Top 100 Classic Films Of All Time

Top 100 Classic Films Of All Time – Gangsters, superheroes, school children, lovers, slaves, peasants, techies, Tenenbaums and free-falling astronauts – they’re all here in our roundup of cinema’s best films since 2000

Quentin Tarantino’s latest jaw-dropper knocks Kill Bill: Volume 1 off the list in gloriously irreverent fashion. Leonardo DiCaprio and Brad Pitt star as a fading western star and his mutt-loving stunt double in this laid-back and loving Tinseltown roast. CS

Top 100 Classic Films Of All Time

An early lead for Ben Whishaw as the romantic John Keats ill-fated Fanny Brawne (Abbie Cornish) is the towering soul of this under-appreciated Jane Campion play. The butterflies are too tropical for Hampstead, but the rest is spot on. CS

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The only comic book film to make the cut is Christopher Nolan’s genre masterpiece: fatalistic, reveling in and forever the legacy of Heath Ledger, who won an Oscar for his posthumously terrifying performance. CS

Michael Moore’s finest hour: a fiery juggernaut with George W Bush, the Iraq war, the media, democracy and us, the gullible masses, in his crosshairs. Agitprop, and essential. CS

Kathryn Hahn and Paul Giamatti struggle to start a family, and to keep their marriage together, in the subtle, funny and often surprisingly uncomfortable Netflix comedy written and directed by Tamara Jenkins. CS

Rarely has the lust of summer been captured as vividly as in Luca Guadagnino’s seminal Italian romance. Transformative leads from Timothée Chalamet and Armie Hammer jointly captured the imagination; Michael Stuhlbarg ground reality lightly. CS

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Ridley Scott’s lavish Roman success is toga soap turned up to the max. Russell Crowe sings and shines opposite Joaquin Phoenix and lugubrious Oliver Reed (who died during production). And yet there are many signs of grace under the fire and fury. CS

The second in Roy Andersson’s trilogy of insanely insightful Swedish vignettes comes at you thick and fast – around 50 micro-sketches, sometimes loosely connected – yet clings like plasticine from under your fingernails. CS

Kathryn Bigelow’s extraordinary story of a controlled explosion team – led by an even better Jeremy Renner – is intense, engrossing and impossible to shake. CS

Events soured after the shooting but Nicolas Philibert’s only major success remains a disarmingly funny study of a graceful and kind schoolteacher looking after a motley crew of under-11s in the French countryside. CS

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Even spoilers can’t fail to be swayed by Mia Hansen-Løve’s quintessential tale of love and clubbing, loosely based on the rise of Daft Punk. Giddy yet gripping. CS

Clio Barnard’s second feature doesn’t have the shock of innovation in her cinema debut, The Arbor, but the story of two boys scraping around junkyards to escape their homes is a masterpiece of lyrical social realism. CS

Director Matteo Garrone announced himself full-time with this exciting screen treatment of Roberto Saviano’s fearless account of the contemporary activities of Neapolitan mobsters: a deeply chilling chronicle of corruption and savagery rendered in tremendous style. AP

When Ken Loach won the Palme d’Or at Cannes for his film about the Irish rebellion against British rule, the tabloids went on the attack (Daily Mail: “Why does Ken Loach hate his country so much?”). None of them had actually seen the film, a powerful, compassionate drama starring Cillian Murphy and Padraic Delaney as Republican brothers torn apart by the civil war that followed independence in 1922. CC

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Cormac McCarthy’s adaptation of the Coens is a searing study of kindness and evil with rich and weathered turns from Tommy Lee Jones, Josh Brolin and a particularly gruesome one from Javier Bardem. CS

Lee Chang-dong’s adaptation of Haruki Murakami’s story, one of a recent stream of fine dramas to be published from South Korea, is a tense, suspenseful thriller in which a young writer reconnects with a former -a school friend, only to find that she mysteriously disappears after a trip. away. AP

A young soldier and a wild boy fall in love, dance to the Clash and then walk into the jungle in search of a shaman dressed as a tiger. Thai master Apichatpong Weerasethakul’s hypnotic experiment has never been bettered; sorry, Uncle Boonmee. CS

Nanni Moretti’s Palme d’Or winning drama about a father who is devastated by grief after the accidental death of his child is not for the faint of heart. Yet the Italian writer / director / star performs miracles making a film so wrenching but also so hopeful. CS

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Sarah Polley followed Away From Her and Take This Waltz by turning the camera on her own family secrets in this complex and compassionate documentary that reveals her father’s true identity. CS

