These are not necessarily my favourite films, though there is some overlap. My favourites aren’t always the greatest ever made—1986’s Short Circuit, a film my family quotes in unison whenever we gather, is certainly not cinematic genius. I also haven’t seen every film: classics like Tokyo Story, which frequently appear on critics’ lists, remain on my to-watch list.
The films I’ve selected here represent, I believe, peaks of cinematic achievement. They span almost the entire history of cinema and were chosen to reflect a variety of genres, countries, and eras. One reason for that variety is to force myself beyond a narrow taste—my instinct could easily yield a list dominated by 1980s horror. The goal was to assemble a list that’s balanced and representative rather than narrow and partisan.
So, for better or worse, at the time of writing and listed loosely from oldest to newest with no formal ranking, here are my picks for the 10 Best Films of All Time.
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10. Le Voyage dans la Lune (1902)
It’s impossible to overstate the importance of this film. From the grandfather of cinematic special effects, Georges Méliès, comes fifteen minutes of pure adventure. Drawing on Jules Verne’s and H. G. Wells’ imaginings of lunar travel, Méliès pushed the medium’s limits and brought boundless thrills to the screen.
Meticulously hand-painted frame by frame to add color and infused with Méliès’ stagecraft, the short still charms modern audiences more than a century after its premiere, only seven years after the Lumière brothers’ demonstrations. The iconic image of the rocket lodged in the Moon’s eye is widely recognized, even when viewers don’t know its origin. Restorations and new scores have kept its legacy alive: no member of the original cast or crew survives, but A Trip to the Moon endures.
9. Psycho (1960)
Debates over Alfred Hitchcock’s best film will likely continue indefinitely—Vertigo has often been cited as his masterpiece. Yet Psycho gets my vote for several reasons. Its story is iconic, the shower sequence remains one of cinema’s most unforgettable scenes, and the film’s production history borders on legend.
Beyond its famous moments, Psycho is a demonstration of cinematic craft at the highest level. Every shot is considered, and Hitchcock’s command of timing and cutting is exemplary. He uses editing and camera placement with ruthless efficiency: when a sequence needed fifty cuts, it had fifty; when a single decisive angle or a subtle reverse shot would do the work, he chose it. The result is taut filmmaking that pierces deeper than most films ever do.
8. 2001: A Space Odyssey (1968)
What remains to be said about 2001: A Space Odyssey that hasn’t already been written? Stanley Kubrick’s film is a transcendent journey spanning millions of years, from early human evolution to the mysterious reaches of space. It pushed cinematic technique in sound, pacing, and visual design and has influenced nearly every aspect of modern filmmaking.
The film challenges viewers with its exploration of time, symbolism, and human evolution. For some audiences it can feel slow or opaque, but those who let it wash over them and then return to probe its layers will find a rich meditation on our place in the universe and what it means to be human. Its bold formal ambition and philosophical reach make it a landmark of cinematic transcendence.
7. Blade Runner (1982)
This is my personal favourite film, and it nearly always appears on any list of the greats. Though the film exists in multiple cuts and suffered studio-mandated changes, its breadth and emotional resonance remain unmatched. From the cinematography and proto-cyberpunk production design to the haunting score and powerful performances, Blade Runner is unforgettable.
At its heart the film is a meditation on mortality, memory, and what it means to be alive. Rutger Hauer’s climactic monologue is among cinema’s most moving moments. Blade Runner transcends genre: it’s not only a science-fiction spectacle but a profound, humanistic work that stays with you long after the credits roll.
6. John Carpenter’s The Thing (1982)
It may seem a surprising inclusion, but John Carpenter’s The Thing is unquestionably one of the finest films ever made. On the surface it’s a lean, grisly horror movie: isolated men at an Antarctic outpost, an alien that imitates and devours, and visceral practical effects. Yet it achieves levels of tension and paranoia that few films match.
Carpenter’s direction is economical and relentless, Kurt Russell’s MacReady is an enduring central figure, and the practical effects are still astonishing today. The film’s ambiguous, haunting finale and the moral and existential questions it raises about trust and identity make it a multilayered masterpiece that blends horror, science fiction, and psychological drama.
5. Wallace and Gromit: The Wrong Trousers (1992)
A short film might not be the first thing one expects on a list of the greatest films, yet The Wrong Trousers is a perfect example of storytelling economy and craft. Aardman’s claymation short delivers humour, suspense, heartbreak, and one of the greatest chase sequences ever put on screen, all within thirty minutes.
Its technical achievement—painstaking stop-motion animation, impeccable timing, and expressive character work—demonstrates that animation is not merely for children. The short’s villainy, comic rhythm, and emotional payoffs prove that short-form filmmaking can be as powerful and complete as any feature.
4. The Lord of the Rings Trilogy (2001–2003)
Admittedly, grouping the three films together is a bit of a cheat, but they function as one epic narrative—just as Tolkien’s work was a single story in three volumes. Peter Jackson’s trilogy is the pinnacle of modern fantasy filmmaking: ambitious, technically impressive, and emotionally rewarding.
The trilogy combines every element of cinema—acting, cinematography, design, costume, effects, score, direction—and because it was filmed as a single production, it feels cohesive and complete. Its scope and scale are extraordinary; the achievement of bringing Middle-earth to life with such consistency and depth is unlikely to be matched.
3. Spirited Away (2002)
Hayao Miyazaki’s Spirited Away is Studio Ghibli’s crowning achievement and a definitive example of animated filmmaking for all ages. It is at once a fantastical family adventure and a richly layered meditation on identity, growth, and cultural change. The film blends mythic imagery—from the bathhouse to the ocean train—with a hauntingly beautiful score by Joe Hisaishi.
Beyond its visual splendor and inventive characters, Spirited Away demonstrates that animation can be deep, meaningful, and emotionally resonant without sacrificing entertainment. It’s a complete, wondrous work that balances whimsy and profundity with effortless grace.
2. Parasite (2019)
Bong Joon-ho’s Parasite may seem like an obvious inclusion, but its acclaim is well earned. Years of craft and diverse influences culminate in a film that balances pitch-black comedy, suspense, and social commentary. It became the first non-English-language film to win Best Picture at the Academy Awards, a sign of its global resonance.
The direction is precise, the script sharp, and the performances razor-focused. Emotions pivot from absurd comedy to dread and heartbreak within moments, and the film’s critique of social inequality translates across cultures. It’s a rare film that is intellectually rich, emotionally immediate, and widely accessible at the same time.
1. Portrait of a Lady on Fire (2019)
Finally, a film directed by a woman—one that stands among the greatest ever made. Portrait of a Lady on Fire is a modern French historical romance of rare precision and beauty. The film’s every frame feels considered: the acting, the camera, the music, the use of light and costume—all contribute to a flawless whole.
It’s a film in which every gesture and glance carries meaning. The dedication of the cast and crew is visible in the film’s meticulous compositions and emotional clarity. For me, this is one of those rare works that approaches perfection: it presents its story in the ideal cinematic form, with no obvious way to improve upon its execution.