Wai Creed 9mm Pst 4b Blk 16rd Review

The greatest movies of all time suffer for many reasons – they give the states characters to fall head-over-heels for, plots that twist and plow in unexpected ways, depict experiences that change u.s.a., and thrill us with incredible filmmaking craft. The best films – from classic movies that have stood the test of time, to contemporary works that inverse the game – offer heartwarming condolement, iconic scares, large laughs, and pulse-pounding suspense, becoming firm audience favourites and garnering disquisitional acclamation.

Empire asked readers to share their picks for the best films of all time – ones that condolement, challenge and pioneer. Films that blow your mind, assist you see things from a new perspective, and that continue to shape movie theater as we know it today. Films that make you feel something. Combining reader votes with critic'south choices from Squad Empire, here we take information technology – the latest version of the 100 Greatest Movies list. Read it in full below.

Looking for our list of The 100 Greatest TV Shows Of All Time? Read here.

1 of 100

1992
Quentin Tarantino'southward terrific twist on the heist-gone-wrong thriller ricochets the zing and fizz of its dialogue around a gloriously intense single setting (for the most part) and centres the majority of its action around one long and incredibly bloody decease scene. Oh, and by the way: Nice Guy Eddie was shot by Mr. White. Who fired twice. Example closed.
Read Empire'south review of Reservoir Dogs

two of 100

1993
Beak Murray at the height of his loveable (eventually) schmuck powers. Andie McDowell bringing the brains and the center. And Harold Ramis (directing and co-writing with Danny Rubin) managing to detect gold in the story of a man trapped in a time loop. It might not accept been the first to tap this detail trope, but it'due south caput and shoulders above the rest. Murray's snarktastic commitment makes the early going easy to laugh at, but equally the moving-picture show finds deeper things to say about existence and morals, it never feels like a polemic.
Read Empire's review of Groundhog Twenty-four hour period

3 of 100

2017
When the first Paddington was on the way, early trailers didn't look entirely promising. Yet co-writer/managing director Paul Rex delivered a truly wonderful film bursting with joy, imagination, kindness and only one or two hard stares. How was he going to follow that? Turns out, with more of the same, simply also enough of fresh pleasures. Paddington (bouncily voiced by Ben Whishaw) matches wits with washed-upwardly role player Phoenix Buchanan (Hugh Grant, chewing scenery similar fine steak), being framed for theft and getting sent to prison. Like all great sequels, it works superbly as a double bill with the original.
Read Empire'south review of Paddington 2

iv of 100

2001
Jean-Pierre Jeunet'south beautifully whimsical Parisian rom-com succeeded not only because he plant the perfect lead in Audrey Tautou, but also considering his numerous surreal touches truly gave a sense that in that location is always magic in the globe around usa — if we only know how to look for it.
Read Empire's review of Amelie

five of 100

2005
Ang Lee adapts Annie Proulx'south brusque story (with Larry McMurtry and Diana Ossana on script duty) with sensitivity, grace, and differing scope – the intimacy of the relationship between Jake Gyllenhaal and Heath Ledger'due south shepherds backed past beautiful mountain landscapes. The dearest between Ennis Del Mar (Ledger) and Jack Twist (Gyllenhaal) is complicated by the mores of the time and their demand to ally their respective girlfriends. Information technology'll break your heart and offer hope all at the same fourth dimension, and the film concluded up scoring Best Adjusted Screenplay, Music and Directing Oscars.
Read Empire'southward review of Brokeback Mountain

6 of 100

2001
Richard Kelly's time-looping, sci-fi-horror-blending high-schoolhouse movie is the very definition of a cult classic. It was a struggle to get made, it flopped on release, so found its crowd via discussion-of-mouth and a palpable sense that its creator actually, you know, gets it. And let's non forget how goddamn funny it is, too.

Read Empire's review of Donnie Darko

7 of 100

2010
With Scott Pilgrim Vs. The World, Edgar Wright leaned all the manner in to the things that brand his directorial style so atypical – excellent needle drops, a bold colour palette, whip-pans and whip-smart wit akin. Michael Cera is the put-upon protagonist, only information technology's Ramona's (Mary Elizabeth Winstead) 7 mortiferous exes that ready the screen debark, including Chris Evans and Brie Larson – earlier they were saving one-half the universe together. With masterful touches of magical realism and stunning shots that stick in the mind throughout, Scott Pilgrim is 1 of Wright's nearly memorable.
Read Empire's review of Scott Pilgrim

8 of 100

2019
Céline Sciamma'southward magnetic, masterful lesbian romance may be a contempo addition to this listing, but became an instant landmark of queer cinema upon its release. Starring Noémie Merlant as an 18th century painter and Adèle Haenel as her elusive subject, Portrait Of A Lady On Fire is a tale of an epic love developed in the quietest, most fragile way, formed in stolen moments and glances. Sciamma's advisedly constructed script is matched by Claire Mathon's cinematography, each shot similar a Renaissance painting brought to life. Pure poetry.
Read Empire's review of Portrait Of A Lady On Burn down

9 of 100

1994
In some means, Luc Besson's first English-language moving-picture show is a spiritual spin-off: subsequently all, isn't Jean Reno'south eponymous hitman merely Nikita's Victor The Cleaner renamed and fleshed out? Of class, its greatest strength is in Natalie Portman, delivering a luminous, career-creating functioning as vengeful 12-yr-old Mathilda, whose human relationship with the monosyllabic killer is truly affecting, and nimbly stays simply on the right side of acceptable.
Read Empire's review of Léon

10 of 100

2017
If you're going to wrap up your tenure as one of the most loved superhero icons in fiction, it'south hard to think of a ameliorate way than how Hugh Jackman – with James Mangold directing — punched out on the time clock of playing Wolverine. Fix in a dark near-future world where an crumbling Logan is caring for a mentally unstable Professor Xavier (Patrick Stewart) and getting mixed up all the same again with some very dangerous people , Logan is a truly original superhero tale that is mournful without beingness morbid. It'due south then exterior the established mold, in fact, it'southward honestly a wonder the film e'er got made.
Read Empire'due south review of Logan

