95 Best '70s Movies Of All Time Ranked

Paying tribute to schlocky science fiction and horror B movies, "The Rocky Horror Picture Show" is a provocative, subversive, and perverted musical comedy that features a standout performance from Tim Curry as the mad scientist, Dr. Frank-N-Furter. The fun starts when loved-up young couple Brad (Barry Bostwick) and Janet (Susan Sarandon) stumble across the home of Dr. Frank-N-Furter while stuck in a storm with a flat tire.

With a number of memorable songs including "Sweet Tranvestite" and "Time Warp," "The Rocky Horror Picture Show" is a singularly unique musical that has now become a cult classic. Upon its release, the film was a flop and was pulled from several theaters due to a lack of audience interest. In 1976, a year after the film's release, "The Rocky Horror Picture Show" was revived as a midnight movie and its popularity grew from there, with audience participation encouraged and many fans coming to screenings in costume. According to the BBC, the film has since grossed over $170 million in addition to becoming the longest continually running movie release in history.

While director William Friedkin's other prominent films from this decade — namely "The Exorcist" and "The French Connection" — may have been considerably more successful, 1977's "Sorcerer" is a film that has earned a reputation over the years as being one of the greatest suspense thrillers ever made. A remake of the 1953 film "The Wages Of Fear," "Sorcerer" follows a similar narrative with four men on the run and marooned in a desolate South American village.

Led by former gang member Jackie Scanlon (Roy Scheider), they embark on a hazardous 200-mile journey to transport two truckloads of volatile nitroglycerin to extinguish a raging oil well fire. If they succeed, they will be paid $10,000 to buy their freedom out of there. With a series of well-constructed and nail-biting set-pieces — including a stunning sequence on an unstable rope bridge — "Sorcerer" is a masterclass in tension with a thought-provoking ending, distinctly lacking in emotion or remorse. It may not have received the same plaudits as Friedkin's other films, but "Sorcerer" is a riveting watch and well worth seeking out.

The 1970s was also a big era for music, and the one film that epitomized the rising popularity of disco music during this period was 1977's "Saturday Night Fever." In the film, John Travolta plays Tony Manero, a man with a dead-end job who still hasn't moved out of his parent's house. On the weekends, however, he comes alive when he goes to the disco with friends to show off his moves. When he chooses to compete in a big dance competition, he pairs up with Stephanie (Karen Lynn Gorney), and it isn't long before a romantic spark develops between them as well.

While he had made his name on the sitcom "Welcome Back, Kotter," it was "Saturday Night Fever" that made a star out of John Travolta, who also received an Oscar nomination for his role in the film. With the dance sequences being particularly memorable — demonstrating Travolta's dancing skills as well as his acting prowess — it isn't a surprise that the music plays an important part in the film, with the songs provided mostly by the Bee Gees. The soundtrack was a huge hit, selling more than $15 million copies in the U.S. and going on to become the second best-selling movie soundtrack of all time behind "The Bodyguard" (via Audicus).

Sold on the star power of David Bowie — who was one of the most popular artists in the late '60s and early '70s — "The Man Who Fell to Earth" marked the singer's first major film appearance. He plays Thomas Jerome Newton, an alien who arrives in New Mexico to find water for his home planet, using the advanced technology of his home planet to accrue wealth in order to achieve this — something that brings him to the attention of rival corporations and government operatives. While on Earth, Thomas also meets and falls in love with hotel clerk Mary-Lou (Candy Clark), who teaches him some of what it means to be human.

As a singer, Bowie was known for frequently being able to reinvent himself and inhabiting characters such as Ziggy Stardust and the Thin White Duke, and it is this that makes him an inspired choice to play an alien inhabiting a human body. Due to its hypnotic qualities and surreal visuals, "The Man Who Fell To Earth" went on to become a cult classic, with audiences drawn to its experimental and meditative story.

When grieving hotel owner Paul (Marlon Brando) meets Frenchwoman Jeanne (Maria Schneider) following his wife's death in "Last Tango in Paris," the pair seem to have instant chemistry and they embark on a passionate, carnal affair. While they initially want to retain a level of anonymity and do not reveal anything about themselves to each other — including their names and personal circumstances — they start to realize that their ignorance of each other cannot go on.

In its depiction of sexual violence, "Last Tango in Paris" was another '70s film that caused an outcry, leading to censorship in some countries, and an X rating from the MPAA — something that drastically limited the number of people that could see it. This didn't seem to affect the film's commercial success, however, and its notoriety and the subsequent media frenzy surrounding it pushed more people to go and see it. In the wake of the #MeToo movement, the fresh controversy started to surround the film when it was revealed that Maria Schneider had not been made aware of exactly what the controversial butter scene would entail (via El Mundo de Alycia). While this has tarnished the legacy of the film, it has opened up the conversation and led to progressive changes to protect the welfare of actors, such as the introduction of intimacy coordinators (via The Hollywood Reporter).

If you or anyone you know has been a victim of sexual assault, help is available. Visit the Rape, Abuse & Incest National Network website or contact RAINN's National Helpline at 1-800-656-HOPE (4673).

