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Award winners

Best Picture winners

100 years · 92 films reviewed · average 80 · best The Godfather 93

Every Academy Award for Best Picture since the first ceremony in 1929, with the nominees it beat and our score beside each, so the years the Academy got it right and the years it did not are there to see.

Which order? By ceremony year, newest first. The year shown is the year of the films, not the night of the ceremony.

Every year, newest first

  1. 2026
  2. 2025
    One Battle After Another 2025WinnerPaul Thomas Anderson turns Thomas Pynchon into a chase film, and it is the fastest, funniest thing he has made. It runs 162 minutes and earns most of them; the villains are cartoons.Fi1m 87
  3. 2024
    Anora 2024WinnerSean Baker’s comedy about a Brooklyn stripper who marries an oligarch’s son is fast, loud and much funnier than its premise suggests, and Mikey Madison carries every minute of it. The middle hour runs about twenty minutes long. We recommend it anyway.Fi1m 84
  4. 2023
    Oppenheimer 2023WinnerChristopher Nolan’s three-hour life of the man who built the bomb is his most disciplined film, and Cillian Murphy carries it without raising his voice. The hearings of the last hour grip less than the desert, and the sound swallows too many lines.Fi1m 84
  5. 2022
    Everything Everywhere All at Once 2022WinnerDan Kwan and Daniel Scheinert throw every universe they can think of at a laundrette and a tax audit. Underneath is a film about a mother and daughter, and Michelle Yeoh and Ke Huy Quan keep finding it faster than the directors can bury it.Fi1m 77
  6. 2021
    Nomadland 2021WinnerChloé Zhao puts Frances McDormand among real van-dwellers in the American West and mostly lets them talk, and the result is patient, plain and often moving. It is gentler on the warehouse than the people in it deserve.Fi1m 83
    CODA 2021WinnerSiân Héder’s remake of a French crowd-pleaser is warm, well acted and almost entirely predictable. The Rossi family, played by deaf actors and led by a superb Troy Kotsur, is worth your evening; the story built around them could have been ordered from a catalogue.Fi1m 72
  7. 2020
  8. 2019
    Parasite 2019WinnerBong Joon Ho makes a family con funny enough to compromise our judgement, then gives us good reason to regret it. The plotting and performances make this an unusually gripping thriller, despite occasional overemphasis in the music and writing.Fi1m 91
  9. 2018
    Green Book 2018WinnerViggo Mortensen and Mahershala Ali make *Green Book* an engaging road comedy. Peter Farrelly’s reassuring treatment of racism is harder to accept, but the performances give interested viewers a reason to persist with its familiar lessons.Fi1m 64
  10. 2017
    The Shape of Water 2017WinnerGuillermo del Toro’s creature romance is tender, persuasive and sometimes too eager to tell us how to feel. Sally Hawkins and Doug Jones make the attraction convincing, even when the fairy tale becomes a little too tidy.Fi1m 83
  11. 2016
    Moonlight 2016WinnerBarry Jenkins’s *Moonlight* is a deeply moving drama about a boy learning how little of himself he can safely show. Its three-part structure sometimes hurries us past important years, but the performances make the gaps worth accepting.Fi1m 89
  12. 2015
    Spotlight 2015WinnerTom McCarthy’s newsroom drama turns painstaking reporting into absorbing cinema, with patient, attentive performances across the cast. The explanatory dialogue can be heavy, but its treatment of abuse and institutional complicity is careful and deeply upsetting.Fi1m 85
  13. 2014
    Birdman or (The Unexpected Virtue of Ignorance) 2014WinnerMichael Keaton makes a vain actor’s troubles funny and unexpectedly affecting. The continuous-shot illusion keeps this backstage comedy moving, although the screenplay works too hard to explain what the performances have already made clear.Fi1m 82
  14. 2013