11 of 100

1984
It features fourth dimension travel and a cyborg, with machine chases and shoot-outs, just in James Cameron'southward first proper movie (ie. not featuring flying piranhas) it'southward all packed effectually the blood-covered endoskeleton of a relentless-killer horror pic. Afterward all, what is Arnold Schwarzenegger'due south Uzi-9mm-toting Terminator, if non an upgraded version of Halloween'south Michael Myers?
Read Empire'southward review of The Terminator

12 of 100

2007
The Coen brothers' Cormac McCarthy adaptation is a tension-ratcheting, 1980 Texas-prepare hunt movie, which also thoughtfully considers the question: how can good people ever perchance deal with a world going to shit? Information technology also revealed that Javier Bardem makes an awesome villain; ever since he played No Land's common cold-blooded assassinator Anton Chigurh, Hollywood can't stop making him the bad guy.
Read Empire'due south review of No Land For One-time Men

13 of 100

1997
James Cameron doesn't do things by halves. His movie about the 1912 sinking of the earth's biggest cruise liner was the most expensive always fabricated, suffered a difficult, overrunning shoot, and was predicted to be a career-ending flop. Only information technology turned out to exist ane of the most successful films of all fourth dimension (in terms of both box function and Awards), and made him Male monarch Of The Earth.
Read Empire's review of Titanic

fourteen of 100

1973
William Friedkin'southward horror masterwork — in which a 12-year-old girl is possessed past a demon — has a reputation as a shocker (in the good sense), with the pea-soup vomit, head-spin and crucifix corruption moments the nearly regularly cited. But the reason it chills so deeply is the manner it sustains and builds its disquieting atmosphere and so craftily and consistently throughout.
Read Empire'south review of The Exorcist

fifteen of 100

2018
After his standout introduction in Captain America: Civil War, 2018's Black Panther allowed u.s. to properly run across Chadwick Boseman'southward T'Challa, and see his Wakandan kingdom in all its glory. Impeccably directed by Creed's Ryan Coogler, it'southward an Afrofuturistic vision oozing with absurd, colourful regality, expressed through its Oscar-winning costume design, stunning ready pieces and thrumming soundtrack. Soaring to billion dollar-plus box office takings, Black Panther'southward cultural touch cannot be understated – and after the tragic loss of Boseman in 2020, the picture show lives on as the defining function for a truly remarkable talent.
Read Empire'south review of Black Panther

16 of 100

2004
Earlier its release, you might have been forgiven for thinking information technology would exist Spaced: The Movie. But Edgar Wright, Simon Pegg and Nick Frost's get-go feature is genuinely stand-alone: a savvy blend of proper-funny comedy and seriously gruesome undead-horror which, funnily enough, played a big part in the zombie-moving picture resurgence we're still enjoying now.
Read Empire's review of Shaun Of The Dead

18 of 100

2017
Curiosity has cannily employed directors who have more usually made smaller, indie movies, handed them the keys to the giant auto that is their cinematic universe and (within reason) permit them exercise their thing. Among the best to grasp that opportunity is Taika Waititi, who helped find Thor's truthful funny bone, a more than effective weapon than Mjolnir. Ragnarok, which shakes up Thor's entire world (by, er, destroying it) is a hilarious take on a superhero story, full of action, while re-introducing Marker Ruffalo'due south Hulk in fantastic fashion and having united states meet the likes of Tessa Thompson's Valkyrie and Jeff Goldblum'south Grandmaster.
Read Empire's review of Thor: Ragnarok

20 of 100

1960
The movie Universal originally didn't want Hitchcock to make not only turned out to be a hands-down masterpiece merely likewise effectively invented a genre: the psycho-killer slasher movie. No longer were movie monsters just big, hairy wolf-men, or vampires, or swampy fish-things. They could now look completely normal. They could be the guy sat right next to you, in fact...
Read Empire's review of Psycho

22 of 100

1982
With the "Amblin" manner so regularly referenced these days (most successfully in the Duffer brothers' Stranger Things), it's worth reminding ourselves that it was never more than perfectly encapsulated than in East.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 jeopardy.
Read Empire's review of E.T.

23 of 100

2000
Years earlier contesting Shang-Chi in the MCU, Hong Kong acting legend Tony Leung was manager Wong Kar-wai's greatest muse in gorgeous, simmering masterpieces like Chungking Limited, Happy Together — and this remarkable romance, perhaps their greatest collaboration. Leung plays a announcer renting an apartment in 1960s Hong Kong; his neighbour, played by Maggie Cheung, appears as lonely and lost as he is. Information technology shortly emerges their spouses are having an affair, and a romance of stolen glances and intimate longing begins to emerge. Dearest stories are rarely equally ravishingly beautiful (or securely influential) as this.
Read Empire's review of In The Mood For Love

24 of 100

1983
In this post-Phantom Menace world, the Ewoks don't seem quite so egregious, do they? Endor'due south teddy-bear guerillas might take got sneered at, but they shouldn't blind us to Jedi's assets: the explosive team-re-gathering opening; the crazily high-speed forest chase; and that marvellously edited three-way climactic boxing that dextrously flipped the states between lightsabers, spaceships and a ferocious (albeit fuzzy) forest conflict.
Read Empire's review of Return Of The Jedi

25 of 100

2016
Denis Villeneuve'southward empathic, perception-bending conflicting visitation drama is a delicately crafted mod rework of The Day The Earth Stood Notwithstanding — except the extra-terrestrials are truly otherworldly and there's the heaven-loftier obstruction that is the language barrier. With its message that open-minded advice enables u.s.a. to realise the things we have in common with those who appear vastly dissimilar, it feels like genuinely compulsive viewing for these troubled times.
Read Empire'south review of Arrival

