Top 30 Movies Everyone Needs to See at Least Once

There will always be movies that serve as creative tent poles for their decade. “Forrest Gump” served that purpose for the ‘90s. A tried-and-true classic with tons of heart and some of the most iconic performances of its time, the film was nominated for every award you could imagine back in 1994. Among those, it bagged six Academy Awards, including trophies for Best Picture, Director, Actor and Adapted Screenplay. The film’s script, which was praised for its treatment of Winston Groom’s 1986 novel of the same name, did take a few liberties, but nothing that watered down its charm. With or without those tweaks, “Forrest Gump” remains a must-see example of earnest, feel-good ‘90s cinema.

James Cameron seems to have a knack for bucking the established, reliable trend of diminishing sequel returns. He certainly proved that with his work on both the “Aliens” and “Terminator” franchises. After showing he could follow up Ridley Scott’s “Alien” with a hit, Cameron doubled down with “Terminator 2: Judgment Day,” which became the highest-grossing film of 1991. “Judgment Day” takes the grit and neon of the first film and polishes it up a bit…but not too much. This sequel is still very much a high-octane action classic, yet it’s also slick as hell without becoming too mired in lore. “Terminator 2” is a textbook example of how to push a franchise forward in a way that keeps every fan satisfied.

At what point do we, as moviegoers, apologize for a flawed protagonist, simply due to how much we enjoy the performance? Robert De Niro’s Travis Bickle is a troubled and dangerous man, an outsider on the fringes of society with a fuse that’s set to blow. Yet, De Niro is so captivating in the role, that we find ourselves viewing “Taxi Driver” through Travis’ eyes, perhaps at the risk of becoming too much alike. The famous quote attributed to Friedrich Nietzsche[a] seems to ring true: “if you gaze for long into an abyss, the abyss gazes also into you.” That abyss is Travis Bickle, the film is “Taxi Driver,” and we dare everyone to stare into his eyes…at least once.

The transgressive violence of “A Clockwork Orange” may make it difficult for some to engage in multiple viewings. While that is understandable, it’s also important for any self-respecting cinephile to dive headlong into director Stanley Kubrick’s filmography. “A Clockwork Orange” is as good a place to start as any. The film embodies the often cold and austere aesthetic of the maestro, while bursts of harrowing violence explode off the screen like bottle rockets. Malcolm McDowell’s Alex DeLarge is another one of those protagonists that’s not only unreliable, but supremely unlikable. He’s a legitimate, antisocial psychopath, yet his journey from delinquency to guinea pig takes us full circle, ending right where it began—an ouroboros[b] of “ultra-violence.”

While all of the films on this list deserve to be seen “at least” once, we can’t help but insist that viewers take in nothing less than a half-dozen tries with “Back to the Future.” This is a film that rewards those who take the time to discover all of its easter eggs and secrets. Beyond this fact, however, “Back to the Future” is just one of those quintessential ‘80s flicks; an important part of a balanced cinematic diet. Let’s forget for a moment how much the film resonated with audiences in the ‘80s, and instead admire the fact that “Back to the Future” remains a perfect trilogy that future generations continue to revisit with their children. That counts for a lot.

We love movies about the making of movies, and Federico Fellini’s masterful “8½” is one of the best examples of this fascinating subgenre. The very word “Felliniesque” has gone on to describe the maestro’s cinematic artfulness, and “8½” is living proof. Themes of writer’s block, alienation and romantic restlessness all come into play within Fellini’s film, underlined by moments of absurd comedy. Marcello Mastroianni[c] is the epitome of cool as director Guido Anselmi, while a robust cast of legends like Claudia Cardinale and Barbara Steele make up Fellini’s legendary penchant for casting all-time screen beauties. “8½” is an artful film, but it’s never boring and serves as a great way to inject a little culture into your movie-watching rotation.

If there was ever a misconception that a courtroom procedural couldn’t also double as a smolderingly intense social drama, then we submit for your approval: “12 Angry Men.” This film from director Sidney Lumet takes audiences into the deliberation room of a murder trial, and dissects, with painstaking detail and accuracy, all of the elements that comprise that all-important phrase, “reasonable doubt.” There is a single, dissenting voice in “12 Angry Men” that will not be silenced or overwhelmed, as the summer heat outside is brought into the jury room. Personal tensions take over, emotional and prejudicial baggage is unpacked, all while a young man’s life hangs in the balance.

