25. FULL METAL JACKET
86 LISTS | 6 TOP SPOTS Stanley Kubrick | 116 mins | Drama/War Matthew Modine | R. Lee Ermey | Vincent D'Onofrio | Adam Baldwin
“Stanley Kubrick examines the methods by which ordinary, mostly decent young men can be turned into killing machines. The war just happens to be the late disaster in Vietnam, and the victims just happen to be United States Marine Corps recruits. However, without generalizing, the film’s meaning is clear: this is the way that wars go.
Adapted by Mr. Kubrick and Michael Herr, from a novel by Gustav Hasford, the film initially looks to have been made by two different directors from two different screenplays. ”Full Metal Jacket” requires the audience to make leaps in continuity and reasoning that pay off with its sorrowful ending. The uniformly fine cast includes Matthew Modine, Vincent D’Onofrio and Lee Ermey, who’s unforgettable as a Parris Island gunnery sergeant.” – Vincent Canby, New York Times
24. THE ELEPHANT MAN
70 LISTS | 8 TOP SPOTS David Lynch | 124 mins | Biography/Drama Anthony Hopkins | John Hurt | Anne Bancroft
“In retelling the true story of Jahn Merrick (John Hurt), the 19th-century sideshow freak whose terrible deformity masked a civilized soul, writer-director David Lynch creates a tension between horror and sentiment that sets the emotions churning. This is not a perfect film – it often drifts towards bathos – but it’s a hypnotic one. Freddie Francis’s black-and-white cinematography conjures up a spellbinding nightmare of Dickensian London, and John Hurt, laboring under pounds of disfiguring make-up, conveys the tragic beauty of a humanity stripped to its elements.” – Stephen Schiff, Boston Phoenix
23. ZELIG
84 LISTS | 1 TOP SPOT Woody Allen | 79 mins | Comedy Woody Allen | Mia Farrow | Patrick Horgan
“Wood Allen’s remarkable creation of a fictional character who takes on the surroundings of wherever he finds himself in the real-life Roaring Twenties. Actual footage of such luminaries of the day as Babe Ruth and Scott Fitzgerald is spliced with diabolical wit and cunning, into a pixyish tale of Zelig, the little man who’s always there, and his psychiatrist lover Mia Farrow, who tries to figure out what it’s all about. A brilliant tour de force.” – Richard Freedman, Newhouse News Service
22. WITNESS
85 LISTS | 5 TOP SPOTS Peter Weir | 112 mins | Crime/Drama/Romance Harrison Ford | Kelly McGillis | Lukas Haas
“Combining elements of two time-honored Hollywood staples – the good old-fashioned thriller and the good old-fashioned romance – “Witness” offers a compelling examination of the collision between two worlds: violent 20th-century America and the pastoral, pacifist Amish society that has remained virtually unchanged for two centuries.
Australian director Peter Weir makes a notable American debut, enhancing a scrupulously balanced script with stunning visuals that reveal each new environment through the eyes of its explorer. And Weir has performers equal to the movie’s multi-leveled challenges: luminous, ethereal Kelly McGillis; and that two-fisted throwback to our believed movie heroes of yore, Harrison Ford. Ford moves beyond his well-known, winning presence to create an intense, understated but wholly persuasive character, one who demonstrates once and for all Ford’s on-screen authority and range.” – Carol Cling, Las Vegas Journal-Review
21. THE RIGHT STUFF
86 LISTS | 9 TOP SPOTS Philip Kaufman | 193 mins | Adventure/Biography/Drama Sam Shepard | Scott Glenn | Ed Harris
“In the weeks before “The Right Stuff” was released last October, there was a lot of discussion about whether the movie would help John Glenn’s presidential candidacy. Maybe what they should have been asking was whether Glenn’s candidacy would hurt the movie. The best film of 1983 never lived up to the box-office expectations of its makers, and the reason might have been widespread confusion over what the movie was about. Here was this thrilling, spectacular story of the first Americans to break the sound barrier and to fly into space, and a lot of teen-agers (the film’s primary target audience) somehow thought it was about the presidential primaries.
That’s too bad. But it doesn’t affect the stature of Philip Kaufman’s movie, which was a daring blend of styles, from social satire to historical reconstruction to flat-out space opera. “The Right Stuff” was not only fun as a movie, it was also thoughtful, building on author Tom Wolfe’s perception that the U.S. space program involved a basic revision of our ideas about heroes. Instead of cowboys who value their independence (like the first test pilots), we got “team players” who were valued for their image.
