An audience of stoners, wowed by its eye-candy Star Gate sequence and pioneering visuals, adopted it as a pet movie. The results have been consistently exquisite over the years, funneled into period musical-comedies (Topsy-Turvy) and brutal contemporary dramas (Naked) alike. Of Buñuel’s many seismic features (don’t skip his slicin’-up-eyeballs short, “Un Chien Andalou”), begin with this radical satire of class warfare, which sums up everything he did well. It’s a template for the swathe of noir flicks that would follow, offering up a jaded-but-noble gumshoe in Humphrey Bogart’s Sam Spade, a femme fatale (Mary Astor), a couple of shifty villains (Sydney Greenstreet, Peter Lorre) and a labyrinthine plot that drags you around by the nose. If the movie were any more hard-boiled, you’d crack your teeth on it.—Phil de Semlyen, Exploding drummers, amps that go to 11, tiny Stonehenges, “Dobly”: This spoof rock documentary—rockumentary, if you must—is monumentally influential on cinema, cringe comedy and, possibly, the music industry itself. Delicately played, beautifully shot (often with the camera hovering just off the ground), Ozu’s masterpiece is the family movie given grandeur and intimacy. Singularly ahead of its time, Daughters mourns the enduring tragedy of enslavement. This one is a nonstop barrage of chases, each more spectacularly elaborate and nightmarish than the last—but it’s all combined with Miller’s surreal, poetic sensibility, which sends it into the realm of art.—Bilge Ebiri, Francis Ford Coppola’s evergreen Vietnam War classic proves war is swell, as assassin Martin Sheen heads upriver to kill renegade colonel Marlon Brando. Poetic, compassionate, angry, ironic: All human life is present here.—Ian Freer, There’s a tendency in these greatest-of-all-time exercises to prioritize the director, the camerawork or the screenplay. Still, it’s shocking to remember that The Shining—so redolent of the director’s pet themes of mazelike obsession and the banality of evil—was once considered a minor work. Often regarded as the funniest of the Marx Brothers’ oeuvre, the film is also—sadly—timeless, as its portrayal of a war-mongering dictatorship remains relevant to this day.—Anna Smith, An unlikely pick? This one, her celebrated breakout, is something of a spin on Herman Melville’s Billy Budd—but that’s like calling Jaws something of a spin on Moby-Dick. His conclusion was grim: There would be no winning. How Paramount's 'Monster Trucks' went awry", "Pan: big budget turkey heading for $150m nosedive", "Warner Bros.' 'Pan' Could Lead to $150 Million Loss", "Investors hope to cruise but sometimes sink", "#1 'The Conjuring' Scares Up $41.5M Weekend But Other New Films Sink Or Soft: 'R.I.P.D. It may not sound like your average love story, but that’s exactly what Buster Keaton’s deadpan and death-defying silent comedy is: a majestic demonstration of trick photography, balletic courage and comic timing, all underpinned by genuine heart. Like an Hieronymus Bosch masterpiece, the images here can never be unseen.—Phil de Semlyen, Writer-director Michael Mann’s heist masterpiece put two of our greatest actors, Robert De Niro and Al Pacino, together onscreen for the first time—one as a stoic master criminal, the other as the obsessive cop determined to bring him down. As one of the great directors of Hollywood’s golden age, Billy Wilder excelled across a variety of cinematic types, but this hard-boiled gem is his most influential work.—Abbey Bender, The first in a five-film autobiographical series, Francois Truffaut’s The 400 Blows is the story of Antoine Doinel (Jean-Pierre Léaud)—stuck in an unhappy home life but finding solace in goofing off, smoking and hanging with his friends—and it’s cinema’s greatest evocation of a troubled childhood. The Bitter Tears of Petra von Kant (1972), 67. The film was a box office and critical flop—but after 27 years in purgatory the Poltergeist franchise rebooted in 2015. Anyone who watched In The Mood for Love when it was released in 2000 may have said yes. Our list includes some of the most recognized action, feminist and foreign films. (Pointedly, we never see the sex work Jeanne schedules in her bedroom to make ends meet.) First of all, you’re going to see lots of 0% movies, and there’s even more out there, but the ones on this list all have at least 20 reviews. Flashbacks have never been so thrillingly deployed; nearly 70 years after its release, filmmakers are still trying to catch up to its achievements.—Abbey Bender, Jean Renoir cemented his virtuosity with this pitch-perfect study of social-strata eruptions among the ditzy, idle rich, about to be blown sideways by WWII. Recounting the Algerian uprising against French colonial occupiers in the 1950s, The Battle of Algiers boldly examines terrorism, racism and even torture as a means of intelligence-gathering. Max Schreck’s insectlike performance as the bloodthirsty Count Orlok is just as transfixing and repulsive as it was almost a century ago. Background shading indicates films playing in the week commencing 16 October 2020 in theaters around the world. Because the films on the list have been released over a large span of time, currency inflation is also a factor that must be considered, so the losses are adjusted for inflation using the United