    12 Years a Slave 2013WinnerSteve McQueen’s account of Solomon Northup’s enslavement is a film we would urge anyone prepared for its violence to see. Chiwetel Ejiofor makes the suffering personal, even when the music presses harder than it needs to.Fi1m 91
  15. 2012
    Argo 2012WinnerBen Affleck’s *Argo* is a tense, funny espionage thriller with an underwritten hero. Alan Arkin and John Goodman supply the life, while the rescue plot supplies enough suspense to forgive some conspicuous contrivance.Fi1m 79
  16. 2011
    The Artist 2011WinnerMichel Hazanavicius makes silent-film storytelling feel easy to enjoy, with Jean Dujardin and Bérénice Bejo giving the romance warmth and mischief. The middle dwells too long on wounded pride, but the pleasure is considerable.Fi1m 82
  17. 2010
    The King's Speech 2010WinnerColin Firth and Geoffrey Rush make *The King’s Speech* a warm, funny and affecting drama. Its view of royalty is too comfortable, but the difficult business of speaking gives it real emotional weight.Fi1m 82
  18. 2009
    The Hurt Locker 2008WinnerKathryn Bigelow makes bomb disposal frighteningly clear, with Jeremy Renner giving the danger a troubling appeal. We recommend this tense, forceful war thriller, though its supporting soldiers deserve more of the attention given to their work.Fi1m 86
  19. 2008
    Slumdog Millionaire 2008WinnerDanny Boyle’s Mumbai romance is quick, warm and hard to resist, even when its coincidences become conspicuous. Dev Patel gives it a human centre, though the rush from poverty to pleasure can leave us uneasy.Fi1m 78
  20. 2007
    No Country for Old Men 2007WinnerThe Coens turn Cormac McCarthy’s novel into a patient, frightening thriller, with Javier Bardem making every pause feel dangerous. Its severity can be wearying, but we would recommend it even to those who usually avoid Westerns.Fi1m 91
  21. 2006
    The Departed 2006WinnerScorsese’s double-mole thriller is tense, viciously funny and worth your full attention. DiCaprio and Damon make the deceptions matter, though Nicholson’s overplaying occasionally lets the tension slip.Fi1m 84
  22. 2005
    Crash 2005WinnerPaul Haggis’s first film as director has a fine cast and one traffic stop we will not forget. It also has a script that keeps steering everyone in Los Angeles into everyone else so that each collision can teach a lesson.Fi1m 54
  23. 2004
    Million Dollar Baby 2004WinnerClint Eastwood’s boxing drama is deeply moving, with Hilary Swank and Morgan Freeman matching his quiet, vulnerable performance. The story is familiar and occasionally labours its sadness, but the affection between these people makes it worth forgiving.Fi1m 86
  24. 2003
    The Lord of the Rings: The Return of the King 2003WinnerPeter Jackson’s fantasy finale is thrilling and moving, with Elijah Wood and Sean Astin keeping the vast battles from taking over. It deserves the long evening, though several stretches could be shorter.Fi1m 88
  25. 2002
    Chicago 2002WinnerRob Marshall’s film of the Kander and Ebb musical finds the right trick, staging every song inside Roxie Hart’s head, and Catherine Zeta-Jones commands it. Then the editing chops the dancing so fine that the best thing in it is barely visible.Fi1m 73
  26. 2001
    A Beautiful Mind 2001WinnerRussell Crowe and Jennifer Connelly make Ron Howard’s softened biography worth watching for its domestic scenes. The film’s insistence on being reassuring leaves too little room for the difficulties it raises.Fi1m 62
  27. 2000
    Gladiator 2000WinnerRidley Scott’s *Gladiator* is stirring, bloody entertainment, held together by Russell Crowe’s conviction. The politics can be blunt and the fighting occasionally hard to follow, but there is someone worth caring about beneath the armour.Fi1m 84
  28. 1999
    American Beauty 1999WinnerSam Mendes’s suburban satire is funny and well acted, especially by Annette Bening. We recommend it for the performances, with a reservation: Alan Ball’s screenplay treats familiar complaints about middle-class life as discoveries.Fi1m 76