There was another reason “The Right Stuff” was a milestone. More than any single movie since, perhaps, “The Magnificent Seven,” it serves as a showcase for a new generation of likely male movie stars. Among them were Ed Harris, as John Glenn, Scott Glenn, as Alan Shepard; Dennis Quaid, as Gordon Cooper; Fred Ward, as Gus Grissom, and playwright Sam Shepard, whose performance as test pilot Chuck Yeager continues his series of lone-wolf movie roles.” – Roger Ebert, Chicago Sun-Times
20. RAGING BULL
75 LISTS | 16 TOP SPOTS Martin Scorsese | 129 mins | Biography/Drama/Sport Robert De Niro | Cathy Moriarty | Joe Pesci
“Pouring over a stack of the past year’s reviews and reflecting on their contents, I was struck at how many of the truly fine films were foreign – or, to put it another way, how few of the good movies were American. The best of the American films, though, displayed an emotional power rarely matched by the imports. Martin Scorsese’s “Raging Bull,” for my money the finest domestic production of the year, stands alone for sheer demonic forcefulness. Robert De Niro’s strong and shrewd portrayal of boxer Jake La Motta as a wild beast obsessed by sexual jealousy becomes something that is purely American and yet subtly alien. The coarse language of “Raging Bull” is unadulterated urban American, as are the manners and mores of La Motta’s thuggish world. But Scorsese’s spititual center of vision, his concern with La Motta’s sinfulness, is as old-world as St. Augustine or St. Paul.” – Alan Berger, Boston Herald
19. FANNY AND ALEXANDER
94 LISTS | 9 TOP SPOTS Ingmar Bergman | 188 mins | Drama Bertil Guve | Pernilla Allwin | Kristina Adolphson
“Ingmar Bergman’s “Fanny and Alexander” is the work of a great filmmaker at the peak of his talent. Although his weaknesses are evident in murky symbolism about the existence of God, and there’s some overdone Gothic horror toward the end, there is a rich exuberance and style to this magical, mystical tale of a theater family in a Swedish town in 1907 that few directors can match.” – Judy Stone, San Francisco Chronicle
18. THE BIG CHILL
95 LISTS | 5 TOP SPOTS Lawrence Kasdan | 105 mins | Comedy/Drama Tom Berenger | Glenn Close | Jeff Goldblum
“Inspired ensemble acting and one of the cleverest scripts since his own devilish “Body Heat” made Lawrence Kasdan’s film about a reunion of ‘60s survivors the most ambitious – and most consistently mature – American comedy of the year. (Wood Allen’s “Zelig” was probably No. 2.) The ending was a letdown, it’s true, but most of “Chill” was unfailing absorbing (to this ‘50s survivor, at least). And in its fine-tuned handling of mood in the wake of that problematic opening suicide, the film walked a tightrope between unforced pathos and bright, brittle humor that seemed gratifyingly close to the mark.” – David Baron, New Orleans Times-Picayune
17. AMADEUS
93 LISTS | 22 TOP SPOTS Milos Forman | 160 mins | Biography/Drama/History F. Murray Abraham | Tom Hulce | Elizabeth Berridge
“This Milos Forman work is a tremendously gorgeous movie celebrating the musical genius of Mozart. It’s also a wonderful drama about man’s relationship with God. F. Murray Abraham, a veteran character actor, is just right as Antonio Salieri, a prominent 18th century composer who confronts Mozart’s music and decides he must destroy this loathsome upstart to protect the general community of artists from being consigned to worthlessness. Tom Hulce, one of the young stars of Animal Hous e, plays Mozart, giving the wild and obscene youth enough charm to make you believe he was selected by God to be His flute on earth. In all respects, Amadeus is one of the all-time great movies.” – George Williams, Sacramento Bee
16. WHO FRAMED ROGER RABBIT
106 LISTS | 5 TOP SPOTS Robert Zemeckis | 104 mins | Animation/Adventure/Comedy Bob Hoskins | Christopher Lloyd | Joanna Cassidy | Charles Fleischer
“A definitive work of American popular culture that takes as its subject American popular culture. Combining two of the definitive Hollywood forms of the 1940s-the animated cartoon and the film noir, both of which share a prickly, thrilling, uniquely American sense of urban excitement and danger-“Roger Rabbit” speculates as it entertains, suggesting that the disappearance of those forms was linked to the birth of the denatured suburban America of the 1950s. A technological wonder, of course, but also, under Robert Zemeckis’ direction, a film of unexpected depth and melancholic shading.” – Dave Kehr, Chicago Tribune
