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The top 5. 0 Greatest Films of All Time Sight & Soundfrom our September 2. Credit: Kobal Collection. Introduction. Ian Christie rings in the changes in our biggest- ever poll.

And the loser is – Citizen Kane. After 5. 0 years at the top of the Sight & Sound poll, Orson Welles’s debut film has been convincingly ousted by Alfred Hitchcock’s 4. Vertigo – and by a whopping 3. So what does it mean? Given that Kane actually clocked over three times as many votes this year as it did last time, it hasn’t exactly been snubbed by the vastly larger number of voters taking part in this new poll, which has spread its net far wider than any of its six predecessors.

But it does mean that Hitchcock, who only entered the top ten in 1. Vertigo climbing from seventh place, to fourth in 1. Old Master. Welles, uniquely, had two films (The Magnificent Ambersons as well as Kane) in the list in 1. Ambersons has slipped to 8. So does 2. 01. 2 – the first poll to be conducted since the internet became almost certainly the main channel of communication about films – mark a revolution in taste, such as happened in 1.

846 critics, programmers, academics and distributors have voted – and the 50-year reign of Kane is over. Our critics’ poll has a new number one. Northwest Indiana's largest state-of-the-art training facility, specializing in the sports of Ice Hockey, Figure Skating, Gymnastics, Trampoline & Tumbling, and. Bsyok Malay Movie Watch or download movies online. Find popular, top and now playing movies here. Watch movies with HD Quality. Watch or download the movies. Facebook launches Watch, a video platform for original content and live shows that will take on rivals YouTube and Netflix. Facebook Watch will be launched with more. The Official video page of the National Hockey League with the latest highlights, recaps, and interviews. The LaVar Ball circus continued yesterday, this time with some not-so-thinly-veiled misogyny taking a spot in the center ring.

Back then a brand- new film, Antonioni’s L’avventura, vaulted into second place. If there was going to be an equivalent today, it might have been Malick’s The Tree of Life, which only polled one vote less than the last title in the top 1. In fact the highest film from the new century is Wong Kar- wai’s In the Mood for Love, just 1. Dreyer’s venerable Ordet…Ian Christie’s full essay on changing fashions on our new poll is published in the September 2.

Sight & Sound. Texts below are quotations from our poll entries and magazine coverage of the top ten. FR-EE At Any Price Full Movie. Links are to the BFI’s Explore Film section. See Nick James’s poll coverage introduction for details of our methodology, and the ‘further reading’ links at the end of this page.

The top 5. 0Alfred Hitchcock, 1. Hitchcock’s supreme and most mysterious piece (as cinema and as an emblem of the art). Paranoia and obsession have never looked better.—Marco Müller. After half a century of monopolising the top spot, Citizen Kane was beginning to look smugly inviolable.

Call it Schadenfreude, but let’s rejoice that this now conventional and ritualised symbol of ‘the greatest’ has finally been taken down a peg. The accession of Vertigo is hardly in the nature of a coup d’état. Tying for 1. 1th place in 1.

Hitchcock’s masterpiece steadily inched up the poll over the next three decades, and by 2. Still, even ardent Wellesians should feel gratified at the modest revolution – if only for the proof that film canons (and the versions of history they legitimate) are not completely fossilised. There may be no larger significance in the bare fact that a couple of films made in California 1. Yet the human urge to interpret chance phenomena will not be denied, and Vertigo is a crafty, duplicitous machine for spinning meaning…—Peter Matthews’ opening to his new essay on Vertigo in our September 2. Orson Welles, 1. 94. Kane and Vertigo don’t top the chart by divine right.

But those two films are just still the best at doing what great cinema ought to do: extending the everyday into the visionary.—Nigel Andrews. In the last decade I’ve watched this first feature many times, and each time, it reveals new treasures. Clearly, no single film is the greatest ever made. But if there were one, for me Kane would now be the strongest contender, bar none.—Geoff Andrew. All celluloid life is present in Citizen Kane; seeing it for the first or umpteenth time remains a revelation.—Trevor Johnston. Ozu Yasujiro, 1. 95. Ozu used to liken himself to a “tofu- maker”, in reference to the way his films – at least the post- war ones – were all variations on a small number of themes.