26 of 100

2018
Take a simple concept (don't make a sound, or aliens will get you lot), a stellar cast (Emily Blunt, Millicent Simmonds, Noah Jupe) and a director with a laser-sharp vision (John Krasinski) and what do you lot get? Equally it turns out, one of the most innovative, refreshing, unbearably tense horror movies of the 21st century. From the second information technology starts, the imposed silence of A Serenity Place makes it a revelatory cinematic feel – as the Abbott family unit pad gently around their habitation, the store, the wood, you feel in your bones that i wrong step equals disaster. The (loudly) ticking time flop of imminent childbirth sets the scene for a stellar scary finale, but it'due south the deeply endearing family dynamic that sets this apart.
Read Empire'due south review of A Quiet Place

27 of 100

For their follow up to the superb Shallow Grave, Danny Boyle (manager), Andrew Macdonald (producer) and John Hodge (screenwriter) foolhardily elected to film the supposedly unfilmable: Irvine Welsh's scrappy, episodic, multi-perspective novel near Edinburgh depression-lives. The result couldn't accept been more triumphant: the cinematic incarnation of 'Cool Britannia' came with a boot-donkey soundtrack, and despite some dark subject area thing, came with a punch-the-air uplifting pay-off.
Read Empire's review of Trainspotting

28 of 100

2001
David Lynch messes with Hollywood itself in a mystery tale that'south as twisted every bit the road it'south named after, while presenting Tinseltown as both Dream Manufacturing plant and a realm of Nightmares. It also put Naomi Watts on the map; her audience scene remains equally stunning every bit it was 20 years ago.
Read Empire'south review of Mulholland Drive

29 of 100

1954
Photographer LB Jeffries (James Stewart) is on ill exit, with a broken leg. He'due south bored to tears, so he starts spying on his neighbours. So he witnesses a murder. OR DOES HE? Alfred Hitchcock actually knew how to have a corker of a premise and spin it into a peerless thriller (that'south why they called him The Master Of Suspense), but Rear Window also deserves praise for an amazing set build: that entire Greenwich Village courtyard was constructed at Paramount Studios, complete with a drainage organisation that could handle all the rain.
Read Empire'due south review of Rear Window

xxx of 100

2009
A lot has been said about the opening to Pete Docter's Pixar masterpiece, and rightly so, wringing tears from the hardest of hearts with a wordless sequence prepare to Michael Giacchino's lovely, Oscar-winning score that charts the ups and downs of a couple'south marriage. Yet while the majority of the film is more of a straight-ahead adventure tale (albeit one with a wacky bird and talking dogs), that doesn't brand information technology whatsoever less satisfying. And let'south be honest — the story of a man who uses balloons to float his house to a foreign country, accidentally picking upward a young wilderness explorer picket equally he does, feels perfectly Pixar.
Read Empire's review of Up

31 of 100

2018
Having Phil Lord and Chris Miller's names on a motion-picture show is regularly the guarantee of something great, simply the full team backside this blithe marvel (in both upper- and lower-example senses of the give-and-take) is what makes it work. Bob Persichetti, Peter Ramsey, and Rodney Rothman all added something as directors (with Rothman co-writing aslope Lord) and their animators whipped up a visually dynamic, heady, and heartwarming hazard that literally spans multiverses earlier the MCU introduced information technology. Bringing Miles Morales to the screen was a masterstroke, and Shameik Moore's vocal piece of work gives him buckets of amuse.
Read Empire's review of Spider-Man: Into The Spider-Poesy

32 of 100

2009
From its Sergio Leone-riffing opening to its insanely OTT, history-rewriting finale, Tarantino's World War II caper never once fails to surprise and entertain. As ever, though, QT'southward at his best in claustrophobic situations, with the tavern scene ramping upwardly the tension to almost unbearable levels.
Read Empire'southward review of Inglourious Basterds

33 of 100

2017
With her directorial debut, the wry wit and emotional dominance of Greta Gerwig'south previous work came even sharper into focus – telling a beautifully nuanced coming-of-age story virtually mothers, daughters, and the hometowns you yearn to exit, only for them to be truly appreciated in the rear-view mirror. Saoirse Ronan is perfectly precocious as the not-ever-likeable Christine 'Lady Bird' McPherson, experiencing fractured friendships, first fuckboys, and fateful fumbles in her final year of high school in 2003 Sacramento.
Read Empire's review of Lady Bird

34 of 100

1952
A joyous, vibrant Technicolor commemoration of the movies, that's such an essential viewing experience there should perhaps be a law that it feature in every DVD and Blu-ray collection. It's no mere Hollywood cocky-love practice, though. Every bit star Don Lockwood, Gene Kelly brings a sense of exasperation at the film industry'south diva-indulging daftness, making it a gentle piss-take, too.
Read Empire'south review of Singin' In The Rain

36 of 100

1954
A moving picture then skilful they remade it twice — equally The Magnificent Vii, then equally Battle Beyond The Stars. Or four times, arguably — if you count A Bug'due south Life and the remake of The Magnificent Seven. Yous could also brand the case that Avengers Get together is a version, too. The point is this: Akira Kurosawa's epic, 16th century-ready drama about a motley gang of warriors uniting to save a village from bandits couldn't be more influential. Cinema simply wouldn't be the same without it
Read Empire's review of Seven Samurai

37 of 100

2016
Every bit much a technical marvel as information technology is an acting tour-de-forcefulness, Damien Chazelle's Los Angeles beloved alphabetic character proved a ridiculously easy movie to fall in honey with, even for those who may have grumbled that they weren't really into musicals before sitting down to sentinel it. Go on, admit it: You're still bustling "Some other Day Of Sun", aren't y'all?
Read Empire's review of La La Land