Providing audiences with a golden ticket to "a world of pure imagination," this fantastical confectionary musical follows young Charlie Bucket (Peter Ostrum) — a boy from a poor background who wins the opportunity to take a tour through the reclusive Willy Wonka's (Gene Wilder) famous chocolate factory. With just a hint of darkness underpinning it, the triumph of Charlie Bucket is the ultimate underdog story in "Willy Wonka and the Chocolate Factory," and he is the audience's relatable gateway to the lurid, yet wonderfully weird world of Wonka.

Gene Wilder's star turn as the titular candy king is legendary, equal parts charming, enigmatic, and manic, making him the perfect fit for the character. With a host of memorable songs and the wonderful message that kindness and generosity should succeed over greed and narcissism, it is a film overflowing with nostalgia and joy. While it wasn't a huge box office success, it gradually built cult status over time with the boost from home media sales.

While they have now had a number of feature films under their belt, 1979's "The Muppet Movie" was the first big-screen adventure for Jim Henson's popular puppets. With all your favorite characters along for the ride, "The Muppet Movie" sees Kermit traveling from Florida to California to try and become a Hollywood star. Along the way, he picks up the likes of Fozzie Bear, Gonzo, and of course, Miss Piggy, who also have dreams of stardom. Standing in their way is the villainous restauranter Doc Hopper (Charles Durning) who wants Kermit to be the spokesperson of his floundering chain of frog-legs restaurants.

With the trademark meta-humor, and a slew of celebrity cameos, "The Muppet Movie" represents the great and the good of their television series, "The Muppet Show," but with the added bonus of a great story that ties everything together. The film was a box office smash, making over $65 million worldwide off a budget of $8 million, and picked up two Oscar nominations for best original song and best score.

A hilarious pastiche of Westerns, "Blazing Saddles" has elements that haven't aged well, but it remains as funny now as it was in 1974 when it was released. When plans emerge to build a railroad through the small frontier town of Rock Ridge, greedy attorney general Hedley Lamarr (Harvey Korman) sends his thugs to rid them of their Sheriff so he can assume power and reap the millions the railroad will bring. Tasked with finding a new Sheriff to protect the town, Governor William J. Le Petomane (Mel Brooks) is convinced by Lamarr to hire black railroad worker Bart (Cleavon Little) — a deliberate power play to bring chaos to the town so he can take over.

Bart's presence causes an uproar in the racially prejudiced town, however, through his friendship with gunslinger Jim (Gene Kelly), they start to come around to the idea when the town comes under attack. Vulgar, crass, and often outrageous, "Blazing Saddles" may be an acquired taste but its relentless and manic energy ensures the laughs come thick, fast, and consistently. With largely positive reviews from critics, "Blazing Saddles" success was cemented when it was nominated for three Academy Awards, for best actress, best original song, and best film editing.

After Erica Benton's (Jill Clayburgh) marriage comes to an unceremonious end, her world is turned upside down in "An Unmarried Woman." As she processes the betrayal of her husband's infidelity, she takes tentative steps back into the world of dating — something she feels woefully unequipped for — until she eventually meets artist Saul (Alan Bates) and starts to consider whether there could be a future with him.

Jill Clayburgh is revelatory as Erica, and her performance exudes warmth as well as a heartbreaking vulnerability. There are many films that explore this idea of newfound freedom following a marriage breakdown, and while Erica does experience moments of joy through her relationship with Saul, it doesn't ignore the complex emotions she is feeling after a life-altering revelation. While we're willing Erica to find lasting happiness, the film acknowledges that real life isn't always as straightforward as that — something that is keenly felt in the film's bittersweet ending.

A remake of the 1956 classic, 1978's version of "Invasion of the Body Snatchers" shifts the action to San Francisco as strange plant pods begin appearing all over the city, assimilating and then duplicating people, transforming them into lifeless alien beings. Donald Sutherland plays Matthew Bennell, a man who works in the San Francisco Health Department and becomes aware of the threat when his colleague, Elizabeth (Brooke Adams), mentions her husband's behavior has suddenly changed. As similar reports start to crop up throughout the city, Bennell faces a race against time to work out what is happening and how to stop it.

As much as the original was about the post-war paranoia in America at the time — particularly the fear surrounding covert espionage — the remake is a distinctly '70s affair, reflecting a new era of paranoia and distrust in the government in the wake of Vietnam and the Watergate scandal. In addition to leaning more into the body horror elements, this version also expands on the themes, giving commentary on the shifting time period, in which the '60s freedom of expression has evolved into a decade of conformity. The haunting final scene of Sutherland's contorted face is an iconic movie moment and one that will live with you for a long time afterward.

Now a multi-film franchise, 1976's "Rocky" was the film that started it all and the first one to introduce Sylvester Stallone as the working-class Philadelphia boxer, Rocky Balboa. Rising up the ranks from the small-time fights to the big leagues, Rocky is selected to fight the world heavyweight champion, Apollo Creed (Carl Weathers) when Creed's original opponent is injured. While undergoing his training with the fiery Mickey (Burgess Meredith), Rocky also begins dating the quiet Adrian (Talia Shire), the sister of his friend Paulie (Burt Young), who gives him the motivation to succeed beyond just being the best.

