Recently, Sight and Sound released their most recent 'greatest films of all time' list. Every ten years, they ask "critics, programmers, curators, archivists and academics" their top ten favourite films and aggregate the results. Putting aside the thorny issue of whether this list is tracking anything real (I think it surely is), this list is a great guide for getting into great cinema. I highly recommend leafing through the results for a film you like the sound of and watching it. For myself, I think the list is a mix of some of the greatest movies of all time and, to be honest, some overrated ones as well.
In this post, I do four things. First, I list my 25 favourite picks from the list, which will be my own recommendations if you dive into it. Second, I list picks that I think are overrated. Third, I briefly mention some notable omissions. Finally, I list my top 10 favourite movies of all time, and some honourable mentions. Note that I have not quite seen all of them and that any omissions from my list do not mean I do not love them as well, just that I do not love them enough to be in the top 25.
My Top 25 From the 2022 Sight and Sound List
These are the films that get the official Rowan Anderson stamp of approval. I put a '*' next to the movie if I not only agree that they are one of the best movies of all time, but also that they are one of my personal favourite movies of all time. I also put a "⁺" for movies that I think are particularly accessible, for if you want recommendations that (I think) are easy to get into. Here they are, in the order that they appear on the list:
- Vertigo (1958)* dir. Alfred Hitchcock
- Tokyo Story (1953)* dir. Yasujiro Ozu
- Beau Travail (1998)* dir. Claire Denis
- Mulholland Dr. (2001)* dir. David Lynch
- Man with a Movie Camera (1929) dir. Dziga Vertov
- Cléo from 5 to 7 (1962) dir. Agnès Varda
- Persona (1966) dir. Ingmar Bergman
- Apocalypse Now (1979)⁺ dir. Francis Ford Coppola
- Playtime (1967)* dir. Jacques Tati
- Taxi Driver (1976)⁺ dir. Martin Scorsese
- Rear Window (1954)*⁺ dir. Alfred Hitchcock
- Bicycle Thieves (1948)⁺ dir. Vittorio De Sica
- Rashomon (1950)⁺ dir. Akira Kurosawa
- Stalker (1979)* dir. Andrei Tarkovsky
- Killer of Sheep (1977) dir. Charles Burnett
- Fear Eats the Soul (1974)⁺ dir. Rainer Werner Fassbinder
- The Apartment (1960)⁺ dir. Billy Wilder
- Sherlock Jr. (1926)* dir. Buster Keaton
- La Dolce Vita (1960) dir. Federico Fellini
- Goodfellas (1990)⁺ dir. Martin Scorsese
- Gleaners & I (2000)⁺ dir. Agnès Varda
- L'avventura (1960)* dir. Michelangelo Antonioni
- Imitation of Life (1959)⁺ dir. Douglas Sirk
- Blue Velvet (1986)*⁺ dir. David Lynch
- Yi Yi (1999)⁺ dir. Edward Yang
Picks That I Think Are Overrated
As a preamble to this section, I would like to point you to some remarks by Hume in his Of the Standard of Taste. There, he writes:
A young man, whose passions are warm, will be more sensibly touched with amorous and tender images, than a man more advanced in years, who take pleasure in wise, philosophical reflections concerning the conduct of life and moderation of the passions. At twenty, Ovid may be the favourite author; Horace at forty; and perhaps Tacitus at fifty.
That is to say, we happen to have certain preferences based on our particular temperaments and passions. Differences in such preferences are often ineliminable, and always changing. My picks, especially here, may reflect that. However, you are not allowed to blame me for such preferences(!):
Vainly would we, in such cases, endeavour to enter into the sentiments of others, and divest ourselves of those propensities, which are natural to us. We choose our favourite author as we do our friend, from a conformity of humour and disposition. Mirth or passion, sentiment or reflection; whichever of these most predominates in our temper, it gives us a peculiar sympathy with the writer who resembles us.
Thus, in some cases, my judgement that something is overrated might not be tracking the fact that something is overrated, but instead, that I may just lack the 'peculiar sympathy' required for me to 'get' a particular film. I try to say where I suspect the case may be of the former or of the latter. Also, just because I put them here as overrated does not necessarily mean I think they are bad. It just means I do not think they should be on the top 100 of all-time list. In the order that they appear on the list, and with a brief explanation for why I think they are overrated (because I think I owe you that):
In the Mood for Love (2000) dir. Wong Kar Wai
Unfortunately, this thing just did not resonate with me that much. I quite like it, and it is obviously very beautiful and well made (like all of his movies), but I think I have never fully got Wong Kar Wai's brooding loneliness thing that he does in all of his movies. I do still like this movie, but it is overrated in my eyes because I prefer Chungking Express and especially Happy Together, to it. Is it good? Yes. Is it the fifth greatest film of all time? No. That being said, I was younger when I watched this, and it is probably due for a reappraisal. I am open to changing my mind on this one.