38 of 100

2017
Even given the darker tones of a few Key And Peele sketches, no one could have predicted that Jordan Peele would place himself on rail to become a modern master of horror. And it all started with this, the Oscar-winning kick-off to his film career in which Daniel Kaluuya's Chris meets his girlfriend Rose's (Allison Williams) parents and discovers some truly shocking secrets. White guilt, specific racism, slavery and more blend into a socially witting terror tale that rings every note with pitch-perfect accuracy. You'll never look at a cup of tea the same way once more.
Read Empire's review of Go out

39 of 100

1962
If yous only ever see one David Lean flick… well, don't. Watch as many every bit you tin can. But if you really insist on only seeing i David Lean moving picture, then make sure it's Lawrence Of Arabia, the moving-picture show that put both the "sweeping" and the "epic" into "sweeping epic" with its breath-taking depiction of T.E. Lawrence's (Peter O'Toole) Arab-uniting efforts against the German-centrolineal Turks during World State of war I. It'due south a different globe to the one we're in now, of course, simply Lean's mastery of expansive storytelling does much to shine out any elements (such as Alec Guinness playing an Arab) that may rankle modern sensibilities.
Read Empire's review of Lawrence Of Arabia

40 of 100

2006
Guillermo Del Toro'south fairy tale for grown-ups, as pull-no-punches brutal as information technology is gorgeously, baroquely fantastical. In that location's an earthy, primal feel to his fairy-globe hither, alien and threatening rather than gasp-inducing and 'magical' — thanks in no small office to the truly cheese-dream nightmarish demon-things Del Toro conjures up, sans CGI, with the assistance of performer Doug Jones.
Read Empire'southward 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 just a great fish-out-of-water comedy, sending high-achieving London policeman Nick Angel (Pegg) to the most boring place in the UK (or so it seems). Information technology also manages to wring every terminal drip of funny out of executing spot-on bombastic, Bayhem-mode action in a sleepy English modest-town setting.
Read Empire'southward review of Hot Fuzz

42 of 100

2016
Adapted from Tarell Alvin's play In Moonlight, Black Boys Look Bluish, Barry Jenkins' Oscar-winning drama is the kind of flick that seeps under your pare and stays there. Tracking one human's life in three stages, and the love (and lack of information technology) that fabricated him who he is, Moonlight evokes a sense of intimacy so palpable, the camera's gaze into the characters' eyes so intense, you tin't bear to wait away. Mahershala Ali and Naomie Harris are impeccable in supporting roles, with Trevante Rhodes and André Kingdom of the netherlands delivering an unforgettable concluding human action.
Read Empire's review of Moonlight.

43 of 100

2014
Marvel took one of its biggest swings with this space-borne adventure, which featured the MCU's freakiest and to the lowest degree-known characters (a talking raccoon, a walking tree, a green assassin lady, a muscleman named after a Bond villain and Star-who!?), starred that schlubby fellah from Parks And Rec, and was directed past the guy who turned Michael Rooker into a giant slug-monster in Slither. Which is pretty absurd, when you retrieve about information technology.
Read Empire'southward review of Guardians Of The Galaxy

44 of 100

2017
Putting together the director of Arrival with a sci-fi franchise that – for box office performance reasons — hasn't been overexploited the style some others have, seemed similar a no-brainer. It's really a big brainer, with Denis Villeneuve dipping into Philip K. Dick's universe and amalgam a sequel that non only doesn't embarrass Ridley Scott'south original, just builds out that world, adding layers and texture while still feeling of a slice. Audiences still didn't exactly bite, merely between Harrison Ford revisiting his iconic replicant hunter and Ryan Gosling grappling with his own identity, 2049 is a triumph of placidity character moments and glorious, sense-enveloping spectacle.
Read Empire'due south review of Blade Runner 2049

45 of 100

2010
Or, I'm Gonna Git You Zuckerberg. Portrayed equally an über-ruthless ultra-nerd by Jesse Eisenberg, information technology's off-white to say the Facebook founder came out of David Fincher's social-media drama smelling less of roses than the stuff you abound them in. But information technology is great drama, expertly wrought past screenwriter Aaron Sorkin, who exploits the story's cardinal paradox (a guy who doesn't go people makes a fortune getting people together online) to supremely juicy consequence.
Read Empire's review of The Social Network

47 of 100

1998
The sheer bludgeoning, claret-spilling, visceral power of its Omaha Beach, D-Mean solar day-landing opening act ensured that Steven Spielberg's 4th World War II motion picture set the standard for all future battle depictions. Its shaky-staccato-desaturated manner (courtesy of Janusz Kaminski's ingenious cinematography) — newsreel made cinema — has been oft-copied, simply rarely bettered.
Read Empire'southward review of Saving Individual Ryan

48 of 100

1994
Robert Zemeckis' affable stroll through some of America's near turbulent decades, as seen through the childlike optics of the simple-only-successful Forrest — the role which earned Tom Hanks his second Oscar in 2 years. And it says a lot about the film's emotional heft that it managed to win an Oscar itself, when it was in competition with both Lurid Fiction and The Shawshank Redemption.
Read Empire'southward review of Forrest Gump

49 of 100

"Ever fired your gun in the air and gone 'Ahhhh?'" PC Danny Butterman's well-placed reference in Hot Fuzz confirmed, if confirmation were ever needed, that Point Break is a fundamental pillar of '90s popular civilisation cool, and ane of the most memorable action blockbusters e'er fabricated. In Keanu Reeves and Patrick Swayze, we get 2 smouldering sides of the aforementioned anti-heroic coin; in Due west. Peter Iliff's screenplay, we get gems of dialogue like "The correct term is 'babes', sir"; and in Kathryn Bigelow's corybantic, confident direction, we go 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? — merely it does, every fourth dimension.
Read Empire'south review of Point Intermission

