What do the Academy Awards even mean? Given by members of AMPAS (the Academy of Motion Picture Arts & Sciences), the Oscar, as the statuette is nicknamed, is considered the most prestigious achievement in filmmaking. As of early 2024, 97 movies have won the Academy Award for Best Picture. (Technically, 96… but we’ll get to that later.) So let’s rank ‘em!
Before the list starts, I can’t overstate how large of an undertaking this was. You would think that all 97 of these “Best” movies were a pleasant watching experience, right? I’m sorry to say that, in my opinion, more than quite a few of these movies were clunkers. Even some critically acclaimed “masterpieces” didn’t do it for me. I try my best to watch films with the understanding that they are products of their time, but some of them simply don’t hold up. This ranking is not meant to be scholarly or critical— it is based on my very subjective opinions as a person who was not alive when most of these movies were originally released. I expect that these opinions will ruffle some feathers.
TL;DR? Scroll to the bottom for the full list.
97. CIMARRON (1931)
This Western traces a couple over a chaotic 40 years as they move to the Oklahoma Territory during the land rush. Even putting aside its atrocious sound quality, this film supposedly received critical acclaim in its day. And I’m sure it probably would today, just among those who live under a rock.
96. THE BROADWAY MELODY (1929)
In this early sound musical, two sisters arrive in New York City to pursue careers in show biz, and become involved in a love triangle. It’s estimated that 90% of American films produced before 1929 are lost with no surviving copies. It’s really a shame that The Broadway Melody wasn’t one of those.
95. CAVALCADE (1933)
Cavalcade shows a British family over the course of several decades, against the backdrop of key early 20th-century historical events. There are three Best Picture winners that cheekily nod to famous moments in history as a means to progress the story further, and Cavalcade is merely the least interesting of them.
94. GIGI (1958)
The eponymous main character is a 15-year-old girl (Leslie Caron), being groomed by an older man (Louis Jordan) and her own family to become a courtesan. Director Vincente Minnelli’s attempts to add substance to this stylish musical are akin to putting lipstick on a pig. If you can ignore the misogyny, it can be enjoyed as an innocuous, imperfect product of its time.
93. THE LIFE OF EMILE ZOLA (1937)
Supposedly, this film is supposed to be a biopic of French writer Emile Zola (Paul Muni) and his role in the Dreyfus Affair. Zola’s involvement in the Dreyfus affair is actually a fascinating story, but you wouldn’t know it from this movie. Due to the Production Code at the time, the movie plays it too safe at every turn.
92. THE GREATEST SHOW ON EARTH (1952)
The GREATEST? This show on Earth details the behind-the-scenes drama of traveling circus performers. The glitz and glamour of the circus is on full display in Technicolor, and serves as a testament to the artistry of Cecil B. DeMille... and not much more.
91. DRIVING MISS DAISY (1989)
Over the course of 25 years in the American South, a friendship develops between an elderly woman (Jessica Tandy) and her black chauffeur (Morgan Freeman). Never have I seen a movie work so hard to not be about anything. It occasionally flirts with the idea of civil rights before backing off entirely.
90. CHARIOTS OF FIRE (1981)
Based on a true story, this historical sports drama is about two athletes (one a devout Christian and the other Jewish) who compete against one another in the 1924 Olympics. Aside from that one famous scene running on the beach in slow motion, there is NOTHING I remember about this unremarkable movie.
89. OUT OF AFRICA (1985)
In Sydney Pollack’s sweeping romantic epic, a Danish writer (Meryl Streep) forms a relationship with a big-game hunter (Robert Redford) in 20th-century colonial Kenya. Despite another fantastic performance from Meryl Streep, the film lacks urgency. As Streep’s Miranda Priestly (The Devil Wears Prada) would say, “by all means, move at a glacial pace.”
88. TOM JONES (1963)
A young British man (Albert Finney) goes on a series of adventures as he seeks to win the love of his life. The technical aspects of this period comedy are just as odd and kitschy as its protagonist, shifting between cute and chaotic… but perhaps a bit too much of the latter.
87. THE ENGLISH PATIENT (1996)
In an Italian villa toward the end of WWII, a critically burned man (Ralph Fiennes) is cared for by British allies, and recalls the adventurous love affair that led to his injuries. This patient’s story takes its sweet, sweet time to unravel… more like “The English Testing My Patience,” am I right?
86. TERMS OF ENDEARMENT (1983)
This dramedy follows the 30-year relationship between a mother (Shirley MacLaine) and daughter (Debra Winger), through good times and bad. I love to be emotionally manipulated by a movie. But I HATE noticing it, and this mother-daughter cancer drama is oversentimental in its dramatic developments.