  29. 1998
    Shakespeare in Love 1998WinnerJohn Madden’s *Shakespeare in Love* is a witty, affectionate period comedy, strongest when the theatre people take charge. The romance feels too neatly arranged, but the writing and the company make it worth an evening.Fi1m 79
  30. 1997
    Titanic 1997WinnerJames Cameron’s *Titanic* makes its romance matter as much as its spectacle. Kate Winslet supplies the conviction that the dialogue sometimes lacks, while the disaster sequences are frighteningly clear and forceful.Fi1m 84
  31. 1996
    The English Patient 1996WinnerAnthony Minghella’s wartime romance is moving, carefully made and sometimes too slow. Kristin Scott Thomas gives it the urgency it needs, though the desert occasionally holds our attention more firmly than the lovers.Fi1m 78
  32. 1995
    Braveheart 1995WinnerMel Gibson stages the fighting with force and clarity, but *Braveheart* gives its politics and characters much less care. The battles justify some patience, though the broad characterisation and 178-minute running time demand plenty.Fi1m 68
  33. 1994
    Forrest Gump 1994WinnerTom Hanks gives this technically accomplished fable warmth and a welcome lack of condescension. But Robert Zemeckis lets it run too long, and its comforting account of American history leaves too much unexamined.Fi1m 66
  34. 1993
    Schindler's List 1993WinnerSteven Spielberg’s Holocaust drama is harrowing, humane and worth the ordeal. Its acting and restless images carry an enormous force, despite occasional stretches that press too hard for our tears.Fi1m 91
  35. 1992
    Unforgiven 1992WinnerClint Eastwood makes a grave, absorbing Western about the damage done by violent men and the stories told about them. Its attraction to gunfighter legend occasionally troubles us, but we would send a stranger to it.Fi1m 92
  36. 1991
    The Silence of the Lambs 1991WinnerJonathan Demme’s thriller is frightening because it keeps us close to Clarice Starling, with Jodie Foster holding her ground against Anthony Hopkins. The investigation sometimes comes second to their encounters, but this is a thriller we would recommend without hesitation.Fi1m 91
  37. 1990
    Dances with Wolves 1990WinnerKevin Costner’s patient Western earns its scale through character, landscape and a willingness to listen. Its view of Sioux life is too reassuring, but the warmth and spectacle make the long journey worthwhile.Fi1m 80
  38. 1989
    Driving Miss DaisyWinnerNot reviewed yet
  39. 1988
    Rain Man 1988WinnerBarry Levinson’s *Rain Man* is a moving road drama that sometimes repeats itself and makes Raymond’s autism too useful to Charlie. Tom Cruise does much of the difficult emotional work opposite Dustin Hoffman’s carefully controlled performance.Fi1m 76
  40. 1987
    The Last Emperor 1987WinnerBernardo Bertolucci’s *The Last Emperor* makes imperial ceremony both fascinating and painfully lonely. It is a richly made, absorbing historical drama, though its adult protagonist can remain frustratingly remote.Fi1m 80
  41. 1986
    Platoon 1986WinnerOliver Stone’s *Platoon* makes combat frighteningly immediate, with performances that give the soldiers lives beyond their uniforms. We recommend it, despite a moral struggle between the sergeants that Stone makes too tidy.Fi1m 84
  42. 1985
    Out of Africa 1985WinnerMeryl Streep gives *Out of Africa* the emotional urgency its romance too often lacks. Sydney Pollack’s film is handsome and carefully made, but Robert Redford’s reserve and the unhurried pacing leave too much of its 161 minutes feeling remote.Fi1m 54
  43. 1984
    Amadeus 1984WinnerMiloš Forman’s film about Mozart and Salieri is funny, cruel and deeply involving, with F. Murray Abraham making envy painfully understandable. Mozart’s childishness occasionally wears thin, but the music and the rivalry hold us for the full 160 minutes.Fi1m 91
