I generally pay no attention to lists of "movies you must see." Lists of important books to have read, yes, those I will read with interest. Movies? Too subjective, also more apt to be filled with snob choices than a book list would be. L'Avventura I saw once, and that was enough. It runs two and a half hours and to me was infected with a flat sort of New Wave non-style. Don't get me started on Salo. Intolerance (1916) I cannot imagine sitting through again.
For me, the test a great movie must pass is how many times I can watch it without having too much of it. There are movies I've seen a couple hundred times, and I will always watch again if they turn up on my TV. Even when these films have no surprises whatever for me, I want to see my favorite moments again, just to see how an actor's reaction or a perfect edit or an unimprovable shot composition makes magic happen.
With that criterion -- can I watch a film repeatedly -- my top films would be:
The Women (1939)
Rear Window (1954)
Witness for the Prosecution (1957)
Female Trouble (1974)
The Women I know I've seen over 200 times, because for years it was my Friday night film to unwind with, after a week of teaching. I've probably seen it over 300 times, come to think of it. It's filled with tiny pleasures and major pleasures, as are the other three in the list.
Honorable mentions -- films I find uniquely interesting, and that I could happily watch almost any day of the year:
Smashing a Jersey Mosquito (1903) Crazy little comedy that runs 63 seconds. More laughs per minute than any other film I know. It's on YouTube -- invest a hot minute in it!
Buster Keaton films -- what a national treasure. If you don't know his stuff, start with a short like One Week '20 or Cops '22, If those don't turn your head around and put you on the quest for more of Buster's work, then we have nothing in common when it comes to film.
Any number of Harold Lloyd features -- my faves are probably Girl Shy '24, Hot Water '24, and The Kid Brother '27. (Watch The Kid Brother and you will remember the tree-climbing scene for the rest of your life. It's just superb. A combination of virtuoso camera work and pure romantic sweetness.)
Possessed '31, the one with Crawford and Gable, because it's a peak expression of big studio style in the 30s.
It Happened One Night '34, irresistible on every level, and filled with comic surprises.
Ninotchka '39 Garbo in a story that's pure champagne.
Double Indemnity '44, even though noir can be overdone and often is. This one has fantastic acting throughout, and Edward G. Robinson steals the film even though the two stars (MacMurray and Stanwyck) commit the crimes.
Paper Moon '73 This one charms the pants off an audience. I can't find a second of it that I would change.
