#79: The Thin Blue Line (Errol Morris, 1988)

Because it pushed the envelope of what docs can achieve both on-screen and off.

#80: A Matter of Life and Death (Powell and Pressburger, 1946)

Because it glows.

#81: Van Gogh (Maurice Pialat, 1991)

Because it's about a man hiding behind his art.

#82: The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001)

Because Peter Jackson knows how to begin the hell out of a story.

#83: Dr Mabuse: The Gambler (Fritz Lang, 1922)

Because of its seething atmosphere of moral decay.

#84: The Silence of the Lambs (Jonathan Demme, 1991)

Because we all fear different things.

#85: The Big Lebowski (Joel Coen, 1998)

Because it reaches parts other Coen Bros films don't even know exist.

#86: Great Expectations (David Lean, 1947)

Because it's so judicious, and so trim.

#87: Pixote (Hector Babenco, 1981)

Because this is realism.

#88: The Vanishing (George Sluizer, 1988)

Because it's the not knowing that can drive you mad.

#89: The Piano (Jane Campion, 1993)

Because its emotional language is so completely its own.

#90: Invasion of the Body Snatchers (Philip Kaufman, 1978)

Because trying to stay human is hard work (and I prefer it to the Siegel one).

#91: Night of the Demon (Jacques Tourneur, 1957)

Because it's all about reading the runes.

#92: The Iron Giant (Brad Bird, 1999)

Because it's just so heartbreaking.

#93: The Draughtsman's Contract (Peter Greenaway, 1982)

Because of a connoisseur's delight in the word "strategem".

#94: Eternity and a Day (Theo Angelopoulos, 1998)

Because it does memory better than almost any film I know.

#95: Witchfinder General (Michael Reeves, 1968)

Because it's the closest thing ever made to a British western.

#96: Gaslight (Thorold Dickinson, 1940)

Because it's a magnificent study of marital sadism.

#97: The House of Mirth (Terence Davies, 2000)

Because Society can smile, and murder while it smiles.

#98: Candyman (Bernard Rose, 1992)

Because it's one of the great horror romances.