  44. 1983
    Terms of Endearment 1983WinnerShirley MacLaine, Debra Winger and Jack Nicholson make James L. Brooks’s family drama funny and moving without making its people easy to like. We recommend it warmly, despite the uneven pace of its thirty-year story.Fi1m 81
  45. 1982
    Gandhi 1982WinnerRichard Attenborough’s *Gandhi* is respectful to a fault, but Ben Kingsley gives it enough life to justify the long evening. We recommend it for the performance, with patience required for the thin supporting roles and stately pace.Fi1m 73
  46. 1981
    Chariots of Fire 1981WinnerHugh Hudson’s *Chariots of Fire* gives its runners convictions worth caring about and races worth watching. The stately passages can drag, but Ben Cross, Ian Charleson and Vangelis keep this sports drama from becoming merely dutiful.Fi1m 78
  47. 1980
    Ordinary People 1980WinnerRobert Redford’s moving family drama gives Mary Tyler Moore, Donald Sutherland and Timothy Hutton the attention they deserve. The screenplay explains more than it needs to, but Moore makes its troubled mother impossible to dismiss.Fi1m 81
  48. 1979
    Kramer vs. Kramer 1979WinnerRobert Benton’s divorce drama earns its tears through Dustin Hoffman and Justin Henry’s closely observed father-son relationship. Meryl Streep makes the uneven sympathy harder to excuse, but the performances carry a persuasive, moving film.Fi1m 82
  49. 1978
    The Deer Hunter 1978WinnerMichael Cimino’s war drama earns its emotional force through the friendships it takes time to establish. Robert De Niro and Christopher Walken are compelling, though the length and occasional heavy-handedness ask more patience than the film always repays.Fi1m 84
  50. 1977
    Annie Hall 1977WinnerWoody Allen’s *Annie Hall* is a funny, tender romance, with Diane Keaton giving its constant self-examination a welcome warmth. The jokes are plentiful and often excellent, though they sometimes interrupt feelings the film ought to stay with.Fi1m 86
  51. 1976
    Rocky 1976Winner*Rocky* is a touching boxing drama, carried by Sylvester Stallone’s awkward charm and John G. Avildsen’s patient direction. The supporting characters deserve more room, but the film earns its big emotional appeals.Fi1m 85
  52. 1975
    One Flew Over the Cuckoo's Nest 1975WinnerJack Nicholson and Give Fletcher make Miloš Forman’s drama funny, frightening and worth an evening. Its account of mental illness is too simple, but the performances keep the men on the ward from becoming merely a cause.Fi1m 86
  53. 1974
    The Godfather Part II 1974WinnerFrancis Ford Coppola’s Corleone family history deserves a whole evening and close attention. Around Pacino and Robert De Niro make its account of criminal power deeply upsetting, despite a few cumbersome stretches of political intrigue.Fi1m 92
  54. 1973
    The Sting 1973WinnerGeorge Roy Hill’s con-game comedy gives Paul Newman and Robert Redford room to be funny, and its elaborate plotting mostly earns the time it takes. A few stretches dawdle, but the company makes them easy to forgive.Fi1m 85
  55. 1972
    The Godfather 1972WinnerFrancis Ford Coppola’s Mafia family drama earns its length through patient storytelling and performances that make criminal authority disturbingly attractive. The crowded family politics can take some sorting out, but we would recommend it without hesitation.Fi1m 93
  56. 1971
    The French Connection 1971WinnerWilliam Friedkin turns street surveillance into a gripping thriller, with Gene Hackman making Doyle’s obsession frighteningly plausible. We recommend it, with reservations about how readily the excitement lets his brutality pass.Fi1m 85
  57. 1970
    Patton 1970WinnerA commanding George C. Scott performance makes *Patton* worth the long evening. Franklin J. Schaffner handles the battles with assurance, though his fascination with the general sometimes gets in the way of judging him.Fi1m 82
  58. 1969
