You may have read our feature from a few years ago, 100 Movies You Need To See Before You Die, where we listed out some of our favourite movies across all genres and years.
As you can imagine, time has passed and tastes and opinions change with them - so we're updating our list of the best films of all time. We've previously covered documentaries, animated films, comedies and horror, and now we're moving into sci-fi and crime.
Take a look.
59. CHILDREN OF MEN (2006)
The truly frightening part of Children Of Men - and it is a deeply frightening film - is that it looks all so real and so believable. You can clearly see this happening and what makes it all the more believable is that it may even be happening now. While the setup of the film - a human baby hasn't been born in eighteen years - may be somewhat tenuous, it's what it represents that's frightening and believable. It's the absence of hope and humanity's indolence in changing its self-destructive nature.
58. THE MATRIX (1999)
Borrowing heavily from Ghost In The Shell and about a dozen other sci-fi stalwarts, the Wachowskis post-apocalyptic, virtual-reality sci-fi blockbuster blew everyone's heads off on its release. Seamlessly mixing martial arts, explosive squibs and the sort of high philosophy that's usually reserved for Philip K. Dick and William Gibson, The Matrix still holds up to this day. Keanu Reeves' icy, robotic performance works well for the material and only an actor like Laurence Fishburne could contend with some of the woeful dialogue and make it sound compelling. Throw in one of the best soundtracks of the decade and you've got a sure-fire hit with two sequels that couldn't possibly live up to the original.
57. PRIMER (2004)
It's something to do with time travel. We think. A group of engineers somehow create a device that allows time-travel but was originally intended for making things smaller. Trippy, we know. Like the best sci-fi films, it was made on a tiny budget - €7,000 in this instance – but the themes and the story itself are way bigger than anything you could possibly imagine. Don't overthink it. Just experience it.
56. CLOSE ENCOUNTERS OF THE THIRD KIND (1978)
More than anything else, Close Encounters Of The Third Kind tells us that something that we don't understand isn't necessarily something to be feared. If anything, it can be something beautiful and wondrous, something that will change you entirely. Richard Dreyfuss is an average working electrician who encounters a UFO on his way home from a job. Like us, he is sceptical but little by little, we're drawn into his obsession with finding out what it is he saw. Even now, Close Encounters' special effects still hold up to scrutiny and, of course, John Williams' score is one of his finest.
55. ALIEN (1979)
If Close Encounters had you thinking aliens were a friendly, music-loving bunch, Alien is going to change your mind entirely. Alien was the first real sci-fi horror film and is matched only by its sequel, Aliens. Director Ridley Scott guides you through what is essentially a home-invasion story set on a mining spaceship. Sigourney Weaver stars in a career-making role as Warrant Officer Ripley, a no-nonsense woman and crew-member of the Nostromo, their spaceship. Awoken from hyper-sleep by the ship's AI, they're ordered to land on a mysterious planet by their corporate paymasters in search of something truly sinister. The film just oozes tension, dread and gave birth to one of the most unforgettable antagonists in modern film.
54. ALIENS (1986)
Back when James Cameron wasn't messing around with 3D, he actually made pretty decent sci-fi films. Following on Ridley Scott's Alien is a tough ask of any director, but Cameron took the original premise and made it in something more. It blends horror, science-fiction, black humour and action to create something truly unique. Cameron never really went as dark or as hopeless again and, when discussing the film, the director refers to the film as "forty miles of bad road."
53. BLADE RUNNER (1980)
You've probably noticed that very few films in this portion of the list are from the past ten or twenty years. This is because Hollywood stopped taking chances and Blade Runner is, in part, probably the reason why. It was fartoo ahead of its time and is only now starting to be fully appreciated for what it was. Harrison Ford – in easily his best role ever – plays Deckard, a retired detective who specialises in hunting down human-like robots known as Replicants. It starts off a straightforward film; Ford finds the bad guys and takes them out. But as the film progresses, it delves more into what makes humanity human, what memories are our own and the value of life. It's heavy stuff, but visually incredible and like nothing you've ever seen before.
