder of a fellow dockworker. The other is as a personal piece from Elia Kazan, in which he attempts to exonerate his own wrongdoing in naming names during the 'Red Scare'. I prefer to concentrate on the first way as it really is a special film that evolves method acting to a new level with most of the cast who were part of this acting revolution. Three years earlier Tenesse Williams' 'A Streetcar Named Desire' was the film where Brando really exploded onto the scene, but this is his most revered role. It's sense of realism is why it remains supreme.

82. The Elephant Man (1980, D. Lynch)

 Based on the life of John Merrick who lived towards the end of the 19th century. A touching story of a severely disfigured man who is rescued by a surgeon after being beaten and mistreated whilst travelling with a 'Freak Show'. The surgeon soon realises that Merrick is both intelligent and sensitive and works towards making his life more comfortable. Whilst Lynch's films can verge on being over the top, this remains balanced and subtle for the most part. It's largely helped by an inspirational and moving performance from John Hurt as Merrick, with Hopkins, Bancroft and Gielgud providing more than ample support.

81. Solyaris (1972, A. Tarkovsky)

 This film is incredibly long and incredibly slow, it flirts with dull, however holds a certain level of captivation. Many see it as a natural successor to Kubrik's 2001, it's philosophising over humanity certainly adds credance to that. Some could find this piece of Tarkovsky's work introverted and pretentious, but it still provides the audience with questions and ideas that make worrying about Tarkovsky's snobbery irrelevant. It is at points breathtakingly beautiful, and though you spend most of the movie feeling uncomfortable, the climax is satisfying enough to make you think it was well worth the journey.

80. To Kill a Mockingbird (1962, R. Mulligan)

 Robert Mulligan's interpretation of the Harper Lee classic may take away some of the book's innocence, but this was a film that America needed at the height of the Civil Rights movement. Lee herself was a massive fan of the film and espescially Gregory Peck in the role based on her own father. Atticus Finch is a lawyer who is assigned to defend an innocent black man of rape. As a man of principle he has to battle the prejudices of the townspeople in order to set a good example for his children, even though it puts them in danger. Against the subplot of a mysterious recluse "Boo" Radley (Robert Duvall), the children eventually learn their father's lesson. It's mix of gritiness and sentiment make it an American classic.

79. American History X (1998, T. Kaye)

 A great film about a former Neo-Nazi who sees the errors of his way after spending time in prison. He tries to prevent his younger brother from going down the same path. Edward Norton is brilliant as we follow his road from bigotry to redemption. It's message of tolerance works in a way that not many films have done before or since.

78. Roman Holiday (1953, William Wyler)

 Having only appeared in a few roles in Europe and on Broadway Audrey Hepburn was a complete unknown. Her turn as the sheltered princess seeking adventure in the real world changed all that. Gregory Peck plays the story hungry journalist, who takes Hepburn under his wing, trying to get the scoop of the year. Soon both fall in love with each, whilst also realising that it won't last. Though Eddie Albert is great support as Peck's photojournalist, it's the city of Rome that really steals the role of supporting cast. Many will point to Breakfast At Tiffany's, but Roman Holiday is Hepburn's greatest film, and she looks immaculate.

77. Full Metal Jacket (1988, S. Kubrick)

 A film of two parts, in which the majority of people will say the first part is far superior to the second. That's unfair on the film as a whole. It tends to show how all aspects of army can be hellish and not just war itself. Matthew Modine's Private Joker sees how the pressure of military training takes it's toll on his colleague Private Pyle, who finally cracks before he is sent to Vietnam. He then sees the dehumanizing effect of the war itself on his fellow recruits. It's intense throughout and the end is incredibly anticlimatic, but apt.

76. The Big Country (1958, W. Wyler)

 From the moment the opening credits start and you hear that incredible score by Jerome Moross, you know that you're in for something special. It's like a work of art to watch with beautiful cinematography. I regard William Wyler as one of the most underatted directors in history, and this film is why. Though many will say Atticus Finch is is best role, trust me it's this one. Gregory Peck plays a retired sea captain who arrives in the old west to marry his fiancée (Carroll Baker), bringing with him his own set of values. These values are put to the test as he finds himself in the middle of a family feud that has lasted generations. The greatest pacifist western there is, with a fantastic cast and an Oscar winning performance from Burl Ives.

75. Rebecca (1940, A. Hitchcock)

 This was Hitchcock's first film in America, for which he cast Laurence Olivier, fresh from his star making role as Heathcliff in MGM's Wuthering Heights. Du Maurier's tale of a bookish woman who is constantly living in the shadow of her husband's dead wife. Hitchcock's best films were often based on atmospherics and psychology, and this is the one which exudes those in buckeloads. The twists keep the viewers guessing throughout and can still provide a surprise for the modern audience.

74. The Lion King (1994, R. Allers, R. Minkoff)

 Based on the story of Hamlet, this story of a lion cub who believes he is responsible for the death of his father and abandons his kingdom. This is what Disney are great at, and it came in a golden period for Disney after the releases of The Little Mermaid, Beauty and the Beast and Aladdin. Tim Rice and Elton John lend songs to this carnival of colour and tragedy, which make it not only a great film, but great musical too. It has plenty of laughs to, predominantly from Nathan Lane's character Timon.

73. Close Encounters of the Third Kind (1978, S. Spielberg)

 "I saw something last night that I can't explain", so says Roy Neary (Richard Dreyfuss) as he tries to get to grips with his close encounter. Spielberg achieves what he does best in making fantasy and wonder into a conceivable reality. This has the added advantage in that it was made before Spielberg got conscious of his responsibilities to children not only in the audience but in his films too. This is one for the dreamers, from the vision of a dreamer. He would go on to acheive further commercial and critical success with other sci-fi fantasy's such as E.T and Jurassic Park, this is where it all started.

72. The Dark Knight (2008, C.Nolan)

 Chistopher Nolan had already managed to transfer the superhero genre with great effect in Batman Begins and manages to superceed himself with this effort. The film manages to encapsulate the spirit of the comic book, but updating the realism for modern audiences by making it more gritty. This time it is the Joker's turn to wreak havoc on the citizens of Gotham. Most of the Nolan regulars appear, but it is Heath's Ledger who dominates them all, winning a posthumous Oscar for his performance.

