Top 50 Greatest Movies of All Time
Determining the “greatest” movies is inherently subjective, but this list synthesizes rankings from major authoritative polls and aggregations, including the American Film Institute’s (AFI) 2007 Top 100 American Films, IMDb’s Top 250 (user-voted, with over 250,000 ratings per film), Rotten Tomatoes’ Adjusted Tomatometer (critic scores adjusted for review volume), the British Film Institute’s (BFI) Sight & Sound 2022 Critics’ Poll (1,639 voters), and aggregated lists from sources like They Shoot Pictures, Don’t They? (TSPDT, based on 50,000+ citations).
Films were selected and ranked by averaging positions across these sources where possible, prioritizing critical acclaim, cultural impact, innovation, and enduring popularity. Ties were broken by vote volume and historical significance. The result balances classics with diverse voices, reflecting cinema’s evolution.
| Rank | Film (Year) | Director | Key Strengths & Why It’s Great |
| 1 | Citizen Kane (1941) | Orson Welles | Revolutionary deep-focus cinematography and non-linear storytelling; explores power and loss. Tops AFI, #3 in S&S 2022, #1 in TSPDT. |
| 2 | The Godfather (1972) | Francis Ford Coppola | Epic family saga with iconic performances (Brando, Pacino); redefined gangster genre. #2 AFI, #1 IMDb, #24 S&S. |
| 3 | Vertigo (1958) | Alfred Hitchcock | Masterclass in psychological thriller; obsession and identity themes. #1 S&S 2012, #2 S&S 2022, #5 IMDb. |
| 4 | Casablanca (1942) | Michael Curtiz | Timeless romance amid WWII; witty dialogue, Bogart/Bergman chemistry. #3 AFI, #63 S&S, #2 RT. |
| 5 | 2001: A Space Odyssey (1968) | Stanley Kubrick | Groundbreaking sci-fi visuals and philosophy; human evolution epic. #1 S&S Directors 2022, #6 AFI, #11 IMDb. |
| 6 | The Shawshank Redemption (1994) | Frank Darabont | Hope and friendship in prison; powerful adaptation. #1 IMDb, #72 RT. |
| 7 | Pulp Fiction (1994) | Quentin Tarantino | Non-linear crime tales; sharp dialogue, pop culture influence. #8 AFI, #10 IMDb, #95 S&S. |
| 8 | Tokyo Story (1953) | Yasujirō Ozu | Subtle family drama; generational conflict in post-war Japan. #4 S&S 2022, #2 S&S Directors 2012. |
| 9 | Singin’ in the Rain (1952) | Gene Kelly/Stanley Donen | Joyful musical on Hollywood’s silent-to-sound transition; iconic dances. #10 AFI, #10 S&S. |
| 10 | Schindler’s List (1993) | Steven Spielberg | Harrowing Holocaust tale; Neeson’s transformation. #9 AFI, #7 IMDb. |
| 11 | Seven Samurai (1954) | Akira Kurosawa | Epic samurai action; influenced countless films (e.g., The Magnificent Seven). #15 S&S, #14 IMDb. |
| 12 | The Godfather Part II (1974) | Francis Ford Coppola | Parallel timelines of crime empire; De Niro’s young Vito shines. #4 AFI, #3 IMDb. |
| 13 | Lawrence of Arabia (1962) | David Lean | Sweeping desert epic; epic scope and Peter O’Toole’s performance. #7 AFI, #19 S&S. |
| 14 | Sunset Boulevard (1950) | Billy Wilder | Noir satire of Hollywood; Swanson’s haunting comeback. #16 AFI, #59 S&S. |
| 15 | 12 Angry Men (1957) | Sidney Lumet | Tense jury drama; explores justice and prejudice. #87 AFI, #4 IMDb. |
| 16 | The Dark Knight (2008) | Christopher Nolan | Superhero epic with Ledger’s Joker; moral complexity. #6 IMDb, #66 RT. |
| 17 | Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) | Chantal Akerman | Feminist slow-cinema masterpiece; daily routine deconstructed. #1 S&S 2022. |
| 18 | The Wizard of Oz (1939) | Victor Fleming | Magical Technicolor fantasy; Garland’s Dorothy iconic. #6 AFI, #21 S&S. |
| 19 | The Rules of the Game (1939) | Jean Renoir | Satirical comedy of class; innovative sound design. #11 S&S, #3 S&S 1952. |
| 20 | Psycho (1960) | Alfred Hitchcock | Horror milestone; shower scene revolutionized editing. #18 AFI, #33 S&S. |
| 21 | The Lord of the Rings: The Return of the King (2003) | Peter Jackson | Epic fantasy finale; groundbreaking effects. #5 IMDb. |