50 of 100

2014
If Damien Chazelle'due south semi-autobiographical drama taught us anything, information technology's that jazz drumming is more hazardous to learn than base jumping. Particularly when your mentor is J.K. Simmons' monstrous Fletcher: a raging bully who makes regular army drill instructors look like Care Bears. Though, of form, you could ever argue that Fletcher's methods certainly got great results out of Miles Teller'south battered but triumphant Andrew…
Read Empire'south review of Whiplash

51 of 100

1958
If Psycho was Hitchcock'due south big shocker, so Vertigo is the i that gets properly under your pare. With James Stewart's detective stalking Kim Novak'due south mysterious woman, witnessing her suicide, then becoming obsessed with her double, it'southward certainly disturbing and nigh definitely (equally the championship suggests) disorientating. In the most artful and inventive fashion.
Read Empire'southward review of Vertigo

52 of 100

2001
For a Western world raised on Disney movies, Spirited Abroad was a bracing modify of pace – pure, uncut Studio Ghibli. Taking in bathhouses, spirits of Shinto folklore, and morality without clear-cut distinctions of good and evil, Hayao Miyazaki'south major crossover hit is distinctly Japanese. It'south the film that brought Studio Ghibli – and anime at large – to mainstream Western audiences, an influence increasingly felt in the likes of Moana and Frozen 2.
Read the Empire review

53 of 100

1984
As high-concept comedies go, Ghostbusters is positively stratospheric — a story of demonic incursion… with gags! And it manages to wring a fantastic supernatural adventure out of that concept, while never neglecting the opportunity to deliver a great express mirth; or, on the flipside, ever allowing the zaniness to eat up plot coherence. Ray Parker Jr was right. Bustin' did indeed make us experience good.
Read Empire'due south review of Ghostbusters

54 of 100

1989
Spike Lee had already caused a stir with his get-go two films – She's Gotta Have It and School Daze – but this was the i that inverse everything, with Lee at total pelt, fully formed, in full command and full of fury. Over the longest, hottest summer's twenty-four hour period in Brooklyn's Bed-Stuy, already boiling tensions between the African-Americans on the block and the Italian-Americans running a pizzeria somewhen pinnacle, erupting into violence. It's an absolutely flawless, funny, frightening piece of work, rammed with before long-to-be iconography from start to cease. It hasn't dated a day.
Read Empire's review of Do The Right Matter

55 of 100

1993
Spielberg'due south masterpiece, easily down. Yous might say the shark looks fakey in Jaws. You lot may wonder how Indy clung to the German sub in Raiders. Only there's no flaws to be establish in his harrowing, (mostly) monochromatic depiction of Nazi persecution of the Jewish customs in Kraków. Unless y'all're the kind of shallow person who merely watches movies that are 'entertaining'. In which case, you're missing out.
Read Empire'south review of Schindler's Listing

56 of 100

1998
You've got to paw information technology to the Coen brothers. Not merely did they make arguably the funniest picture of the '90s — which has since spawned a 18-carat movie cult — they also managed to construct a kidnap mystery in which the detective isn't a detective and nobody was actually kidnapped. With bowling, marmots and a urine-stained rug.
Read Empire'due south review of The Big Lebowski

57 of 100

1946
Frank Capra'southward Christmas fantasy was the movie that coaxed a state of war-battered James Stewart back to interim, and a good thing, too: every bit George Bailey, who'south shown a mind-bravado parallel reality in which he never existed, Stewart was never more highly-seasoned. And he tempers whatsoever potential schmaltz, likewise, with a sense of underlying earth-weariness — 1 that he no doubt 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 human being Daniel Plainview (Daniel 24-hour interval-Lewis) is a vampire. (A milkshake-drinking vampire, if y'all feel like mixing our metaphor with his own.) Which is why it's appropriate that Paul Thomas Anderson gives the moving-picture show a bit of a horror-movie vibe throughout and Day-Lewis delivers such a deliciously monstrous performance — right upwards to the bespeak where he spills literal claret in an empty mansion, haunted only by himself.
Read Empire'due south review of There Will Be Claret

59 of 100

1957
Juries most often amount to picayune more than set dressing in courtroom dramas. But Sidney Lumet'southward picture finds all its drama exterior the courtroom itself and inside a jury deliberation room packed with fantastic character actors, who are forced to re-examine a seemingly straightforward example by solitary-phonation juror Henry Fonda. It's all nigh the value of looking at things differently, and a reminder that nada is more important than neat dialogue.
Read Empire's review of 12 Angry Men

lx of 100

1991
Not only the first horror to win a All-time Picture Oscar, it'south besides only the third picture show to score in all four main categories: Picture, Director (the late, nifty Jonathan Demme), Actress (Jodie Foster) and Player (Anthony Hopkins) — the latter managing that despite technically existence a supporting performer, with a mere 25-ish minutes of screen time. Nonetheless, it feels similar Foster's movie more than anybody's: her vulnerable-simply-steely Clarice Starling is divers by her ability, not her gender.
Read Empire's review of The Silence Of The Lambs

61 of 100

1941
Orson Welles' game-changing fictional biopic, that managed to both launch his film career and ruin it at the same fourth dimension (turns out it's not a good thought to piss off powerful newspaper magnates past viciously satirising them to a mass audience). Not only did he use impressive new film-making techniques that make it feel like a picture far younger than its 76 years, but its power-corrupts story still resonates loudly. Now more ever, in fact.
Read Empire'due south review of Citizen Kane

62 of 100

2000
Ridley Scott's comeback (later a bad run with 1492, White Squall and G.I. Jane). Russell Crowe's big Hollywood breakthrough. And, cheers to the telescopic of Scott's visual ambition combined with a leap frontwards in CGI quality, the moving picture that showed the industry you could make colossal historical epics commercially viable one time more. Yes, nosotros were entertained.
Read Empire'south review of Gladiator