15. CRIMES AND MISDEMEANORS
92 LISTS | 15 TOP SPOTS Woody Allen | 104 mins | Comedy /Drama Martin Landau | Woody Allen | Bill Bernstein | Claire Bloom
“Barnes considers this to be Woody Allen’s best; I prefer “Hannah and Her Sisters,” but that’s of another year. Still, writer Allen asks some interesting questions, more valid and penetrating than in his work of the last few years, and has created some superb characters. Director Allen has found wondrous performances in Martin Landau as a philandering ophthalmologist, Jerry Orbach as his mob-connected brother and Alan Alda as a self-important television producer, just to name a few. Actor Allen is again the lovable loser, but not quite so lovable this time around. The film is funny and also serious, and it’s a winner.” – Joe Pollack, St. Louis Post-Dispatch
14. BROADCAST NEWS
108 LISTS | 20 TOP SPOTS James L. Brooks | 133 mins | Comedy/Drama/Romance William Hurt | Albert Brooks | Holly Hunter | Robert Prosky
“A serious comedy about the people who report the nightly news, by James L. Brooks, writer-producer-director of “Terms of Endearment.” I may never be able to watch another newscast without thinking of Holly Hunter, as the savvy producer in the control room, putting words into photogenic-but-incompetent anchorman William Hurt’s mouth through his earpiece.” – Joseph Gelmis, Newsday
13. A ROOM WITH A VIEW
108 LISTS | 7 TOP SPOTS James Ivory | 117 mins | Drama/Romance Maggie Smith | Helena Bonham Carter | Denholm Elliott
“The latest in a series of literary adaptations by Ivory and his partners, producer Ishmail Merchant and screenwriter Ruth Jhbala, breaks through their usual suffocatingly polite style. An earthy and very funny filming of an early E. M. Forster novel about an aristocratic English virgin (the sublime Helena Bonham-Carter) coming of age in turn-of-the-century Florence, Italy. Nice work by Julian Sands, Daniel Day Lewis, Denholm Elliott, and Maggie Smith.
into a tremendously affecting contemporary version of “Beauty and the Beast. ” In the latter, Cameron’s mind-boggling special-effect sequences work hand-in-glove with Weaver’s almost Shakespearean woman warrior, engaged in a duel to the death with an Alien Queen to save their respective offspring.” – Lou Lumenick, The Record
12. THE PURPLE ROSE OF CAIRO
104 LISTS | 3 TOP SPOTS Woody Allen | 82 mins | Comedy/Fantasy/Romance Mia Farrow | Jeff Daniels | Danny Aiello
“Genius is a word randomly and usually inaccurately bandied about in the movie industry, but once in a while it applies. Steven Spielberg probably qualifies. Woody Allen undoubtedly does, which “The Purple Rose of Cairo” re-emphasizes. The concept, of course, is dazzling, no surprise since there are no better screenwriters than Allen, a lovely fantasy of what might happen if characters in a movie-within-a-movie became characters in the movie-without-a-movie. It’s not as confusing as it sounds. What it is, though, is delightful, even without Allen the actor. Allen the writer and director are enough to guarantee quality. There’s also another terrific performance by Mia Farrow, who continues to blossom under Allen’s tutelage.” – Bill Hagen, San Diego Evening Tribune
11. SEX, LIES, AND VIDEOTAPE
95 LISTS | 9 TOP SPOTS Steven Soderbergh | 100 mins | Drama James Spader | Andie MacDowell | Peter Gallagher | Laura San Giacomo
“sex, lies, and videotape is a four-sided triangle: Ann and John are a married couple in their late 20s; she’s sexually repressed, and he’s having an affair; Cynthia is Ann’s sister who is not sexually repressed and is looking for ways to yank her sister’s chain; and Graham is John’s college chum, an odd drifter who arrives with a box full of videotapes he’s crossed the country collecting in which women relate to him and to his camera their sexual experiences. Writer-director Steven Soderberg, 26, doesn’t let us know how he feels about his characters, and the film seems chilly. It doesn’t end as well as it begins. But it’s funny and wry and exquisitely modulated. It’s less about sex than eroticism.