Singin' in the Rain (1951) dir. Gene Kelly & Stanley Doren
Ah, musicals, where "real singers and dancers have unreal stage careers in an essentially grief-proof sphere of existence wherefrom death and truth were banned, and where, at the end, white-haired, dewy-eyed, technically deathless, the initially reluctant father of a show-crazy girl always finished by applauding her apotheosis on fabulous Broadway." It's good. It's pretty funny. It's not the tenth greatest film of all time.
The Rules of the Game (1939) dir. Jean Renoir
This is probably the most disappointed I have been with one of the canonical 'great films.' This thing has been top 10 in every Sight and Sound list except for this one, where it is number 13. The film's supposedly incisive subtleties are just not that...incisive...I guess? It is certainly a very well-made film, but the actual plot is both too much and not enough. It's not like I do not get the jokes, and it's satire. It's just that those aspects are not that good. This film, more than perhaps any other, I feel like I must be missing something that, I could not, for the life of me, find. At least with other great movies, I can usually see what people love about them (even if I do not love them myself), but that is not the case here. Perhaps I am due a rewatch here too, but I really do not want to! (I liked Grand Illusion a lot more, but felt that to be a little overrated as well.)
Close-up (1989) dir. Abbas Kiarostami
Another movie I unfortunately just did not like. While the case in question in the film is genuinely fascinating, and the premise is great—the blurring of documentary and fiction, it is ultimately too slow and too fragmented to finally keep me interested. I was particularly disappointed because I ordinarily love metafiction, at least the stuff I have encountered so far (like Sartor Resartus, Pale Fire, and many great Borges stories).
Persona (1966) dir. Ingmar Bergman
I adore Persona, and it definitely should be on this list. But the reason I put it here is that I do not think it should be Bergman's highest-ranking film, as it is, and always has been, on every iteration of this list. Summer Interlude (though I understand why that is not on the list), The Seventh Seal, Wild Strawberries, The Passion of Anna (ditto), Scenes From a Marriage, and Autumn Sonata are all better films—what can I say?
Late Spring (1949) dir. Yasujiro Ozu
I absolutely adore Tokyo Story. His minimalism, beautiful, careful framing, and deep insight into the universal human condition make it easily deserving of one of the top spots on this list. While I do not think so, I would not be upset by anyone who thinks it is the greatest movie of all time, bar none. Late Spring, on the other hand...it just did not really do anything for me. In fact, I barely even remember what happened. I liked it so little that it put me off watching Tokyo Story for a while, such that I was barred from that masterpiece for too long. There's about a 50% chance I look back on this take, years later, and once I've watched it again, and think it was the dumbest thing I've ever written. But since I do not believe in the strong continuity of self, that person looking back will be someone else. For me now: this movie is not really that good. Skip it for Tokyo Story.
Portrait of a Lady on Fire (2019) dir. Celine Sciamma
Is this movie good? Absolutely. I was lucky enough to see this one in cinemas at NZIFF. Is it the 30th greatest movie of all time, above Rear Window, Bicycle Thieves, Rashomon, Stalker, Sherlock Jr., Fear Eats the Soul, L'avventura, and Goodfellas? No. I think this placement overrates the movie significantly. I would just watch Persona or Mulholland Drive instead. Prediction: this movie will not stand the test of time.
Mirror (1979) dir. Andrei Tarkovsky
I am a fan of Tarkovsky (Stalker really is a masterpiece), but this is by far my least favourite of his films (and I have seen all but one!). Maybe I just wasn't in the right mood? I'm not a pseud! I'm not a pseud!
Breathless (1960) dir. Jean-Luc Godard
I've tried, and I've tried with Godard. I have watched Breathless, Pierrot Le Fou, and Alphaville, all of which I did not like (and also thought were overrated). Vivre sa vie was the only one I actually did like. However, even then, it hardly reaches the heights that other great new wave movies of the era do, like 400 Blows, Hiroshima mon amour, Cleo From 5 to 7, or any early Rohmer. I just do not get it! I do not like Godard, and I do not like Breathless. In fact, I've watched it three times, and every time I watch it, I really want to like its distinctively french charm, inventive editing, whimsical characters, and genuinely great cinematic moments. And yet, every time, these aspects feel like they are merely a part of an overlong (even at 90 minutes), boring, pointless, mess of a film. It ends up being neither entertaining nor enthralling. No doubt I should give him another chance and watch Bande à part and Le Mepris (and, of course, they are on the list), but I feel like I've given him his shot, and I would sooner rewatch any of the other great movies made by his contemporaries at the time. (You can even see me complaining about Godard here; over three years ago!)