Often imitated but rarely bettered, "Rocky" is not completely devoid of the cliches that seem to come organically with the plucky underdog story, but it is one of the purer offerings from the franchise, establishing a likable lead character and a surprisingly sweet relationship with the lovely Adrian. "Rocky" is a feel-good, triumphant sports movie classic, with the now-iconic scene of Rocky climbing the steps of the Philadelphia Museum of Art becoming a defining moment of the decade — and changing the way people would run up the stairs forever.

Six years before the legendary director Hayao Miyazaki co-founded the beloved animation house, Studio Ghibli, the delightful "The Castle Of Cagliostro" was a sign of the great things to come. Also his feature directorial debut, the film focuses on Arsene Lupin III (Yasuo Yamada), a dashing and daring thief who plans an elaborate casino heist. Upon learning the spoils of the heist are counterfeit, Lupin embarks on an adventure that leads him to the source of the fake bills, the villainous Count Lazare de Cagliostro (Tarō Ishida).

While Miyazaki later became known for the fantastical worlds of favorites such as "My Neighbor Totoro" and the Oscar-winning "Spirited Away," his debut is instead a well-paced and imaginative caper, imbued with a trademark sense of fun and wonder. While it sits outside the canon of Studio Ghibli, "The Castle Of Cagliostro" is still a wonderfully enjoyable film and another shining example of the under-appreciated animated greats that were released in this decade.

When a horde of zombies begins to surge through America, humanity is forced into a desperate fight for survival against the undead as they struggle to find a place of safety in "Dawn of the Dead." Radio station employee Stephen (David Emge), his girlfriend Francine (Gaylen Ross), and SWAT team members Roger (Scott H. Reiniger) and Peter (Ken Foree) retreat to a shopping mall to make their final stand.

Later hilariously and lovingly lambasted in Edgar Wright's "Shaun Of The Dead," the strength of George A. Romero's "Dawn Of The Dead" lies in the way it utilizes not just everyday people, but everyday locations to terrifying — and frequently amusing — effect. Proving his prowess with the zombie genre in 1968's "Night Of The Living Dead," Romero's '70s contribution incorporated a cynical, satirical, and tongue-in-cheek sensibility, with lashings of dark comedy amidst the zombie carnage.

It is perhaps fitting in Dario Argento's Giallo horror masterpiece — with the term "Giallo" deriving from the Italian for yellow, the color used in Italian mystery thriller books — that color plays such an important role in the unique visual storytelling of "Suspiria." Lurid, garish, and resembling a technicolor fever-dream, "Suspiria" focuses on young ballerina Suzy (Jessica Harper) who attends a prestigious ballet academy in Germany. As she begins her training, Suze also experiences terrifying and hallucinatory visions, and when fellow student Pat (Eva Axén) is murdered, Suzy discovers something sinister is going on beneath the surface.

Sold on its power to shock and terrify, "Suspiria" remains a bloody, brutal, and brilliant film, with an eye-catching visual palette that makes it easily identifiable from almost any frame. While the initial critical response was mixed, over the years "Suspiria" has subsequently been reassessed, and is now regarded as a cult horror classic. Writing for AllMovie, critic Jason Buchanan called it, "one of the most striking assaults on the senses ever to be committed to celluloid ... this unrelenting tale of the supernatural was — and likely still is — the closest a filmmaker has come to capturing a nightmare on film."

Where a survival adventure movie and horror intersect, you will find 1972's "Deliverance," a film that garnered controversy for its infamous "squeal like a pig" scene, and awards recognition with three Oscar nominations. When four city workers choose to take a canoeing trip to escape the rat race and their families, they find themselves at the mercy of the locals. Following a malice-tinged banjo battle, they take to the water, and things take a dark turn when two mountain men show up.

Heavy with masculine energy, "Deliverance" is a gritty, visceral, and intense film that explores man's primal side, and the brutality they are capable of when pushed to the edge. The contrast between the beautiful scenery of rural Georgia, and the film's more difficult-to-watch scenes reflects the duality of nature that is a prevalent theme throughout. The result is a beautifully shot film that has the power to repulse and scare, leaving audiences both in awe and frightened at how frail humans are compared to nature's wilder side.

More so than any of his other films, Woody Allen's "Manhattan" is as much a love letter to New York as it is a love story, with Allen playing divorced writer Isaac Davis. After his wife, Jill (Meryl Streep), leaves him for another woman, Isaac is struggling with the idea of being middle-aged and alone. While dating high-schooler, Tracey (Mariel Hemingway), he contemplates a relationship with Mary (Diane Keaton), who is having an affair with his best friend, Yale (Michael Murphy).

Bolstered by its excellent screenplay and exceptional performances, "Manhattan" is a funny and bittersweet film that gives an honest depiction of how messy and complicated relationships can be. As the title would suggest, it is a distinctly New York story — and the exquisite cinematography ensures it has rarely looked better — yet there is a universality to it, and a believability to the characters that makes it so charming. 

While it was released in 1971, many audiences didn't see the controversial "A Clockwork Orange" until the late '90s, following director Stanley Kubrick's decision to withdraw the film following its initial theatrical run. The film follows the charismatic thug, Alex (Malcolm McDowell), and his band of "Droogs" as they embark on a spree of ultra-violence and mayhem in a retro-futuristic dystopian society. When Alex is caught following a break-in at a wealthy woman's mansion, the story shifts to whether Alex can be cured of his violent tendencies with an experimental reformation program.