The film moves at least 40 percent more slowly than the mainstream American film, yet you won’t remember a single moment of boredom. Soderberg takes time for the characters to think about what they’re going to say before they say it. Like Harold Pinter, Soderberg hears fluency in the spaces between the words. Fine cast: James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo.” – Jeff Millar, Houston Chronicle
10. RAIDERS OF THE LOST ARK
96 LISTS | 11 TOP SPOTS Steven Spielberg | 115 mins | Action/Adventure Harrison Ford | Karen Allen | Paul Freeman
“Who would ever have thought that a movie about a reckless adventurer’s search for the Ark of the Lost Covenant would have made such a marvelously entertaining movie? But that is exactly what Steven Spielberg’s movie is, a non-stop kaleidoscope of thrills and spills that resurrected the appeal of the old movie serials of the 1930s and the 1940s. A breathtaking spectacle filled with hair-raising stunts and great special effects, it epitomizes the kind of motion picture that once brought people to the movies in droves – a combination of humor, intelligence and wonder that is quite irresistible. The hands-down winner.” – Joyce J. Persico, Trenton Evening Times
9. REDS
100 LISTS | 19 TOP SPOTS Warren Beatty | 195 mins | Biography/Drama/History Warren Beatty | Diane Keaton | Edward Herrmann
“In telling the story of early 20th-century radicals, John Reed and Louise Bryant, Warren Beatty, as star, director and co-writer (with Trevor Griffiths), has been able to create an epic without losing the intimacy of the turbulent love story. The film stretches from Portland to Moscow, where Reed’s reportage and involvement in the Russian Revolution led to his book, “Ten Days That Shook the World,” with stopovers in Greenwich Village and New England Bohemia. On hand are Maureen Stapleton’s forceful, uncompromising Emma Goldman and Jack Nicholson’s shrewd, insinuating Eugene O’Neill. Always at the center are Beatty’s Reed and Diane Keaton’s Bryant, a headstrong young couple who really try to change the world. Ravishing-looking and exciting, “Reds” is that rare ambitious project that pays off on all counts.” – Kevin Thomas, Los Angeles Times
8. PRIZZI’S HONOR
111 LISTS | 10 TOP SPOTS John Huston | 130 mins | Comedy/Crime/Drama Jack Nicholson | Kathleen Turner | Robert Loggia
“Not for simple folk, John Huston’s best black comedy since “The Maltese Falcon” is about a Mafia family in which the top gun (Jack Nicholson) first seems a dumb Palooka, then a fool for love, and finally a rather terrific prince of darkness. It’s a witty film, pointedly cynical yet never crass, and Richard Condon’s audacious script was worked out like a serpentine dance by Huston and the crack cast: Nicholson near his peak, Anjelica Huston at hers, Robert Loggia, Kathleen Turner and William Hickey as the creepy don, delivering the line of the year, “Have a cookie, my dear.”” – David Elliott, San Diego Union-Tribune
7. DO THE RIGHT THING
106 LISTS | 20 TOP SPOTS Spike Lee | 120 mins | Comedy/Drama Danny Aiello | Ossie Davis | Ruby Dee | Richard Edson
“Spike Lee’s “Do the Right Thing” encouraged people to decide for themselves what the right thing was, since it provided no easy solution. Telling the story of one hot day in the Bedford-Stuyvesant neighborhood of New York, it tracks up and down one city block that acted as a microcosm for big American cities. Once this was an Italian neighborhood. Now it is black and Hispanic. Only one Italian business remains–Sal’s Famous Pizzeria, which has been serving pizzas to the locals for years. Behind the counter is Sal, played by Danny Aiello in one of the year’s best performances. The