71. La Dolce Vita (1961, F. Fellini)

 If this film were to come out today, you would think it was a contemporary look at the showbiz world. Marcello Mastrioanni plays a prominent journalist who drifts amongst the social elite, struggles with the responsibilities of his home life and shows glimpses of being a frustrated writer. The real pull of this movie is it artistic merit. It looks beautiful, Fellini's use of lighting and cinematography is comparable to that of his native artists of the Renaissance. The film holds a mirror up to the industry it comes from, showing it's overindulgence and decadance which is devoid of moral values. Where Mastrioanni ends up, only time will tell.

70. High Noon (1952, F. Zinnemann) 
 A revolutionary film that is set in real-time. Gary Cooper plays a Mashall who has to face a deadly gang alone, as the town refuses to help him. Written by Carl Foreman, who was blacklisted for his communist involvement, this film is often assosciated with being pro-communism, what it really embodies is the all-American hero. A man who stands up for what is right, despite everything going against him. In that sense it can be seen as an allegory of anti-McCarthyism. Personally it can apply to all situations where the far right or the far left have enfringed on human rights.

69. Kind Hearts and Coronets (1949, R. Hamer)

 The Ealing studios provided Britain with the pick me up it needed after the war. Hamer's comedy, in which Alec Guinness provides 8 equally brilliant roles, is perhaps the pick of the bunch. It revolves around a poor relative of a rich upper class family who had distanced themselves from the man's mother when she eloped. He decides to exact revenge on the family by plotting to kill every potential successor (All played by Guinness) to the family's Dukedom. An impressive script that is well acted gives it all the charm and wit that the world has become accustom to from the British.

68. Spirited Away (2001, H. Miyazaki)

 Hiyao Miyazaki had long been prominant in Japanese animation, but it was this that made him internationally mainstream. A 10 year old girl finds herself in a scary world full of spirits, gods and monster and is forced to find a way back home. It is like a mix of Alice in Wonderland and the Wizard of Oz, but with a wonderful infusion of Japanese culture. Magical.

67. Henry V (1944, L. Olivier)

 Many will point to Branagh's version, but Olivier's pomp and regality just pips it for me. He won a special Academy award for this film too, which was designed to raise morale for the Allies. It uses original techniques, such as opening at The Globe theatre in 16th century London before moving to the battlefields of Agincourt. It adapts parts of Shakespeares words, but in essence is as pure Shakespeare you are likely to see on film. And who better to watch speak these words, than the greatest Shakespearian actor of the 20th century.

66. Throne of Blood (1957, A. Kurosawa)

 Another piece of Shakespeare (Macbeth), this time set against the backdrop of feudal Japan. It features Kurosawa regulars Mifune and Shimura, with Mifune in particular enigmatic form. He mesmerises as we watch him witness his own prophecised downfall materialise in front of his own eyes. Kurosawa was a great story-teller, and could adapt other's work just as well as his own, as this film proves.

65. The Big Lebowski (1998, J. Coen)

 Jeff Bridges has synonomous down the years with audiences for his endearing characters and enduring roles. But few can match his turn in this Coen brothers comedy as Jeff "The Dude" Lebowski. It tells the story of a deadbeat bowling trio, who find themselves embroiled in a blackmail scenario, that they make worse. It has a fantastic script, and the laughs keep on rolling from start to finish.

64. Psycho (1960, A. Hitchcock)
 It was a great decision by Hitchcock to make Psycho in black and white as it adds so much to the feel of the picture. He cast Anthony Perkins, in the role that would define his career, as Norman Bates a motel proprietor, too long under his mother's control. Perkins performance is exceptional, the nervous manner in which he utters the immortal line "A boy's best friend is his mother." provides the kind of atmosphere that prevails throughout the picture. An incisive score by Bernard Herrmann is the icing on the cake. 

63. A Place In The Sun (1951, G. Stevens)

 George Stevens had always been regarded as a film maker of substance, but like many other directors who had worked actively with coverage during WW2, he returned a changed man. As such his films also changed, and included more humanity as well as exposing the inner-psyche and turmoil of his characters. In Montgomery Clift, Stevens had found an actor who perfectly complimented this style, with his introvert, yet emotive ability; resulting in one of cinema's most powerful performances. Clift is finely complimented by the dowdy Shelley Winters and the spectacularly beautiful  Elizabeth Taylor. Deeply subversive too, Stevens' prolific scene capturing ability meant that none of the story was lost through censorship, and possibly helped in signalling the end of the restrictive Hayes Code.

62. Blade Runner (1982, R. Scott)

 Like many other great sci-fi films of the past, this gem from Ridley Scott was based on the work of Philip K. Dick. Set on a dystopian, overcrowded Earth. It's a story about Rick Deckard, a Blade Runner, who is assigned to track down 4 replicants (a type of android) who have returned to Earth in search of longer life from their creator. The sets are awe-inspiring, and Vangelis' score sets the tone for this bleak, but enjoyable action film. Of which there are seven different versions, a couple of which are very different films. Watch the Director's Cut.

61. Braveheart (1995, M. Gibson)

 Say what you want about Mel Gibson, but the man can make a great movie. Based on the legend of William Wallace, it tells of the Scottish uprising against the English at the end of the 13th century. It takes artistic license, but what it sacrifices in historical accuracy it makes up in brute force brilliance. The battle scenes are epic, the dialogue dices with the melodramatic, but remain inspirational and the characters are engaging. With the experience of Brian Cox, Patrick McGoohan and Alun Armstrong the cast is never going to fall short of executing an all round great cinematic experience.

60. The Big Sleep (1946, H. Hawks)

 "Just put your lips together and blow" uttered Bacall two years earlier, now part of one of the great on and off screen romances of all time. This time it's the work of Raymond Chandler that Bogart and Bacall lend credit to. This is probably the archetypal film noir, the ones the others try and conform to. As with most Hawks films, it has a quick witted sense of humour, but this time with the dark seedy undertones of a typical noir thriller. Who better to deliver the dry oneliners than Bogie?

