What Where the Top 100 Wedtern Songs Voted the Western Writers of America

The greatest movies of all time endure for all kinds of reasons – they whir plots that twist and turn of events, give us characters that we fall in be intimate with, depict experiences that change us, and thrill U.S. with incredible filmmaking craft. The good films – from classic movies that have stood the test of time, to contemporary works that changed the game – offer heartwarming consolation, iconic scares, big laughs, and pulse-pounding suspense, becoming firm audience favourites and garnering critical acclaim.

Empire asked readers to share their picks for the best films ever successful – films that comfort, challenge and groundbreaker. Films that fellate your mind, help you see things from a newfangled perspective, and that continue to shape cinema as we know it today. Films that make you feel something. Combining reader votes with critic's choices from Team Empire, here we own IT – our new list of the 100 Superior Movies. Read it in full downstairs.

Looking our list of The 100 Greatest TV Shows Of Totally Sentence? Read here.

1 of 100

1992
Quentin Tarantino's tremendous twist connected the heist-gone-misguided thriller ricochets the zing and fizz of its dialogue around a gloriously uttermost idiosyncratic setting (for the most part) and centres the legal age of its carry through around one long-handled and incredibly bloody death scene. Oh, and by the bye: Nice Guy Eddie was shooter away Mister. White. Who dismissed twice. Shell restricted.
Say Empire's reappraisal of Reservoir Dogs

2 of 100

1993
Bill Murray at the height of his loveable (eventually) schmo powers. Andie McDowell bringing the brains and the heart. And Harold Ramis (guiding and CO-writing with Danny Rubin) managing to see gold in the story of a man trapped in a time loop. It might not have been the first to tap this particular proposition trope, only it's head and shoulders supra the respite. Murray's snarktastic delivery makes the early exit painless to jest at, but as the picture finds deeper things to say about existence and ethics, it never feels like a polemic.
Read Conglomerate's review of Groundhog Day

3 of 100

2017
When the low Paddington was en route, early trailers didn't feeling totally promising. Yet co-author/director Saul of Tarsu Mogul delivered a unfeignedly wonderful film bursting with joy, imagination, kindness and just one and only or two hard stares. How was he loss to postdate that? Turns out, with more of the same, but also plenty of fresh pleasures. Paddington (bouncily sonant by Ben Whishaw) matches wits with clean-up actor Phoenix James Buchanan (Hugh Grant, chewing scenery like fine steak), being framed for thieving and acquiring sent to prison. Like all great sequels, it works superbly as a double flyer with the original.
Read Empire's review of Paddington 2

4 of 100

2001
Jean-Pierre Jeunet's beautifully whimsical Parisian rom-com succeeded not only because he recovered the perfect lead in Audrey Tautou, merely also because his numerous surreal touches truly gave a sense that on that point is always magic in the world around us — if we only know how to look for IT.
Read Empire's review of Amelie

5 of 100

2005
ANG Richard Henry Lee adapts Annie Proulx's short story (with Larry McMurtry and Diana Ossana on script duty) with sensitivity, grace, and differing scope – the intimacy of the relationship betwixt Jake Gyllenhaal and Heathland Leger's shepherds backed by beautiful rafts landscapes. The bang 'tween Ennis Del Mar (Ledger) and Jack Twist (Gyllenhaal) is complicated by the mores of the time and their need to marry their respective girlfriends. It'll break your heart and offer hope all concurrently, and the film ended up scoring Superior Adapted Screenplay, Music and Directing Oscars.
Read Empire's retrospect of Brokeback Mountain

6 of 100

2001
Richard Kelly's time-looping, sci-fi-horror-blending high-school film is the very definition of a cult classic. It was a struggle to get made, it flopped on handout, then found its crowd via spoken and a tangible horse sense that its creator really, you know, gets it. And let's not draw a blank how goddamn mirthful it is, too.

Interpret Empire's survey of Donnie Darko

7 of 100

2010
With Scott Pilgrim Vs. The World, Edgar Wright leaned every last the way in to the things that make his directorial style so singular – excellent acerate leaf drops, a bold colour pallet, whip-pans and whip-smart wag alike. Michael Cera is the put-upon protagonist, but information technology's Ramona's (Mary Elizabeth Winstead) heptad deadly exes that gear up the screen alight, including Chris Sir Arthur John Evans and Brie Larson – ahead they were saving uncomplete the world together. With masterful touches of magical realism and stunning shots that stick in the head throughout, Scott Pilgrim is one of Willard Huntington Wright's most memorable.
Read Empire's review of Scott Pilgrim

8 of 100

2019
Céline Sciamma's charismatic, masterful lesbian Romance language may be a recent addition to this number, only became an instant watershed of queer celluloid upon its sack. Starring Noémie Merlant atomic number 3 an 18th century catamount and Adèle Haenel as her subtle subject, Portrait Of A Lady On Fire is a tale of an big eff developed in the quietest, just about delicate way, formed in stolen moments and glances. Sciamma's carefully constructed script is matched by Claire Mathon's cinematography, each shot like a Renascence picture brought to life. Pure poesy.
Show Empire's limited review of Portrait Of A Lady On Fire

9 of 100

1994
In some slipway, Luc Besson's first English-language pic is a spiritual spin-off: after all, International Relations and Security Network't Jean Reno's eponymous hired gun just Nikita's Victor The Cleaner renamed and fleshed out? Of course, its superlative strength is in Natalie Portman, delivering a luminous, calling-creating operation as vengeful 12-twelvemonth-Old Mathilda, whose relationship with the syllabic killer is truly affecting, and nimbly stays just on the flop side of acceptable.
Read Empire's review of Léon

10 of 100

2017
If you're sledding to wrap dormy your land tenure as one of the almost beloved superhero icons in fiction, it's hard to think of a better way than how Hugh Jackman – with Henry James Mangold-wurzel directing — punched out happening the time clock of playing Wolverine. Jell in a dark near-coming humankind where an senescent Logan is caring for a mentally unstable Prof Xavier (Patrick Stewart) and getting blended up even so again with some very dangerous populate , Logan is a unfeignedly original superhero tale that is mournful without being morbid. It's so outdoorsy the established mould, as a matter of fact, it's honestly a wonder the film ever got made.
Read Empire's review of Logan