people of the street are exhausted by the heat, but Lee’s camera is tireless, as it establishes relationships and realities, until we know these people as well as their neighbors do. We begin to understand the underlying tensions on the street, and by the time a race riot breaks out, we know everybody who is involved, and it’s up to us to decide why they did what they did. Some audiences were bothered because one of the key acts of violence in the film (throwing a garbage can through the window of Sal’s) was committed by the black character everybody liked the most–Mookie, played by Lee himself. Why did Mookie do it? Because Lee didn’t want to let audiences off the hook by assigning that act to one of the angrier local residents. He forced us to confront the strength and depth of the feelings between the races. (Spike Lee delighted in pointing out on talk shows that the destruction of Sal’s window bothered some viewers more than the death of a black teenager, which also occurs in the film.) “Do the Right Thing” the year’s most controversial film. Some critics predicted hysterically that it would cause trouble. Others felt the message was confused. Some found it too militant, others found it the work of a middle-class director who was trying to play street-smart. All of those reactions were simply different ways of avoiding the central fact of this film, which is that it comes closer to reflecting the current state of race relations in America than any other movie of our time.” – Roger Ebert, Chicago Sun-Times
6. ATLANTIC CITY
106 LISTS | 10 TOP SPOTS Louis Malle | 104 mins | Crime/Drama/Romance Burt Lancaster | Susan Sarandon | Kate Reid
“”Atlantic City” is one of the most joyous and original American movies in years, though I’m aware that it is, technically, a Canadian-French co-production and that its director, Louis Malle, is French, but he is a director who works as successfully in this country (”Pretty Baby,” ”My Dinner With Andre”) as he does in France (”Lacombe, Lucien,” ”Murmur of the Heart”). In ”Atlantic City,” the movie as well as the place, Mr. Malle and his collaborator, John Guare, the New York playwright who wrote the screenplay, tell an elegiacal fairy tale of love and luck about an aging, one-time Mob gofer (Burt Lancaster at his very best), a spoiled, bedridden, former beauty (Kate Reid), whom he nurses to earn pocket money, and some of the younger people who drift into the ”new” Atlantic City to make their fortunes in the legalized gambling boom. The movie, photographed by Richard Ciupka in such an extraordinary way that the real Atlantic City becomes a place of myth, has the manner of a happy ghost story, in which the spirits of Atlantic City Past meet (and, in one case, make love to) the spirits of Atlantic City Present. The excellent cast includes Susan Sarandon, Hollis McLaren and Robert Joy.” – Vincent Canby, New York Times
5. TERMS OF ENDEARMENT
123 LISTS | 39 TOP SPOTS James L. Brooks | 132 mins | Comedy/Drama Shirley MacLaine | Debra Winger | Jack Nicholson
“Terms of Endearment catches at the emotions, piques the intellect and strikes sparks from the funny bone. In it, Shirley MacLaine demonstrates the powerful talent she has developed over the years in performing both musical and straight roles as well as the maturing experiences she has stored up and written about. She is the top of a pyramid of praiseworthy performances by Jack Nicholson, Debra Winger, John Lithgow and Jeff Daniels.” – Carole Kass, Richmond Times-Dispatch
4. TOOTSIE
117 LISTS | 2 TOP SPOTS Sydney Pollack | 116 mins | Comedy/Drama/Romance Dustin Hoffman | Jessica Lange | Teri Garr