85. AROUND THE WORLD IN 80 DAYS (1956)
Englishman Phileas Fogg (David Niven) makes a wager that he can traverse the globe in 80 days. Much like the balloon he travels in, this overlong expedition is bloated and full of hot air.
84. FROM HERE TO ETERNITY (1953)
Eternity follows the intersecting lives of soldiers and their families in Hawaii prior to the attack on Pearl Harbor. With a few exceptions, I don’t love movies about wars. It’s rather unclear what the point of this movie was; it felt more like a vehicle for its truly incredible cast to put on uniforms.
83. YOU CAN’T TAKE IT WITH YOU (1938)
The story of a wealthy family that lives life to the fullest, and the romance between their daughter (Jean Arthur) and a banker’s son (James Stewart). I don’t know about “can’t,” but I sure didn’t take it with me after watching. Script and performances aside, Frank Capra’s dramedy would work much better on stage.
82. THE GREAT ZIEGFELD (1936)
As the title suggests, this film is a biographical musical that chronicles the life of famous Broadway producer Florenz Ziegfeld (William Powell). It’s got the theatrical pizzazz of the period, evident in its glorious “A Pretty Girl is Like a Melody,” but too much of its three-hour runtime is spent on the mundane.
81. UNFORGIVEN (1992)
In this revisionist Western, an old bandit (Clint Eastwood) takes on one last job to kill two murderous cowboys, while a corrupt sheriff (Gene Hackman) tries to stand in the way of vigilanteism. This is again my own genre bias— I’m not a fan of subtle westerns. Gene Hackman’s performance as the sheriff can’t save what otherwise feels like a dull slow burn.
80. HOW GREEN WAS MY VALLEY (1941)
In a Welsh mining town, a family experiences social changes, seen through the eyes of the youngest son. My biggest gripe is that we never figured out how green it was! It was in black and white!
79. GRAND HOTEL (1932)
In a luxurious hotel, the lives of guests intertwine over the course of a few days. This star-studded pre-Code drama is the Avengers: Endgame of its time, probably better suited for fans of Golden Age celebrities.
78. MUTINY ON THE BOUNTY (1935)
In this historical drama, HMS Bounty first lieutenant Fletcher Christian stages a mutiny against Captain Bligh. While far from a shipwreck, Mutiny's best attribute is Charles Laughton’s entertaining portrayal of Bligh.
77. SUNRISE: A SONG OF TWO HUMANS (1927)
At the first Academy Awards, “Best Picture” as we know it today was split into two awards: Outstanding Picture, and Best Unique and Artistic Picture. Sunrise: A Song of Two Humans won the latter, although it is not recognized by the Academy as a Best Picture winner. This silent film tells the story of a farmer and his wife rekindling their relationship after he becomes tempted to leave her for a city woman. It’s sweet, but from a 2024 perspective, I can’t exactly root for this relationship to succeed.
76. GOING MY WAY (1944)
It’s a simple little story about a young priest’s new approach to a struggling Manhattan parish, but Bing Crosby and his choir make it all the more endearing.
75. THE STING (1973)
Two con artists (Paul Newman and Robert Redford) hatch an elaborate scheme to con a mobster, yet I’m the one who feels conned. The use of Scott Joplin’s “The Entertainer,” aptly makes the film seem much more entertaining in hindsight.
74. THE HURT LOCKER (2009)
My war film bias rears its head again with The Hurt Locker, an anxiety-inducing thriller about a bomb disposal squad in Iraq. Despite the focus on the psychological pressures of the situation, the film doesn’t quite know what it wants to say.
73. PATTON (1970)
The controversial WWII General George S. Patton (George C. Scott) gets the biopic treatment in this epic. I’m not sure that I learned much from Patton, except that 1970 must have been a weak year for movies.
72. THE FRENCH CONNECTION (1971)
This film follows two NYC police detectives as they uncover a major heroin smuggling operation. Pardon my French, but for an action movie, there’s not much action. Aside from the iconic subway scene, most of the film’s awkwardly-paced runtime involves one man chasing after another.
71. HAMLET (1948)
In this adaptation of the famous Shakespearean tragedy, Laurence Olivier plays a prince who seeks revenge against his power-hungry uncle. I mean, it’s Hamlet. Olivier’s performance is fantastic, but the movie as a whole feels too safe.