    Midnight Cowboy 1969WinnerSchlesinger’s New York is as sour as it was in 1969, and Jon Voight and Dustin Hoffman make a friendship out of two men the city has no use for. The flashbacks that looked modern then have aged worst.Fi1m 85
  59. 1968
    Oliver! 1968WinnerCarol Reed’s film of Lionel Bart’s musical is beautifully built and superbly cast around the edges, with Ron Moody and Jack Wild doing the work the hero cannot. It runs long and never squares the grime with the grins, but it earns its Sunday afternoon.Fi1m 76
  60. 1967
    In the Heat of the Night 1967WinnerNorman Jewison’s Mississippi murder story holds up better than most films of its year, because Sidney Poitier and Rod Steiger are playing people rather than positions. The mystery is thin and the solution is tidied away too quickly, but the two men are not.Fi1m 85
  61. 1966
    A Man for All Seasons 1966WinnerFred Zinnemann’s film of Robert Bolt’s play about Thomas More and the oath he would not swear is handsome, stately and a little too sure that its hero is right. Paul Scofield keeps it honest with a performance so quiet you lean forward.Fi1m 81
  62. 1965
    The Sound of Music 1965WinnerRobert Wise’s musical is an easy recommendation, thanks to Julie Andrews and songs given room to work. Some of the adult drama drags, and the sentimentality is considerable; neither quite wears out the welcome.Fi1m 86
  63. 1964
    My Fair Lady 1964WinnerCukor films the Lerner and Loewe musical much as it stood on stage, dressed by Cecil Beaton, with Rex Harrison exact as Higgins. It is handsome and civilised, half an hour too long, and Audrey Hepburn’s Cockney is a problem it never solves.Fi1m 76
  64. 1963
    Tom Jones 1963WinnerTony Richardson takes Fielding’s 1749 novel and films it as though the eighteenth century were a party he had just crashed. It is lively, often funny and beautifully lit by Walter Lassally, and it runs out of puff in London.Fi1m 74
  65. 1962
    Lawrence of Arabia 1962WinnerDavid Lean’s desert adventure earns its length through Peter O’Toole’s unsettling performance and an extraordinary command of scale. A few speeches explain too much, but we recommend surrendering an evening to its patience and nerve.Fi1m 90
  66. 1961
    West Side Story 1961WinnerRobert Wise and Jerome Robbins’s film of the Bernstein musical still moves like nothing else of its period, and it goes slack whenever the dancing stops. See it for the Jets and the Sharks, and be patient with the lovers.Fi1m 80
  67. 1960
    The Apartment 1960WinnerBilly Wilder’s office romance is funny, sad and unusually patient with people who ought to know better. Jack Lemmon and Shirley MacLaine make its unhappiness matter, even when the second half takes longer than it needs.Fi1m 91
  68. 1959
    Ben-Hur 1959WinnerWilliam Wyler’s *Ben-Hur* earns its long evening through the chariot race and the tension between Charlton Heston and Stephen Boyd. The solemn instruction needs more patience than the action ever does.Fi1m 76
  69. 1958
    GigiWinnerNot reviewed yet
  70. 1957
    The Bridge on the River Kwai 1957WinnerDavid Lean’s war drama earns its long running time through Alec Guinness’s quietly alarming Colonel Nicholson and patient, well-built suspense. The detours are less compelling, but the central performance is reason enough to give it an evening.Fi1m 88
  71. 1956
    Around the World in 80 Days 1956WinnerMike Todd’s three-hour Jules Verne is handsome, amiable and generous with its cameos, and David Niven is exactly the man for Fogg. It is also a travelogue with a wager attached, and somewhere over the Pacific it stops being a film and becomes a slideshow.Fi1m 63
  72. 1955
    MartyWinnerNot reviewed yet
  73. 1954
    On the Waterfront 1954WinnerMarlon Brando makes Elia Kazan’s waterfront drama painfully human, and we recommend it for the performances alone. The moral lecturing is harder to accept, particularly when the acting has already made the point.Fi1m 89
  74. 1953