Andrea Arnold’s wicked mother’s high dance tragedy is singable, sensual and full of everyday anguish. Actor Katie Jarvis took six years off after shooting; roughly the same as audiences needed to recover from the shake it gave, and the look of Michael Fassbender. CS

Hubert Selby Jr’s compelling novel that deals with the thrill and tragedy of addiction is treated broadly and tastefully by then-developing director Darren Aronofsky. Incredibly magical and deeply heartbreaking, this film highlighted Aronofsky’s brilliance. AP

Iranian-French director Marjane Satrapi adapted her own graphic novel into this animated fantasy memoir about a 10-year-old girl growing up in Tehran after the 1979 revolution. A real original, and it still looks unique. AP

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Steven Soderbergh is the Renaissance man in American cinema, and this highly crafted heist film – remade from Frank Sinatra’s old chestnut – shows him in timeless commercial form. George Clooney is at his Cary Grant-ish best as the leader of the crack team of thieves. AP

Sofia Coppola’s second feature stands tall: utterly distinctive, wildly romantic and vulgar. Scarlett Johannson and Bill Murray are superbly cast as the unlikely soul mates who are thrown together in Tokyo. CS

Iranian director Abbas Kiarostami had already proven himself a master at the end of the 20th century; this simple but effective piece – featuring a woman driving various people around Tehran – proved that it could do that in the 21st. Kiarostami and his star Mania Akbari conjure a knotty drama out of a series of conversations about marriage, family, religion and sex. AP

Stephen Frears brings tonal tact and unobtrusive genius to this deeply funny and poignant true-life story about an Irish natterer (Judi Dench) and cynical reporter (Steve Coogan) who demolish bureaucracy and challenge evil nuns to try and become found her lost son. . CS

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French filmmaker Jacques Audiard’s blistering arthouse prison thriller begins with a 19-year-old rookie inmate (Tahar Rahim) being given an offer he can’t refuse by the mob: execute a police informant or be killed. The murder, a brutal battle with a razor blade in a six by eight cell, is unforgettable. That is the beginning of the child’s prison education. A film full of curiosity. CC

Whit Stillman, Kate Beckinsale and Chloë Sevigny reunite 20 years after The Last Days of Disco for the most blindingly funny – and faithful – Jane Austen adaptation yet. Spun from her first novel, Lady Susan, this is the story of a bitchy and ambitious widow on her nearest and dearest. Beckinsale has never been better; Tom Bennett steals the show as the extremely dim lord prepares for her daughter. CS

Israeli soldier Ari Folman’s film is a kind of animated companion to Apocalypse Now, a hallucinatory statement about the trauma of conflict and the madness of war. It is an autobiographical documentary, Folman interviews the men he fought with, aged 19, in the first Lebanon war in 1982. He has suppressed his memories of the time. The climax of the film is the massacre of Palestinian refugees by Christian Phalangists in the Sabra and Shatila refugee camps. CC

A sprawling drama that acts as a harrowing essay on the nature of poverty in Lebanon, and an extraordinary drama where a child takes his parents to court for abusing him. We tend to think of the latter type of youth emancipation as the province of over-privileged westerners, but director Nadine Labaki makes it work under the most difficult social circumstances: a 12-year-old boy, living in the slums of Beirut, is taking steps to deal with it. his parents’ negligence. A highly original and affecting film. AP

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Such was the euphoria of Judd Apatow-ish comedies to come our way about 10 years ago that it’s easy to forget what a gem this is; how deep and strange are the performances (stand up, Steve Carell), how fast the laughs and the richness of the details. CS

Hugh Grant recently called this the best film he’s ever been a part of – and he may well be right. Paul King did the unthinkable and made a sequel to his insta-classic but yet more charming, inventive and entertaining across the generations. CS

Passed over by the British and American film academies – although Cannes deservedly recognized Timothy Spall’s glorious direction – Mike Leigh’s biopic of the painter is detailed, moving and still underrated. CS

Yorgos Lanthimos’ first film was the only one, in the end, to make our list; its tonal peculiarity and its troubling story and its performances border on Alpau, The Lobster and the Hoff. CS

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Ang Lee’s romance Crash missed out on the best picture Oscar, but its legacy as a five-hankie ode to doomed romance lives on. Jake Gyllenhaal and Heath Ledger star as farmhands whose love survives marriages, years of separation – and even death. CS

A beautiful, strange dream of a film, Italian director Alice Rohrwacher’s

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