“Sydney Pollack’s “Tootsie” is the funniest, most revealing comedy since “Annie Hall.” Dustin Hoffman as Michael Dorsey/Dorothy Michaels gives the best performance of his career in this dual role. Although the idea of Dustin Hoffman dressing as a woman smacks of Hollywood gimmickry, the conceit is cleverly integrated into the tale of a desperate man who takes desperate measures in order to succeed. Teri Garr and Bill Murray head one of the best supporting casts of the year.” – Michael Blowen, Boston Globe
3. ORDINARY PEOPLE
109 LISTS | 29 TOP SPOTS Robert Redford | 124 mins | Drama Donald Sutherland | Mary Tyler Moore | Judd Hirsch
“Proof that a Hollywood movie can be personal. The film’s appeal derives from its sensitive treatment of a contemporary American phenomenon, the spiritual and psychological erosion of the affluent American family. Director Robert Redford elicits an astonishing performance from Mary Tyler Moore playing a suburban matriarch who survives by ignoring all the alarming signs of stress in her family and pretending that everything is fine.” – Bruce McCabe, Boston Globe
2. HANNAH AND HER SISTERS
147 LISTS | 41 TOP SPOTS Woody Allen | 107 mins | Comedy/Drama Mia Farrow | Dianne Wiest | Michael Caine
“Woody Allen was back early in the year with this lighthearted series of sketches about the extended family of a retired theatrical couple. A considerable departure in tone from his last two works, the film saw the 50ish director taking himself much less seriously and signaled a refreshing new chapter in the development of America’s greatest postwar comic sensibility.” – William Arnold, Seattle Post-Intelligencer
1. E.T. THE EXTRA-TERRESTRIAL
134 LISTS | 43 TOP SPOTS Steven Spielberg | 115 mins | Family/Sci-Fi Henry Thomas | Drew Barrymore | Peter Coyote
“Spielberg, whose verve and style were apparent in his earliest work, had become a master entertainer, but even his best films (The Sugarland Express, Close Encounters of the Third Kind) were rarely allowed into the canon of High Art by the keepers of those pristine portals. With his childishness, his blatant appeals to the lowest common denominator (the crude slapstick of 1941) and his mega-buck budgets, he seemed a true Hollywood wunderkind: rash, trash and flash. But Spielberg had been concerned with art all along (every film paid homage, in one way or another, to directorial antecedents) and in E. T.: The Extra-Terrestrial, the finest American film of the year, that concern paid off. Only a man who did not have to worry about money would have had the temerity to create, in the dismal economy of the eighties, a sumptuous escapist fantasy that was also an idealized autobiography – Spielberg has frankly admitted that the boy in E. T. is the boy little Stevie Spielberg wanted to be – and a piece of awesomely powerful mythmaking. It took 10 years for the film of The Wizard of Oz to be acclaimed a classic; it took E. T. 10 seconds.” – Jay Scott, Toronto Globe and Mail
Full List:
| R | Film | L | #1 | AR | L% | #1% | TCL | TCL1 | TCL% | TCL1% | Year |
|---|---|---|---|---|---|---|---|---|---|---|---|
| 1 | E.T. The Extra-Terrestrial | 134 | 43 | 2.31 | 85% | 44% | 50 | 16 | 82% | 43% | 1982 |
| 2 | Hannah and Her Sisters | 147 | 41 | 2.49 | 84% | 38% | 49 | 15 | 79% | 37% | 1986 |
| 3 | Ordinary People | 109 | 29 | 3.08 | 77% | 31% | 38 | 10 | 76% | 28% | 1980 |
| 4 | Tootsie | 117 | 2 | 4.79 | 74% | 2% | 50 | 0 | 82% | 0% | 1982 |
| 5 | Terms of Endearment | 123 | 39 | 2.94 | 72% | 33% | 43 | 10 | 69% | 23% | 1983 |
| 6 | Atlantic City | 106 | 10 | 4.16 | 69% | 10% | 43 | 2 | 70% | 6% | 1981 |
| 7 | Do the Right Thing | 106 | 20 | 3.48 | 69% | 20% | 48 | 11 | 64% | 22% | 1989 |