Described by critic Roger Ebert as "an ideological mess" in his scathing two-star review, the film's supposed glamorization of violence was cited as the inspiration for a series of "copycat crimes," and the subsequent vilification in the press prompted Kubrick to pull the film. As is often the case, when a film is unavailable, the intrigue and notoriety surrounding it only increase as it becomes something of a holy grail for cinephiles. While undeniably bleak, the universal themes of youth disenfranchisement, government control, and the power and influence of technology and music, make "A Clockwork Orange" still relevant today.

In his first major starring role, Jack Nicholson delivers a beautifully nuanced performance as the pianist, Bobby Eroica Dupea. After he decides to move away from his upper-class background, Bobby takes a job in a California oil field where he dates a waitress, Rayette (Karen Black), and adjusts to a blue-collar way of life that is a stark contrast to his privileged upbringing. His attempts to reject his past reach an uncomfortable conundrum, however, when he finds out his father is ill, prompting him to reconnect with the estranged family he left behind and leads him to question where he belongs.

With heavy European influence, "Five Easy Pieces" is an engaging and insightful character study, with Nicholson's performance perfectly embodying the character's feeling of emotional ennui. This sense of being between two places and not really sure of where you fit in is something that was very characteristic of this decade — particularly amongst the youth who were disenfranchised by the previous generation and the government, partly due to the controversial war in Vietnam. Sitting at the precipice of the shifting counterculture from the 1960s to the 1970s, "Five Easy Pieces" existential qualities beautifully capture that feeling of trying to find where you belong, leaving enough ambiguity and open-endedness as a way to emphasize there isn't always an easy answer to this question.  

Proved two years earlier with Martin Scorsese's "Taxi Driver," few people write world-wearied, brooding outcasts as well as Paul Schrader, and "Blue Collar" is another excellent example that also sees the acclaimed writer make his directorial debut. The film focuses on assembly line workers Zeke Brown (Richard Pryor), Jerry Bartowski (Harvey Keitel), and Smokey James (Yaphet Kotto), who become fed up with the daily grind and decide to rob their own union. As they are not professional thieves, they're initially disappointed with their spoils, however, they soon discover they've potentially uncovered some union corruption and possible links they may have to organized crime. 

Receiving high praise from critics, "Blue Collar" succeeds at being both a scathing attack on greedy and corrupt businesses and an exploration of the plight of those lower down the chain. Throughout the film, there is a highly effective and palpable feeling of broiling tension — something that was also reflected behind the scenes where the actors and director frequently clashed, resulting in Schrader having a nervous breakdown (via The Back Row). With outstanding performances from the cast, "Blue Collar" is at times darkly comedic and has lost none of its potency over the years. 

Tasked with investigating a missing child, Sergeant Howie (Edward Woodward) arrives on the remote Scottish island, Summerisle. As a conservative, religious man, Howie is disturbed to find the residents have abandoned Christianity in favor of bizarre pagan rituals, and the children are being brought up in a place where promiscuity is encouraged and people cavort naked in the fields. As Howie learns more about the strange community, he becomes closer to finding the missing child but potentially this comes at a great personal cost. 

With an unforgettable performance from Christopher Lee as Lord Summerisle, "The Wicker Man" is an atmospheric classic of the folk horror subgenre with a memorable final scene that will linger long after the credits roll. With its influence seen clearly in 2019's "Midsommar," "The Wicker Man" succeeds in creating a tangible presence of evil, even without the usual scare tactics employed by most horrors — instead eliciting fear in the sense that something is deeply unsettling about this place. 

Starring real-life father and daughter Ryan and Tatum O'Neal, "Paper Moon," a charming comedy from 1973, sees the pair play traveling Bible salesman Moses Pray and orphaned Addie Loggins. When Addie is left in Moses' care, the duo team up as con artists, encountering exotic dancer Trixie Delight (Madeline Kahn), and an irate bootlegger (John Hillerman) on their travels.

Shot in gorgeous black and white, there is a real throwback feel to Peter Bogdanovich's "Paper Moon," with its caper qualities feeling reminiscent of a bygone era. There is a genuine warmth and honesty to this film, and Ryan and Tatum O'Neal shine as the unlikely pair of swindler pals. As well as receiving high praise from critics, "Paper Moon" was also hit at the Oscars, receiving four nominations and one win for best supporting actress for Tatum O'Neal — becoming the youngest winner in a competitive category.

This strange but captivating documentary charts the lives of Jackie Kennedy Onassis' eccentric relatives, cousin Edie Bouvier Beale and her mother, Edith. Living together in a dilapidated estate surrounded by cats, the two former socialite women reveal their quirky habits and reflect on their past lives now that they are largely recluses.

Offering a fascinating insight into the lives of these two misfits, "Grey Gardens" not only became something of a cult classic but cemented "Little Edie" as something of a fashion icon — later memorably immortalized by Jinkx Monsoon on an episode of "RuPaul's Drag Race," bringing Edie back into the public conscious. Adapted into a musical in 2006, and a television film starring Drew Barrymore and Jessica Lange in 2009, "Grey Gardens" continues to be a compelling story, but it is the original 1975 documentary that is the best record of these loveable oddballs. 