52. THE EMPIRE STRIKES BACK (1980)
Now that Star Wars is turning into an annual exercise, it's tough to remember when the films were almost mysterious and finite. Without a shadow of a doubt, The Empire Strikes Back is the best of the three. Why, you ask? It's not the lightsaber duel at the end. It's not the twist ending. It's not the awesome Hoth battle sequence or the Millennium Falcon being chased through the asteroid field. It's that GEORGE LUCAS HAD NOTHING TO DO WITH IT. And the fact that he acted as a “creative consultant” (read: nothing at all) for The Force Awakens means that we'll never have to think about those prequels ever again.
51. JURASSIC PARK (1993)
It's no surprise that Steven Spielberg is on this list more than once. Jurassic Park is a film that still stands up, twenty-odd years after its release. If you've never seen it, you never had a childhood. Sam Neill is a palaeontologist brought to a secretive island in the Pacific Ocean where dinosaurs have been brought back to life by cloning. As with all things, it is eventually goes wrong and the dinosaurs are on the loose. While Jurassic World did have some of the same DNA as the original, it didn't have half the charm and sense of visual wonder that this has.
50. 2001: A SPACE ODYSSEY (1968)
It's really says something about a director that is able to cross genres and create the best in that genre. The Shining is, without a shadow of a doubt, the best horror film ever made. Dr. Strangelove is the best Cold War film ever made. 2001: A Space Odyssey is the best sci-fi film ever made. There really is no debating the matter. It began the genre in earnest and has yet to be topped in any meaningful way. The film covers such huge topics – the universe itself, the evolution of man – and it does in a way that is baffling, visually stunning and like nothing that was ever seen before and has been seen since. For a film that's over 40 years old, the special effects still hold up incredibly well. Required, necessary viewing.
49. ZODIAC (2007)
For a film about deep obsession, a director like David Fincher is the only one who could approach it so well - probably because he's an obsessive himself. Frequently driving his cast mad with excessive takes, Fincher crafts a warped fable about the price of obsession and where it eventually leads. During production, Fincher actually retraced the investigation led by Detective Dave Toschi and Robert Graysmith and met with one of the few survivors of the Zodiac. The film's punctuated by moments of sheer horror, but also brittle comedy and an attention to detail that's borderline insane.
48. SCARFACE (1983)
It's loud. It's long. It's garish. It's insanely violent. And people either love it or hate it. Scarface is the ultimate in cocaine-fuelled decadence and excess and intended to be Oliver Stone's defining statement on the '80s. Al Pacino plays Tony Montana, a low-level Cuban criminal who guns his way to the top of the business in Miami. It's often dismissed as a playbook for gangster rap, with many artists citing it as a direct influence and its use of elaborate, garish displays of wealth. But underneath, Scarface is really about how money and power are both fleeting and hollow. The final scene really shows this, as Montana's bullet-ridden corpse flops into an indoor pool with a statue in it that mockingly reads, in bright neon, "The World Is Yours."
47. DRIVE (2011)
Drive is the only crime film in the last ten years that's worthy of sitting on this list. What's interesting, however, is that although Drive is very much set in our time, it deliberately harks back to films like Scarface, Bullitt and the works of Paul Schrader and '80s neon noir. The director, Nicholas Winding Refn, very cleverly cherry-picks visual nods from different eras of film and blends them all together to create something really unique. Ryan Gosling plays the tight-lipped driver who's drawn out of his solitary existence when his neighbours, Carey Mulligan and Oscar Isaac, are threatened by criminals. As well as having a cracking soundtrack, Drive is one of the best films Ryan Gosling's made.
46. THE USUAL SUSPECTS (1995)
There are very few films that benefit from repeated viewings, especially considering that plot-holes and bad storytelling can become more apparent the second or third time around. The Usual Suspects is one of those films that improves with repeated viewings, simply because there's so much going on that you'll miss half of it the first time you see it. Five career-criminals are brought together on trumped-up charges and begin to plot their revenge on those who have wronged them. However, it soon transpires that they themselves have been double-crossed by an unseen criminal mastermind and are then blackmailed into his service. It's ludicrous stuff and Gabriel Byrne's mangled-Oirish accent is a bit off-putting, but it remains Bryan Singer's finest work.