| 8 | Prizzi's Honor | 111 | 10 | 4.19 | 66% | 10% | 37 | 4 | 61% | 11% | 1985 |
| 9 | Reds | 100 | 19 | 4.20 | 65% | 18% | 40 | 4 | 66% | 11% | 1981 |
| 10 | Raiders of the Lost Ark | 96 | 11 | 4.21 | 63% | 11% | 38 | 3 | 62% | 9% | 1981 |
| 11 | sex, lies, and videotape | 95 | 9 | 4.15 | 62% | 9% | 44 | 2 | 59% | 4% | 1989 |
| 12 | The Purple Rose of Cairo | 104 | 3 | 4.85 | 62% | 3% | 34 | 0 | 56% | 0% | 1985 |
| 13 | A Room With a View | 108 | 7 | 4.05 | 61% | 6% | 33 | 1 | 53% | 2% | 1986 |
| 14 | Broadcast News | 108 | 20 | 4.09 | 60% | 18% | 46 | 12 | 62% | 27% | 1987 |
| 15 | Crimes and Misdemeanors | 92 | 15 | 3.82 | 59% | 15% | 41 | 5 | 55% | 10% | 1989 |
| 16 | Who Framed Roger Rabbit | 106 | 5 | 4.74 | 59% | 5% | 38 | 1 | 51% | 2% | 1988 |
| 17 | Amadeus | 93 | 22 | 2.65 | 59% | 23% | 34 | 9 | 50% | 22% | 1984 |
| 18 | The Big Chill | 95 | 5 | 5.05 | 56% | 4% | 30 | 0 | 48% | 0% | 1983 |
| 19 | Fanny and Alexander | 94 | 9 | 4.00 | 56% | 8% | 38 | 5 | 61% | 12% | 1983 |
| 20 | Raging Bull | 75 | 16 | 3.00 | 52% | 17% | 32 | 5 | 64% | 14% | 1980 |
| 21 | The Right Stuff | 86 | 9 | 4.59 | 51% | 8% | 37 | 3 | 60% | 7% | 1983 |
| 22 | Witness | 85 | 5 | 5.33 | 50% | 5% | 23 | 0 | 38% | 0% | 1985 |
| 23 | Zelig | 84 | 1 | 6.33 | 49% | 1% | 25 | 0 | 40% | 0% | 1983 |
| 24 | The Elephant Man | 70 | 8 | 4.68 | 49% | 8% | 21 | 2 | 42% | 6% | 1980 |
| 25 | Full Metal Jacket | 86 | 6 | 4.55 | 48% | 5% | 36 | 1 | 49% | 2% | 1987 |
| 26 | Rain Man | 85 | 10 | 3.85 | 48% | 10% | 29 | 3 | 39% | 7% | 1988 |
| 27 | Tender Mercies | 81 | 4 | 4.28 | 48% | 3% | 28 | 3 | 45% | 7% | 1983 |
| 28 | The Verdict | 75 | 2 | 5.73 | 48% | 2% | 28 | 0 | 46% | 0% | 1982 |
| 29 | Kiss of the Spider Woman | 79 | 4 | 4.91 | 47% | 4% | 28 | 2 | 46% | 6% | 1985 |
| 30 | Missing | 73 | 2 | 4.95 | 46% | 2% | 27 | 0 | 44% | 0% | 1982 |
| 31 | Diner | 73 | 1 | 5.41 | 46% | 1% | 27 | 0 | 44% | 0% | 1982 |
| 32 | Coal Miner's Daughter | 66 | 1 | 5.06 | 46% | 1% | 19 | 0 | 38% | 0% | 1980 |
| 33 | Local Hero | 79 | 3 | 5.34 | 46% | 3% | 30 | 1 | 48% | 2% | 1983 |
| 34 | Bull Durham | 83 | 5 | 4.89 | 46% | 5% | 29 | 0 | 39% | 0% | 1988 |
| 35 | Ran | 79 | 15 | 4.14 | 46% | 15% | 32 | 8 | 52% | 23% | 1985 |
| 36 | Hope and Glory | 82 | 13 | 4.10 | 46% | 12% | 38 | 8 | 51% | 18% | 1987 |
| 37 | Prince of the City | 70 | 5 | 5.07 | 46% | 5% | 31 | 1 | 51% | 3% | 1981 |
| 38 | Platoon | 81 | 9 | 4.08 | 46% | 8% | 28 | 3 | 45% | 7% | 1986 |
| 39 | A Soldier's Story | 72 | 3 | 5.49 | 46% | 3% | 23 | 0 | 34% | 0% | 1984 |
| 40 | Blue Velvet | 80 | 12 | 4.53 | 45% | 11% | 27 | 7 | 44% | 17% | 1986 |
| 41 | Breaker Morant | 68 | 6 | 5.03 | 45% | 6% | 24 | 3 | 48% | 8% | 1980 |
| 42 | Places in the Heart | 71 | 10 | 4.13 | 45% | 10% | 26 | 2 | 38% | 5% | 1984 |
| 43 | Back to the Future | 74 | 4 | 5.10 | 44% | 4% | 19 | 1 | 31% | 3% | 1985 |
| 44 | Body Heat | 67 | 2 | 5.27 | 44% | 2% | 32 | 1 | 52% | 3% | 1981 |
| 45 | Mona Lisa | 77 | 4 | 5.22 | 44% | 4% | 24 | 2 | 39% | 5% | 1986 |
| 46 | The French Lieutenant's Woman | 67 | 1 | 5.94 | 44% | 1% | 24 | 0 | 39% | 0% | 1981 |
| 47 | The Last Emperor | 78 | 9 | 4.14 | 44% | 8% | 28 | 4 | 38% | 9% | 1987 |
| 48 | Gandhi | 70 | 15 | 3.36 | 43% | 14% | 27 | 8 | 44% | 22% | 1982 |
| 49 | Field of Dreams | 66 | 8 | 4.37 | 43% | 8% | 25 | 3 | 33% | 6% | 1989 |
| 50 | The Killing Fields | 69 | 10 | 3.95 | 42% | 10% | 26 | 3 | 38% | 7% | 1984 |
| 51 | Chariots of Fire | 65 | 7 | 3.81 | 42% | 7% | 29 | 5 | 48% | 14% | 1981 |
| 52 | The Empire Strikes Back | 59 | 5 | 5.18 | 42% | 5% | 22 | 1 | 44% | 3% | 1980 |
| 53 | After Hours | 70 | 0 | 6.56 | 41% | 0% | 23 | 0 | 38% | 0% | 1985 |
| 54 | Aliens | 72 | 4 | 4.95 | 41% | 4% | 24 | 0 | 39% | 0% | 1986 |