Notable for giving us the iconic quote, "You've got to ask yourself a question: 'do I feel lucky?' Well, do ya, punk?" "1971's "Dirty Harry" saw Clint Eastwood as cop Harry Callahan, who is tasked with catching the psychotic killer Scorpio (Andy Robinson) after he kidnaps a teenage girl. Punished for his heavy-handed approach — something that results in Scorpio frequently evading capture — Callahan is racing against the clock to track him down before it is too late.

After appearing in a slew of Westerns, by the '70s, Clint Eastwood was the perfect choice to play the complicated antihero Harry Callahan — executing the dark, mean streak that the character has while also being a charismatic screen presence. In its depiction of a hard-boiled and tough cop, "Dirty Harry" was subject to some controversy when it was released, with some upset by the way it showed the actions of the law enforcement as heroic, despite using racial profiling, and unnecessarily violent methods in the name of supposed "justice."

Michelangelo Antonioni's beguiling exploration of identity and purpose sees Jack Nicholson in a similarly nuanced role to 1970s "Five Easy Pieces." In "The Passenger," he plays David Locke, an American journalist sent to Africa to cover the civil war in Chad. Frustrated at the lack of leads and interviews, Locke arrives back at his hotel following a long, reflective walk through the desert. When he learns one of the hotel's other residents has died overnight, Locke makes the decision to assume the man's identity, reporting his own "death" and leaving for Munich with his new name. However, he later discovers the dead man wasn't necessarily on the right side of the law.

The exceptional camerawork of cinematographer Luciano Tovoli, and Antonioni's patience in telling the story perfectly emulates the feelings of loneliness — the vast landscapes, empty spaces, and sparse dialogue all capture Locke's disillusionment with himself and his purpose. With an intriguing ambiguity to it, "The Passenger" is a quiet, reflective, and thoughtful film about estranged characters wrestling with a sense of self that once again proves Nicholson's talents as one of the best actors of this decade.

One of the surprise hits of the decade, "The Bad News Bears" is a classic underdog sports comedy about hard-drinking ex-baseball player Morris Buttermaker (Walter Matthau) who begrudgingly agrees to coach a little league team. As he realizes he has taken on a bunch of largely talentless misfits, Buttermaker brings in the feisty pitcher Amanda Whurlitzer (Tatum O'Neal) and troublemaker Kelly Leak (Jackie Earle Haley) to try and change the team's fortunes.

While it never completely avoids cliché, "The Bad News Bears" has a crude and cynical edge to it, with the potty-mouthed kids and Matthau's performance as the cantankerous coach giving it a refreshingly scathing tone. The sweetness comes through the father-daughter-like relationship that develops between Buttermaker and Amanda with the coach — having previously dated Amanda's mother — feeling the need to both protect and push her to succeed. As well as being uplifting and hilarious, "The Bad News Bears" feels like a wonderfully honest depiction of America's pastime that is hard not to like.

With his wild unkempt hair, Gene Wilder is perfectly cast as the mad scientist and medical lecturer Dr. Frederick Frankenstein who inherits the Transylvanian estate of his infamous grandfather. While there, he unwisely attempts to recreate the monstrous experiments of his grandfather and chaos ensues. Having successfully lampooned the western genre in "Blazing Saddles," director Mel Brooks turns his attention to the Universal monster movies in this hilarious horror parody.

Brooks and Wilder continued to be an unstoppable duo with their eccentric blend of off-color humor, and "Young Frankenstein" is perhaps the best film the pair were involved in. The film was a big hit at the box office, making over $86 million off a budget of just under $3 million. As well as being nominated for two Academy Awards, the legacy and longevity of the film have seen it frequently listed as one of the best comedies of all time, placing 13th on the American Film Institute's "100 Funniest American Movies Of All Time."

Just three years after "Serpico," director Sidney Lumet turned his attention away from police corruption to instead hold a scathing lens up to television, in his brilliantly written satire "Network." When veteran newsman Howard Beale (Peter Finch) is unceremoniously sacked, he decides against leaving quietly and instead launches into an angry on-air tirade about the state of the world, in turn becoming a ratings hit — something that ambitious producer Diana Christensen (Faye Dunaway) decides to capitalize on. 

The notion of someone with controversial opinions being afforded a huge platform on which to air them is something that is horrifyingly relevant today and means "Network" has barely aged a day since its release in 1976. With some elements that feel almost prophetic, there is the sense that "Network" was a film boldly ahead of its time, with the power to still provoke and surprise new audiences many decades later. 

After helping out his friend Terry Lennox (Jim Bouton) by driving him to Mexico, private detective Philip Marlowe (Elliott Gould) becomes implicated in the death of Terry's wife, Sylvia, in "The Long Goodbye." Even when it appears the case is closed — that Terry killed his wife before killing himself — Marlowe continues to investigate, believing there is more to it than that. When he takes a new case to find the missing husband of Eileen Wade (Nina Van Pallandt), he uncovers a connection to the Lennoxes that changes everything. 

An adaptation of Raymond Chandler's novel of the same name, "The Long Goodbye" is a neo-noir with a satirical edge that nods to the classics of the genre while also adding some of that '70s grit and realism. Many critics at the time didn't appreciate the film, however, with Jay Cocks for Time saying, "It is a curious spectacle to see Altman mocking a level of achievement to which, at his best, he could only aspire." Later reappraised, the film's subversion of the noir genre and detective movies was recognized by Roger Ebert who included it in his Great Movies collection and said, "Most of its effect comes from the way it pushes against the genre, and the way Altman undermines the premise of all private eye movies."