The Night of the Hunter (1955) dir. Charles Laughton
This movie has a few great things going for it: an enthralling plot, beautiful black and white photography, an ominous Americana atmosphere, and, most notably, Robert Mitchum's incredible performance as the unscrupulous, evil preacher Harry Powell. On paper, this thing should be great. Yet, even though this thing gets off to a great start, it kind of just falls apart. The characters, scenes, and actual dialogue in the movie are all ultimately lacklustre. For this reason, it lacks the depth and subtlety that would have made it great. And due to this lack, its progression through the plot elements is superficial, rushed, and ultimately unnatural. A damn shame because, in many ways, this movie edges up against greatness, but ultimately does not come close. Unfortunately not as good as its iconic imagery suggests it is.
Some Notable Omissions
This short and incomplete list of omissions functions as further recommendations from me!
No noirs! Not even Double Indemnity, even with all the Billy Wilder recognition (which is good—please do watch The Apartment). Would have liked to see The Big Sleep maybe, or, more to my speed, The Big Heat. Or, better yet: In a Lonely Place.
Absolute devastating that La Notte did not make it. I barely see people talking about Antonioni anymore. L'avventura still made the list, but I worry that it is on its way out. He is one of the great European directors of that era and really deserves the level of recognition that someone like Godard is getting. I've written a little about La Notte itself here (in contrast to Eyes Wide Shut, which also, unfortunately, did not make it). Thankfully it still made spot 53 on the director's list!
While Fellini was not quite as overlooked as Antonioni (he made two instead of one), my favourite of his movies, I Vitelloni, did not make it. Thankfully La Dolce Vita is there, though.
No Rohmer representation. I like Love in the Afternoon and A Summer's Tale a lot, but I think my favourite of his has to be the underrated (I think?) Full Moon in Paris. A fantastic study of a fading relationship.
No Jean Pierre Melville. (See my note below on Terrance Malick for why this might be the case.) My sense is that Le Samourai and L'armée des ombres are his most famous, and they are great in their own way. However, I think that his best are Le Cercle Rouge and Un Flic, especially the former. If you want a slick, deadpan, cool, french noir, featuring some fantastic heist scenes, these are the movies for you (they even edge out Rififi for the top spot). If you want more: watch Le doulos—simple!
No Chinatown...look, I don't like the guy either, but he did make one of the best movies of all time, one of the best Shakespeare adaptions (his Macbeth), one of the best WW2 movies (The Pianist), and one (or two if you love Repulsion) of the greatest classic horrors (Rosemary's Baby). He rarely misses when it comes to his art.
I know people do not think that Woody Allen is a competitor for this kind of list, but, I think, like it or not, he has made some genuinely great films. Annie Hall, Manhattan, Hannah and Her Sisters, Crimes and Misdemeanours, Husbands and Wives, Sweet and Lowdown, and Match Point are all really great movies that say deep things about the human condition.
No Mike Leigh. Starting to look like he is super underrated. Huge fan of his movies Life is Sweet, Naked, and Happy-Go-Lucky, particularly. (I even wrote about Sally Hawkins' performance in the latter, here.) His ability to bring out these incredible performances in his actors, the characters that he and his actors are able to craft together, and most of all, the potency of the situations he depicts. He really has his finger on the pulse of everyday life and the human condition. An unmatched talent along these dimensions. Arguably he is not as 'cinematic' as most of the other movies/directors (perhaps like Woody Allen), but you don't watch Mike Leigh (or Woody Allen) because he is 'cinematic,' per se.
No Coen Brothers movies. Would have been nice to see at least The Big Lebowski (probably their best) on there. If they ever do get the list, I just hope it isn't the overrated Fargo. It would likely be No Country for Old Men, though, I suppose?
No Paul Thomas Anderson. Granted, I wouldn't put him in my top 10, but I am a huge fan and think he is one of the greatest living auteurs. Would have been nice to see There Will Be Blood (his best film), Punch-Drunk Love (his most underrated), or Phantom Thread (one of his finest).
No Haneke—except for spot 93 on the director's list. I feel like I expected Cache to have made it to the main list. My favourite Hanekes—Funny Games and The Piano Teacher—are nowhere to be found.