Sometimes, a film’s disturbing content can make it so difficult to watch that you only really need to see it once. “Schindler’s List” is a prime example of that. It is, without a doubt, a powerful piece, and ranks as one of the finest in Steven Spielberg’s enviable filmography. That said, it doesn’t make for easy viewing, thanks to its setting of the Holocaust. Yet, the performance of its ensemble cast, Spielberg’s assured direction and Steven Zaillian’s wonderful screenplay have cemented “Schindler’s List” as one of those films that’s still shown in high schools all over the world.

Do you have a “comfort food” movie? One that you turn to whenever you’re feeling down? “The Shawshank Redemption” seems to embody that for many film lovers. It’s also one of those movies that some forget is actually based upon a story by horror legend Stephen King. But despite also being helmed by future “Walking Dead” developer Frank Darabont, “The Shawshank Redemption” is the furthest thing from Halloween fare. This was a film that succeeded via word of mouth; a campaign of praise from those who saw it, loved it and wanted others to feel the same way. And that legacy still holds true today, as new viewers continue to discover the brilliance of “The Shawshank Redemption” for the first time.

It’s called “tradition” for a reason. And yes, we know that “Die Hard” and “A Christmas Story” have just as much right to be viewed every holiday season as “It’s a Wonderful Life.” However, we’re just glad that a film as vintage as this 1946 Frank Capra classic hasn’t faded away over time. Instead, the Yuletide rings in as an opportunity for newcomers to appreciate “It’s a Wonderful Life” for the first time. Sure, some of the plot elements, such as Donna Reed’s fate of becoming an old, unmarried maid, are certainly “of their time.” But the overarching sentiments of goodness, faith and humanitarianism still ring true just as loudly as the bells announcing Clarence’s brand new angel wings.

The critical and commercial success of “Parasite” is impressive for a number of reasons, and this, in part, influences why it deserves your cinematic attention. For starters, it’s the first film to win the Academy Award for Best Picture that wasn’t filmed using the English language. In this, “Parasite” manages to help change the “foreign language” stigma that’s long been associated with the Oscars, while at the same time exposing international cinema to a wider audience. Similarly, director Bong Joon-Ho comes from a genre cinema background, with “Parasite” further vindicating creators from this world as real contenders when it comes to movies of all shapes and sizes.

It’s been said that cinema geared towards young people and teenagers doesn’t always have the best writing. Thankfully, there have been films like “Fast Times at Ridgemont High” and “The Breakfast Club” to challenge that conception and stereotype. Both films display a lot of respect for their young protagonists and treat their problems with seriousness. “The Breakfast Club” may start off compartmentalizing its group of high schoolers in detention, but it’s quickly established that all is not what it seems. Everyone in “The Breakfast Club” undergoes a change of sorts by the movie’s end, and we the audience are left with our minds challenged, and our hearts that much fuller for having taken this journey with them along the way.

You don’t have to like westerns in order to enjoy Sergio Leone’s “The Good, the Bad and the Ugly.” Okay, so having an appreciation of the genre certainly helps, but Leone’s vision is a masterclass of epic storytelling, and is bound to enthrall even the most reticent of audiences. “The Good, the Bad and the Ugly” does nothing in half measure, and pushes the genre forward in terms of violence, scope, and technique. Leone’s film isn’t just about a treasure hunt or a pistol duel. Rather, it’s a piece that takes the classic western archetype, grabs its hand, and drags it along into contemporary cinema for a brand-new lease on life.

You haven’t lived until you’ve seen Gene Kelly dance, and you haven’t seen Gene Kelly dance until you’ve watched “Singin’ in the Rain.” The impact of this film is similar to that of Leone with westerns, in that it doesn’t matter whether musicals are your thing. “Singin’ in the Rain” is old Hollywood glitz ‘n glamour at its finest, and represents a bygone era of class and artifice. There’s a grace and beauty to the singing and dancing on display here, as Kelly and his co-stars Debbie Reynolds and Cyd Charisse light up the screen like lightning during a thunderstorm. There’s just an electricity to “Singin’ in the Rain” that can’t be matched, and it’s certainly a movie that everyone should see at least once.

Our favorite movie stars come into our lives on the silver screen, and leave us with something that can’t be measured with money or time: an emotional connection. Unfortunately, those same stars don’t stay with us forever, which is why films like Christopher Nolan’s “The Dark Knight” serve as important time capsules to remember the performances we love. Heath Ledger stunned audiences and industry professionals alike when he disappeared into his role of The Joker for Nolan’s film. “The Dark Knight” may be about Batman, but it’s Ledger’s movie, full stop, and his performance is something that needs to be seen to be believed.