The Watergate Scandal was an event that sent shockwaves throughout the rest of the decade and set the scene for many of the '70s films that subsequently focused on high-level corruption within government and law enforcement. Addressing the events directly, "All the President's Men" was based on the book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein — portrayed in the film by Robert Redford and Dustin Hoffman, respectively.

Investigating the attempted burglary of the Democrat party headquarters at the Watergate apartment complex, Woodward and Bernstein "follow the money" all the way to the top with the help of the enigmatic code-named source, Deep Throat (Hal Holbrook). While two journalists investigating a story might not seem like the most thrilling subject matter, there is a satisfying procedural nature to "All the President's Men" that only becomes more exciting as the pieces of the puzzle start to slot together. Nominated for eight Oscars — and winning four including best adapted screenplay and best supporting actor for Jason Robards — "All the President's Men" may have been depicting very recent events when it was released, but its power has resonated, and remained timely, ever since.

With two of the best actors in the game — Laurence Olivier and Michael Caine — squaring off against each other, the stage is set for a deadly game of one-upmanship. Based on the play by Anthony Shaffer, "Sleuth" sees wealthy detective novel author and game aficionado, Andrew Wyke (Olivier), inviting his wife's lover, Milo Tindle (Caine), to his house with an intriguing proposition that sets the high-stakes mind games in motion.

Full of deceit, double-crossing, and showcasing a remarkable double-header performance from Laurence Olivier and Michael Caine, "Sleuth" is a throwback mystery full of cunning and intrigue from director Joseph L. Mankiewicz. The film's origins as a stage play ensure the verbal sparring between the pair is as thrilling as the rest of the action, and it is a film that keeps you guessing right up to the thrilling conclusion. In addition to both Olivier and Caine being recognized with Oscar nominations, "Sleuth" also received nominations for Mankiewicz's direction, and the score from John Addison.

From the sword-and-sandal epic "Spartacus" to the brain-melting sci-fi "2001: A Space Odyssey," director Stanley Kubrick had already proved he could turn his hand to any genre and make the very best version of it. In 1975, he tackled an 18th-century historical drama with "Barry Lyndon," focusing on the titular character's (Ryan O'Neal) attempt to climb the social ladder into aristocracy when he marries the widowed Countess of Lyndon (Marisa Berenson). 

With sumptuous attention to detail, and ground-breaking cinematography from John Alcott, "Barry Lyndon" is a visual feast for the eyes, and proof that Kubrick's finesse could be applied to any type of film with resounding success. While the weighty runtime is in excess of three hours, the film's slow-burn sensibilities and emotional restraint are amongst its best qualities, giving it a respectful elegance that is difficult not to be succumbed by. The initial mixed critical response to the film didn't hurt its award prospects, with "Barry Lyndon" winning awards for the score, cinematography, art direction, and costume design. 

With its occasionally emotionally exhausting depiction of mental illness, "A Woman Under the Influence" is a stark drama with two unforgettable performances from Gena Rowlands and Peter Falk. When Mabel (Rowlands) begins to exhibit strange behavior, her husband Nick (Falk) grows increasingly concerned for her welfare. Particularly unstable around others, Mabel's declining mental state sees her placed into an institution, leaving Nick to care for their three children.

In addition to Mabel's battle against her own mind, "A Woman Under the Influence" doesn't neglect the struggle of Nick and the emotional toll the relationship takes on him sees him act questionably also. The film struck a chord with critics, including Nora Sayre for the New York Times who called praised Rowland's performance saying she, "unleashes an extraordinary characterization." Her performance was also recognized by the Academy with a nomination for lead actress, along with a nomination for director John Cassavetes.

Now considered a classic of the slasher movie genre, 1978's "Halloween" introduced the world to the mysterious Michael Myers (Nick Castle). At just six years old, Myers was committed to an asylum after he murdered his teenage sister. 15 years later, Myers' psychiatrist Dr. Sam Loomis (Donald Pleasence) arrives to transport him to his hearing. However, when Myers escapes, he heads back to his hometown of Haddonfield, Illinois where he seeks to continue his murderous rampage. 

The fact that Myers targets a group of teens — primarily babysitter Laurie Strode (Jamie Lee Curtis — and that he seems to be unkillable, are just some of the elements that make "Halloween" so terrifying, underpinned by John Carpenter's iconic and chilling score. "Halloween" was not only a massive box office success, but a film that has continued to be hugely influential, and in a decade that also saw horror greats such as "The Exorcist" and "The Texas Chainsaw Massacre," it drew the decade to a close in suitably strong fashion. 

With an all-star cast of some of the finest actors of the decade, "The Sting" is an entertaining heist movie and one of the best examples of the genre. The mark is Doyle Lonnegan (Robert Shaw), a notorious racketeer and gambler who is targeted by con artists Johnny Hooker (Robert Redford) and Henry Gondorff (Paul Newman).