| 55 | The Color Purple | 67 | 14 | 3.30 | 40% | 14% | 21 | 5 | 34% | 14% | 1985 |
| 56 | Silkwood | 66 | 0 | 6.65 | 39% | 0% | 25 | 0 | 40% | 0% | 1983 |
| 57 | Out of Africa | 65 | 4 | 5.21 | 38% | 4% | 15 | 1 | 25% | 3% | 1985 |
| 58 | Stand by Me | 67 | 2 | 5.72 | 38% | 2% | 12 | 0 | 19% | 0% | 1986 |
| 59 | Radio Days | 68 | 2 | 5.34 | 38% | 2% | 31 | 0 | 42% | 0% | 1987 |
| 60 | Melvin and Howard | 55 | 4 | 5.13 | 37% | 4% | 22 | 2 | 44% | 6% | 1980 |
| 61 | The Stunt Man | 53 | 1 | 5.62 | 37% | 1% | 20 | 0 | 40% | 0% | 1980 |
| 62 | My Life as a Dog | 66 | 5 | 4.72 | 37% | 5% | 29 | 1 | 39% | 2% | 1987 |
| 63 | Das Boot | 58 | 5 | 4.69 | 37% | 5% | 16 | 1 | 26% | 3% | 1982 |
| 64 | Big | 64 | 1 | 5.90 | 36% | 1% | 21 | 0 | 28% | 0% | 1988 |
| 65 | The Fabulous Baker Boys | 55 | 2 | 6.24 | 36% | 2% | 27 | 0 | 36% | 0% | 1989 |
| 66 | Round Midnight | 63 | 2 | 4.91 | 36% | 2% | 23 | 2 | 37% | 5% | 1986 |
| 67 | Roger & Me | 56 | 4 | 5.27 | 35% | 4% | 42 | 3 | 56% | 6% | 1989 |
| 68 | Gallipoli | 54 | 4 | 5.41 | 35% | 4% | 16 | 4 | 26% | 11% | 1981 |
| 69 | An Officer and a Gentleman | 55 | 1 | 5.64 | 35% | 1% | 19 | 1 | 31% | 3% | 1982 |
| 70 | My Left Foot | 58 | 2 | 5.06 | 35% | 2% | 31 | 1 | 41% | 2% | 1989 |
| 71 | The Great Santini | 49 | 0 | 5.69 | 35% | 0% | 14 | 0 | 28% | 0% | 1980 |
| 72 | The Color of Money | 60 | 1 | 5.82 | 34% | 1% | 20 | 1 | 32% | 2% | 1986 |
| 73 | A Fish Called Wanda | 61 | 0 | 6.04 | 34% | 0% | 19 | 0 | 26% | 0% | 1988 |
| 74 | Airplane! | 48 | 0 | 6.72 | 34% | 0% | 17 | 0 | 34% | 0% | 1980 |
| 75 | Sophie's Choice | 55 | 3 | 4.03 | 34% | 3% | 17 | 1 | 28% | 3% | 1982 |
| 76 | Jean De Florette | 60 | 7 | 4.29 | 34% | 6% | 29 | 0 | 39% | 0% | 1987 |
| 77 | Henry V | 56 | 1 | 5.00 | 33% | 1% | 27 | 0 | 36% | 0% | 1989 |
| 78 | Ragtime | 51 | 5 | 4.71 | 33% | 5% | 17 | 1 | 28% | 3% | 1981 |
| 79 | Dangerous Liaisons | 54 | 3 | 5.27 | 33% | 3% | 28 | 1 | 38% | 2% | 1988 |
| 80 | The Untouchables | 57 | 3 | 5.15 | 32% | 3% | 21 | 1 | 28% | 2% | 1987 |
| 81 | A Passage to India | 51 | 8 | 4.27 | 31% | 8% | 21 | 4 | 31% | 10% | 1984 |
| 82 | Diva | 49 | 1 | 5.88 | 31% | 1% | 18 | 0 | 30% | 0% | 1982 |
| 83 | The Unbearable Lightness of Being | 55 | 8 | 3.70 | 31% | 8% | 26 | 5 | 35% | 12% | 1988 |
| 84 | The Tin Drum | 43 | 1 | 5.16 | 30% | 1% | 18 | 1 | 36% | 3% | 1980 |
| 85 | Drugstore Cowboy | 47 | 1 | 5.16 | 30% | 1% | 26 | 0 | 35% | 0% | 1989 |
| 86 | Peggy Sue Got Married | 53 | 0 | 7.09 | 30% | 0% | 18 | 0 | 29% | 0% | 1986 |
| 87 | The World According to Garp | 47 | 2 | 6.72 | 30% | 2% | 14 | 0 | 23% | 0% | 1982 |
| 88 | Children of a Lesser God | 52 | 1 | 5.68 | 30% | 1% | 15 | 1 | 24% | 2% | 1986 |
| 89 | Driving Miss Daisy | 49 | 2 | 5.41 | 29% | 2% | 27 | 1 | 36% | 2% | 1989 |
| 90 | Born on the Fourth of July | 48 | 6 | 4.93 | 29% | 6% | 26 | 4 | 35% | 8% | 1989 |
| 91 | Raising Arizona | 52 | 0 | 5.80 | 29% | 0% | 23 | 0 | 31% | 0% | 1987 |
| 92 | Tess | 43 | 2 | 5.15 | 29% | 2% | 14 | 1 | 28% | 3% | 1980 |
| 93 | The Little Mermaid | 44 | 1 | 5.35 | 29% | 1% | 22 | 0 | 29% | 0% | 1989 |
| 94 | River's Edge | 51 | 3 | 4.67 | 29% | 3% | 22 | 2 | 30% | 5% | 1987 |
| 95 | A World Apart | 51 | 4 | 5.09 | 28% | 4% | 17 | 2 | 23% | 5% | 1988 |
| 96 | Tin Men | 51 | 1 | 6.32 | 28% | 1% | 16 | 1 | 22% | 2% | 1987 |
| 97 | My Favorite Year | 44 | 0 | 7.46 | 28% | 0% | 13 | 0 | 21% | 0% | 1982 |
| 98 | Wings of Desire | 50 | 8 | 3.93 | 28% | 8% | 24 | 4 | 32% | 10% | 1988 |
| 99 | The Dead | 50 | 4 | 4.20 | 28% | 4% | 24 | 2 | 32% | 5% | 1987 |
| 100 | War Games | 47 | 1 | 6.94 | 28% | 1% | 16 | 0 | 26% | 0% | 1983 |
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