States Consumer Price Index to enable an accurate comparison. Claudette Colbert’s spoiled heiress and Clark Gable’s opportunistic reporter hit the road and bicker their way toward a happily-ever-after ending, class barriers be damned. Jeanne Dielman represents a total commitment to a woman’s life, hour by hour, minute by minute. (There’s not a band out there without at least one Spinal Tap moment to its name.) The ninth installment in Friday the 13th franchise is about as bad as you’d expect the ninth installment in any franchise to be (except Fast and the Furious, which has broken every rule of franchises). Of course the action sequences stir the blood—the final showdown in the rain is unforgettable—but this is really a study in human strengths and foibles. Fritz Lang’s silent vision of a totalitarian society still astounds through its stunning cityscapes, groundbreaking special effects and a bewitchingly evil robot (Brigitte Helm). A rescue mission? Emile Hirsch stars as one of the software designers/alien survivalists who happens to be in Moscow for a deal gone wrong. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. Though the laconic Hawks would downplay his own proto-feminism throughout his life, the film is also his most liberated; strong women who had jobs and ran with newshounds were simply what he wanted to see. 24/7 Tempo has identified the 100 worst movies of all time based on audience and critic ratings from Internet Movie Database (IMDb) and Rotten Tomatoes. Time Out is a registered trademark of Time Out America LLC. But Battleship Potemkin is full of powerful images and heady ideas, and director Sergei Eisenstein is rightly considered one of the pioneers of early film language, with his influence felt through the decades.—Dave Calhoun, The only Charlie Chaplin movie to see the Little Tramp go on a massive cocaine binge, this relentlessly inventive silent classic hardly needs the added kick. So, what does he do? Intricately designed as a tribute to the craft, Steven Spielberg’s funnest blockbuster has it all: rolling boulders, a barroom brawl, a sparky heroine (Karen Allen) who can hold her liquor and lose her temper, a treacherous monkey, a champagne-drinking villain (Paul Freeman), snakes (“Why did it have to be snakes?”), cinema’s greatest truck chase and a barnstorming supernatural finale where heads explode. Plus, it’s the perfect primer to get kids into subtitled movies.—Ian Freer, Popcorn pictures hit hyperdrive after George Lucas unveiled his intergalactic Western, an intoxicating gee-whiz space opera with dollops of Joseph Campbell–style mythologizing that obliterated the moral complexities of 1970s Hollywood. A grungy vision of horror captured during a palpably sweaty and stenchy Texas summer, the film has taken its rightful place as a definitive parable of Nixonian class warfare, eat-or-be-eaten social envy and the essentially unknowable nature of some unlucky parts of the world.—Joshua Rothkopf, As unsparing as cinema gets, the influence of Elem Klimov’s sui generis war movie transcends the genre in a way that not even Steven Spielberg’s Saving Private Ryan can match. We recommend Leigh’s critical breakthrough, featuring nervy turns by Brenda Blethyn and Timothy Spall, as the perfect place to begin your deep dive.—Joshua Rothkopf, This smoky, jazzy noir from director Alexander Mackendrick (The Ladykillers) is one of the great movies about power, influence and print journalism at its midcentury height. score: 27 of 102 (27%) required scores: 1, … Deadline's Most Valuable Blockbuster Tournament", "The Biggest Box Office Bombs Of 2019: Deadline's Most Valuable Blockbuster Tournament", "Greatest Box-Office Bombs, Disasters and Film Flops of All-Time", "Legendary Stumbles With Big Writedowns on 'Seventh Son,' 'Blackhat' (EXCLUSIVE)", "Inside the Revolution Library: Where Joe Roth Went Wrong", "Summer Box-Office Flops: 'Tomorrowland,' 'Fantastic Four' Top List", https://en.wikipedia.org/w/index.php?title=List_of_biggest_box-office_bombs&oldid=984667941, Pages with non-numeric formatnum arguments, Short description is different from Wikidata, Creative Commons Attribution-ShareAlike License. En route, there’s surfing, a thrilling helicopter raid, napalm smelling, tigers and Playboy bunnies, until Sheen steps off the boat and into a different zone of madness—or is it genius? Set in a German POW camp during WWI, the film lays bare the fault lines of class and nationality among a group of French prisoners and their German captors and comes to the conclusion that all that really matters is man’s nobility toward his fellow man.—Phil de Semlyen, Calling this one the peak of screwball comedy may be too limiting: Among the many topflight movies directed by journeyman filmmaker Howard Hawks, His Girl Friday is his most romantic and most verbose (the constant banter feels like foreplay). Battlegrounds abound—psychological, emotional, physical—making the bleakly entrenched soldiers of 1916, and the officers who confuse folly for fame, still feel painfully relevant.—Stephen Garrett, Actors are the lifeblood of director Mike Leigh’s famous process, a much-discussed method of workshopping, character exploration, group improvisation and collaborative writing.
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