63 of 100

1966
Sergio Leone sets three renegades against each other in a treasure hunt backdropped against the anarchy and madness of the American Civil War. The result is the movie on his CV which best balances art and entertainment. Clint Eastwood and Lee Van Cleef are great value as Blondie and Angel Optics, but it's Eli Wallach's Tuco who steals this Wild West evidence: "When you take to shoot, shoot. Don't talk."
Read Empire's review of The Good, The Bad And The Ugly

64 of 100

1995
Aka David Fincher's second debut movie. What sounded like a daft, novelty serial-killer thriller turned out to be a deeply rattling proper-shocker, which had the guts to throw down its biggest narrative twist halfway through, as warped murderer-moralist John Doe gives himself upwards. A twist made all the more constructive thanks to Kevin Spacey's insistence he wasn't billed until the stop credits.
Read Empire's review of Seven

65 of 100

2004
Manager Michel Gondry and screenwriter Charlie Kaufman deconstruct the relationship drama via a fantastic psycho-sci-fi device, as Jim Carrey's Joel races through his own heed to contrary a process by which all his memories of his failed human relationship with Kate Winslet's Clementine are to be erased. Which is a brilliantly weird, round-the-houses manner of reminding us that heartbreak should be valued as one 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 Mind

66 of 100

1980
Stanley Kubrick's elegant adaptation of Stephen King'southward haunted-hotel story — starring a wonderfully deranged Jack Nicholson — is frequently cited as The Scariest Horror Film E'er Made (maybe tied with The Exorcist), but it's also the Least Suitable Movie To Watch On Father's Day Ever. Unless you're the kind of Dad who thinks obsessively typing the same sentence over and over then chasing later your wife and child with an axe constitutes adept parenting.
Read Empire'southward review of The Shining

67 of 100

2002
Aside from Boromir, Aragorn and the minor-town citizenry of Bree, there's non a huge corporeality of human representation in The Fellowship Of The Ring. Then one of the pleasures of The Two Towers is seeing Middle-earth truly open up out subsequently the arrival at Rohan, where the series takes on more of a sweeping, Nordic feel... Building up, of course, to Helm's Deep, a ferocious activity crescendo which features gratuitous scenes of dwarf-tossing.
Read Empire'due south review of The Two Towers

68 of 100

1942
When yous've got such a articulate-cut good-vs-evil scenario as World War II, it takes guts to put out a motion-picture show which lets its (anti-) hero lurk for so long in a grey expanse of that disharmonize — while said War was all the same raging, no less. Of course, Rick (Humphrey Bogart) eventually does the right matter, simply watching him brand both the Resistance and the Nazis squirm right up to the terminal scene is truly joyous.
Read Empire's review of Casablanca

69 of 100

1982
Whatsoever argument about whether or not modern remakes tin can ever be meliorate than the 'classic' originals should be ended pretty quickly by mentioning this moving-picture show. With the assistance of SFX genius Rob Bottin, John Carpenter took the bones of Howard Hawks' 1951 The Thing From Some other World and crafted an intense, frosty sci-fi thriller featuring Hollywood's ultimate movie monster: one that could be whatever of us at whatsoever time, before contorting into a genuine biological nightmare.
Read Empire's review of The Thing

70 of 100

2014
Christopher Nolan's tribute to 2001 and The Right Stuff (with a fiddling added The Black Pigsty) presents long-distance space travel as realistically every bit it's possible to with the theoretical physics currently bachelor. From the 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'south review of Interstellar

71 of 100

1995
Michael Mann's starry upgrade of his Tv set movie LA Takedown squeezed every final drop of icon-juice out of its heavyweight double-billing, bringing Pacino and De Niro together on screen, sharing scenes for the very first fourth dimension. The trick was to but practice it twice during the entire running time, with that showtime diner coming together virtually fizzing with blastoff-star electricity.
Read Empire'south review of Heat

72 of 100

1979
The picture-maker go-to movie du jour. Gareth Edwards cited Coppola's vivid and visceral jungle trek every bit a major influence on Rogue Ane; Jordan Vogt-Roberts drew from it extensively for Kong: Skull Island, and Matt Reeves sees War For The Planet Of The Apes equally his own simian-related tribute. Inappreciably surprising; information technology'southward both a visually rich war picture show and also a powerfully resonant journeying into the darkest recesses of the human soul.
Read Empire'southward review of Apocalypse Now

74 of 100

2003
Anyone who bangs on nigh all those endings is missing the many joys of Peter Jackson'south Academy Award-laden trilogy-closer. Information technology has some of the well-nigh colossal and entertaining battle scenes ever mounted; information technology has an awesome giant spider; it has that fantastic dramatic-ironic twist when Gollum saves the 24-hour interval through his own treachery; and it has that scrap where Eowyn says, "I am no homo". Deserves. Every. Oscar.
Read Empire's review of The Return Of The King

75 of 100

1988
One man using merely his wits and whatever he can extract from his environment. A gang of bad guys terrorising the locals. If Die Hard wasn't set in a skyscraper during the 1980s, information technology could easily be a Western. A Western which, in the class of Bruce Willis, non only convinced the world a TV-comedy star could be an action-hero, but also gave us one of our nigh seethingly charismatic big-screen villain-players: Alan Rickman.
Read Empire'due south review of Die Hard

76 of 100

1999
Later all the pre-release hype about how dark and fell Fight Club was, 1 of the most surprising things to discover on seeing it was simply how funny it actually was. And just as well; if yous weren't laughing at Bob'south "bitch-tits" or Tyler Durden'due south human being-fatty soap-making antics, it would be pretty hard to process David Fincher's bravura take on Chuck Palahniuk's tale of modern masculinity running insanely rampant.
Read Empire'south review of Fight Order