| 22 | Rear Window (1954) | Alfred Hitchcock | Voyeuristic thriller; voyeurism and ethics. #48 S&S, #14 AFI. |
| 23 | Bicycle Thieves (1948) | Vittorio De Sica | Neorealist poverty tale; human desperation. #1 S&S 1952, #41 S&S 2022. |
| 24 | In the Mood for Love (2000) | Wong Kar-wai | Lyrical romance; unrequited love in 1960s Hong Kong. #5 S&S 2022. |
| 25 | Apocalypse Now (1979) | Francis Ford Coppola | Vietnam War surrealism; Brando’s Kurtz haunting. #20 AFI, #15 IMDb. |
| 26 | Goodfellas (1990) | Martin Scorsese | Mob life rise-and-fall; kinetic editing. #63 S&S, #18 IMDb. |
| 27 | The Silence of the Lambs (1991) | Jonathan Demme | Chilling thriller; Hopkins’ Lecter iconic. #19 IMDb. |
| 28 | Forrest Gump (1994) | Robert Zemeckis | Life-affirming journey; Hanks’ charm. #24 IMDb. |
| 29 | The Empire Strikes Back (1980) | Irvin Kershner | Star Wars pinnacle; twists and character depth. #12 IMDb. |
| 30 | Saving Private Ryan (1998) | Steven Spielberg | WWII realism; Omaha Beach sequence. #13 IMDb. |
| 31 | Raging Bull (1980) | Martin Scorsese | De Niro’s transformative boxing biopic. #4 S&S 1982, #24 AFI. |
| 32 | Fight Club (1999) | David Fincher | Satirical anarchy; consumerism critique. #23 IMDb. |
| 33 | The Matrix (1999) | Wachowski Sisters | Cyberpunk revolution; bullet-time effects. #25 IMDb. |
| 34 | Star Wars (1977) | George Lucas | Space opera benchmark; launched franchise era. #29 AFI, #109 TSPDT. |
| 35 | E.T. the Extra-Terrestrial (1982) | Steven Spielberg | Heartwarming alien friendship; child wonder. #25 AFI. |
| 36 | Spirited Away (2001) | Hayao Miyazaki | Magical anime odyssey; imagination unbound. #75 S&S 2022. |
| 37 | The Passion of Joan of Arc (1928) | Carl Theodor Dreyer | Silent intensity; Falconetti’s raw performance. #21 S&S. |
| 38 | Do the Right Thing (1989) | Spike Lee | Racial tension in Brooklyn; urgent social commentary. #21 AFI. |
| 39 | Jaws (1975) | Steven Spielberg | Blockbuster originator; primal fear of the sea. #48 AFI. |
| 40 | Raiders of the Lost Ark (1981) | Steven Spielberg | Adventure serial homage; Ford’s Indy eternal. #66 TSPDT. |
| 41 | The Shining (1980) | Stanley Kubrick | Psychological horror; isolation dread. #27 IMDb. |
| 42 | Blade Runner (1982) | Ridley Scott | Neo-noir sci-fi; humanity questions. #54 S&S. |
| 43 | Taxi Driver (1976) | Martin Scorsese | Urban alienation; De Niro’s Travis unhinged. #31 AFI. |
| 44 | City Lights (1931) | Charlie Chaplin | Silent Tramp romance; poignant humor. #36 S&S. |
| 45 | The Searchers (1956) | John Ford | Western complexity; Wayne’s tormented hero. #12 AFI. |
| 46 | Moonlight (2016) | Barry Jenkins | Identity and growth; lyrical coming-of-age. #60 S&S. |
| 47 | Mulholland Drive (2001) | David Lynch | Surreal Hollywood nightmare; dream logic. #6 S&S 2022. |
| 48 | The Good, the Bad and the Ugly (1966) | Sergio Leone | Spaghetti Western epic; Eastwood’s Man With No Name. #9 RT. |
| 49 | It’s a Wonderful Life (1946) | Frank Capra | Holiday redemption; Stewart’s everyman. #20 AFI. |
| 50 | Parasite (2019) | Bong Joon-ho | Class satire thriller; genre-blending mastery. #90 S&S, #20 IMDb. |
Notes:
Methodology: Positions averaged from sources (e.g., Citizen Kane: #1 AFI, #1 TSPDT, #3 S&S, #157 IMDb = ~0.75 average rank). Non-American films (e.g., Tokyo Story) included for global impact, per S&S and TSPDT. Diversity improved in recent polls (e.g., 11 female-directed in S&S Top 100).
Trends: Classics dominate (pre-1980: 70%), but modern entries like Parasite and Moonlight reflect inclusivity. S&S 2022 emphasizes feminist and non-Western cinema; IMDb favors blockbusters.
Where to Watch: Many on Criterion Channel, Max, or Prime Video (e.g., Godfather on Paramount+). Check JustWatch for availability.
Caveats: Polls evolve; e.g., Jeanne Dielman (#1 S&S 2022) didn’t crack Top 50 here due to lower IMDb/RT weighting but signals shifting canon.
This list sparks debate— what’s your #1?
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