While the plan is elaborate and multi-layered, "The Sting" is interesting in the sense that the con is focused on taking down one person, as opposed to the multi-million dollar, casino-swindling, or big business takedown antics often seen. Having this singular focus not only keeps the film flowing but ensures we stay aligned with the charming con artists, and the exceptional script by David S. Ward keeps things light — even as the plot becomes more complex — as it barrels towards its hugely satisfying conclusion. "The Sting" was overwhelmingly popular with audiences and critics when it was released and was also nominated for 10 Academy Awards, winning seven, including best picture, best director, best film editing, and best music.

Based on a fascinating true story detailed in a Life magazine article, "Dog Day Afternoon" takes advantage of the almost unbelievable nature of this curious true-crime tale with manic energy and riveting execution. Sonny Wortzik (Al Pacino) is an amateur criminal who, along with accomplice Sal Naturile (John Cazale), decides to rob a bank in Brooklyn. However, things quickly go awry and the robbery evolves into a tense hostage situation that captures the attention of the media.

The notion of all eyes being on the unfolding hostage situation — with both us as the audience and the people in the film gripped by the media circus they're seeing on their screens — only adds to the tension, as the inexperienced duo struggles to cope with the pressure as things escalate. Al Pacino is in excellent form in "Dog Day Afternoon," with frenzied, electric energy that perfectly matches the film's tone — acknowledging the absurdity and comedy of the situation which spirals out of control as the film progresses.

Remade by Steven Soderbergh in 2002, the 1972 version of "Solaris" remains the superior version and along with "2001: A Space Odyssey," is a benchmark of the sci-fi genre. The film focuses on Kris Kelvin (Donatas Banionis), a psychologist who's tasked with exploring a space station above the planet Solaris and assessing the remaining crew members who've started to display erratic behavior while on board.

While its thematic density results in "Solaris" being frequently compared with "2001: A Space Odyssey," there are vast differences between them, with "Solaris" favoring a more emotional and human approach and the film expertly tackles themes such as grief, loss, memory, and the nature of what it means to exist. This thematic existentialism, set against the vast, quiet backdrop of space, is somehow even more potent, and Tarkovsky masterfully directs his film with ample time set aside to contemplate its weighty themes. The pace is slow, and while this may prove frustrating for some, if you have the patience for "Solaris," it's an incredibly rewarding experience.

Frequently beautiful, Terence Malick's poetic period love story in "Days of Heaven" tells the story of two men — Bill (Richard Gere), a fugitive from Chicago, and "The Farmer" (Sam Shepard), a shy, rich Texan — who love the same woman, Abby (Brooke Adams). After Bill persuades Abby to marry the Farmer to inherit his money, she begins to fall for the Texan's charms, leading the two men to become jealous of each other while Abby is caught in the middle.

Showcasing the beautiful landscapes, "Days of Heaven" — like many of Malick's films — is one that requires patience, and this resulted in a mixed critical response. Monica Eng for Chicago Tribune commented that, "the story is secondary to the visuals" but that "you don't think about it while the movie is playing." While the story is slight, there is no denying the visual power of "Days Of Heaven," something that resulted in the film winning an Oscar for Néstor Almendros' beautiful cinematography.

This early film from Martin Scorsese about the low-rung gangsters living in Little Italy proved to be hugely influential for the young director and established him as a master of crime dramas. In "Mean Streets," Harvey Keitel and Robert DeNiro star as Charlie and Johnny Boy respectively, two friends who become involved in the dealings of Charlie's Mafia-connected Uncle Giovanni (Cesare Danova). Facing personal torment between his faith and criminal activities, Charlie also struggles to keep the hot-headed, younger Johnny Boy in line.

According to a 2010 interview, director John Cassavetes had been particularly scathing of Scorsese's previous film, "Boxcar Bertha," and this had persuaded Scorsese to go on to make "Mean Streets," a film closer to his personal experiences. This was a move that paid off as the film received a positive critical response, including Vincent Canby for the New York Times who said, "'Mean Streets' is a decidedly first‐rate film, a film that continually reinforces its various themes with gestures taken from life rather than cinema."

Detailing the life of controversial World War II figure General George S. Patton, the extensive biographical film "Patton" largely covers his wartime achievements, concluding with his removal from his position when his outspoken comments on America's allies, and apparent admiration for the Germans — despite having just faced them in combat — landed him in trouble.

Depicting a divisive figure in real life requires a special performance and George C. Scott's incredible turn as the general is one of the film's biggest strengths. Able to replicate the many facets of Patton's personality with military precision, Scott's performance saw him awarded the Oscar for lead actor, although he famously refused to accept the award, citing his dislike of the voting process and placing actors in competition with each other as his reason (via Entertainment Weekly). "Patton" received 10 nominations in total and went away with seven wins including best picture and best director.

Away from his beloved New York, Woody Allen instead turns his attention to this razor-sharp satire of Russian literature, starring alongside his frequent muse, Diane Keaton, in "Love and Death." In the film, Allen plays Boris, a Russian villager who, along with his distant cousin Sonja (Keaton), hatches a scheme to assassinate Napoleon. Even in a very different landscape to his other '70s hits, "Annie Hall" and "Manhattan," Allen's trademark neurosis is perfectly utilized to bring to life the cowardly, reluctant war hero.

Perhaps Allen's most overtly comedic film, "Love and Death" has a stronger focus on gags and slapstick over the story, but the ridiculous nature of the plot and the way it successfully offers a pastiche of the genre is enough to make this one of the director's most enduring pictures. The film was both a critical and commercial success, making just over $20 million at the box office.