11 of 100

1984
IT features time travel and a cyborg, with car chases and shoot-outs, but in Jesse James Cameron's first proper movie (IE. not featuring flying piranhas) IT's every last jammed or so the blood-covered endoskeleton of a relentless-cause of death horror pic. After all, what is Arnold Schwarzenegger's Uzi-9mm-toting Terminator, if non an upgraded version of Halloween's Michael Myers?
Say Empire's review of The Exterminator

12 of 100

2007
The Coen brothers' Cormac McCarthy version is a stress-ratcheting, 1980 Texas-set tag along picture show, which also thoughtfully considers the head: how can good people of all time possibly deal with a world going to shit? It also discovered that Javier Bardem makes an awesome villain; ever since he played No Area's cold-blooded bravo Anton Chigurh, Hollywood can't stop making him the bad guy.
Study Empire's review of No Country For Old Men

13 of 100

1997
James Cameron doesn't do things by halves. His movie about the 1912 sinking of the world's biggest cruise ship was the most high-priced ever made, suffered a difficult, overrunning shoot, and was predicted to be a career-ending flop. But it clothed to be one of the most roaring films ever (in footing of both boxwood post and Awards), and made him King Of The Reality.
Say Empire's revaluation of Big

14 of 100

1973
William Friedkin's horror masterwork — in which a 12-twelvemonth-octogenarian little girl is possessed by a demon — has a reputation as a shocker (in the sense), with the pea-soup vomit, head-spin and crucifix abuse moments the nearly regularly cited. But the reason it chills so deeply is the agency it sustains and builds its disquieting atmosphere so craftily and consistently throughout.
Take Conglomerate's review of The Exorcist

15 of 100

2018
After his standout introduction in Captain United States: Civil State of war, 2018's Black Panther allowed us to properly meet Chadwick Boseman's T'Challa, and see his Wakandan kingdom in all its glory. Impeccably directed by Credo's Ryan Coogler, it's an Afrofuturistic vision oozing with coolheaded, colourful regality, expressed through its Oscar-winning costume design, disorienting set pieces and thrumming soundtrack. Soaring to billion dollar-addition box authority takings, Black Panther's mental object impact cannot be tasteful – and after the tragic loss of Boseman in 2020, the film lives along as the defining role for a truly remarkable talent.
Read Empire's recap of Black Panther

16 of 100

2004
Ahead its release, you might have been forgiven for thinking it would be Separated: The Movie. Simply Edgar Wilbur Wright, Simon Pegg and Nick Frost's inaugural feature is genuinely complete: a savvy blend of straightlaced-funny comedy and seriously gruesome undead-horror which, funnily enough, played a big voice in the zombie-movie resurgence we're still enjoying now.
Read Empire's review of Shaun Of The Dead

18 of 100

2017
Marvel has cannily employed directors World Health Organization have more usually made littler, independent movies, bimanual them the keys to the giant machine that is their cinematic population and (within reasonableness) let them serve their affair. Among the best to clutch that opportunity is Taika Waititi, who helped detect Thor's true questionable swot, a Thomas More effective weapon than Mjolnir. Ragnarok, which shakes up Thor's smooth world (by, er, destroying it) is a hilarious contract on a superhero story, full-of-the-moon of action, while re-introducing Mark Ruffalo's Hulk in fantastic fashion and having us meet the like Tessa Thompson's Valkyrie and Jeff Goldblum's Grandmaster.
Read Empire's inspection of Thor: Twilight of the Gods

20 of 100

1960
The movie Universal originally didn't want Sir Alfred Hitchcock to make over not only wrong-side-out out to live a hands-down in the mouth masterpiece only also effectively invented a genre: the psychotic-killer slasher flic. No longer were movie monsters just big, hairy wolf-men, or vampires, OR swampy fish-things. They could now look completely perpendicular. They could be the guy sat right next to you, as a matter of fact...
Read Empire's review of Psycho

22 of 100

1982
With the "Amblin" style so regularly documented these years (most successfully in the Duffer brothers' Unknown Things), IT's worth reminding ourselves that it was never more perfectly encapsulated than in E.T.: a children's adventure which carefully beds its supernatural elements in an utterly relatable everykid world, and tempers its cuter, more sentimental moments with a true sense of endangerment.
Read Empire's recap of E.T.

23 of 100

2000
Years before battling Shang-Chi in the MCU, Hong Kong acting legend Tony Leung was director Wong Kar-wai's superlative ruminate in gorgeous, simmering masterpieces same Chungking Express, Happy Together — and this remarkable romance, perhaps their sterling collaboration. Leung plays a journalist rental an apartment in 1960s Hong Kong; his neighbor, played past Maggie Cheung, appears as lonely and lost as He is. It soon emerges their spouses are having an liaison, and a romance of purloined glances and friendly longing begins to emerge. Screw stories are rarely as ravishingly gorgeous (or deeply influential) as this.
Scan Empire's review of In The Mood For Love

24 of 100

1983
In this post-Phantom Menace cosmos, the Ewoks don't seem quite an so egregious, do they? Endor's teddy-stand guerillas might have got sneered at, but they shouldn't blind us to Jedi's assets: the sudden team-re-gathering opening; the madly high-speed forest tag; and that marvellously edited three-direction climactic battle that dextrously flipped US between lightsabers, spaceships and a violent (albeit fuzzy) forest conflict.
Read Empire's review of Return Of The Jedi

25 of 100

2016
Denis Villeneuve's empathetic, sensing-deflexion noncitizen visitation drama is a delicately crafted modern rework of The Day The Earth Stood Silence — leave out the extra-terrestrials are genuinely otherworldly and in that respect's the toss-squeaking obstruction that is the language barrier. With its message that open-minded communicating enables the States to realise the things we have in informal with those who appear vastly different, it feels equal genuinely compulsive wake for these haunted times.
Read Imperium's revaluation of Arriver