So why is it Tokyo Story that is acclaimed by most as his masterpiece? DVD releases have made available such prewar films as I Was Born, But…, and yet the Ozu vote has not been split, and Tokyo Story has actually climbed two places since 2. It may simply be that in Tokyo Story this most Japanese tofu- maker refined his art to the point of perfection, and crafted a truly universal film about family, time and loss.—James Bell. Jean Renoir, 1. 93. Only Renoir has managed to express on film the most elevated notion of naturalism, examining this world from a perspective that is dark, cruel but objective, before going on to achieve the serenity of the work of his old age. With him, one has no qualms about using superlatives: La Règle du jeu is quite simply the greatest French film by the greatest of French directors.—Olivier Père.

FW Murnau, 1. 92. When F. W. Murnau left Germany for America in 1. Did it sense that change was around the corner – that now was the time to fill up on fantasy, delirium and spectacle before talking actors wrenched the artform closer to reality? Many things make this film more than just a morality tale about temptation and lust, a fable about a young husband so crazy with desire for a city girl that he contemplates drowning his wife, an elemental but sweet story of a husband and wife rediscovering their love for each other. Sunrise was an example – perhaps never again repeated on the same scale – of unfettered imagination and the clout of the studio system working together rather than at cross purposes.—Isabel Stevens. Stanley Kubrick, 1.

A Space Odyssey is a stand- along monument, a great visionary leap, unsurpassed in its vision of man and the universe. It was a statement that came at a time which now looks something like the peak of humanity’s technological optimism.—Roger Ebert.

John Ford, 1. 95. Do the fluctuations in popularity of John Ford’s intimate revenge epic – no appearance in either critics’ or directors’ top tens in 2. It could be a case of this being a western for people who don’t much care for them, but I suspect it’s more to do with John Ford’s stock having risen higher than ever this past decade and the citing of his influence in the unlikeliest of places in recent cinema.—Kieron Corless. Dziga Vertov, 1. 92.

Is Dziga Vertov’s cine- city symphony a film whose time has finally come? Ranked only no. 2. Eisenstein’s erstwhile perennial Battleship Potemkin as the Constructivist Soviet silent of choice. Like Eisenstein’s warhorse, it’s an agit- experiment that sees montage as the means to a revolutionary consciousness; but rather than proceeding through fable and illusion, it’s explicitly engaged both with recording the modern urban everyday (which makes it the top documentary in our poll) and with its representation back to its participant- subjects (thus the top meta- movie).—Nick Bradshaw. Carl Dreyer, 1. 92. Joan was and remains an unassailable giant of early cinema, a transcendental film comprising tears, fire and madness that relies on extreme close- ups of the human face. Over the years it has often been a difficult film to see, but even during its lost years Joan has remained embedded in the critical consciousness, thanks to the strength of its early reception, the striking stills that appeared in film books, its presence in Godard’s Vivre sa vie and recently a series of unforgettable live screenings.

In 2. 01. 0 it was designated the most influential film of all time in the Toronto International Film Festival’s ‘Essential 1. Jonathan Rosenbaum described it as “the pinnacle of silent cinema – and perhaps of the cinema itself.”—Jane Giles. Federico Fellini, 1. Arguably the film that most accurately captures the agonies of creativity and the circus that surrounds filmmaking, equal parts narcissistic, self- deprecating, bitter, nostalgic, warm, critical and funny. Dreams, nightmares, reality and memories coexist within the same time- frame; the viewer sees Guido’s world not as it is, but more ‘realistically’ as he experiences it, inserting the film in a lineage that stretches from the Surrealists to David Lynch.—Mar Diestro- Dópido. Sergei Eisenstein, 1. Jean Vigo, 1. 93.

Jean- Luc Godard, 1. Francis Ford Coppola, 1. Ozu Yasujiro, 1. 94. Robert Bresson, 1. Kurosawa Akira, 1. Ingmar Bergman, 1.

La. Var Ball Throws Hissy Fit, Gets Female Referee Replaced Mid- Game. The La. Var Ball circus continued yesterday, this time with some not- so- thinly- veiled misogyny taking a spot in the center ring. Ball received a technical foul from a female referee for arguing with her over a call, and then immediately began to pull his team off the floor, threatening to forfeit unless the referee was replaced. The game was stopped for several minutes while Ball threw his fit, and eventually the referee who gave him the technical was removed from the game by Adidas, which was sponsoring the event.

Ball spoke about the incident after the game, telling reporters that the referee needed to “stay in her lane” while insulting both her basketball knowledge and physical fitness: La. Var Ball is an asshole, and the Adidas rep who decided to remove the ref from the game is a coward.