59. Raiders of the Lost Ark (1981, S. Spielberg)

  Spielberg was on a roll by 1981, and further enhanced his reputation with this archeological adventure. Tom Selleck was originally cast as Indiana Jones, but opted out due to commitments with Magnum P.I., it cemented Harrison Ford as a megastar. Whilst Spielberg has concentrated on CGI in more recent projects, this film manages to perform perfectly without it. The first of a trilogy, this one centres on Indy keeping the sacred Ark of the Covenant out of the hands of the Nazis.

58. Cinema Paradiso (1988, G. Taratone)

 A charming coming of age tale that centres around a film-makers childhood, where he fell in love with the silver screen and formed a close friendship with the local projectionist. It's largely sentimental but it's hard not fall in love with a great mix of laughs, romance and tragedy. One of the nicest films you're ever likely to see.

57. Doctor Zhivago (1965, D. Lean)

   David Lean's aesthetically pleasing romance, is set in Imperial Russia, just before the Bolshevik revolution. Two star-crossed lovers try to upkeep their forbidden romance through wars, personal tragedies and the harsh Russian winter. Omar Shariff and Julie Christie have never looked more beautiful and the calibre of acting on show is frightening, with Rod Steiger stealing the show.

                                               

56. Leon (1994, L. Besson)

 One of the greatest action thrillers of all time, Luc Besson's Leon was instrumental in helping develop the action genre into something a bit more substantial than just fight scenes and shoot outs. It tells the tale of a professional assassin (Jean Reno), who aids a young girl (Natalie Portman) whose parents have been killed by corrupt cop Stansfield (Gary Oldman). Oldman and Portman possibly give their greatest screen performances, and the scene where they first meet is one of the most tense in cinematic history, and Oldman's Stansfield one of it's most unnerving villains. It is also a story of unrequited love between Portman and Reno as she struggles with her adolescent hormones and he with a rare physical and emotional relationship with another soul. It is a film that's easy to underestimate, but it is quite simply sublime.

55. Alien (1979, R. Scott)

 'In Space, no one can hear you scream'. One of the most famous taglines of modern cinema, and one of the scariest sci-fi films of all time. Sigourney Weaver plays our protagonist, when a cargo crew locates an Alien life form on a foreign planet. It manages to get on their spaceship, where it's interntions are lethal. Ripley (Weaver) is probably Ridley Scott's greatest character, it's truly edge of your seat stuff at the end of the film, as she tries to escape the Alien which has wiped out her crew.


54. The Sting (1973, G. Hill)

 Paul Newman and Robert Redford starrred in just two films together, but their on screen chemistry was so good, you would think they had been in at least ten. This one sees the two as a couple of Grifters, trying to make one big play as vengence for their mutual friend's murder. The plot is complex and there are many twists throughout, it cons the audience, just as much as the characters. It's a smart film, that remains original to this day.

53. Les Diaboliques (1955, H. Clouzot)

 A french thriller in style of Hitchcock, in fact Hitchcock himself reportedly try to buy the rights to the film. Plot rich, it tells of a cruel headmaster whose wife and msitress conspire to murder him. They soon discover that his dead body has disappeared, and a series of strange events occur including his reappearance within the school. Chilling.

52. Apocalypse Now! (1978, F. Coppola)

 An incredibly gifted cast grace this war epic, based on Joseph Conrad's classic novel 'Heart of Darkness'. A brave move by the established Coppola to take on a classic piece and adapt to contemporary times and in a different scenario. It's cleverly produced as the real blends with fantasy as a marine captain attempts to take down a renegade who is worshipped in the middle of the Cambodian jungle.

51. It Happened One Night (1934, F. Capra)

 The film that made Clark Gable a star, and Frank Capra a marketable director. This sweet comedy starts with a spoiled heiress (Claudette Colbert) jumping of her yacht after her family refuses to accept her new marriage. She ends up on a bus in order to return to her husband, but runs into a reporter (Gable), who can't believe his luck, just when he needed a story. They have to rely on each other to get what they want.

50. Great Expectations (1946, D.Lean)

Lean was starting to experience great commercial and critical success by the mid-40's with work in films such as Bltihe Spirit, This Happy Breed and Brief Encounter. Though many argue that Brief Encounter is his masterpiece from this era, his adaptation of Great Expectations is more Dickensian than Dickens himself. For a film that relies heavily on child actors, they perform with aplomb, espescially Jean Simmons, who would go onto become a Hollywood star. Lean would next make Oliver Twist, which is nearly as good. Probably cinema's most consistent director, and certainly Britain's greatest.

49. Amélie (2001, J. Jeunet)

 A modern French film that has a fairytale feel to it. Jeunet who had limited success after trying to break hollywood with the fourth installment of the Alien franchise, chose to go back to France for his next project. The film tells of a lonely girl, with a sheltered life, she reverts back to a life of imagination and only sees a world of beauty. She grows up and moves to Paris, where she works as a waitress. She soon discovers a box of old sentimental treasures and finds some fulfilment in returning them to their owner. She then decides to devote her life to helping others, before realising she must take hold of her own life in her quest for love. The film's cinematic photography is sumptuous, and Tatou will never have a better role than Amélie.

48. The 400 Blows (1959, F. Truffaut)

 Hitchcock's biggest fan, was also one of French cinema's greatest creators. Truffaut's understanding of children is beautifully transfered to the silver screen, it tells of an attention seeking adolescent Atoine Doinel who starts delving into the wrong moral path. He's emotional neglect from his parents and physical neglect from his school is heart-rendering. It spawned several solid sequals, but it is the final shot of the film, is possibly the most poignant and beautiful in cinematic history.

47. All Quiet on the Western Front (1930, L. Milestone)

 Remarque's novel was made into this epic anti-war film before a pivotal point in history. Told from the German point of view during World War 1, it provides a sympathetic view of the 20th century German army, that we wouldn't see again for another fifty years. It gives a humanity to the horror of the first world war, with more than a few poignant moments. The production values remain impressive, with an authentic look of the European countryside, destroyed by the turmoil of war. It's lost none of it's impact, espescially when we remember the futility of 'The Great War'.