77 of 100

1991
Making Arnie'due south T-800 a protector rather than killer for function two could have been a shark-jump moment for the Terminator series, but we're talking about James Cameron here. So it paid off — especially every bit this Terminator was just as much a student in human behaviour (with John Connor his teacher) as guardian, with some darkly comical results ("He'll live"). Is it really ameliorate than the original? In terms of scale and sheer, balls-out activeness spectacle, yes.
Read Empire's review of Terminator ii: Judgment Day

78 of 100

1968
You've voted information technology your favourite Kubrick moving picture, which makes sense to us. It is arguably his greatest souvenir to cinema, an infinitely aggressive vision of a space-faring futurity whose narrative centres on the most pivotal moment in man development since some ape-homo starting time bashed another ape-man with an quondam bone. Graceful, gorgeous, unwearied by fourth dimension's passing. Rather like that monolith.
Read Empire's review of 2001: A Space Odyssey

79 of 100

2019
What does it take to degrade James Cameron? A blockbuster of behemothic proportions. The weight of expectations on Endgame — the culmination of 11 years of interweaving stories, post-obit upward the greatest cinematic bewilderment since The Empire Strikes Dorsum — was immense, which simply makes it more miraculous that the Russo Brothers (and writers Christopher Markus & Stephen McFeeley) delivered a thrilling, audacious, emotional fourth dimension-travelling trip through the unabridged MCU so far. The graphic symbol pay-offs are just as staggering every bit the action — and when Steve Rogers finally proved worthy plenty to lift Mjolnir, a stone-cold cultural moment was created.
Read Empire'due south review of Avengers: Endgame

fourscore of 100

1979
On the i mitt, re-watching Ridley Scott's deep-space monster-slasher (and it's a film which can handle as many re-watches as you lot tin can throw at it) makes y'all appreciate why he keeps coming back to that universe: it's then intoxicatingly atmospheric and securely compelling, it sticks to you like a parasite. On the other hand, it really does make yous wonder why he feels the need to keep tinkering with new cuts. After all, he got it perfectly correct the first time around.
Read Empire's review of Conflicting

81 of 100

1999
How 2 sibling indie film-makers with only a slick, sexy little criminal offense pic to their name (Bound) created their own blockbuster sci-fi franchise. And opened upwards western audiences to the truth that kung-fu acrobatics are so much more fun than watching American or European musculus-men waving guns around. While as well making everyone examine some key philosophical questions about reality. Thanks to the Wachowskis, nosotros all took the reddish pill, and we've never regretted it.
Read Empire's review of The Matrix

82 of 100

2010
Will Christopher Nolan ever make a Bond movie? Well, with Inception he kind of already has. Except, instead of a British secret agent, nosotros get a freelance corporate dream-thief. And the big climactic action sequence is so huge it takes up nigh half the movie and is really 3 large activity sequences temporally nested inside each other around a surreal, metaphysical-conflict core.
Read Empire's review of Inception

83 of 100

2019
Few honor ceremony moments stick in the listen more than than Parasite taking the Best Picture gong at the Oscars in 2020. It'south no surprise that it made history every bit the get-go non-English language movie to practice then – this Due south Korean genre-defying please offers some of the biggest twists and expertly mounted tension in recent memory, with a family of splendid performances from Song Kang-ho, Park So-dam, Choi Woo-shik and more. Bitingly satirical, darkly comedic and made with unmatched precision, Parasite doesn't just overcome the 'one inch barrier' of subtitles, as referenced in director Bell Joon-ho'southward acceptance speech – it obliterates it entirely.

84 of 100

1986
The genius of James Cameron's self-penned Alien follow-upwardly was to not try to height the original as ane of the greatest e'er horror movies. Instead, he transplanted the Alien (and, significantly, Ripley) to a dissimilar genre, and created one of the greatest e'er activeness movies. That's also a Vietnam metaphor. And likewise one of the near enduringly quotable films.
Read Empire's review of Aliens

85 of 100

1982
Rain-lashed, noodle-bar-packed streets shrouded in perpetual night, with giant adverts and neon signs doing the chore yous'd commonly expect of the sun itself... The not-also-afar future had never looked libation than in Ridley Scott'due south sci-fi gumshoe noir, and we're not sure it ever will.
Read Empire'southward review of Blade Runner

86 of 100

1993
When dinosaurs first ruled the moving-picture show-Earth, they did so in a herky-jerky terminate-motion manner that while charmingly effective, required a fair dose of disbelief-interruption. When Steven Spielberg brought them back on Isla Nublar, we felt for the first time they could be real, animate animals (as opposed to monsters). And that'southward as much thanks to Stan Winston's astonishing animatronics work as to ILM's groundbreaking CGI.
Read Empire'due south review of Jurassic Park

87 of 100

1974
Often cited as the greatest-ever sequel, TGPII, equally no-one'due south always called it, is more accurately described every bit a seprequel. In a narrative masterstroke, it parallels Michael's (Al Pacino) consolidation of power with the ascendance of his Dad, Vito (Robert De Niro); the triumph of one paving the style to the utter corruption of the other.
Read Empire'due south review of The Godfather Office II

88 of 100

1985
Part science-fiction caper, function generational culture-clash movie, part weirdo family drama (in which the hero has to rescue his own existence after his mother falls in animalism with him, eww), Dorsum To The Time to come withal manages to exist timeless despite being so rooted in, well, time. And it might but accept the best title of anything on this entire list.
Read Empire'southward review of Back To The Future

89 of 100

2015
In which old dog George Miller taught Hollywood some new tricks. Stripping the chase moving picture down to its raw essentials (the plot is basically: run away… then run dorsum again!), Miller expertly congenital the narrative through some of the most astonishing and gloriously operatic activity scenes we'd seen in yonks. While also ensuring his female characters are the film's strongest; Charlize Theron's Furiosa and Immortan Joe's ex-brides are inheriting a world "killed" past men…
Read Empire'southward review of Mad Max: Fury Road