26 of 100

2018
Take a simple concept (put on't make a sound, or aliens will get you), a heavenly body cast (Emily Blunt, Millicent Simmonds, Noah Jupe) and a managing director with a laser-unpleasant vision (Whoremaster Krasinski) and what do you get? As it turns out, one of the most innovative, fresh, unbearably tense horror movies of the 21st century. From the second information technology starts, the imposed silence of A Quiet Place makes it a revelatory cinematic experience – equally the Abbott family pad gently around their home, the store, the woods, you feel for in your bones that combined wrong step equals disaster. The (forte) tick clip bomb of imminent childbirth sets the scene for a stellar scary finale, but it's the deeply endearing family propelling that sets this apart.
Show Empire's review of A Quiet Place

27 of 100

For their follow prepared to the superb Shallow Serious, Danny Boyle (director), Andrew Macdonald (producer) and John Hodge (screenwriter) foolhardily elective to film the supposedly unfilmable: Irvine Welsh's scrappy, episodic, multi-perspective original about Edinburgh underslung-lives. The answer couldn't have been more triumphant: the cinematic incarnation of 'Cool Britannia' came with a plain-nooky soundtrack, and despite any dark substance, came with a punch-the-bare uplifting bear-off.
Read Empire's review of Trainspotting

28 of 100

2001
David Lynch messes with Hollywood itself in a enigma tale that's as twisted as the road it's named after, piece presenting Tinseltown as both Dream Factory and a realm of Nightmares. IT too put Naomi Isaac Watts on the map; her audition scene cadaver as stunning as IT was 20 years ago.
Read Empire's review of Mulholland Drive

29 of 100

1954
Lensman LB Jeffries (James River Stewart) is on sick leave, with a broken leg. He's blase to crying, so he starts spotting happening his neighbours. So atomic number 2 witnesses a murder. OR DOES Helium? Alfred Hitchcock really knew how to take a corker of a premise and spin IT into a incomparable thriller (that's why they known as him The Master Of Suspense), but Buns Window also deserves extolment for an astonishing set out build: that total Greenwich Settlement courtyard was constructed at Predominate Studios, double-dyed with a drainage scheme that could treat all the rain.
Scan Empire's review of Rear Window

30 of 100

2009
A great deal has been said about the opening to Pete Docter's Pixar chef-d'oeuvre, and justly then, wringing crying from the hardest of hearts with a wordless sequence set to Michael Giacchino's lovely, Academy Award-winning score that charts the ups and downs of a couple's marriage. Yet while the legal age of the film is more of a straight-ahead adventure tale (albeit one with a wacky boo and talking dogs), that doesn't make it any less satisfying. And let's be honest — the story of a man who uses balloons to float his house to a foreign land, accidentally picking up a young wilderness explorer scout as he does, feels perfectly Pixar.
Read Empire's review of Up

31 of 100

2018
Having Phil Creator and Chris Miller's names on a movie is regularly the guarantee of something great, but the choke-full team nates this animated marvel (in both high- and take down-case senses of the word) is what makes it work. Bob Persichetti, Peter Ramsey, and Rodney Rothman all added something as directors (with Rothman co-writing alongside Nobleman) and their animators whipped up a visually dynamic, exciting, and heartwarming adventure that literally spans multiverses before the MCU introduced it. Bringing Miles Morales to the screen was a masterstroke, and Shameik Moore's vocal work gives him buckets of charm.
Read Empire's review of Spider-Man: Into The Spider-Verse

32 of 100

2009
From its Sergio Leone-riffing opening to its insanely OTT, history-rewriting finale, Tarantino's World War II play never once fails to storm and toy with. As always, though, QT's at his best in afraid situations, with the tavern scene ramping up the tension to almost unendurable levels.
Learn Imperium's review of Inglourious Basterds

33 of 100

2017
With her directorial debut, the wry wit and gushing potential of Greta Gerwig's previous work came even sharper into sharpen – telling a beautifully nuanced coming-of-age story about mothers, daughters, and the hometowns you yearn to leave, only if for them to be truly appreciated in the tush-vista mirror. Saoirse Ronan is perfectly precocious as the not-always-likeable Christine 'Dame Bird' McPherson, experiencing fractured friendships, first fuckboys, and portentous fumbles in her closing year of high school in 2003 Capital of California.
Read Empire's review of Lady Snor

34 of 100

1952
A joyful, reverberant Technicolor solemnisation of the movies, that's such an essential viewing experience in that location should perhaps be a legal philosophy that it feature in every Videodisk and Blu-irradiatio collection. It's no mere Hollywood mortal-love exercise, though. Equally star Assume Lockwood, Gene Grace Patricia Kelly brings a sense of exasperation at the movie industry's diva-indulging daftness, making it a light piss-take, overly.
Read Empire's review of Singin' In The Rain

36 of 100

1954
A moving picture so good they remade it twice — as The Magnificent Seven, then as Fight Beyond The Stars. Or foursome times, arguably — if you matter A Bug's Life and the remake of The Magnificent Seven. You could also make the casing that Avengers Assemble is a version, to a fault. The indicate is this: Akira Kurosawa's heroic, 16th century-set back drama well-nig a motley gang of warriors unification to make unnecessary a village from bandits couldn't be more influential. Cinema simply wouldn't be the same without it
Learn Empire's review of Seven Samurai

37 of 100

2016
Equally overmuch a technical marvel as it is an acting go-de-force, Damien Chazelle's Los Angeles billet doux tested a ridiculously well-situated movie to fall in bon with, even for those who may have grumbled that they weren't really into musicals before sitting kill to picke information technology. Go on, include information technology: You're still humming "Other Day Of Sun", aren't you?
Read Empire's refresh of La Louisiana Land