45. CHINATOWN (1974)
Although LA Confidential may have painted around the same lines as Chinatown, no film has ever come close to taking in the moral complexities and intricacies of the film. Jack Nicholson, in one of his defining performances, was incredible as Jake Gittes whilst the late, great John Huston was every bit the conniving villain as Noah Cross. That, coupled with Jerry Goldsmith's languid score and John A. Alonzo's gold-hewn cinematography, Chinatown is every bit as elegant and violent as you'd expect.
44. THE FRENCH CONNECTION (1971)
For whatever reason, the '70s had some of the best crime films and The French Connection is up there with them. Fans of Breaking Bad will know that Hank Schrader is a fan and there are some comparisons between the TV series and this. To begin with, both are very authentic in how the drugs of choice are made and distributed. In Breaking Bad, it's crystal meth whereas in French Connection, it's heroin. Gene Hackman is Popeye Doyle, a half-deranged cop who's bent on destroying the heroin trade single-handedly in New York. The film has one of the greatest car chases and, what's most frightening, is that it was done without stopping traffic. The director William Friedkin mounted a camera on top of a car and told his stunt drive to go as fast as he could through a populated area - without obtaining permits. Yes, really.
43. GOODFELLAS (1990)
If you enjoyed The Sopranos, you have to watch Goodfellas. The film is basically The Sopranos played out over a couple of hours. That might seem reductive, but it's the truth. Not only that, there's a number of Sopranos cast members in small roles in Goodfellas. Chief among them is Michael Imperioli, who played Christopher in The Sopranos. Ray Liotta, in his most well-known role, is Henry Hill who delivers that infamous line - "As far back as I can remember, I always wanted to be a gangster." Backed up by an impressive cast including Robert DeNiro, Joe Pesci and Lorraine Bracco, the film is just a masterpiece of quotable dialogue, great music and an entertaining story. The film swings back and forth from crime drama to black comedy, but it absolutely works.
42. THE GODFATHER I & II (1972, 1974)
We might be breaking the rules here, but it's the crime section. So, y'know, it's to be expected. But to get back to it, The Godfather I & II are meant to be watched and enjoyed as one film, broken into two. It's a sprawling epic that spans entire generations of the Corleone family and launched the careers of Al Pacino, James Caan, Robert DeNiro, Robert Duvall and reaffirmed why Marlon Brando is one of the greatest actors in film. It's no surprise that these two films are oft described as the two greastest films ever made. And yes, the baby in the baptism scene in the first one is Sofia Coppola. And no, do not mention the third one.
41. LA CONFIDENTIAL (1997)
"Hold your badge up so they know you're a cop." The plot is more than a little convoluted - something to do with drugs and the cops are in on it - but where LA Confidential's strength comes from is the cast and their performances. Russell Crowe, Guy Pearce, Kevin Spacey and James Cromwell are all on top of their game in this incredible crime drama. Not to mention, Kim Basinger rightfully won an Oscar for Best Supporting Actress. It's easily her best performance since, well, Batman. Moreover, if it hadn't been for some film called Titanic at the Oscars that year, LA Confidential would have won in all its categories. And that, folks, was the real crime.
40. HEAT (1995)
"You wanna be making moves on the street, allow nothing into your life that you can't walk out on in thirty seconds." When you look at Al Pacino in Jack & Jill or Robert DeNiro in all those straight-to-DVD films he's been doing with 50 Cent, it's hard to imagine both of them were once respected actors. Even more, that they were both in a decent film together. Anybody remember Righteous Kill? Yeah, neither do we. Heat is the perfect crime film. Robert DeNiro plays an ice-cold bank robber who leads a solitary existence and has no attachments in his life. Meanwhile, Al Pacino plays a detective charged with solving a number of high-line robberies in Los Angeles that are carried out with extreme precision and attention to detail. The Dark Knight pretty much robbed most of Heat's visual shots and some of its cast members – William Fichtner played the bank manager in The Dark Knight whereas he was a criminal financier in Heat. But underneath all the amazing shootouts, incredible photography and fantastic music, Heat is about the cost of being the best at what you do. Robert DeNiro and Al Pacino are both incredible in this, so much so that they dwarf the supporting cast of Val Kilmer, Jon Voight and Tom Sizemore. It's worth the running time, too – ten minutes shy of three hours.