70. ALL QUIET ON THE WESTERN FRONT (1930)
This groundbreaking anti-war flick recounts the harrowing experiences of German soldiers during World War I. It sticks the landing in showing the brutality, but personally feels a bit wearisome.
69. CRASH (2005)
This ensemble drama interweaves stories of racial tensions in Los Angeles. Perhaps the most talked-about Best Picture winner of the modern era, Crash is not an awful movie. In fact, if I knew nothing about racism, this would probably be much higher on the list. But the choice to award its tepid approach to “solving” racial tensions in a tidy way feels serves as little more than catharsis for liberal guilt.
68. ALL THE KING’S MEN (1949)
Inspired by the life and career of controversial U.S. politician Huey Long, All the King’s Men traces the ups and downs of a fictionalized populist politician (Broderick Crawford) who becomes corrupt. However, the political aspects of the movie are, unfortunately, impersonal and surface-level, with a frustrating framing device that keeps its protagonist an enigma.
67. NOMADLAND (2020)
After a woman (Frances McDormand) in her 60s is laid off, she embraces a nomadic lifestyle, traveling across the American West living out of her van. If you enjoy Frances McDormand shitting in a cup a la cinéma vérité, I’ve got the movie for you!
66. FORREST GUMP (1994)
In Forrest Gump, a man (Tom Hanks) with a low IQ has a life of extraordinary experiences, and inadvertently influences several historical events. There’s something inherently sweet in Hanks’ portrayal of Gump through the 20th century American mythos, but it seems to prioritize Baby Boomer nostalgia over a compelling story.
65. NO COUNTRY FOR OLD MEN (2007)
After a man (Josh Brolin) comes across a drug deal gone wrong, he takes the cash and becomes the target of a merciless killer (Javier Bardem). Okay, stop the list for a moment— I really, really wanted to like this movie. I watched it multiple times to prepare for this list, assuming that I was the problem. But I just could NOT get into this slow-paced drama. Javier Bardem’s performance as violent psychopath Anton Chigurh is a highlight, but otherwise, the film left me with more questions than answers.
64. GREEN BOOK (2018)
A roadtrip through racism? Green Book is loosely based on the true friendship between pianist Don Shirley (Mahershala Ali) and his Italian-American bodyguard/chauffeur, Tony Lip Vallelonga (Viggo Mortensen). One of the most maligned winners in recent history, Green Book is a predictable romp with a questionable, if not decidedly insensitive approach. But it is entertaining.
63. MRS. MINIVER (1942)
Greer Garson commands the screen as the matriarch of a middle-class English family forced to make sacrifices during World War II. So many war films involve the experience fighting on the front lines; Mrs. Miniver, albeit political propaganda, is a stirring call-to-action for those at home.
62. BRAVEHEART (1995)
In Braveheart, a Scottish warrior by the name of William Wallace (Mel Gibson) leads a revolt against English rule in the 13th century. This would be a fantastic film if an hour was cut. For all the talk of “freedom” in the movie, its director/actor/producer (Mel Gibson) seems pretty set on trapping his audience for 3 hours.
61. ROCKY (1976)
This underdog favorite tells the story of a small-time boxer (Sylvester Stallone) who gets chosen to take on the heavyweight champion. I see the movie’s appeal, but when stacked against the other nominees that year (classics like Taxi Driver, All the President’s Men, and Network), Rocky feels a bit too pedestrian in comparison.
60. BEN-HUR (1959)
In William Wyler’s biblical epic, a Jewish prince (Charlton Heston) seeks revenge on a Roman friend who betrayed him. Ben-Hur is truly epic in every aspect of its production. Each frame of the film— notably, the chariot race— says “expensive.” But my problems with it stem from the story itself and its implied conversion of the main character.
59. THE APARTMENT (1960)
A low-level office worker’s (Jack Lemmon) apartment is used by company executives for their sexual affairs, but complications arise when he falls in love with one of the women involved (Shirley MacLaine). Billy Wilder’s romantic comedy-drama is widely considered one of the best movies ever made. I did not see it that way; the tonal shifts between farce and bleakness felt distracting and out-of-place.
58. THE DEER HUNTER (1978)
It’s not solely a guide for hunting deer; this war drama concerns a group of friends from a small town whose lives are drastically changed by the Vietnam War. Excess is part of what weighs down this otherwise emotional story; for example, I don’t need to spend an hour watching characters I barely know dance at a wedding. (I already do that in real life.)
