Empire's 100 Greatest Movies Of All Time

评语：100. Rob Reiner's adaptation of Stephen King's novella The Body is a stirring, touching adventure film which knows the real world is exciting and scary enough just as it is. It's also a coming-of-age movie which celebrates the intensity of childhood friendship, while gently mourning the transience of such bonds. Which is why, unlike its central character, it'll never get old.

评语：99. Martin Scorsese and Robert De Niro have together made movies better than their boxing biopic, but it's hard to argue that any of those movies feature a more jaw-dropping performance than De Niro's here as self-destructive pugilist Jake La Motta. It also features some of cinema's best-shot fights; hard to believe that before Scorsese, no director thought to put the camera inside the ring..

评语：98. Jean-Pierre Jeunet's beautifully whimsical Parisian rom-com succeeded not only because he found the perfect good-deed performing imp-girl lead in Audrey Tautou, but also because his numerous surreal touches truly gave a sense that there is always magic in the world around us — if we only know how to look for it.

评语：97. James Cameron doesn't do things by halves. His movie about the 1912 sinking of the world's biggest cruise liner was the most expensive ever made, suffered a difficult, overrunning shoot, and was predicted to be a career-ending flop. But it turned out to be one of the most successful films of all time (in terms of both box office and Awards), and made him King Of The World.

评语：96. Remember when young actor buddies Matt Damon and Ben Affleck won an Oscar for Best Original Screenplay? Might seem odd now, but Damon and Affleck's heartfelt story of a friendship between a troubled maths genius (Damon) and his unconventional counsellor (Robin Williams, who also won an Oscar) deserved the accolade. What happened to those guys, anyway?...

评语：95. Denis Villeneuve's empathic, perception-bending alien visitation drama is a delicately crafted modern rework of The Day The Earth Stood Still — except the extra-terrestrials are truly otherworldly and there's the sky-high obstacle that is the language barrier. With its message that open-minded communication enables us to realise the things we have in common with those who appear vastly different, it feels like genuinely compulsive viewing for these troubled times.

评语：94. Sofia Coppola's second film is the ultimate jet lag movie, locating its central almost-romance between listless college grad Scarlett Johansson and life-worn actor Bill Murray amid the woozy, daydreamy bewilderment of being in a very foreign country and a very different time zone. And it's exactly right that we still don't know what he whispered to her at the end.

评语：93. Director Rob Reiner and writer William Goldman's affectionate pastiche of romantic fairy-tale stories that also works as an adventure on its own. Great lines, superb sword fights and rodents of unusual size. What's not to love?

评语：92. It features time travel and a cyborg, with car chases and shoot-outs, but in James Cameron's first proper movie (ie not featuring flying piranhas) it's all packed around the blood-covered endoskeleton of a relentless-killer horror pic. After all, what is Schwarzenegger's Uzi-9mm-toting Terminator, if not an upgraded version of Halloween's Michael Myers?

评语：91. Christopher Nolan's last 'little' movie concerned warring stage magicians (Hugh Jackman and Christian Bale) in late 19th century London, but was less a period thriller than a stealth sci-fi. In some ways, it can also be seen as a metaphor for his film-making philosophy: keep the magic practical, don't give away how you do your tricks, and stay well away from 'real' magic (ie CGI)...

评语：90. The Coen brothers' Cormac McCarthy adaptation is a tension-ratcheting, 1980 Texas-set chase movie, which also thoughtfully considers the question: how can good people ever possibly deal with a world going to shit? It also revealed that Javier Bardem makes an awesome villain; ever since he played No Country's cold-blooded assassin Anton Chigurh, Hollywood can't stop making him the bad guy.

评语：89. Before its release, you might have been forgiven for thinking it would be Spaced: The Movie. But Edgar Wright, Simon Pegg and Nick Frost's first feature is genuinely stand-alone: a savvy blend of proper-funny comedy and seriously gruesome undead-horror which, funnily enough, played a big part in the zombie-movie resurgence we're still enjoying now.

评语：88. William Friedkin's horror masterwork — in which a 12-year-old girl is possessed by a demon — has a reputation as a shocker (in the good sense), with the pea-soup vomit, head-spin and crucifix abuse moments the most regularly cited. But the reason it chills so deeply is the way it sustains and builds its disquieting atmosphere so craftily and consistently throughout.