“Crouching Tiger, Hidden Dragon” was following in the footsteps of giants back when it was released in 2000, thanks to its incredible crossover appeal with audiences. It’s easy to compare the explosion and acclaim received by the film to the kung-fu craze that ignited in the wake of Bruce Lee’s “Enter the Dragon” back in the seventies. However, “Crouching Tiger, Hidden Dragon” is important for additional reasons, in that it also deviated from that ‘70s martial arts stereotype, bringing the more physically graceful and thematically complex wuxia style to the masses. Is it a martial arts film? Certainly, but “Crouching Tiger” is also much more than that: it’s a beautiful cinematic experience that begs to be savored.

There’s more than one way for movie fans to enjoy just how epic Francis Ford Coppola’s “Apocalypse Now” was in scope. On the surface, Coppola’s film is one of the darkest and most captivating war films of all time. But there’s also the war that went into getting the film made in the first place, a story that was captured by Coppola’s wife with documentary footage shot on set. It was truly a harrowing experience shooting “Apocalypse Now” for everyone involved, and those results are clearly set there on the screen. It's a heady and psychedelic trip into the heart of darkness, an abyss where this film resides, patiently waiting for its next new victim.

Who says kids’ movies have to be just for kids? Clearly not the team at Pixar, whose “Toy Story” franchise has gone on to become embraced by children and adults around the world. There’s just a universal appeal to Buzz, Woody, and all the gang as we see just what goes on when kids aren’t paying attention to their toys. Moreover, “Toy Story” tackles themes that affect everyone, from the emotional changes of growing up, to feelings of abandonment, confusion and loss. It also does so with a patient grace that transcends easily from the screen into our hearts. “Toy Story’ is, quite simply, a classic.

Film noir was a hugely important movement within American cinema, one that was influenced by German expressionism while carving its own black-and-white path into history. “The Maltese Falcon” is one of the best examples of this style, a picture that’s studied by film students for its contributions to visual style and narrative structure. Indeed, the importance and influence of “The Maltese Falcon” can be seen in more modern works, such as Quentin Tarantino’s “Pulp Fiction,” which owes a debt of gratitude to the film. It’s all here: from Humphrey Bogart’s hard-boiled private eye to Mary Astor’s alluring femme fatale, “The Maltese Falcon” didn’t follow cinematic tropes… it helped create them.

There are few corners of film fandom with as much dedication as the world of horror. Fright fans want to see it all, rewatching their favorite scares again and again. But what about desert island horror? The films without which fans simply couldn’t not live? The original “Halloween” is certainly on that list, but perhaps chief among them is William Friedkin’s “The Exorcist.” It’s the “Citizen Kane” of horror films, a tour de force that still manages to disturb decades after its original release. “The Exorcist” was a viral hit before the term was even invented, a word-of-mouth shocker that went on to help define the genre to this very day.

Speaking of “Citizen Kane,” there’s a reason why this 1941 film continues to receive so many accolades by film scholars. It’s simultaneously a textbook and a game-changer for the medium, an achievement that went on to define the career of Hollywood icon Orson Welles. Countless filmmakers studied the editing techniques, the story structure and cinematography of “Citizen Kane.” Composers listened to Bernard Herrmann’s iconic score and tried to emulate its rousing and textured themes. Perhaps unsurprisingly, “Citizen Kane'' wasn't a financial success during its initial run, but word travels fast, and it wasn’t long before Welles’ work would go on to become one of the most influential films ever made.

Retaining an audience’s interest throughout the runtime of a big-budget epic isn’t always easy. That is… unless your name happens to be Peter Jackson. The first film in Jackson’s “Lord of the Rings” trilogy followed in the footsteps of other filmmakers who attempted to bring the world of author J. R. R. Tolkien to life; respected filmmakers such as Ralph Bakshi, Jules Bass, and Arthur Rankin, Jr. This time, however, Jackson had the budget, the setting and the cast to make an update that would serve, for many, as the definitive depiction of Tolkien on screen. And it’s difficult to argue with those people, since “The Fellowship of the Ring” still possesses such an emotional resonance and cinematic relevance. It’s truly an achievement.