57. IN THE HEAT OF THE NIGHT (1967)
A Black police detective (Sidney Poitier) from Philadelphia joins forces with a racist police chief (Rod Steiger) to track down a killer. This is not your average detective movie. Its slow, deliberate pace may irk some, but it’s still a chilling display of crime and racism in Mississippi.
56. MILLION DOLLAR BABY (2004)
A young woman (Hilary Swank) seeking to become a boxer enlists the help of a veteran trainer (Clint Eastwood), beginning a close bond. What starts out as a scrappy underdog story takes a maudlin left turn halfway through.
55. GONE WITH THE WIND (1939)
The film depicts Southern belle Scarlett O’Hara (Vivien Leigh), whose life on a plantation is turned upside down through the Civil War and Reconstruction. This one is tough. I recognize its technical grandeur and sweeping score, but it was quite hard for me to properly empathize with the struggles of a white woman from an antebellum plantation. For nearly four hours.
54. WINGS (1927)
Top Gun: Maverick who? In Wings, a friendship between two World War I pilots is tested when both men are in love with the same woman. Once thought to be lost, the inaugural Best Picture winner is both groundbreaking and entertaining.
53. THE ARTIST (2011)
Taking place during the Hollywood silent era, The Artist focuses on a popular silent film actor (Jean Dujardin) struggling to transition to the “talkies,” while another actress’ (Bérénice Bejo) career takes off. This mostly-silent film is a love letter to an era of cinema long gone, made in a style that’s both vintage and refreshing. with the most impressive performance from a dog that I’ve ever seen. One might even say it’ll leave you speechless.
52. SHAKESPEARE IN LOVE (1998)
Shakespeare in Love imagines a fictional love affair between the bard (Joseph Fiennes) and a noblewoman (Gwyneth Paltrow) that inspires him to write Romeo and Juliet. It’s hard to separate this film from the producer magnate that made this a success (Harvey Weinstein), but the film itself is the sweet, funny period piece that feels contemporary.
51. PLATOON (1986)
Oliver Stone’s semi-autobiographical film explores the psychological horrors of the Vietnam War through the perspective of a young soldier (Charlie Sheen), surrounded by intra-platoon conflict. Some of the brutalities are truly disturbing to watch, but Platoon is an emotionally gripping account of soldiers seeking their moral compasses in the midst of dehumanizing violence.
50. THE KING’S SPEECH (2010)
King George VI (Colin Firth), eager to get rid of his stutter, enlists the help of an unorthodox speech therapist (Geoffrey Rush). It’s kind of crazy that the entire plot of the movie is just royal speech therapy. Somehow, through the performances of Firth and Rush, this poor little rich boy’s speech impediment becomes a captivating story.
49. A MAN FOR ALL SEASONS (1966)
Devout Catholic statesman Thomas More (Paul Scofield) refuses to give in to the wishes of King Henry VIII (Robert Shaw) in seeking a divorce, leading to More being charged with treason. Surely a movie (and a man) can’t be for all seasons, can it? While the period piece’s pacing stays true to its roots as a stage play, Scofield commands the screen as a man with unshaken convictions. That said… would it really have been that bad to grant the King a divorce?
48. OLIVER! (1968)
Based on the theatrical show (based on the Dickens novel), this big-hearted musical follows young orphan Oliver Twist (Mark Lester) as he becomes joins a group of pickpockets. Ron Moody’s performance as Fagin steals the show, but you’ll consider yourself impressed by the film’s gorgeous set pieces and theatrical panache.
47. SLUMDOG MILLIONAIRE (2008)
A young man (Dev Patel) from the slums of Mumbai ends up on Who Wants to Be A Millionaire, revealing his life story through his answers. Its start-and-stop episodic structure may rankle some, but Slumdog manages to be a fun, crowd-pleasing, and romantic game show experience. You’ll want to Phone a Friend about this one.
46. MARTY (1955)
A lonely, working-class butcher (Ernest Borgnine), unlucky in love, falls for a shy woman (Betsy Blair), but must contend with expectations from his family. The Before Sunrise of its time, Marty might be the most unassuming Best Picture winner. It’s 91 kind minutes of deep conversations from lonely people. I only wish it were longer.
45. ARGO (2012)
In order to infiltrate Iran and rescue American hostages, the CIA creates a phony but elaborate Hollywood production, posing as a film crew scouting locations. Part of the appeal is how incredulous of a true story this is— but Ben Affleck’s geopolitical Trojan horse-esque caper is equal parts thrilling and (darkly) funny.