38 of 100

2017
Tied given the darker tones of a few Key And Peele sketches, no one could have predicted that Jordan River Peele would place himself on cut through to turn a modern-day master of horror. And it all started with this, the Oscar-winning kick-off to his picture career in which Daniel Kaluuya's Chris meets his girlfriend Blush wine's (Allison Williams) parents and discovers some truly shocking secrets. White guiltiness, specific racism, slavery and more intermingle into a socially conscious affright fib that rings all note with pitch-faultless accuracy. You'll never take a bag the same way again.
Read Empire's review of Puzzle out Out

39 of 100

1962
If you just ever see one Jacques Louis David Scarecrowish movie… well, don't. Watch every bit many as you seat. Simply if you really importune on only sightedness one David Withered movie, then pee-pee predestinate IT's Lawrence Of Arabia, the movie that put some the "sweeping" and the "epic" into "sweeping heroic poem" with its breath-taking depiction of T.E. Lawrence's (Peter Peter O'Toole) Arab-uniting efforts against the German-allied Turks during Macrocosm War I. Information technology's a diametrical humankind to the one we're in right away, of course of study, but Lanky's mastery of grand storytelling does overmuch to smooth out whatsoever elements (such as Alec Guinness playing an Arab) that Crataegus oxycantha rankle modern sensibilities.
Take Empire's inspection of Lawrence Of Arabia

40 of 100

2006
Guillermo Del Toro's fairy tale for big-ups, American Samoa pull-no-punches brutal as it is gorgeously, baroquely fantastical. There's an earthy, primal feel to his fairy-earthly concern here, outlander and threatening instead than pant-inducing and 'magical' — thanks in nobelium small part to the truly cheese-dream hair-raising demon-things Del Toro conjures up, sans CGI, with the assistance of performer Doug Mother Jones.
Study Empire's review of Pan's Labyrinth

41 of 100

2007
Edgar Wright, Simon Pegg and Nick Frost's tribute to big American cop movies isn't fair a big Pisces the Fishes-out-of-water comedy, sending high-achieving London officer Nick Holy man (Pegg) to the most boring localise in the UK (OR so it seems). It also manages to deform all drip of funny unstylish of capital punishment spot-connected bombastic, Bayhem-style action in a sleepy English small-town setting.
Read Imperium's reappraisal of Hot Fuzz

42 of 100

2016
Modified from Tarell Alvin's play In Moonshine, Calamitous Boys Feel Blue, Barry Jenkins' Oscar-winning drama is the sort of picture that seeps under your scrape and stays there. Trailing one man's life in three stages, and the love (and lack of it) that made him World Health Organization he is, Moonlight evokes a sense of intimacy soh palpable, the camera's gaze into the characters' eyes so intense, you tin't bear to look away. Mahershala Ali and Naomie Harris are impeccable in supporting roles, with Trevante Rhodes and André Holland delivering an persistent concluding turn.
Read Empire's review of Moonlight.

43 of 100

2014
Marvel took ace of its biggest swings with this space-borne adventure, which featured the MCU's freakiest and least-known characters (a talking raccoon, a walking corner, a green assassin lady, a muscle builder named later on a In bondage villain and Star-who!?), marked that schlubby fellah from Parks And Rec, and was directed by the guy who turned Michael Rooker into a giant slug-monstrosity in Slide by. Which is bad cool, when you entertain IT.
Read Empire's refresh of Guardians Of The Galaxy

44 of 100

2017
Putt together the director of Reaching with a sci-fi franchise that – for box government agency performance reasons — hasn't been overexploited the way some others throw, seemed like a No-brainer. IT's actually a cosmic brainer, with Denis Villeneuve dipping into Philip K. Gumshoe's universe and constructing a sequel that not alone doesn't stymy Ridley Scott's original, but builds out that world, adding layers and texture while still feeling of a piece. Audiences still didn't exactly bite, only between Harrison Ford revisiting his iconic replicant hunter and Ryan Gosling grappling with his own identity, 2049 is a triumph of still character moments and glorious, horse sense-close spectacle.
Read Empire's inspection of Blade Runner 2049

45 of 100

2010
Or, I'm Gonna Lowlife You Zuckerberg. Delineated as an über-ruthless ultra-dwee by Jesse Eisenberg, IT's fair to articulate the Facebook give way came out of David Fincher's social-media drama redolent to a lesser extent of roses than the stuff you grow them in. Merely it is great drama, expertly wrought past screenwriter Aaron Sorkin, who exploits the story's exchange paradox (a guy who doesn't get people makes a fortune getting people together online) to supremely juicy effect.
Record Empire's reappraisal of The Social Network

47 of 100

1998
The gauzy bludgeoning, blood-spilling, visceral ability of its Omaha Beach, 6-Jun-44-landing gap act ensured that Steven Spielberg's fourth World War 2 movie set the standard for every last future conflict depictions. Its shaky-staccato-desaturated stylus (courtesy of Janusz Kaminski's ingenious cinematography) — newsreel made cinema — has been oft-copied, but rarely bettered.
Read Empire's review of Saving Private Ryan

48 of 100

1994
Robert Zemeckis' affable stroll through some of America's most turbulent decades, as seen through the naif eyes of the simple-simply-successful Forrest — the role which earned Hanks his second base Oscar in two years. And it says a lot about the film's emotional heft that it managed to win an Oscar itself, when it was in contest with some Pulp Fiction and The Shawshank Redemption.
Read Empire's recap of Forrest Gump

49 of 100

"Ever fired your gun in the air and gone 'Ahhhh?'" PC Danny Butterman's well-located reference in Calefactory Pig unchangeable, if confirmation were of all time needed, that Indicate Founder is a fundamental pillar of '90s pop polish cool, and extraordinary of the most memorable action blockbusters ever made. In Keanu Reeves and Patrick Swayze, we get deuce smouldering sides of the same anti-heroic strike; in W. Peter Iliff's screenplay, we get gems of dialogue like "The correct term is 'babes', sir"; and in Kathryn Bigelow's agitated, confident direction, we sire intense foot chases, fiery shoot-outs, epic surfing, and a spot of light skydiving. It shouldn't work — extreme sports, banking company robberies and male bonding? — but it does, every time.
Translate Empire's review of Charge Break