46. The Seventh Seal (1957, I. Bergman)

 Ingmar Bergman was a very religious and spiritualistic man, and his many films mirrored this. He was one of the first directors to visually moralise dark topics such as death, rape and murder. This picture centre's around a 14th century Knight (von Sydow), afflicted by the plague, attempts to postpone Death, by challenging it to a game of chess. As the game goes on, we meet further character who are dealing with the turmoil the plague has caused. The film attempts to present and understanding of the ultimate questions. Beautifully shot, it's quite simply the pinnacle of Swedish cinema.

45. Once Upon a Time in America (1984, S. Leone) 
 Leone's gangster epic encompasses everything this great director was about: good storytelling, slow pacing, beautiful cinematography and a great ear for music. There are no holds barred in terms of indulgent violence from Leone, but at no point does it feel gratuitous. He was lucky to have a truly skilled cast of child actors (including a young Jennifer Connelly), as well as gangstar stalwart Robert De Niro, who gives thoughtful performance. James Wood's is excellent as De Niro's criminal partner, as well as the rest of the supporting cast. The film though, is simply a work of art, that despite it's near four hour runtime, it never seems long.

44. The Treasure of the Sierra Madre (1948, J. Huston)

 The only film in Oscar history where both father (Walter Huston, Best Supporting Actor) and son (John Huston, Best Director and Best Screenplay) won awards. Two impecunious American's who have sought work in Mexico, team up with an old timer in search of gold in the Sierra Madre valley. Humphrey Bogart is wonderful as the paranoid treasure hunter whose relationship gradually deteriorates with other two. It's theme and style continue to inspire other great films today such as There Will Be Blood and  No Country for Old Men.

43. Some Like It Hot (1959, B. Wilder)

 Certainly one of the greatest comedies ever. It's surprising how fresh it still feels despite being 50 years old, but I guess the same can be said for most of Wilder's films. The chemistry between the three leads is really what makes this film, it never gives in to sentiment, it just remains witty. They each play off each other's characteristics beautifully, and Curtis, Lemmon and Monroe would never star in a greater film, throughout their careers.

42. City Lights (1931, C. Chaplin)

 Made after the introduction of talking pictures, and indeed Chaplin even pokes fun at the talkies, this is Chaplin and possibly silent cinema's greatest masterpiece. It has so many moments of magic, poignancy and hilarity, it's hard to forget that you are watching the same film. There is also great underlying poetry in the story, as the tramp falls in love with a blind girl, who believes him to be rich. He tries to make the money to pay for an operation to help her, but worries that she won't love him, once she sees him poor. He remains an artistic genius to this day, and the boxing scene only cements that status.

41. No Country For Old Men (2007, E. Coen, J. Coen)

  The Coen's take on Cormac McCarthy's novel is a perfect combination. The styles of both writers' work, blends so well. Though this is one of the few Coen films that lacks the visible dark humour, it more than makes up for it in it's sinister feel. It's perfectly paced too, and also superbly edited to negotiate the audience through the story how they want to tell it. Javier Bardem won an Oscar for his portrayel of cold blooded hitman Anton Chigurh, armed with a cattle gun. It's refreshing to see in this day that directors can still make movies, that feels so fresh and unlike anything we have seen before. 

40. The Third Man (1949, C. Reed)

One of the greatest British films of all time is written by Graham Greene and features two Americans in it's leads. Holly Martins is invited to work with his old friend Harry Lime in postwar Vienna. When he arrives, he learns that his friend is already dead. As he starts to talk to those who knew Harry and those who were with him when he died, he finds that something doesn't add up. As he delves deeper, he discovers truths that don't sit comfortably with him. The climax. is one of cinema's greatest and is created majestically by Carol Reed. Karas' famous zither score is the film's trademark.  

39. The Shining (1980, S. Kubrick)

 Truly one of the most terrifying movies ever made and Kubrick gives another masterclass in creating a masterpiece. Jack Torrance (Jack Nicholson) works as a caretaker up in a mountain resort, with his family for the winter the season. Soon the resort has a psychological effect on Jack as he slowly develops into a violent monster. His son witnesses horrific forebodings of both past and future, through his Shining.

38. Terminator 2: Judgement Day (1991, J. Cameron)
 It's easy to forget that this Titan of special effects and action spawned from a low budgets B-horror movie, also directed by Cameron. This really was one of those landmarks in cinema, that we've now become accustomed to from Cameron. The story remains coherent from the first movie, though this time, the T-101 (Arnold Schwarzenegger) serves to protect the Connors (Edward Furlong and Linda Hamilton) against the more advanced T-1000, brilliantly performed by Robert Patrick. It's impossible to tire of it.


37. Jaws (1975, S. Spielberg)

 Spielberg has already had some noticeable success, before this blockbuster hit of 1975 made him an international star. Most noticeably with the TV movie 'Duel', which Jaws themes are evidently borrowed from. A small town New England sheriff (Roy Scheider) is assigned to destroy a great white shark that is terrorising the town and summer tourists. Richard Dreyfuss and Robert Shaw are brilliant as the men who support Scheider in hunting the shark. There are few people left in the world, who haven't had the pleasure of seeing this, and with good reason.

36. It's a Wonderful Life (1946, F. Capra)

 Frank Capra's most celebrated film, wasn't an instant hit. It was only in the 60's and 70's when it had regular airing on TV during Christmas, did it become a habitual mainstayer of the season. Jimmy Stewart is the owner of a small town bank that offers affordable loans and mortgage's to local citizens. After his uncle loses money whilst trying to deposit it in the main bank, the bank examiner notices the discrepency and Stewart fears he will be ruined and contemplates suicide. He is given a revalation by an angel of a dysfunctional, cruel world if he had never been born.

35. Amadeus (1984, M. Foreman)

 Based on Peter Schaffer's play, rather than a biopic of Mozart (Tom Hulce), it still provides an ample understanding of the great genius' life. Told in flashback mode, by Mozart's bitter rival Salieri (F. Murray Abaraham), it is revealed that Salieri manipulates society in oder to destroy Mozart's success. He fails to understand why God has given the gift of music to such an insolent and obnoxious man. As we start to experience Mozart's demise, the guilt of Salieri becomes apparant, but he remains somewhat unrepentant. It is a guilt that remains with him until his present self.