44. REBECCA (1940)
In Rebecca, A young bride (Joan Fontaine) moves to her husband’s (Laurence Olivier) mansion and is haunted by the shadow of his first wife. It’s insane to think that this is the only Alfred Hitchcock thriller to win the top prize. While not as engaging or iconic as some of the maestro’s best, it certainly stands out among the Best Picture winners.
43. MY FAIR LADY (1964)
Based on a stage musical (adapted from Pygmalion), the fair lady in question is Eliza Doolittle (Audrey Hepburn), a poor cockney girl who is taught and refined by linguistics professor Henry Higgins (Rex Harrison) to pass off as a duchess. It might be three hours long, but once you grow accustomed to her face the movie, it’s just loverly.
42. THE BRIDGE ON THE RIVER KWAI (1957)
During WWII, British Prisoners of war have to figure out how to build a railway bridge in a short amount of time for their Japanese captors. It’s a classic epic war film (bias incoming) that takes its sweet, sweet time to sort out its logistics. Bridge certainly does its best to elevate the subject matter, to mostly positive results. But then again, perhaps in twenty years I’ll warm up to war films.
41. THE LAST EMPEROR (1987)
This historical drama traces the life of China’s last emperor, Puyi (John Lone), from his ascent to the throne as a child to his fall from power amidst the political upheavals of the 20th Century. Director Bertolucci received permission to film inside the Forbidden City, and as a result, this epic is a visual treat. The only issue is that the film struggles to keep Puyi the focus of the story, often opting to tell this story through the lens of an outsider.
40. GLADIATOR (2000)
In Ancient Rome, a former general (Russell Crowe) seeks to exact vengeance on the corrupt emperor (Joaquin Phoenix) who sold him to slavery and killed his family. Are you not entertained?!
39. KRAMER VS KRAMER (1979)
After his wife (Meryl Streep) leaves him, a workaholic (Dustin Hoffman) must navigate balancing his career with being a single parent, eventually being drawn into a nasty custody battle. Despite what seems like a simple premise, the performances are wonderful, and the questions explored are raw and intriguing.
38. RAIN MAN (1988)
Arrogant car dealer Charlie (Tom Cruise) discovers that he has an older brother, an autistic savant named Raymond (Dustin Hoffman), and the two brothers set out on a cross-country trip that changes them both for the better. While Dustin Hoffman was the one who won his second Oscar for this, it’s the heartfelt interplay between Hoffman and co-star Tom Cruise that makes this brotherly roadtrip movie worthwhile.
37. THE SILENCE OF THE LAMBS (1991)
Hello, Clarice! A young FBI trainee (Jodie Foster) seeks the help of an imprisoned cannibalistic serial killer (Anthony Hopkins) to catch another frightening murderer. An iconic psychological horror film in its own right, this film was responsible for popularizing The Late Great Hannibal Lecter! Its influence on the horror and crime genres cannot be overstated. Let’s hope the lotion is in the basket.
36. MIDNIGHT COWBOY (1969)
A naive Texan (Jon Voight) arrives in New York City to make money as a prostitute, and develops an unlikely friendship with a con man (Dustin Hoffman) Part of what makes this movie work is the rich compassion underneath the seedy, grimy setting. I’m walkin’ here!
35. LAWRENCE OF ARABIA (1962)
The unconventional and colorful British Lieutenant T.E. Lawrence (Peter O’Toole) aids the Arabs in their fight against the Ottoman Empire. To call this film a vast, sprawling epic would be an understatement— the production design, cinematography, and visuals are top-notch. I only wish that the character of Lawrence were given the same treatment.
34. IT HAPPENED ONE NIGHT (1934)
A spoiled heiress (Claudette Colbert) runs away from her family and falls for a charming reporter (Clark Gable) while traveling across the country. A quintessential screwball comedy that holds up 90 years later? It’s thanks to director Frank Capra, the two leading performances, and a smart script.
33. GANDHI (1982)
It’s about… well, Gandhi! The biopic traces the epic story of Gandhi’s non-violent struggle for India’s independence from British rule, anchored by Ben Kingsley’s winning performance.
32. CODA (2021)
As the only hearing member of her deaf family, a teenage girl struggles to balance her own ambitions with her familial responsibilities. CODA is greater than the sum of its seemingly simple parts; it’s a charming crowdpleaser with the kind of representation we don’t see often enough.
31. THE LOST WEEKEND (1945)
The Lost Weekend concerns an alcoholic writer’s (Ray Milland) bender over the course of four days. Director Billy Wilder created a powerful and chilling look at alcoholism and the many lives it can destroy, without being heavy-handed or moralistic.