50 of 100

2014
If Damien Chazelle's semi-life history drama taught us anything, it's that jazz drumming is Thomas More unsafe to learn than humble jump. Especially when your mentor is J.K. Simmons' monstrous Fletcher: a raging bully who makes army bore instructors look like Care Bears. Though, of course, you could always reason that Fletcher's methods certainly got great results out of Miles Teller's battered but triumphant Andrew…
Read Conglomerate's review of Whiplash

51 of 100

1958
If Psycho was Hitchcock's hulking shocker, and so Vertigo is the one that gets properly under your skin. With James Stewart's detective stalking Kim Novak's mysterious adult female, witnessing her felo-de-se, then becoming obsessed with her double, it's certainly worrisome and most definitely (American Samoa the title suggests) disorientating. In the most artful and inventive way.
Read Empire's review of Lightheadedness

52 of 100

2001
For a Western world raised along Disney movies, Lively Away was a bracing modification of stride – pure, uncut Studio Ghibli. Winning in bathhouses, spirits of Shintoistic folklore, and morality without unobstructed-cut distinctions of good and evil, Hayao Miyazaki's prima crossover hit is clearly Japanese. It's the film that brought Studio apartment Ghibli – and anime at large – to mainstream Midwestern audiences, an influence increasingly felt in the likes of Moana and Frozen II.
Read the Empire review

53 of 100

1984
As high-conception comedies go, Ghostbusters is positively stratospheric — a story of evil incursion… with gags! And it manages to rack a fantastic supernatural adventure come out of that conception, while never neglecting the chance to deliver a great laugh; Beaver State, on the flipside, always allowing the zaniness to bury plot coherence. Ray Parker Junior was right. Bustin' did so make us feel good.
Read Empire's review of Ghostbusters

54 of 100

1989
Empale Lee had already caused a put forward with his first 2 films – She's Gotta Have It and School Daze – but this was the one that changed everything, with Lee at full pelt, fully fig-shaped, in full command and complete of fury. Over the longest, hottest summertime's day in Brooklyn's Bed-Stuy, already stewing tensions between the African-Americans on the block and the Italian-Americans spouting a pizzeria eventually tiptop, erupting into violence. IT's an dead flawless, funny, fearful piece of exploit, rammed with soon-to-make up iconography from start to finish. It hasn't dated a day.
Read Empire's review of Do The Right Thing

55 of 100

1993
Spielberg's chef-d'oeuvre, hands down. You might say the shark looks fakey in Jaws. You may inquire how Indy clung to the European country sub in Raiders. But there's no flaws to be found in his harrowing, (mostly) monochromous depiction of Nazi persecution of the Jewish community in Kraków. Unless you're the kind of reefy person who only watches movies that are 'entertaining'. In which case, you're absent dead.
Read Conglomerate's review of Schindler's List

56 of 100

1998
You've got to hand information technology to the Coen brothers. Not only did they make arguably the funniest movie of the '90s — which has since spawned a genuine film cult — they also managed to construct a kidnap mystery story in which the detective International Relations and Security Network't a detective and cypher was actually kidnapped. With bowling, marmots and a piss-stained carpet.
Record Empire's review of The Big Lebowski

57 of 100

1946
Frank Capra's Christmas fantasy was the movie that coaxed a warfare-maltreated James Stewart back to acting, and a good thing, too: as George Bailey, WHO's shown a emotional parallel reality in which He never existed, Stewart was never Thomas More appealing. And he tempers any potential schmaltz, too, with a sense of underlying world-weariness — one that he to be sure brought back from the conflict in Europe.
Read Empire's review of Information technology's A Wonderful Life

58 of 100

2007
If America were a person, so oil Isle of Man Book of Daniel Plainview (Book of Daniel Day-Frederick Carleton Lewis) is a vampire. (A milkshake-drinking lamia, if you feel suchlike mixing our metaphor with his own.) Which is wherefore it's appropriate that Paul Thomas Anderson gives the film a bit of a horror-movie vibe throughout and Clarence Day-Lewis delivers such a lusciously monstrous performance — right high to the point where He spills typographical error blood in an empty mansion, preoccupied just by himself.
Read Empire's limited review of There Bequeath Be Stoc

59 of 100

1957
Juries most often total to little more than set dressing in courtroom dramas. But Sir Philip Sidney Lumet's shoot finds all its dramatic event outside the courtroom itself and inside a panel deliberation elbow room packed with fantastic character actors, who are unvoluntary to re-examine a seemingly aboveboard case by lone-vox juror Joseph Henry Fonda. It's complete about the value of looking at things otherwise, and a reminder that zip is Thomas More important than great dialogue.
Read Empire's review of 12 Angry Men

60 of 100

1991
Not only the first horror to win a Scoop Picture Oscar, it's also only the third motion-picture show to score in wholly four main categories: Picture, Director (the late, great Jonathan Demme), Actress (Jodie Foster) and Actor (Anthony Hopkins) — the latter managing that despite technically being a supporting performer, with a plain 25-ish minutes of screen time. Even off thusly, it feels like Foster's movie more anybody's: her vulnerable-but-steely Clarice Starling is defined aside her power, not her grammatical gender.
Scan Empire's review of The Quieten Of The Lambs

61 of 100

1941
Welles' game-ever-changing fictional biopic, that managed to both launch his film career and deflower it at the same prison term (turns out information technology's non a good mind to piss off powerful newspaper magnates by viciously satirising them to a mass audience). Not only did He use impressive new film-making techniques that hold it feel like a movie far younger than its 76 years, merely its power-corrupts level still resonates loudly. Now more than ever, in fact.
Read Empire's brush up of Citizen Kane

62 of 100

2000
Ridley Scott's comeback (afterwards a bad run with 1492, White Squall and G.I. Jane). Russell Crowe's big Film industry find. And, thanks to the scope of Scott's visual ambitiousness combined with a leap saucy in CGI quality, the movie that showed the industriousness you could establish colossal historical epics commercially viable again. Yes, we were entertained.
Study Empire's review of Gladiator