评语：87. A pumped-up men-on-a-mission movie with an ingenious science-fiction tweak. When you've got the world's baddest asses on the march, it'd be rude not to have them stalked by an intergalactic hunter with space-dreads and a shoulder-mounted laser cannon. "You're one ugly motherfu..." Never a truer word…

评语：86. You voted… wisely. There may only be 12 years' difference between Harrison Ford and Sean Connery, but it's hard to imagine two better actors to play a bickering father and son, off on a globetrotting, Nazi-bashing, mythical mystery tour. After all, you've got Spielberg/Lucas' own version of James Bond… And the original Bond himself.

评语：85. In some ways, Luc Besson's first English-language movie is a spiritual spin-off: after all, isn't Jean Reno's eponymous hitman just Nikita's Victor The Cleaner renamed and fleshed out? Of course, its greatest strength is in Natalie Portman, delivering a luminous, career-creating performance as vengeful 12-year-old Mathilda, whose relationship with the monosyllabic killer is truly affecting, and nimbly stays just on the right side of acceptable.

评语：84. John G. Avildsen's boxing drama is the ne plus ultra of underdog sports movies. It not only proves that winning isn't the most important thing (you gotta go the distance), but also enabled Sylvester Stallone to craft a character so convincing and emotionally absorbing, he's still appearing in movies almost 40 years later.

评语：83. Tony Scott's handling of Quentin Tarantino's script came off like the cinematic equivalent of cocaine-flavoured bubble-gum: a bright, flavoursome confection that had an intoxicatingly violent kick. It also drew some tremendous big names to its supporting cast. Samuel L. Jackson, Christopher Walken, Gary Oldman, Brad Pitt, Val Kilmer, Dennis Hopper… Plus a pre-Sopranos James Gandolfini embroiled in brutal combat with Patricia Arquette. Just, wow.

评语：82. It says a lot about the magnitude of Billy Wilder's talent that he took a reportedly awful shooting experience with a pill-addled Marilyn Monroe and turned it into a movie that features what is arguably her best performance, not to mention one of his own finest features. This cross-dressing caper also has what must be the greatest last line in history: "Well, nobody's perfect"…

评语：81. Or, I'm Gonna Git You Zuckerberg. Portrayed as an über-ruthless ultra-nerd by Jesse Eisenberg, it's fair to say the Facebook founder came out of David Fincher's social-media drama smelling less of roses than the stuff you grow them in. But it _is_ great drama, expertly wrought by screenwriter Aaron Sorkin, who exploits the story's central paradox (a guy who doesn't get people makes a fortune getting people together online) to supremely juicy effect.

评语：80. For a Western world raised on Disney movies, Spirited Away was a bracing change of pace – pure, uncut Studio Ghibli. Taking in bathhouses, spirits of Shinto folklore, and morality without clear-cut distinctions of good and evil, Hayao Miyazaki's major crossover hit is distinctly Japanese. Its narrative arc and characters feel notably different to more conventional British and American animations – from the eerie, inscrutable No-Face, to sort-of-antagonist bathhouse owner Yubaba. But that's also a major reason why it connected – Spirited Away is accessible, but nothing about it feels watered down. It is, of course, utterly beautiful too – boundlessly imaginative, steeped in gorgeous colour, and stunningly scored by Joe Hisaishi. Among the cultural specificity is a coming-of-age universality in young hero Chihiro, forced to fend for herself when her parents are turned into pigs, using her resourcefulness and her friendship with boy-dragon-spirit Haku to earn her freedom from the spirit world. It's the film that brought Studio Ghibli – and anime at large – to mainstream Western audiences, an influence increasingly felt in the likes of Moana and Frozen II.

评语：79. The third "solo" Cap outing managed to be both intensely crowd-pleasing (with that whole airport battle, and the introduction of Tom Holland's Spider-Man) and also daringly intelligent, placing its superheroes in a believable geopolitical context that raised a valid moral issue: who should be responsible for the deployment of such great power?

评语：78.Chan-wook Park's revenge drama does extremity with a capital Eeek. Torture through 15 years of solitary? Check. Hammer-wielding violence? Check. Incest? Check. Live octopus-eating? Check, check, chuck-up. But it never feels crowbarred-in. It's all part of the deliciously dark and stylishly executed journey.

评语：77. It may have kicked off the whole CG-animation revolution (for better or worse), but it's not the once-novel visual medium which makes Pixar's first feature one of cinema's greatest treasures. The clue's in the title: it's a perfectly formed story, about friendship, love, fear of abandonment, workplace politics and self-identity. While its ability to make you laugh is undiminished.

评语：76. The controversy surrounding Stanley Kubrick's pop-art visualisation of Anthony Burgess' dystopian mediation on violence and free will may have long-since subsided, but the film's no less powerful. Especially that "Singin' In The Rain" sequence, which remains one cinema's most deeply upsetting.