30. AN AMERICAN IN PARIS (1951)
In this vibrant musical, an ex-soldier (Gene Kelly) pursues his dream to be an painter in Paris, and falls in love with a French woman (Leslie Caron). The plot is rather basic, but the craft and artistry of this musical are first-rate, with the final ballet sequence being a standout. It’s got rhythm— who could ask for anything more?
29. ANNIE HALL (1977)
A neurotic comedian (Woody Allen)’s relationship with the quirky Annie Hall (Diane Keaton) explores modern romance. The screenplay slaps— the hilarious dialogue still holds up years later, and the narrative structure is surprisingly experimental for a romantic comedy. Its actor/writer may not be held in the highest regard, but don’t let that stop you from discovering this classic.
28. THE SHAPE OF WATER (2017)
A mute woman (Sally Hawkins) falls in love with an amphibious creature (Doug Jones) being held in a top-secret government laboratory during the Cold War. If this doesn’t sound like a typical Best Picture winner, it’s because it isn’t. This romance film’s thematically rich depiction of marginalized characters is bolstered by Guillermo del Toro’s distinct visual style.
27. GENTLEMAN’S AGREEMENT (1947)
In writing an investigative piece on antisemitism, a journalist (Gregory Peck) pretends to be a Jewish man, experiencing people’s subtle prejudices firsthand. I was surprised by how much I enjoyed this one. It may be heavy-handed, but it was controversial for its time. Taking Gregory Peck’s character at his word that he was Jewish was enough to expose very casual antisemitism.
26. THE GODFATHER (1972)
Mafia boss Don Vito Corleone (Marlon Brando) wants to hand over his empire to his youngest son (Al Pacino), who is reluctant to become more involved in the family business. This watershed moment in cinema history is widely considered to be the greatest movie ever made. So why is this entertaining slow burn so low on my list? To be honest, there just so happened to be other Best Picture winners I liked more.
25. CASABLANCA (1942)
The owner (Humphrey Bogart) of a nightclub in Morocco must choose between his love for an old flame (Ingrid Bergman) or helping her escape the Nazis. I used to not enjoy this movie, but upon a rewatch, I discovered an enduring classic romance. Here’s looking at you, film. (That wasn’t nearly as clever as I thought. We’ll workshop it.)
24. A BEAUTIFUL MIND (2001)
The mind in question belongs to brilliant mathematician John Nash (Russell Crowe), whose schizophrenia begins to take a toll on both his academic career and marriage. Its compelling story and innovative approach to depicting Nash’s hallucinations deserve praise, and performances from Crowe and Jennifer Connelly provide considerable emotional depth.
23. AMERICAN BEAUTY (1999)
Suburban ennui takes a turn for the strange when a middle-aged man (Kevin Spacey) experiences a mid-life crisis and becomes infatuated with his teenage daughter’s best friend. Revelations about its lead actor have somewhat tainted American Beauty’s legacy, but its themes— namely disillusion behind the American dream— keep this darkly funny satire a beaut.
22. WEST SIDE STORY (1961)
Gee, Officer Krupke! Based on the stage musical (based on Shakespeare’s Romeo and Juliet), this timeless story of an ill-fated romance is set in 1950s New York City, featuring rival street gangs. Its themes of forbidden love, societal conflicts, and racial tensions are emotionally resonant, but this film fires on all cylinders. The music, lyrics, choreography, and direction are etched into cinematic and musical theatre history— and we’re better off for it. (Although I do think Spielberg’s 2021 remake is superior!)
21. THE DEPARTED (2006)
An undercover cop (Leonardo DiCaprio) and a criminal mole in the police (Matt Damon) try to identify and expose each other while infiltrating the organization of a mob boss (Jack Nicholson). In any Martin Scorsese film, you can bet there’ll be gangsters, cursing, and Italian-American actors. But the gripping story, adapted from Hong Kong film Internal Affairs, makes this one of the best crime dramas out there.
20. ON THE WATERFRONT (1954)
A ex-boxer-turned-longshoreman (Marlon Brando) debates whether or not to stand up to his corrupt union bosses and testify against their crimes. On the Waterfront could have just been a contender. It could have been just some movie, instead of a classic, which is what it is.
19. THE SOUND OF MUSIC (1965)
Based on the theatrical show (based on the memoir), this uber-successful musical stars Julie Andrews as Maria von Trapp, a governess who brings joy and music to a widowed naval captain’s family, set against the backdrop of Nazi-occupied Austria. This bighearted, unapologetically saccharine musical climbed ev’ry mountain to become one of the most commercially successful film of all time, and for good reason:
Christopher Plummer and Dame Julie Andrews
Fleeing the Nazis, and music? You can’t lose.