63 of 100

1966
Sergio Leone sets three renegades against for each one other in a value hunt backdropped against the chaos and madness of the American Civil War. The consequence is the movie on his Resume which superfine balances art and entertainment. Clint Eastwood and Lee New wave Cleef are great value as Blondie and Angel Eyes, but it's Eli Wallach's Tuco World Health Organization steals this Wild West show: "When you take over to shoot, shoot. Don't lecture."
Record Empire's review of The Good, The Bad And The Ill-natured

64 of 100

1995
Aka David Fincher's second introduction picture. What measured like a daft, freshness serial-killer thriller turned out to embody a deeply rattle proper-shocker, which had the guts to thrust down its biggest narrative twist halfway through, every bit warped liquidator-moralist John Doe gives himself up. A twist successful totally the more effective thanks to Kevin Spacey's imperativeness he wasn't billed until the last credits.
Show Conglomerate's revaluation of Seven

65 of 100

2004
Conductor Michel Gondry and screenwriter Charlie George S. Kaufman deconstruct the relationship drama via a fantastic psycho-sci-fi device, A Jim Carrey's Book of Joel races through his own mind to reverse a process by which altogether his memories of his failed kinship with Kate Winslet's Clementine tree are to be erased. Which is a brilliantly Weird, round-the-houses way of reminding us that heartbreak should be valued as extraordinary of the things that makes us. Better to have loved and lost, and all that.
Read Empire's review of Eternal Sunshine Of The Spotless Take care

66 of 100

1980
Stanley Kubrick's elegant adjustment of Stephen Riley B King's haunted-hotel narration — starring a wonderfully deranged Jack Nicholson — is often cited as The Scariest Horror Movie Ever so Made (perhaps tied with The Exorciser), but it's also the Least Suitable Movie To Observe On Father's Day Ever. Unless you'Re the rather Dada who thinks compulsively typing the same sentence o'er and over then chasing after your wife and kid with an axe constitutes unspoiled parenting.
Read Empire's review of The Shining

67 of 100

2002
Apart from Boromir, Aragorn and the small-townsfolk denizens of Bree, there's not a huge amount of human representation in The Society Of The Ringing. So one of the pleasures of The Two Towers is seeing Middle-earth truly open out after the arrival at Rohan, where the series takes on more of a sweeping, Nordic feel... Edifice up, naturally, to Helm's Deep, a ferocious action crescendo which features unnecessary scenes of dwarf-moving.
Read Imperium's followup of The Two Towers

68 of 100

1942
When you've got such a clear-cut safe-vs-heinous scenario as World War Two, it takes grit to put out a film which lets its (anti-) hero lurk for so polysyllabic in a gray-haired area of that battle — while said War was still raging, no less. Of course, Rick (Humphrey Bogart) in time does the properly thing, but watching him make both the Resistance and the Nazis squirm far up to the final scene is truly jovial.
Read Empire's revue of Casablanca

69 of 100

1982
Whatsoever argument about whether or not progressive remakes can ever be better than the 'classic' originals should be ended pretty apace by mentioning this movie. With the help of SFX whizz Pluck Bottin, John Carpenter took the bones of Catherine Howard Hawks' 1951 The Thing From Another World and crafted an intense, frosty sci-fi thriller featuring Hollywood's ultimate movie monster: one that could be any of us at any sentence, before contorting into a old biological incubus.
Register Imperium's review of The Matter

70 of 100

2014
Christopher Nolan's tribute to 2001 and The Right Overeat (with a bit added The Black Hole) presents long-outdistance spaceflight American Samoa realistically as it's possible to with the notional physics presently in stock. From the personal effects of gravity to the emotional implication of time dilation, it mixes science and sentiment to great effect. And it has a sarcastic robot, too.
Read Empire's follow-up of Interstellar

71 of 100

1995
Michael Mann's starry upgrade of his TV motion picture LA Takedown squeezed every parting drop of icon-juice out of its heavyweight double-billing, bringing Pacino and De Niro together on blind, sharing scenes for the very ordinal clock time. The trick was to only answer it twice during the full running time, thereupon first diner meeting virtually fizzing with important-asterisk electricity.
Read Empire's review of Estrus

72 of 100

1979
The film-maker go-to moving-picture show du jour. Gareth Edwards cited Francis Ford Coppola's vivid and visceral hobo camp trek every bit a major influence on Rogue One; Jordan Vogt-Roberts Drew from it extensively for Kong: Skull Island, and Matt Reeves sees War For The Planet Of The Apes as his own simian-related tribute. Scarcely surprising; it's some a visually rich war movie and likewise a powerfully resonant journey into the darkest recesses of the human soul.
Read Empire's review of Apocalypse Now

74 of 100

2003
Anyone who bangs on or so altogether those endings is lacking the many joys of Peter Jackson's Academy Award-laden trilogy-closer. It has some of the well-nig colossal and entertaining battle scenes ever mounted; it has an impressive giant star spider; IT has that marvellous dramatic-humourous twist when Gollum saves the day through with his own perfidiousness; and information technology has that bit where Eowyn says, "I am nary human beings". Deserves. All. Oscar.
Read Imperium's review of The Return Of The King

75 of 100

1988
One man using only his wits and whatever he tush extract from his environment. A gang of bad guys terrorising the locals. If Pop off Conniving wasn't kick in a skyscraper during the 1980s, it could easily be a Western. A Western which, in the form of Bruce Willis, not only positive the world a TV-drollery stellar could be an action-hero, merely too gave U.S. united of our most seethingly charismatic big-screen villain-players: Alan Rickman.
Interpret Empire's review of Die Tricky

76 of 100

1999
After every the pre-release hype about how dark and savage Fight Club was, one of the most surprising things to discover on sighted it was just how funny it actually was. And just as recovered; if you weren't riant at Bob's "bitch-tits" or Tyler Durden's anthropomorphous-fat soap-making antics, it would be pretty hard to process David Fincher's bravura encounter Chuck Palahniuk's story of modern masculinity running insanely rampant.
Record Empire's review of Fight Club

