Onscreen comedy, in turn, was modernized for what would be its most transforming decade. There’s since been “Die Hard on a boat” (Under Siege), “Die Hard in a hockey arena” (Sudden Death) and even “Die Hard in a private school” (1997’s Masterminds). Never mind. My dad’s favorite movie. Simple and sublime. )”, Director: Michael Powell and Emeric PressburgerCast: David Niven, Kim Hunter, Robert Coote. “The ultimate grifter movie, utterly charming and so satisfying to watch. A sly New York patriarch feigns cancer in order to reunite his ramshackle clan, in this cracklingly eccentric, painstakingly-crafted deadpan group portrait. Look: There are hundred of thousands of movies out there for you to watch. Remember when the term Tarantino-esque hadn’t quite cracked the lexicon yet? Electrifying and ethically complex, it makes you sweat every way at once. I played Duvall's ex-wife: country-western star Dixie Scott. ". I don’t think you will find a more heartbreaking and relentless performance than Kathy Burke’s turn in this. — Time, What critics said: "The Godfather traces the arc of this doomed idealism with a beauty that is still fresh." As they imagine—and partly reenact—how their partners might be behaving, they fall for each other while remaining determined to respect their wedding vows. In its ambition, which is matched by its execution, Richard Linklater's endearing epic is not only rare but unique." Taking cues from grand master George A. Romero and his counterculture-defining Night of the Living Dead, Peele infused white liberal guilt with a scary racial subtext; the “sunken place” is precisely the kind of metaphor that only horror movies can exploit to the fullest. It also made Marcello Mastroianni a star; here, he plays a gossip journalist caught up in the frenzied, freewheeling world of Roman nightlife. — Los Angeles Times, What critics said: "The subtle colors and textures of the food alone make Ratatouille a three-star Michelin evening." Transcending it is something else. “A ridiculously brilliant film. Slapstick maxes itself out in this relentlessly dazzling Hong Kong caper, with its director-star earning his “rightful heir to Buster Keaton” stripes in sweat and bruises. (We just got goose bumps. I was completely thrilled by the scale of the battle and the gladiator scenes, and I was lost in the darkness of Joaquin Phoenix's performance as Commodus.”—George MacKay, Time Out says: “The cast is strong (notably Connie Nielsen as Commodus's vacillating sister, and the late Oliver Reed, unusually endearing as a gladiator owner), the pacing lively and the sets, swordplay and catapults impressive.”, Director: Mathieu KassovitzCast: Vincent Cassel, Hubert Koundé, Saïd Taghmaoui. Still, the first film in the series still retains an earnest, can-do charm, not to mention plenty of Alec Guinness as Obi-Wan. “I know, I know, I'm biased. Via darkest comedy (the only way into the subject) and an unhinged Peter Sellers playing three separate parts, Kubrick made his point.—Joshua Rothkopf, One of those epochal films—there’s only a handful—that sits on the divide between silent cinema and the sound era but taps into the virtues of both, Fritz Lang’s serial-killer thriller burns with deep-etched visual darkness while perking ears with its whistled “In the Hall of the Mountain King” (performed by a purse-lipped Lang himself; his star, Peter Lorre, couldn’t whistle). “Not sure exactly why, but if this movie is on TV, I’m watching it.”—Nick Kroll, Time Out says: “Stranded in this boutique confection are two stand-out performances: Emma Thompson is genuinely touching as the wife of philandering Alan Rickman; and Bill Nighy has a ball as an old rocker with a Christmas comeback single.”, Director: Steven SpielbergCast: Richard Dreyfuss, François Truffaut, Melinda Dillon. A painterly but unsparing reconstruction of a female drifter’s short life in France’s wild south, peppered with faux-interviews that reveal a hard and hostile world. The Coen brothers’ darkly funny crime story features a star turn from Frances McDormand as a pregnant sheriff, and its multiple Oscar nominations helped to bring American indie cinema in from the cold. We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. The movies on this list are ranked according to their success (awards & nominations), their popularity, and their cinematic greatness from a directing/writing perspective. Alongside its historical truths, the film’s grammar and visual language—there are passages that play like an ultra-violent acid trip—are what truly elevates it. Made by Britain’s independent filmmakers the Archers at the height of their powers, this supernatural romance stars David Niven as a dead British pilot attempting to argue his way back to corporeal existence. Lee J. Cobb. On the simplest of frameworks—a poor farming community pools its resources to hire samurai to protect them from the brutal bandits who steal its harvest—Akira Kurosawa mounts a finely drawn epic, by turns absorbing, funny and exciting. "It’s just perfect, isn’t it? “There’s the taut, simmering intensity of Al Pacino; there’s the warm, swaggering charisma of Robert De Niro; and there’s Robert Duvall’s masterfully understated performance. There’s a reason why superhero movies are taken so seriously nowadays—even by the Oscars—and this is basically it.—Bilge Ebiri, Charlie Chaplin’s total vision remains awe-inspiring: He wrote, directed, produced, edited and starred in his own movies, which he also scored with an orchestra. (On a related note, there’s no Gone With The Wind, The Wizard of Oz, Casablanca, The Shawshank Redemption or Mary Poppins either. Bawdy shenanigans in a 19th-century Japanese brothel, as seen by a guest who turns odd-job-man after running up an unpayable tab. As much as Orson Welles’s Citizen Kane did with the films of the ’20s, ’30s, and early ’40s, The Conformist offers a powerful compendium of cinematic techniques from the eras preceding it.