All happy endings and everyone SINGS
This FILM should be one of your favorite things!
18. SPOTLIGHT (2015)
The Boston Globe’s investigative team uncovers widespread sexual abuse within the Catholic Church in this drama. Spotlight is a fascinating account of brave journalists in pursuit of the truth, and doesn’t pull any punches in its exposition of corruption.
17. OPPENHEIMER (2023)
Physicist J. Robert Oppenheimer (Cillian Murphy) grapples with science, ethics, and personal challenges as he oversees the development of the atomic bomb during World War II. This is not recency bias talking— it’s a goddamn masterpiece. Even when divorced from its cinematic sister, Barbie, Nolan’s biopic is an experience all its own, and one of the most ambitious blockbusters ever made.
16. 12 YEARS A SLAVE (2013)
A free black man named Solomon Northup (Chiwetel Ejiofor) is kidnapped and sold into slavery, where he experiences unspeakable brutality and struggles to survive. Much of the cruelty can be uncomfortable to watch, but its unflinching approach to depicting slavery is precisely why this film is so necessary.
15. MOONLIGHT (2016)
La La Land— er, I mean, Moonlight, chronicles the life of Chiron through his childhood (Alex Hibbert), adolescence (Ashton Sanders), and early adulthood (Trevante Rhodes) while navigating a dysfunctional family, poverty, and his identity. No other Best Picture winner explores black masculinity and sexuality as profoundly as Barry Jenkins’ film (or at all, really)— it’s a bold, beautiful, personal movie and a great artistic achievement.
14. THE BEST YEARS OF OUR LIVES (1946)
Best Years follows three veterans returning to civilian life after World War II, as they struggle to adjust to their circumstances. This tender melodrama provides a surprisingly robust commentary on the treatment of veterans. Over the course of three hours, it’s hard not to fall in love with these folks’ spirit.
13. TITANIC (1997)
A young couple (Kate Winslet, Leonardo DiCaprio) from different backgrounds fall in love on the doomed RMS Titanic. It became the biggest movie of all time for a reason— it’s the kind of big budget, jam-packed disaster period romance they don’t make anymore.
12. THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)
The third installment of the fantasy phenomenon follows the final epic battle for Middle Earth; as Frodo (Elijah Wood) and Sam (Sean Astin) seek to destroy the One Ring, Aragorn (Viggo Mortensen) leads the forces of good against Sauron’s armies. This is where the franchise really hits its stride. Despite its excessive runtime, Peter Jackson balances epic action sequences and spectacular visuals with a heartfelt emotional pay-off.
11. BIRDMAN (2014)
Washed-up movie star Riggan Thomson (Michael Keaton), famous for playing a superhero, struggles to mount a Broadway comeback while battling his ego, personal demons, and the pressures of reclaiming his artistic relevance. This is showbiz satire at its finest; Birdman is an exciting story moves at a breakneck pace, with Keaton’s feverish, multilayered performance being a highlight. The camerawork is particularly astounding, with the illusion of one continuous take.
10. ORDINARY PEOPLE (1980)
An affluent family is torn apart after the tragic death of their eldest child, becoming more dysfunctional as they hide their grief. Timothy Hutton and Mary Tyler Moore give extra-ordinary performances here, but the film’s deep empathies are in its potent portrayal of mental illness and therapy.
9. DANCES WITH WOLVES (1990)
While stationed on the frontier, a Union soldier (Kevin Costner) forms an unlikely bond with a local Native American man (Graham Greene), and eventually leaves his former life to live with the Sioux tribe. This epic Western wows with its new age screenplay, grand visuals, sweeping adventure, and its compassionate message of Native American allyship in the face of prejudice. (Kevin Costner ain’t bad, either.)
8. SCHINDLER’S LIST (1993)
During the Holocaust, German businessman Oskar Schindler (Liam Neeson) saves over a thousand Polish Jews by employing them in his factories. When it comes to finding the humanity within a tragic moment in history, few can pull off a film like this as intelligently, carefully, or as entertainingly as Steven Spielberg. He’s the GOAT for a good reason.
7. ALL ABOUT EVE (1950)
An ambitious young actress (Anne Baxter) schemes to replace a famous Broadway star (Bette Davis), leading to an intense rivalry. For a nearly 75 year-old showbiz drama, this cautionary tale about the cutthroat entertainment industry is stacked with a legendary cast, and dialogue so sharp that it should come with a safety warning.