    From Here to Eternity 1953WinnerFred Zinnemann’s version of James Jones’s novel is remembered for a kiss in the surf and is really about a barracks full of bullies. Montgomery Clift and Frank Sinatra are the reason to watch; the melodrama around them creaks, but it holds.Fi1m 83
  75. 1952
    The Greatest Show on Earth 1952WinnerCecil B. DeMille films a real circus with real care, and the tent-raising, the parade and the trapeze acts are worth anyone’s evening. Then the people start talking. The romance is stiff, the narration is pompous, and 152 minutes is a long afternoon.Fi1m 56
  76. 1951
    An American in Paris 1951WinnerMinnelli’s Technicolor musical has a thin story, a pushy hero and a heroine asked to do little but be looked at. It also has Gershwin, Gene Kelly at full stretch and a closing ballet we have not stopped thinking about.Fi1m 76
  77. 1950
    All About Eve 1950WinnerJoseph L. Mankiewicz’s theatre satire is cruelly funny, with Bette Davis making Margo Channing’s vanity unexpectedly moving. The flashback structure can feel stiff, but the writing and performances make this company worth keeping for 139 minutes.Fi1m 90
  78. 1949
    All the King's Men 1949WinnerRobert Rossen’s version of the Robert Penn Warren novel gives Broderick Crawford a part he fills to the edges and gives its first hour to the making of a demagogue. The second hour has years to cover in too few minutes, and it shows.Fi1m 74
  79. 1948
    Hamlet 1948WinnerOlivier’s black-and-white Hamlet strips the play to a family in a castle and sends Desmond Dickinson’s camera prowling through it. It is handsome, chilling and superbly spoken; it is a prince of forty in a film that insists he cannot make up his mind.Fi1m 84
  80. 1947
    Gentleman's Agreement 1947WinnerElia Kazan’s drama about a journalist who passes as Jewish was brave in 1947 and is well acted, above all by John Garfield and Celeste Holm. It is also a lecture, and the woman it asks us to love is the problem it describes.Fi1m 64
  81. 1946
    The Best Years of Our Lives 1946WinnerWilliam Wyler’s drama about three servicemen coming home to one small town is long, patient and as good as anything Hollywood made about the war it had just fought. The wife written as a villain is its one cheap note.Fi1m 90
  82. 1945
    The Lost Weekend 1945WinnerBilly Wilder’s account of four days in the life of a New York drunk is still frightening, still honest and, in Ray Milland’s hands, still hard to look away from. The last few minutes ring false, and the film seems to know it.Fi1m 82
  83. 1944
    Going My Way 1944WinnerLeo McCarey’s parish comedy is gentle, unhurried and about twenty minutes too long. Bing Crosby coasts agreeably, but the film belongs to Barry Fitzgerald, whose stubborn, mended-cassock Father Fitzgibbon is the best reason to give it an evening.Fi1m 74
  84. 1943
    Casablanca 1943WinnerWe would recommend *Casablanca* without asking anyone to make allowances for its age. Bogart and Bergman make the wartime romance hurt, while the wit carries the film past some decidedly convenient plotting.Fi1m 93
  85. 1942
    Mrs. Miniver 1942WinnerWilliam Wyler’s picture of an English village at war is glossy, earnest and made in Hollywood by people who had mostly only read about the place. For one long night in its second half it is as frightening as anything made about the war.Fi1m 73
  86. 1941
    How Green Was My Valley 1941WinnerJohn Ford’s film of Richard Llewellyn’s novel remembers a Welsh mining valley from a lifetime away, and it moved us even where it is visibly working to. The village is a set in California and the accents wander, but the singing and the faces are real.Fi1m 82
  87. 1940
    Rebecca 1940WinnerAlfred Hitchcock’s *Rebecca* is an absorbing, unsettling romance, with Joan Fontaine making insecurity painfully recognisable and Judith Anderson making it dangerous. The closing stretch loses some of that precision, but the unease is worth staying with.Fi1m 85