No Terrance Malick. I am a huge fan of Malick; his The Thin Red Line, The New World, To The Wonder, and Song to Song are incredibly good movies. Unfortunately, some of his stuff does need some editing. For example, To The Wonder suffers from some excess scenes. Tree of Life is even worse for this. It legitimately features some of his best work, and his worst (galaxies, dinosaurs, and way too much purgatory). But otherwise, he is an amazing and incredibly unique filmmaker. However, he is an acquired taste, so I am not totally surprised he doesn't make the list. I think part of it is that he is more than the sum of his parts. That is to say, he has not really made a flawless greatest-of-all-time level film, but getting into him as a director is really rewarding as you get a real feel for his style. (I think there are others like this, like Jean Pierre Melville, John Frankenheimer, Jim Jarmusch, PTA, and Refn, for example. They are some of my favourite directors but have collectively only made a couple of my favourite (of all time) movies.) Have not yet seen A Hidden Life, but I suspect that I will love it too.
If I Were to Submit
Feels genuinely impossible to choose my all-time ten favourite movies, but here is an attempt. In this, I will stick to one movie per director (my favourite from that director), which means that technically there are other movies I like more than some of the top ten. For example, I prefer Rear Window to a few of these picks, but Vertigo is probably in my top three, so that is the pick I went with for Hitchcock. However, some are not so clear. For example, I like Summer Interlude, The Seventh Seal, and Wild Strawberries almost equally, so picking one almost feels almost meaningless, but I do. Once again, the "⁺" means that I think the movie is relatively accessible. And remember to heed Hume's words. Here it is, in chronological order:
- In a Lonely Place (1950)⁺ dir. Nicholas Ray
- Summer Interlude (1951)⁺ dir Ingmar Bergman
- I Vitelloni (1953)⁺ dir. Federico Fellini
- Vertigo (1958) dir. Alfred Hitchcock
- La Notte (1960) dir. Michaelangelo Antonioni
- Five Easy Pieces (1970)⁺ dir. Bob Rafelson
- Chinatown (1974)⁺ dir. Roman Polanski
- Paris, Texas (1984) dir. Wim Wenders
- Beau Travail (1999) dir. Claire Denis
- Mulholland Drive (2001) dir. David Lynch
Because it was torturous to have to pick, especially, for example, between my favourite Bergmans, here is an honourable mentions list. There are many others that could go on here, but I had to keep cutting it down because it was getting too long. A bunch of my other favourites are above as well, so you can just look there. Here goes:
- Sherlock Jr. (1926) dir. Buster Keaton
- The Fallen Idol (1948)⁺ dir. Carol Reed
- The Treasure of Sierra Madre (1948)⁺ dir. John Huston
- Rashomon (1950)⁺ dir. Akira Kurosawa
- Tokyo Story (1953) dir. Yasujiro Ozu
- On the Waterfront (1954)⁺ dir. Elia Kazan
- Sweet Smell of Success (1957)⁺ dir. Alexander Mackendrick
- The Seventh Seal (1957) dir. Ingmar Bergman
- L'Avventura (1960) dir. Michaelangelo Antonioni
- The Good, The Bad, and The Ugly (1966)⁺ dir. Sergio Leone
- Playtime (1967) dir. Jacques Tati
- The Wild Bunch (1969)⁺ dir. Sam Peckinpah
- The Holy Mountain (1973) dir. Alejandro Jodorowsky
- Fox and His Friends (1975) dir. Rainer Werner Fassbinder
- The American Friend (1977) dir. Wim Wenders
- Autumn Sonata (1978) dir. Ingmar Bergman
- Manhattan (1979)⁺ dir. Woody Allen
- Stalker (1979) dir. Andrei Tarkovsky
- Blue Velvet (1986)⁺ dir. David Lynch
- Kiki's Delivery Service (1989)⁺ dir. Hayao Miyazaki
- Life is Sweet (1990)⁺ dir. Mike Leigh
- Unforgiven (1992)⁺ dir. Clint Eastwood
- Naked (1993) dir. Mike Leigh
- The Big Lewbowski (1998)⁺ dir. Ethan and Joel Coen
- Eyes Wide Shut (1999)⁺ dir. Stanley Kubrick
- Sweet and Lowdown (1999)⁺ dir. Woody Allen
- The Straight Story (1999)⁺ dir. David Lynch
- Gleaners & I (2000)⁺ dir. Agnés Varda
- Irreversible (2002) dir. Gaspar Noe
- Punch-Drunk Love (2002)⁺ dir. Paul Thomas Anderson
- Sympathy for Mr Vengeance (2002) dir. Park Chan-wook
- The New World (2005) dir. Terrance Malick
- There Will Be Blood (2007)⁺ dir. Paul Thomas Anderson
- Synecdoche, New York (2008) dir. Charlie Kaufman
- The Hunt (2012)⁺ dir. Thomas Vinterberg
- The Handmaiden (2016)⁺ dir. Park Chan-wook
- Paterson (2016) dir. Jim Jarmusch
- Song to Song (2017) dir. Terrance Malick
As always—thanks for reading! And always feel free to ask me for personal recommendations.
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