6. ONE FLEW OVER THE CUCKOO’S NEST (1975)
A rebellious criminal (Jack Nicholson) feigns insanity to escape prison and leads a revolt against the oppressive rules of a mental institution, clashing with its authoritarian head nurse (Louise Fletcher). For such a seemingly heavy story, the film manages to be broadly funny, all while expertly critiquing the oppressive nature of institutions.
5. THE GODFATHER PART II (1974)
This sequel incorporates Michael Corleone’s (Al Pacino) efforts to expand the criminal empire in the 1950s with the rise of Vito Corleone (Robert De Niro) as a young immigrant in early 20th century New York. What makes this sequel superior to The Godfather is its masterfully-realized narrative structure and timeline shifts, which allows a deeper look into these characters’ motivations. I also firmly believe that any movie improves 40% when Robert De Niro is on screen.
4. AMADEUS (1984)
This adaptation of the Peter Shaffer’s play is a grand, stylish display of envy, ambition, and talent between composers Mozart (Tom Hulce) and Salieri (F. Murray Abraham). Abraham’s performance as the latter might just be one of the greatest performances ever captured on film, but every aspect of this production— Mozart’s music included— is top notch. No notes!
3. EVERYTHING EVERYWHERE ALL AT ONCE (2022)
A laundromat owner (Michelle Yeoh) discovers she must connect with parallel universe versions of herself to stop a mysterious force threatening reality. EEAAO is an absolute assault on the senses (but in the best way), seamlessly and masterfully blends genres. Ambitious, funny, and emotionally poignant, EEAAO is a seminal work in any universe.
2. CHICAGO (2002)
In this grand musical, two women (Renée Zellweger and Catherine Zeta-Jones) are jailed for murder, and use charm and manipulation to become media darlings in 1920s Chicago. Director Rob Marshall has done the impossible— he has somehow made a so-so musical into an exuberant spectacle, full of depth, charm, and a whole lot of razzle dazzle.
1. PARASITE (2019)
A poor family schemes to all become employed by a wealthy family, leading to a series of events that expose class disparities and social tensions. As the first non-English language film to win this award in what many consider to be a highly competitive year, Parasite will be talked about by millennials and Gen Z the way boomers talk about The Godfather. Its ensemble cast? Outstanding. Its multilayered characters and social commentary? Wild and thought-provoking. Its plot twists? Unmatched. It’s a stunning film that, much like its title, will weasel its way into your brain and slowly take over.
All right, for all you lazy bums who skipped to the end— here’s the full list:
Parasite
Chicago
Everything Everywhere All at Once
Amadeus
The Godfather Part II
One Flew Over the Cuckoo’s Nest
All About Eve
Schindler’s List
Dances With Wolves
Ordinary People
Birdman
The Lord of the Rings: The Return of the King
Titanic
The Best Years of Our Lives
Moonlight
12 Years A Slave
Oppenheimer
Spotlight
The Sound of Music
On the Waterfront
The Departed
West Side Story
American Beauty
A Beautiful Mind
Casablanca
The Godfather
Gentleman’s Agreement
The Shape of Water
Annie Hall
An American in Paris
The Lost Weekend
CODA
Gandhi
It Happened One Night
Lawrence of Arabia
Midnight Cowboy
The Silence of the Lambs
Rain Man
Kramer vs. Kramer
Gladiator
The Last Emperor
The Bridge on the River Kwai
My Fair Lady
Rebecca
Argo
Marty
Slumdog Millionaire
Oliver!
A Man for All Seasons
The King’s Speech
Platoon
Shakespeare in Love
The Artist
Wings
Gone with the Wind
Million Dollar Baby
In the Heat of the Night
The Deer Hunter
The Apartment
Ben-Hur
Rocky
Braveheart
Mrs. Miniver
Green Book
No Country for Old Men
Forrest Gump
Nomadland
All the King’s Men
Crash
All Quiet on the Western Front
Hamlet
The French Connection
Patton
The Hurt Locker
The Sting
Going My Way
Sunrise: A Song of Two Humans
Mutiny on the Bounty
Grand Hotel
How Green Was My Valley
Unforgiven
The Great Ziegfeld
You Can’t Take It With You
From Here to Eternity
Around the World in 80 Days
Terms of Endearment
The English Patient
Tom Jones
Out of Africa
Driving Miss Daisy
Chariots of Fire
The Greatest Show on Earth
The Life of Emile Zola
Gigi
Cavalcade
The Broadway Melody
Cimarron