77 of 100

1991
Making Arnie's T-800 a protector rather than killer for part two could have been a shark-jump moment for the Eradicator series, but we're speaking about James Cameron here. Then information technology paid off — especially as this Terminator was even as much a educatee in human behaviour (with John Connor his teacher) as guardian, with around in darkness comical results ("He'll live"). Is IT really better than the original? In terms of scale and sheer, balls-forbidden action spectacle, yes.
Take Empire's review of Terminator 2: Assessment Twenty-four hour period

78 of 100

1968
You've voted it your favourite Kubrick movie, which makes sense to us. It is arguably his greatest gift to cinema, an boundlessly ambitious vision of a infinite-faring early whose narrative centres on the most important moment in human evolution since roughly missing link beginning bashed another ape-man with an aged off-white. Beautiful, gorgeous, unwearied by time's passing. Sooner like that monolith.
Read Empire's review of 2001: A Space Odyssey

79 of 100

2019
What does it bring on to dethrone James Cameron? A blockbuster of behemothic proportions. The weight of expectations on Endgame — the mop up of 11 years of interweaving stories, following up the superlative medium cliffhanger since The Empire Strikes Back — was immense, which only makes information technology more miraculous that the Russo Brothers (and writers Christopher Markus & Stephen McFeeley) delivered a thrilling, courageous, warm-toned time-travelling trip finished the entire MCU indeed far. The character pay-offs are just as staggering as the action — and when Steve Rogers finally proved exemplary enough to lift Mjolnir, a Harlan Stone-cold cultural moment was created.
Learn Imperium's review of Avengers: Endgame

80 of 100

1979
On the one hand, re-watching Ridley Scott's deep-space colossus-slasher (and it's a movie which can handle as many atomic number 75-watches as you behind throw at it) makes you appreciate why atomic number 2 keeps coming back thereto world: it's so intoxicatingly part and deeply compelling, it sticks to you like a parasite. On the other hand, information technology very does make you wonder wherefore he feels the need to keep tinkering with new cuts. Aft all, he got it perfectly right the first clip around.
Read Empire's review of Alien

81 of 100

1999
How 2 sibling independent motion-picture show-makers with alone a tricky, sexy bantam crime film to their name (Bound) created their personal blockbuster sci-fi franchise. And opened up western audiences to the truth that kung-fu acrobatics are then much much fun than observance American or European muscle-men flying guns around. While also making everyone examine many fundamental philosophical questions about reality. Thanks to the Wachowskis, we all took the redness pill, and we've ne'er regretted it.
Read Empire's review of The Matrix

82 of 100

2010
Will Christopher Nolan ever make up a Bond motion picture? Well, with Origination helium kinda already has. Leave off, instead of a British arcanum federal agent, we get a freelance corporate dream-thief. And the big climactic activeness sequence is so huge it takes up almost incomplete the film and is actually three big legal action sequences temporally nested inside to each one other around a phantasmagorical, metaphysical-conflict nitty-gritty.
Read Empire's review of Origin

83 of 100

2019
Few award ceremony moments vex in the head much than Parasite taking the Best Picture gong at the Oscars in 2020. IT's No surprise that information technology made history as the world-class non-English language movie to do so – this Confederacy Korean genre-defying delight offers some of the biggest twists and expertly decorated tension in recent memory, with a family of excellent performances from Song dynast Kang-ho, Park Soh-dekametre, Choi Woo-shik and more. Bitter satirical, in darkness comedic and made with unmatched precision, Parasite doesn't just overcome the 'unrivalled column inch barrier' of subtitles, as referenced in director Bong Joon-ho's acceptance speech – it obliterates it entirely.

84 of 100

1986
The genius of James Cameron's self-fenced in Alien follow-up was to not try to top the original as one and only of the superior ever horror movies. Rather, he transplanted the Alien (and, significantly, Ripley) to a different music genre, and created unmatchable of the greatest ever action movies. That's likewise a Socialist Republic of Vietnam metaphor. And also one of the virtually enduringly quotable films.
Read Empire's review of Aliens

85 of 100

1982
Rain-lashed, noodle-bar-packed streets shrouded in aeonian night, with giant adverts and neon signs doing the task you'd usually gestate of the sun itself... The not-too-distant future had never looked ice chest than in Ridley Scott's sci-fi gumshoe noir, and we're not sure it e'er will.
Read Imperium's review of Blade Base runner

86 of 100

1993
When dinosaurs early subordinate the movie-Solid ground, they did so in a herky-jerky stop-motility style that while charmingly effective, requisite a antitrust dose of incredulity-suspension system. When Steven Steven Spielberg brought them back on Isla Nublar, we felt first they could be real, breathing animals (A opposed to monsters). And that's as a good deal thanks to Stan Winston's astonishing animatronics work as to ILM's groundbreaking CGI.
Show Empire's review of Jurassic Park

87 of 100

1974
Often cited as the greatest-ever sequel, TGPII, As nary-one's ever called it, is more accurately delineate atomic number 3 a seprequel. In a narrative masterstroke, it parallels Michael's (Al Pacino) consolidation of might with the ascendance of his Dad, Vito (Robert De Niro); the exult of one pavement the direction to the utter rottenness of the other.
Read Empire's review of The Godfather Start II

88 of 100

1985
Part science-fable caper, split generational culture-clash movie, separate weirdo family drama (in which the hero has to rescue his own existence after his mother falls in lust with him, eww), Back To The Future still manages to live unchanged despite being so rooted in, well, time. And it might hardly overcome title of anything on this integral list.
Read Conglomerate's review of Backrest To The Future

89 of 100

2015
In which old dog George V Miller taught Movie industry some original tricks. Stripping the chase movie down to its raw essentials (the plot is basically: take to the woods off… then run back again!), Arthur Miller expertly built the narrative through approximately of the most astonishing and gloriously operatic action mechanism scenes we'd seen in yonks. While also ensuring his female characters are the flic's strongest; Charlize Theron's Furiosa and Immortan Joe's unfashionable-brides are inheritable a world "killed" by hands…
Read Empire's review of Mad Max: Fury Road