34. Fargo (1996, J. Coen)

 The Coen brothers has been making many hit movies (Raising Arizona, Barton Fink, Hudsucker Poxy) for many years already, this one gained them a more worldwide audience both critically and commercially. This is their signature movie, with the right balance of comedy, darkness and action. The whole cast is superb, with William H. Macy and Frances McDormand capturing the Minnesotan yokelness to full effect. Macy's bumbling incompetence as he tries embezzle money from his father-in-law via various means. Culminating in the kidnap and ransom of his own wife.

33. Midnight Cowboy (1969, J. Schlesinger)

 Though it handles the subject of homosexuality in similar fashion to previous films such as Rope, Gilda and Spartacus. It also has more explicit homosexual scenes, that don't necessarily imply that the main characters are gay. It follows a young Joe Buck (Jon Voight) who travels from Texas to New York in order to become a male gigolo. He soon gets hustled out of all his money, and down on his luck forms an unlikely friendship with one of his hustlers (Dustin Hoffman). As they struggle to survive, their friendship deepens, and they rely on each other more. It features a fantastic support of established and up and coming character actors, as well as a fantastic score.

32. The Searchers (1956, J. Ford)

 John Ford's Monument Valley is made all the more spectacular in Technicolor. After his family is massacred, a civil war veteran (John Wayne) undertakes a lengthy quest to locate his kidnapped niece (Natalie Wood). It is high on this list, probably because it is the quintessential film of both John Ford and John Wayne, and indeed their twelve film partnership. The greatest American western, which ends with one cinema's most iconic images.

31. Taxi Driver (1976, M. Scorcese)

 It's probably wrong to assosciate with such a disturbing character as Travis Bickle (De Niro), but I imagine that many young males, even today, have a strong affinity with his character. De Niro plays a vietnam war veteran who becomes disillusioned with the world's descent into decadance. He becomes a vigilante, and tries to save a child prostitute (played by the magnificent Jodie Foster), from the depths of the sleazy streets of New York. Scorcese cleverly maintains a subtle level of ambiguity that leaves the audience questioning whether what they just saw, was reality or fantasy.

30. Rome, Open City (1945, R. Rossellini)

 The power of cinema should never be underestimated. Rossellini's harrowing neo-realist masterpiece of facist Rome, made in the immediate aftermath of the war, reinforces this sentiment. It's hard at times to remember that you are watching just a movie. Not solely because of the post war setting, shot on location in Rome, but also the prodiguos performances of all those involved. Many consider this, the birth of the neo-realist era of cinema.

29. The Bridge on the River Kwai (1957, D. Lean)

 Alec Guinness was one of the finest film actors ever, and his turn as Colonel Nicholson in David Lean's first Hollywood feature, earned him his first acting Oscar. Guinness' Colonel is a prisoner of a war in a Japanese interment camp in the middle of a Burmese jungle. He and his men are ordered to build a bridge to help the Japanese supply lines by rail. Whilst his men believes they should sabotage the operation, Nicholson resolves that they should build the bridge as best they can, as a symbol of British spirit. They however remain unaware of the allies plan to destroy the bridge. This was Lean's first of his five subsequent epics.

28. The 39 Steps (1935, A. Hitchcock)

 The 39 Steps is rightly the film that launched Hitchcock from the annuls of mediocrity into the pantheon of greatness. After making this, the greatest version of Buchan's novels, he would go on to make a better quality of output generally, and eventually end up in Hollywood. Whilst his earlier work had elements of what would make Hitchcock as "the master of suspense", this was the first that combined all elements and produced his first masterpiece. He was also blessed to have the fabulous Robert Donat as his main protagonist, who runs from authorities across Britain, as he is wrongly accused of murdering an counterespionage agent.

27. Saving Private Ryan (1998, S. Spielberg)

 Another masterstroke from Spielberg, he forces the audience to dive into the frightening events of the Normandy landings almost immediately. It's easy to dismiss Spielberg as just a director, and almost easier to forget he has been a pioneer in modern American cinema. The way the movie is filmed takes the audience directly into the chaos of war. Equally it is easy for some to ignore the acting credentials of Tom Hanks, but there really is noone better to lead this team behind enemy lines to save Private Ryan (Matt Damon). 

26. Fight Club (1999, D. Fincher)  

 The film centres around an insomniac (Ed Norton) living on the edge, until one day he meets a soap salesman (Brad Pitt) who helps channel his aggression into what starts out as a Fight Club, and ends up on the verge of being a global terrorist network. Provocative and mesmerising, it's Fincher's best work, and keeps the audience guessing to the very end. It's also a great social commentary on the alpha male towards the end of the 20th century. Two fantastic lead performances and a fulfilling end make this one to watch repeatedly.

25. All About Eve (1950, J. Mankiewicz)

 Nominated for 14 Academy Awards, Mankiewicz film tells the story of an ingenue called Eve Harrington (Anne Baxter), who manipulates her way into the entourage of aging star Margo Channing (Bette Davis). Eve sets out to destroy Channing and become a star in her own right. It is however George Sanders who steals the show, giving an Oscar winning performance as the cynical critic Addison De Witt, who begins to unravel who Eve really is.

24. A Clockwork Orange (1971, S. Kubrick)

 Stanley Kubrick forsight of the modern world, was next to nobody's, it's hard not to see parallel's between his views of a dystopian society, and modern Britain. Alex DeLarge (Malcolm McDowell) is a charasmatic hoodlum, who is eventually apprehended by authority's, where he undertakes a drastic government treatment in order to help solve society's criminal problems. The treatment though leaves Alex ill-prepared for his return to the mean streets of Britain. McDowell makes Chritian Bale's Patrick Bateman look tame.

23. The Shawshank Redemption (1994, F. Darabont)

 A film that did rather moderately at the box-office, but has since found a strong audience through word of mouth. It's regarded as a lot of modern audience favourite film, and repeatedly performs well in polls as it has a broad appeal to women and men of all ages. It features the story of a wrongly accused man (Tim Robbins), sentenced to life imprisonment, who over time develops a deep friendship with a fellow inmate (Morgan Freeman). It is not hard to be touched by the film's stark portrayel of prison life and the men's own remorse for their misdemeanours.