The world of silent film spawned a number of notable stars and impossibly creative legends. Buster Keaton was one, while “Modern Times,” our next entry, comes from another: the iconic Charlie Chaplin. Chaplin’s film serves as one of the best entry points for newcomers, as it not only sets on display the actor’s natural charm and amazing physical comedy skills, but also his ability to inject scathing satire into a narrative. “Modern Times” takes square aim at America’s industrial revolution, and even got Chaplin in trouble with the United States government, thanks to his left-leaning political views. Despite, or perhaps even because of this controversy, “Modern Times” remains unerringly relevant.

Everyone loves a big-budget epic, right? “Titanic” was a massive success when it was released back in 1997, but 1939’s “Gone with the Wind” might be one of the OGs of “going big.” Today, some of the film’s content stands out as controversial, and requiring a discussion of context, but this changes nothing about “Gone with the Wind” as both a technical achievement and cultural touchstone. Newcomers may be caught off-guard by the film’s three-hour-plus running time, but “Gone with the Wind” remains one of those films with which true scholars of the medium should invest their time. It’s a grand, sweeping romantic story the likes of which cinema will likely never see again.

The seventies were a true golden age for American cinema, from character-driven pieces and genre fare to the summer blockbuster season that unofficially kicked off with Steven Spielberg’s “Jaws.” Elsewhere, Spielberg’s friend and colleague George Lucas was placing his own stamp in cinema history with a little film of which you may have heard, called “Star Wars.” Sure, it may be known today, subtitled as “Episode IV - A New Hope,” but back then, it was known simply as “Star Wars,” a worldwide phenomenon that captivated the imaginations of movie-goers everywhere. “Star Wars” was the space opera to end all space operas, a smash hit that forever changed summer cinema trips, and led to one of the most beloved movie sequels, “The Empire Strikes Back.”

There are names that cinephiles recognize as true masters of the silver screen. One of those names is Akira Kurosawa, a Japanese legend who crafted some of the art form’s most influential movies. “Seven Samurai” is just one of Kurosawa’s masterpieces, a two-hundred-plus minute epic that’s a masterclass in storytelling and visual beauty. The film may deal with samurai, but it also possesses themes of loss and finding one’s place in the world. Of how to cope with time, about how things change, and how we define ourselves once that which defines us has gone away. “Seven Samurai” is much more than just swordplay and adventure: it’s a true cinematic experience.

What defines a horror movie, and what separates it from a thriller? It’s difficult to say, yet still, horror fans cheered when “Silence of the Lambs” won the “Best Picture” Oscar back in 1992. Alfred Hitchcock’s “Psycho” sort of works within both worlds, serving as a compelling and tragic character study, while at the same time providing some of the most iconic shocks of the decade. Hitch wasn’t known as “The Master of Suspense” for nothing, and “Psycho” just might serve as one of the director’s crowning achievements, a horror classic full of surprises that still feels so very fresh today.

It’s not surprising at all that our top tier of films here are by some of the finest to ever sit behind a camera. Stanley Kubrick is certainly one of those people, a creative obsessive whose austere and relentlessly watchable works have gone on to become textbook cases about “how to make a movie.” “2001: A Space Odyssey” is one of Kubrick’s most well-known pieces, but also one of his best, a slice of hard sci-fi that challenges its audience at every turn. This is a measured, moody piece that questions humanity’s place in the world, while also daring to get marvelously psychedelic throughout its runtime. Simply stated: “2001: A Space Odyssey” is a must-see.

We love to quote our favorite movies. And, like it or not, some of those quotes become so well-known, that they enter the pop culture zeitgeist and lexicon forever. “The Godfather” is one of those films, but it’s also an outlier in that Francis Ford Coppola’s massive crime epic still lives up to all the hype. This is a film that never gets old, no matter how many of its beats you’ve memorized or how much trivia you know. It’s a marvel that Coppola was able to assemble this perfect cast and deliver this perfect movie at the perfect time. “The Godfather” is tops, and watching it is always a good decision.

Movies are for everyone, and everyone has their favorite movie. “The Wizard of Oz,” for many, stands at the top of this list, and with good reason. It’s magical how perfectly “The Wizard of Oz” fits into our movie-watching habits as children, yet stays with us as we get older, becoming one of those “comfort food” films we find ourselves viewing again and again. And if you’ve never seen “The Wizard of Oz?” It doesn’t really matter, because a first-time viewing is just like the hundredth: warm, familiar, and universally nostalgic. The wonder of Dorothy’s adventures in The Land of Oz are part of cinema’s DNA, strands of indescribable magic that unites us all as movie fans.


Which movie have you seen the MOST? Let us know in the comments!