—Bilge Ebiri, Let John Carpenter’s real masterpiece—the one that horror mavens bow down to—take its place in the pantheon. https://www.timeout.com/newyork/movies/best-movies-of-all-time The director-choreographer of Cabaret and Chicago turned his exacting gaze inward for this electrifying mix of scalding self-portraiture and madcap theatrics. Shape-shifting her way through Edith Head’s transformational costumes, Kim Novak haunts in two roles: Madeleine Elster and Judy Barton, both objects of desire for James Stewart’s curious ex-cop. This was more or less his first film and I can barely imagine what it must have been like to see it at the time. I was obsessed with it, how I could still see her grief and her anger from how she held herself. Happily, Alfred Hitchcock’s thriller broke new ground in other ways, too, from offing its heroine within the first third to diving deeper into a crazed mind (bravo, Anthony Perkins) than Hollywood had yet managed before. Sam Shepard’s dusty, aphoristic dialogue gets sterling support from Robby Müller’s sun-bleached cinematography in this atmospheric tale of a drifter (Harry Dean Stanton) trying to put his life and his family back together. Thanks for subscribing! Something like Balamory via Camus, with an unforgettable Samantha Morton as the young woman from a huddled Scottish port town who turns domestic tragedy to her advantage. “You might have to watch this one with subtitles, the Yorkshire accents are so thick. — Time, What critics said: "One of the greatest American films of the '70s, Nashville remains Altman's crowning achievement." Sign up for our newsletter now. Look out for your first newsletter in your inbox soon! The resulting list includes modern masterpieces like recent Oscar winners "Moonlight" and "Parasite" in contention with classics like "The Godfather" and "Citizen Kane.". The sci-fi–inflected tale of two halves of a broken-up couple going through a memory-erasing procedure takes many surprising, poignant turns; the film’s impeccably executed combination of authentically quirky imagery and philosophical inquiry has become a signpost of modern independent cinema.—Abbey Bender, The title is still a killer piece of marketing, suggesting something much gorier than what you get. It’s been on my mind lately as a pivotal turning point between old-school thrillers—ones that might be called ‘Transylvanian’—and a new breed of modern fear: urban, chatty, cynical.”—Joshua Rothkopf, New York film editor, Time Out says: “It’s main strength comes from Polanski's refusal to simplify matters: Ambiguity is constant, in that we are never sure whether Farrow's paranoia about a witches' coven is grounded in reality or a figment of her frustrated imagination.”, Director: Roman PolanskiCast: Jack Nicholson, Faye Dunaway, John Huston. Time Out is a registered trademark of Time Out America LLC. It never apologizes. His Spanish soldier, Don Lope de Aguirre, finds himself with only these furry friends for company, his dreams of finding the mythical El Dorado in tatters. Director Robert Wiene conjured up something truly dark and lingering from its shadows: You can feel Dr. Caligari’s influence in everything from Tim Burton’s movies to Shutter Island.—Phil de Semlyen, This multilayered epic of country music, politics and relationships is Robert Altman’s signature achievement. The Grand Budapest Hotel, however, runs a close second, and that ain’t bad.”—David Ehrlich, New York associate film editor, Time Out, Time Out says: “The auteur’s style—dramatic zooms, winking symmetry—is balanced against a newfound political context; this one’s his To Be or Not to Be.”, Buy, rent or watch The Grand Budapest Hotel, Director: Otto PremingerCast: Harry Belafonte, Dorothy Dandridge, Pearl Bailey. A struggling actor (Hoffman) secretly cross-dresses as a woman to land a role in a daytime soap opera—and gets too good at the deception. Stylistically, the dark movie (shot by an inspired Darius Khondji, working with a silver-nitrate-retention process) has proven more durable than even The Silence of the Lambs, but it’s that meme-able sucker punch of an ending that still rattles audiences.—Joshua Rothkopf, No one could lob a monkey like Klaus Kinski, as he demonstrates at the end of Werner Herzog’s conquistador epic. There’s a hard piece of wisdom here: You can’t save every soul.”—Joshua Rothkopf, New York film editor, Time Out says: “The film that launched a thousand irritating knockoffs has lost none of its startling power over the years.”, Director: Irvin KershnerCast: Mark Hamill, Harrison Ford, Carrie Fisher. Taste of Cinema - Movie Reviews and Classic Movie Lists > Lists > People Lists > The 10 Greatest Actresses of All Time The 10 Greatest Actresses of All Time. Chishu Ryu and Chieko Higashiyama are dignified and moving as parents who visit their children and grandchildren, only to be neglected. gag. Just about every Ozu film is worth seeing, but this one may be his finest. I saw it for the first time when I was five years old, and even then I remember worshipping the Wicked Witch of the West. In weaving their stories together, Mann presents dueling but equally weighted perspectives, with our allegiance as viewers constantly shifting. And the flurry of drumming it concludes with—Teller’s solo is staggering—is both a magical cacophony and, obliquely, a door slamming shut.”, Director: Richard CurtisCast: Hugh Grant, Laura Linney, Liam Neeson, Bill Nighy. If aliens descend and ask what cinema is, point them to this. The epic of epics, but also an intimate, conflicted work of portraiture, with a mesmeric Peter O’Toole and a grandeur that threatens to tear the screen in two. Part oddball oedipal comedy, part breakneck science-fiction escapade, all ludicrous entertainment, with a momentum that morphs the cinema into a roller-coaster cart.
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