22. Ben-Hur (1959, W. Wyler)

 It seems funny now to think that Wyler's first choice for the title character was Gregory Peck. It is arguably Charlton Heston's most identifiable role, as the Jewish prince who is wrongly persecuted by the Roman empire. He is sent to the galleys and his family imprisoned. Judah stays alive in hope of one day avenging this wrongdoing. People may argue that it's overblown, but that just adds to the whole movie going experience. The chariot race has become a thing of legend, and is probably the greatest stunt in movie history. 

21. Dances With Wolves (1990, K. Costner)

 The film that rightly beat Goodfellas in the Oscars, Dances with Wolves is Costner's Pièce de résistance. It tells the story of Civil war veteran, who is rewarded for his heroism, by being posted to the mid-west frontier lands. It is here that he finds an affinity with nature, and soon befriends a local tribe of Sioux Indians. As their trust and friendship develops he soon adopts their way of life as his own. Costner's self-belief in this project is what makes it supreme, as he is willing to risk the conventions of modern cinema for the sacrifice of art.

20. E.T: The Extra-Terrestrial (1982, S. Spielberg)

 It's a shame that the original theatrical version of Spielberg's technical masterpiece is so hard to come by these days. It's also a shame that Spielberg feels the need to touch up his classics with modern CGI, that just doesn't look good enough to replace the original puppetry. His replacement of guns with walkie-talkies is also questionable at best. The film though still maintains that Spielberg magic that sets him apart from his peers. A boy discovers an abandoned alien in his yard, and decides to hide the alien, called E.T, from authorities. He soon enlists the help of his siblings to protect E.T, to which he has now formed a close bond with. The charm of the film, is Spielberg's decision to position the camera from a child's perspective. It helps reinforce the innocence of the child characters and E.T himself. A powerful film, that is a technical marvel.

19. The Matrix (1999, A. Wachowski, L. Wachowski)

 Pre-millenial anxiety dominated pop-culture in the late nineties, but it's the Wachowski brother sci-fi smash hit that perfectly encapsulates this mood. A computer hacker (Keanu Reeves) is invited to learn the truth about his everyday life, which he reluctantly agrees too. The truth is more horrific than he could have imagined, and he must now accept his life as a rebel against authorities, in a now false reality. The film will forever remain a landmark in special effects, and the fight scenes are probably the greatest of any movie to date. Even two less than spectacular sequels can take anything away from this modern day masterpiece.

18. The Seven Samurai (1954, A. Kurosawa)

 A village that is constantly attacked by bandits during their harvests, enlist the help of a veteran Samurai (Takashi Shimura) from a local town to protect them and their crops. He then accumulates six more Samurai before arriving at the village with just the offer of food as reward. Each Samurai has their own traits, which leads to mild conflict both internally and with the villagers. As they begin to get attacked by the bandits, they have to strategise with each other in order to protect the village. The fights scenes are superb, but it's Kurosawa's story telling that keeps us engrossed as the film develops. Kurosawa was also lucky to be able to collaborate with Toshiro Mifuné on so many of his films, as he always provided great presence.

17. Casablanca (1942, M. Curtiz)

 For a run of the mill studio production, it's amazing to think Casablanca has cemented it's place in the consciousness of popular culture. Humphrey Bogart was fast becoming a star off the back of his film's High Sierra and The Maltese Falcon. Despite his unconventional leading man looks, his world weary cyniscism fits the role of Rick Blaine like a glove, as he plays both sides of the war for his own gain. We soon meet his past love Ilsa (Ingrid Bergman), who had left him in Paris. Cue a film's worth of memorable quotes and iconic images, as Rick rediscovers his love for Ilsa, he realises that he must leave Casablanca with her. However circumstances dictate otherwise.

16. North By Northwest (1957, A. Hitchcock)

 North by Northwest is probably the essential Hitchcock movie. It centres on an advertising executive (Cary Grant) mistaken for a government agent, by a group of foreign spies (led by the inimitable James Mason). As they try to get rid of him, he has to ensue on a cross-country trip in order to survive. Along the way he meets a beautiful blonde (Eva Marie Saint), who he has to trust in order to help him. Stylistic and thrilling, it's further proof that Hitchcock's films more than stand up to today's SFX extravaganzas.

15. Citizen Kane (1941, O. Welles)

 It never ceases to amaze me that Orson Welles was just 25 years old when he began to make this movie. Widely regarded as a landmark in cinematic history, it's narrative has become the blueprint for many biopics since. The story follows Charles Foster Kane (believed loosely to be based on William Randolph Hearst), and what his last word 'Rosebud' meant on his deathbed. As journalist's interview his closest assosciates over what the word meant, we are given a continual retrospective of Kane's entire life. The sheer scale and technical acheivements of the film is astounding, Welles regurlarly uses visual allegory's to help assist the narrative. Kane's ruthlessness is brillaintly portrayed by Welles also, and whilst the supporting cast do a good job, the film is ultimately about one man, not Citizen Kane, but Orson Welles.

14. One Flew Over the Cuckoo's Nest (1975, M. Foreman)

 Kirk Douglas tried repeatedly to get this Ken Kesey novel made into a film, but by the 1970's had lost interest and past the project on to his son Michael. It was a brave decision from Michael to enlist relatively unknown Eastern European Milos Foreman as the director of the project (although reportedly Kirk's first choice), but Milos' style, really suits the material. Jack Nicholson's magnetism in the role earned him his first Best Actor Oscar, with Louise Fletcher as the sinister Nurse Ratchet is the perfect foil for him. It's support cast comprises of up and coming actors such as Danny DeVito, Christopher Lloyd, Vincent Schiavelli and Brad Dourif, who have since become stars in their own right.

13. Sunset Boulevard (1950, B. Wilder)

 Billy Wilder's had already shown his darker side with his earlier directorial efforts such as Double Indemnity and The Lost Weekend. Sunset Boulevard this time takes an uncomfortable look at the Hollywood film industry. Gloria Swanson was cast perfectly as the lonely faded star, having herself been absent from Hollywood for nearly two decades. William Holden is the sturggling writer who chances upon her desolate mansion when escaping his debts. She allows him to stay, but at a heavy price, her fragile mental state and misguided opinion of herself makes him a victim of her madness.