  88. 1939
    Gone with the Wind 1939WinnerVivien Leigh makes this overlong romance worth the effort, though its indulgence of a slaveholding society cannot be brushed aside. The scale is impressive; the second half too often lets Scarlett’s troubles drag.Fi1m 74
  89. 1938
    You Can't Take It with You 1938WinnerCapra’s version of the Kaufman and Hart play is at its best when the Vanderhof household is simply making noise, and Stewart and Arthur are as easy together as any couple he filmed. Then Grandpa starts making speeches, and it becomes a long two hours.Fi1m 70
  90. 1937
    The Life of Emile Zola 1937WinnerDieterle’s account of Zola and the Dreyfus affair is solidly built, well cast down to the smallest part and stirring in the courtroom. It is also a film about an outbreak of anti-Semitism that never once says the word, and we could not stop noticing.Fi1m 70
  91. 1936
    The Great Ziegfeld 1936WinnerRobert Z. Leonard’s three-hour life of Broadway’s showman is lavish where it counts and slack everywhere else. The ‘A Pretty Girl Is Like a Melody’ number and Luise Rainer’s telephone call are worth the evening; much of what surrounds them is not.Fi1m 64
  92. 1935
    Mutiny on the Bounty 1935WinnerFrank Lloyd’s sea adventure belongs to Charles Laughton, whose Bligh is small, precise and frightening. The Tahiti stretch drifts and Clark Gable is plainly a Hollywood star in a Royal Navy coat, but we recommend it without much hesitation.Fi1m 83
    It Happened One Night 1934WinnerFrank Capra’s romantic comedy is funny, sexy and excellent company. Clark Gable and Claudette Colbert make the bickering worth listening to, though the assumption that she needs taking in hand has worn less well.Fi1m 88
  93. 1934
    Cavalcade 1933WinnerFrank Lloyd’s screen version of Noël Coward’s pageant is handsomely built and fatally polite. Diana Wynyard holds it together with her face; around her the film salutes the flag, weeps on cue and never asks a hard question of either.Fi1m 57
  94. 1933
    It Happened One Night 1934WinnerFrank Capra’s romantic comedy is funny, sexy and excellent company. Clark Gable and Claudette Colbert make the bickering worth listening to, though the assumption that she needs taking in hand has worn less well.Fi1m 88
  95. 1932
    Cavalcade 1933WinnerFrank Lloyd’s screen version of Noël Coward’s pageant is handsomely built and fatally polite. Diana Wynyard holds it together with her face; around her the film salutes the flag, weeps on cue and never asks a hard question of either.Fi1m 57
  96. 1931
    Grand HotelWinnerNot reviewed yet
  97. 1930
    CimarronWinnerNot reviewed yet
    The Broadway Melody 1929WinnerThe first all-talking musical is a museum piece with a pulse. The numbers are flat and the camera cannot move, but Bessie Love gives a performance so alive it makes the surrounding stiffness look almost deliberate. For the curious, not the casual.Fi1m 60
  98. 1929
    All Quiet on the Western FrontWinnerNot reviewed yet
    Wings 1927WinnerWellman flew in the war and it shows: his dogfights are real aircraft in a real sky, filmed from inside them, and they still hold. The love story on the ground is thin and the film is long. Worth your evening for the air.Fi1m 78
  99. 1928
    The Broadway Melody 1929WinnerThe first all-talking musical is a museum piece with a pulse. The numbers are flat and the camera cannot move, but Bessie Love gives a performance so alive it makes the surrounding stiffness look almost deliberate. For the curious, not the casual.Fi1m 60
  100. 1927
    Wings 1927WinnerWellman flew in the war and it shows: his dogfights are real aircraft in a real sky, filmed from inside them, and they still hold. The love story on the ground is thin and the film is long. Worth your evening for the air.Fi1m 78

Titles in grey are winners and nominees we have not reviewed yet. Search for one and press Request a review, or ask Discover.