90 of 100

1977
George Lucas' cocktail of fantasy, sci-fi, Western and Globe War Ii movie remains as culturally pervasive as ever. It's so mythically potent, you sense in time information technology could become a bona-fide faith...
Read Empire's review of Star Wars

91 of 100

1990
Where Coppola embroiled us in the politics of the Mafia elite, Martin Scorsese drew usa into the treacherous just seductive world of the Mob'southward foot soldiers. And its honesty was as impactful as its sudden outbursts of (unremarkably Joe Pesci-instigated) violence. Not merely via Henry Hill'south (Ray Liotta) narrative, simply likewise Karen'due south (Lorraine Bracco) perspective: when Henry gives her a gun to hide, she admits, "It turned me on."
Read Empire's review of Goodfellas

92 of 100

1981
In '81, it must have sounded similar the ultimate pitch: the creator of Star Wars teams up with the managing director of Jaws to make a rip-roaring, Bond-style adventure starring the guy who played Han Solo, in which the bad guys are the evillest ever (the Nazis) and the MacGuffin is a big, gold box which unleashes the power of God. Information technology yet sounds similar the ultimate pitch.
Read Empire'due south review of Raiders Of The Lost Ark

93 of 100

2018
Information technology was the biggest crossover upshot in cinematic history, and the biggest cliffhanger we never saw coming. Afterwards x years and xviii movies, Curiosity took superhero filmmaking to a new level when they united all of Earth'south mightiest heroes (and several more) against The Mad Titan himself – and incredibly, devastatingly, they lost. Infinity War crashed much-loved characters into each other'south orbits, flitting between planets at breakneck speed as the Avengers desperately tried to stop Thanos from clicking his fingers and wiping out half the universe. Spectacular action, dial-the-air moments and big-calibration battles are perfectly balanced, as all things should be, with hilarious interplays and agonized emotion. Movie theater doesn't get much bigger, or better, than this.
Read Empire's review of Avengers: Infinity War

94 of 100

1994
If Reservoir Dogs was a claret-spattered calling card, Pulp Fiction saw Quentin Tarantino boot our front door off its hinges — and then get applauded for doing it with such goddamn panache. It wore its numerous influences on its sleeve and yet felt utterly, invigoratingly fresh and new. We happy? Yeah, we happy.
Read Empire's review of Pulp Fiction

95 of 100

1975
Forty-five years immature, and Spielberg's breakthrough remains the touchstone for event-movie picture palace. Non that any studio these days would dare put out a summer blockbuster that's half monster-on-the-rampage disaster, half guys-bonding-on-a-line-fishing-trip risk. Perhaps that's why it's never been rebooted. Or just because it'south genuinely unsurpassable.
Read Empire's review of Jaws

98 of 100

Stanley Kubrick one time described Francis Ford Coppola'south adaptation of Mario Puzo's novel equally the best picture ever made – though having previously topped this list, this time information technology falls to statuary position. At in one case an art movie and a commercial blockbuster, The Godfather marked the dawn of the age of the mega-film. An icon of the gangster genre, its imprinted in popular culture – "Luca Brasi sleeps with the fishes", the horse's head in the bed – but the first instalment of Brando'due south cotton wool-cheeked patriarch's fight for power is then much more than those moments. With performances, style and substance to savour, it'southward managed to both nail box role records and live on every bit a staple of cinematic catechism.

Read Empire's review of The Godfather

99 of 100

1980
The original "this 1's darker" sequel, and by far the strongest of the saga. Non just considering the baddies win (temporarily), or considering information technology Force-slammed u.s. with that twist ("No, I am your father"). Empire super-stardestroys cheers to the way information technology deepens the cadre relationships — none more than effectively than Han and Leia'south. She loves him. He knows. And it all the same hurts.
Read Empire'due south review of The Empire Strikes Back

100 of 100

2001
A sorcerer is never late. Nor is he early. He arrives precisely when he… well, you know the rest. It might have taken 20 years for Peter Jackson's plucky fantasy to clamber, Mount-Doom-style, to the very meridian of our greatest-movies pantheon. But here information technology is, brighter and more resplendent than ever.

The Fellowship Of The Ring contains and then much movie. Even at the halfway point, as the characters accept a breather to bicker in Rivendell, you already feel sated, like y'all've experienced more thrills, more suspense, more jollity and ethereal dazzler than a regular moving-picture show could perchance muster upwardly. Only Jackson is but getting started. Onwards his run a risk hustles, to the bravura dungeoneering of Khazad-dûm, to the sinisterly serene glades of Lothlorien, to the last requiem for flawed Boromir amidst autumnal leaves. As Fellowship thrums to its conclusion, finally applying the brakes with a concluding keen of Howard Shore's heavenly score, yous're left feeling euphoric, bereft and hopeful, all at the same time.

The Two Towers has the coolest battle. The Render Of The King boasts the about batshit, operatic spectacle. But Fellowship remains the well-nigh perfect of the 3, matching every genius activity crush with a soul-stirring emotional i, as its Middle-earth-traversing gang swells in size in the first act, then dwindles in the third. This oddball suicide squad has so much warmth and wit, they're not just believable as friends of each other — they've come to experience like they're our pals also.

An ornately detailed masterwork with a huge, pulsing heart, it'southward but the right motion picture for our times — full of arts and crafts, confidence and a belief that trudging forward, pace by step, in dark days is the bravest act of all. Its ultimate heroes aren't the strongest, or those with the best one-liners, but the ones who just keep going. And then Fellowship endures: a phenomenon of storytelling, a feat of filmmaking and still the gold standard for cinematic experiences.

Correct, now that's decided, who's up for 2d breakfast?

Read Empire's review of The Lord Of The Rings: The Fellowship Of The Band

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Source: https://www.empireonline.com/movies/features/best-movies-2/

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