12. Gone With The Wind (1939, V. Fleming)

 Based on Margaret Mitchell's best seller, writtern a few years prior, this was probably Hollywood's most anticipated film ever. Though Clark Gable was seen as the obvious choice to play the role of Rhett Butler, rumour was rife as to who would play Scarlett O'Hara. Nearly every established actress in America tested for the role, but it went to a little known English actress, probably best known as Olivier's new wife, who won the role. Vivien Leigh gives one of the greatest screen performances as the spoilt and manipulative Scarlett who will stop at nothing to get what she wants. She is in love with a man that is already betrothed, before she meets Rhett Butler, who immediately takes a fascination with her. As the Civil war develops, Scarlett has to adapt, and does so ruthlessly as she tries to protect herself and her family from the Yankees. She eventually meets Rhett again, and he convinces her to marry him, though he knows she loves Ashley. He agrees to provide for her, as long as she plays his wife. The chemistry between Leigh and Gable is electric, and it is probably the greatest onscreen romance ever. To this day, it remains the highest grossing film when adjusted for inflation.
                                         

11. Star Wars & The Empire Strikes Back (1977, 1980, G. Lucas, I. Kershner)

 The biggest film event ever, nobody can deny the impact George Lucas' sci-fi trilogy has had on film. Set "in a galaxy far, far away", the films revolves around a young farmboy Luke Skywalker (Mark Hamill) who leaves his home planet to embark on the ways of the Jedi, initially rescue Princess Leia (Carrie Fisher) from the clutches of the Empire and Darth Vader (James Earl Jones). As his journey progresses he learns that he is the one destined to destroy the evil empire. The second of the series is arguably the best as the Empire gets the upper hand over Skywalker and his rebel friends. It's the film that launched Harrison Ford, as the laconic Han Solo, in to a megastar. If you haven't seen it, watch it immediately!

10. Raging Bull (1980, M. Scorcese)

 Scorcese, De Niro and Mascagni is quite simply a marriage made in heaven. Based on the life of Heavyweight Boxing Champion Jake "The Raging Bull" La Motta, the story shows how destructive a boxer can be not just in the ring, but in his personal life too. It is a tour-de-force from De Niro, who famously piled on the pounds to play the boxer in later life, as well as getting into prizefighting shape, to depict La Motta at his height. The real artistry of the film comes in the fights, where Scorcese decides to exaggerate all aspects of each fight, but doesn't go overboard. Special mention must be made to Michael Chapman and Thelma Schoonmaker whose Cinematography and Editing make this pound for pound the greatest boxing film of all time.

9. Pulp Fiction (1994, Q. Tarantino)
 Pulp Fiction is the film that elevated Tarantino into the annuls of greatness. It was a smash hit both critically and commercially, and it opened audiences eyes to what can be acheived in a film which seemingly serves little depth on first glance. That's the beauty of the film though, it develops from a series of digression and loose plots, before intertwining each element to make one enthralling ride for viewers. At times the film flirts with satire, but it remains predominantly an offbeat black comedy constantly. The script is incredible, most lines seem superfluous, but the world would be lost without them. It's safe to say this film changed modern cinema, as well as resurrecting the careers of John Travolta and Samuel L. Jackson.

8. Ran (1985, A. Kurosawa)
 Another piece by the legendary Japanese film-maker, again based on the work of Shakespeare (King Lear). A Japanese war lord decides to divide his kingdom between his three sons, one of who rejects his father's proposal and is banished. As the two remaining sons revel with their new kingdoms, they soon disregard their father's influence and eventually banish him. The film looks spectacular, which is an acheivment in itself as Kurosawa was practically blind at this point in his life. Despite the film's slow pacing, it's emotionally charged and the story about the bonds of family against the will of individuals is what makes the film one of the ultimate Shakespearean adaptations.

7. Schindler's List (1993, S. Spielberg)

 A film that highlights the depths humanity will sink to in times of strife, and how sometimes all it takes is one man to save the lives of thousands. An incredible story based on the life of a factory owner, Oskar Schindler (Liam Neeson), who changes is virtue of wealth obsessed greed in order to save as many Jewish people from going to the concentration camps. Ralph Fiennes who plays the camp commandant (Amon Goethe), gives an unnervingly convincing performance, as his repressed love for his Jewish maid (Embeth Davidtz) conflicts his unrepentant slaughter of the Jews. Ben Kingsley provides his usual chameleonic masterclass as Schindler's assistant. The most cynical may accuse it of being overly sentimental, with one dimensional characters, but they cannot deny it's power and Spielberg's audacity to make such a difficult subject matter into a commercial success.

6. 2001: A Space Odyssey (1968, S. Kubrick)

 If there is one film that attempts to question being, then it's Kubrick's seminal masterpiece 2001: A Space Odyssey. Only the genius of Kubrick could make a film set in space so aesthetically plausible, before man had even landed on the moon. Over 40 years later, it's production values still continue to amaze present day viewers. The film tells the evolution of Mankind and it's interraction with a mysterious monolith throughout time. It also fortells of the impact Artificial Intelligence can have on Man as the HAL 9000 wreaks havoc onboard a mission to Jupiter. The soundtrack is now synonymous with the film, none more so than Richard Strauss' Also Sprach Zathrusta, which provides the film with the level of gravitas needed to prepare the audience for the journey to come. 'Masterpiece' doesn't do this film justice, it goes beyond that. Though there are many interpretations of the film, and some may accuse it of self-indulgence, but this is what film-making is all about.

5. Fellini's 8 1/2 (1963, F. Fellini)

 Fellini's most personal project is also his piéce de résistance. It's plain to see how so many directors regard this as the greatest film ever. Guido Anselmi (Marcello Mastrioanni) is an Italian film director who is under pressure from all those around him to make his next moive, after the success of his last hit. As he struggles through his passages of imagination, he begins to delve into his own past and the women he has loved to inspire him. The film expresses inner imagination like few others, the dream sequences are sumptuous and are intermingled with Guido's reality to give the audience an extra sense of wonder. It is able to communicate to the average viewer like few other films. It's a piece that works on so many levels, as a satire, drama and a social commentary on the importance of self discovery. Like 2001: A Space Odyssey, it's a film that doesn't seem inhibited by the barriers of possibility, thus creating something that's more than just a film.