90 of 100

1977
George Lucas' cocktail of fantasy, sci-fi, Western sandwich and Universe Warfare II pic stiff as culturally permeant as ever. It's thusly mythically stiff, you good sense in prison term it could become a bona-fide religion...
Read Conglomerate's review of Asterisk Wars

91 of 100

1990
Where Coppola involved us in the political sympathies of the Mafia elect, Scorsese drew us into the treacherous but teasing world of the Mob's foot soldiers. And its honesty was as impactful as its jerky outbursts of (usually Joe Pesci-instigated) furiousness. Non merely via H Pitcher's mound's (Ray Liotta) communicatory, but as wel Karenic's (Lorraine Bracco) perspective: when William Henry gives her a gun to hide, she admits, "Information technology turned me on."
Read Empire's review of Goodfellas

92 of 100

1981
In '81, it moldiness have sounded like the ultimate pitch: the creator of Star Wars teams up with the director of Jaws to make a rip-roaring, Bond-style adventure starring the jest at who played Han Unaccompanied, in which the fearful guys are the evillest always (the Nazis) and the McGuffin is a man-sized, gold box which unleashes the power of God. It still sounds alike the ultimate pitch.
Read Empire's review of Raiders Of The Hopeless Ark

93 of 100

2018
Information technology was the biggest crossover event in cinematic history, and the biggest cliffhanger we ne'er saw coming. After ten geezerhood and eighteen movies, Marvel took superhero filmmaking to a new level when they united all of Earth's mightiest heroes (and several to a greater extent) against The Mad Titan himself – and unbelievably, devastatingly, they at sea. Infinity War crashed a good deal-loved characters into each other's orbits, flitting 'tween planets at breakneck speed Eastern Samoa the Avengers urgently time-tested to stop Thanos from clicking his fingers and wiping out half the universe. Spectacular action, punch-the-air moments and big-scale of measurement battles are absolutely balanced, atomic number 3 all things should be, with humorous interplays and aching emotion. Movie theater doesn't get much large, Beaver State better, than this.
Learn Empire's review of Avengers: Eternity War

94 of 100

1994
If Source Dogs was a blood-spattered visiting card, Flesh Fiction saw Quentin Jerome Tarantino kick our front entrance off its hinges — and then let applauded for doing it with such goddamn panache. It wore its many influences on its sleeve and yet felt utterly, invigoratingly fresh and current. We happy? Yea, we happy.
Read Conglomerate's review of Flesh Fable

95 of 100

1975
40-five days young, and Spielberg's breakthrough corpse the criterion for event-movie cinema. Not that whatever studio these years would presume retire a summer blockbuster that's half monster-on-the-violent disorder disaster, half guys-soldering-on-a-sportfishing-trip out adventure. Maybe that's why it's never been rebooted. Or clean because IT's genuinely best.
Read Empire's review of Jaws

98 of 100

Stanley Kubrick once described Francis Ford Coppola's adaptation of Mario Puzo's novel as the best film ever made – though having previously topped this list, this time it falls to bronzy position. Instantly an art movie and a commercial blockbuster, The Godfather conspicuous the dawn of the age of the mega-movie. An ikon of the mobster genre, its imprinted in popular acculturation – "Luca Brasi sleeps with the fishes", the sawbuck's pass in the know – but the first installing of Brando's cotton wool-cheeked patriarch's fight for top executive is much more than those moments. With performances, style and substance to savour, information technology's managed to both smash box seat government agency records and last as a staple of cinematic canon.

Read Empire's review of The Godfather

99 of 100

1980
The original "this one's darker" sequel, and out and away the strongest of the saga. Not just because the baddies win (temporarily), Oregon because it Ram down-slammed US with that twist ("No, I am your father"). Empire super-stardestroys thanks to the way it deepens the core relationships — none more efficaciously than Han and Leia's. She loves him. Atomic number 2 knows. And it allay hurts.
Scan Empire's review of The Empire Strikes Back

100 of 100

2001
A wizard is never late. Nor is atomic number 2 early. He arrives precisely when he… well, you know the rest. It power hold taken 20 years for Peter Jackson's spunky fantasy to clamber, Mount-Doom-style, to the very pinnacle of our greatest-movies pantheon. But here it is, brighter and more resplendent than ever.

The Society Of The Ring contains so much movie. Even at the halfway point, as the characters take a breather to bicker in Rivendell, you already flavor surfeited, like you've experienced more thrills, more suspense, more jolliness and ethereal sweetheart than a regular film could possibly muster up up. Simply Helen Hunt Jackson is only acquiring started. Onwards his risk hustles, to the bravura dungeoneering of Khazad-dûm, to the sinisterly serene glades of Lothlorien, to the final requiem for flawed Boromir amidst autumnal leaves. Arsenic Fellowship thrums to its conclusion, ultimately applying brake system with a last swell of Howard Prop's heavenly score, you're left-handed feeling euphoric, lovelorn and hopeful, completely concurrently.

The Two Towers has the coolest battle. The Return Of The King boasts the nigh batshit, operatic spectacle. But Fellowship stiff the near perfect of the trine, matching every genius action beat with a soul-stirring emotional united, as its Middle-land-traversing gang swells in size in the first act, and so dwindles in the third. This eccentric suicide squad has so much lovingness and wit, they're not just believable as friends of each other — they've hit feel like they're our pals also.

An ornately detailed masterwork with a huge, rhythmical heart, IT's just the right film for our times — full of craft, conviction and a belief that trudging fresh, step by step, in disconsolate days is the bravest act up of all. Its ultimate heroes aren't the strongest, operating theater those with the best one-liners, but the ones who just keep loss. And so Fellowship endures: a miracle of storytelling, a feat of filmmaking and still the gold standard for medium experiences.

The right way, now that's definite, who's awake for second breakfast?

Read Empire's review of The God Almighty Of The Rings: The Fellowship Of The Telephone

What Where the Top 100 Wedtern Songs Voted the Western Writers of America

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