4. Once Upon A Time in the West (1968, S. Leone)

 Sergio Leone's first film with Hollywood financing, wasn't the box office hit the studio wanted. It did however play in a Paris theatre for over 4 years. It was a film that was to inspire a new generation of up and coming directors, such as Martin Scorcese, Quinten Tarantino and George Lucas. It was Leone's own tribute to the Westerns that had inspired him, most obviously those of John Ford, High Noon and Johnny Guitar. Leone takes more time than in his previous Spaghetti Westerns, he lingers with each shot, perhaps due to more artistic freedom from his past success. It's violent, and breaks the conventions of those classic Westerns in which he pays tribute to. The film is a statement of the transition that has taken place, gone are the clean cowboy Westerns of the past, to make way for this new breed of gritty, dark and sexualised Western. The personification of this being Henry Fonda's casting as the sinister, cold-blooded killer Frank. Leone's masterstroke is to make the audience feel ambivalent to many of the main characters, as their motives remain unclear for the first half of the movie. Bronson and Robards have a fine chemistry that may not have the same charm as his previous characters, but suits the mood of this film more. As for Claudia Cardinale, she has never looked better on screen, forever captured in the moment through film.

3. The Godfather parts 1 & 2 (1972, 1974, F. Coppola)

 A film series now, that must be on the conciousness of anyone who has ever been to the cinema. Adored by the majority of cinephiles, it reignited the gangster genre and has all of the themes that subsequent films have come to imitate. It's hard to pinpoint the greatest aspect of this movie, but it's screenplay is surely unmatched. Filmed in such a way by Coppola, that it's ambience and pastel like colours create the perfect feel for the audience of the era they are viewing, as well as suiting the mood of the film. Though Brando, rightly got all the plaudits, it is Pacino who excels in this film with his transition from decorated war veteran to mafia war lord. Every actor contributes to this compelling narrative as Pacino attempts to avenge the assassination attempt on his father and reinstate the Corleone family as a crime powerhouse. The sequel is just as powerful as we are told of Pacino's father's own rise from humble beginnings to mafia boss, this time portrayed by the young Robert De Niro, who also won a best acting Oscar for the same role as Brando. Pacino and De Niro's stories are told alongside each other so that parrallels and contrasts can be made between the two Dons. Pacino this time has to struggle with keeping his family together, whilst stopping his competitors from taking him out through both the courts and murder. The climax of which is emotionally charged and features a truly inspired performance by John Cazale, who plays Pacino's older brother Fredo. The final shot brings to a close the most rewarding cinematic experience of the 70's, as we stare back at a cold lonely Pacino, full of sin and beyond redemption.

2. Lawrence of Arabia (1962, D. Lean)

 David Lean was probably the most visionary director of all time. Though maybe not as experimental as Lubitsch, as daring as Bunuél or as grand as Von Stroheim, he was certainly a pioneer of film; albeit in a later generation to the aforementioned. Lean combined the best attributes of these directors and other greats before him, to culminate in this his most ambitious of films. Based on the life of the enigmatic First World War Officer T.E. Lawrence (Peter O'Toole), and he's war with the Arabs against the Turks and against British protcols. O'Toole is Oscar worthy, and few men have ever looked more beautiful on screen, but it's every aspect of the film that seems to acheive greatness. From Robert Bolt's script, Jarre's breathtaking score to Freddie Young's scene-sweeping cinematography, it's a perfect marriage for a near perfect film. Lean took a lot of chances with this film, massive production cost, elongated shots (Omar Shariff's legendary arrival) and he's choice of given no speaking parts to women. Just as Lean himself had used the masters before him for inspiration, Lawrence would serve as the benchmark for the next generation of directors (Scorcese, Lucas and Spielberg). More has to be said for the cast, an incredible amalgamtion of European talent, who each give their own tour de force in what little time they have. Anthony Quinn, Omar Shariff Jack Hawkins, Anthony Quayle, Claude Rains, José Ferrer and Alec Guinness as Prince Faisal. But it's O'Toole's character development from a bold renegade, to an arrogant war mongerer that rises above all. If Leo Tolstoy had made a movie, this would be it.

1. The Good, The Bad and The Ugly (1966, S. Leone) 

 The perfect balance of art and cinematic experience, provides the greatest movie of all time. It is neither the greatest artistic piece and is possibly not the most entertaining movie ever made. It's imperfections are what make a great. The American Western made on a shoestring budget in Spain, by an Italian director with a European cast, but with American leads. The Good, The Bad and The Ugly did for Westerns, did what The Godfather saga did for crime dramas. The final part of Sergio Leone's loose "Spaghetti Western" trilogy, Eastwood (The Good) maintained his role as "The Man with No Name", with Van Cleef (The Bad)returning as the bad guy after his turn as Eastwood's partner in the previous "For A Few Dollars More". The film was stolen though by Eli Wallach (The Ugly), as the double-crossing bandit "Tuco". Though the designation of these names are debatable as each interwine each other's reputations.

These films were where the laconic persona of Eastwood was born, having previously played the straight-laced "Rowdy Yates" in the American TV series "Rawhide". Here he plays a bounty hunter who teams up with Tuco, who repeatedly captures and rescues the bandit, in order to share the reward money. He soons leaves Tuco in the dessert to die, but Tuco survives and treats Eastwood's "Blondie" to a similar experience, before the two are informed of buried treasure by a dying soldier. Tuco only knows the name of the cemetery, but Blondie only the name of the grave. The two have to work together to get to treasure, but soon encounter "Angle Eyes" (Van Cleef) along the way who's also after the gold.

 Leone's big acheivement is creating a new type of gritty real American west, ironically in Spain. His use of Morricone's iconic score enhances the vast plains of this wilderness and this story even more. The climax is probably the most iconic of the Western genre, with the three way shootout probably the most imitated scene in motion picture history. Not the most sophisticated film ever, but overall, the greatest film ever made.