Taking its name from the filmmaking technique — where night-time scenes are shot during daylight but with a special camera filter to make them appear darker — "Day for Night" is François Truffaut's tribute to the art of making a movie. Truffaut stars in the film as Director Ferrand, struggling to get his film made amid the real-life drama involving stars Severine (Valentina Cortese), Alexandre (Jean-Pierre Aumonth), Alphonse (Jean-Pierre Léaud), and Julie (Jacqueline Bisset). With the actors appearing to play deliberate archetypes, and the film within the film almost hilariously cliche, "Day for Night" gives the impression of Truffaut holding up a wry lens to the industry that made him famous.

Along with "Singin' in the Rain," "Day for Night" is often cited as one of the best films about the art of making movies, managing to be both incredibly entertaining as well as a loving tribute to the artform that Truffaut loved so much. Unsurprisingly, critics loved it, including Justin Chang for the Los Angeles Times who called it, "A glorious ode to the fleeting, addictive and irreplaceable joys of cinematic collaboration."

If you're looking for a film that perfectly epitomizes the gritty realism of many of the '70s best films, you needn't look much further than "The French Connection." The decade saw a big transition from films that depicted law enforcement as the heroic "good guys" to ones that honed in on the shades of grey within the force, and that is certainly the case with William Friedkin's 1971 film. Most of the characters are morally ambiguous, but none more so than Jimmy "Popeye" Doyle (Gene Hackman), who has a violent mean streak that ensures he isn't always the clear-cut hero. Alongside his partner, Buddy Russo (Roy Scheider), Popeye is tasked with stopping a European drug-smuggling ring who've brought their narcotics into America.

Friedkin's documentary-like directorial style adds a palpable sense of authenticity to the film, and not a single moment is wasted. The legendary chase scene is as gripping now as it was then, and knowing it was all filmed for real on the streets of Brooklyn makes it even more thrilling. That element of danger — both in front of and behind the camera — is all part of what makes this film so special. "The French Connection's" qualities were recognized by the Academy, picking up a total of eight nominations and winning five for best picture, best lead actor, best director, best adapted screenplay, and best editing.

In a decade where Woody Allen's directorial output was pretty faultless, "Annie Hall" still manages to stand above them all. The film charts the ups and downs of comedian Alvy Singer's (Allen) relationship with the titular club singer (Diane Keaton). Narrating his own bittersweet love story, Singer reflects on his life before, during, and after Annie.

One of the best romantic comedies of all time, "Annie Hall" has everything that makes the genre work — characters with believable chemistry and a warmth that radiates throughout. Having made several films together, the rapport between Allen and Keaton is unparalleled, and there is an honesty to their relationship that makes the film feel very personal. A box office success and critical darling, "Annie Hall" also shone in awards season, winning four Oscars for best picture, best director, lead actress, and best screenplay, only narrowly missing a sweep when Woody Allen was beaten to best actor by Richard Dreyfuss in "The Goodbye Girl."

Who better than the Pythons — a troupe of surreal British comics — to bring their unique touch to the Arthurian legend in this outrageously silly comedy. While they had previously ventured into the world of cinema with their first film, "And Now for Something Completely Different," it had comprised of their sketches from their television show, and so "The Holy Grail" marked their first foray into narrative features. Graham Chapman stars as the mythical King Arthur, who leads his band of witless knights to find the coveted Holy Grail. On the way, they encounter a killer rabbit, a three-headed giant, and the tenacious Black Knight who refuses to die quietly... or die at all really.

If you're looking for historical accuracy, you're in the wrong place. Instead, the Pythons bring their unique blend of the sublime and the ridiculous with a quest that only seems to get sillier as it progresses. The multi-talented Pythons play multiple roles and it is always tremendous fun seeing a group of comedians who work so well together and are exceptionally good at what they do. While subject to a mixed critical reaction initially, "The Holy Grail" has become a cult classic over the years and frequently appears in polls of the greatest comedies, placing second in ABC's televised special, "Best in Film: The Greatest Movies of Our Time," and eighth in Empire Magazine's 50 Best Comedy Movies list.

Boasting one of the greatest movie taglines, with this ominous warning: "In space, no one can hear you scream," to this day, "Alien" remains one of the best examples of movie genre hybrids with its pitch-perfect blend of horror and science fiction. Set on board the space tug Nostromo, a small crew faces unimaginable horror when an alien lifeform begins to attack, leaving them fighting for survival.

Along with boasting one of the most memorably stomach-churning moments — when an alien bursts out of the chest of Kane (John Hurt) — "Alien" also gave us one of the greatest screen heroines in the iconic Ripley, (Sigourney Weaver). Surprisingly, when "Alien" was first released, the critical reception was a little mixed, with legendary critic Roger Ebert calling it one of the few "real disappointments" of the genre on a 1980 episode of "Sneak Previews." However, Ebert was one of the many who reassessed the film decades later, calling it one of "the most influential of modern action pictures" and saying it "still vibrates with a dark and frightening intensity."

Roman Polanski's thrilling take on a film noir, "Chinatown," sees Jack Nicholson as private eye Jake Gittes, hired by socialite Evelyn Mulwray (Faye Dunaway) to investigate her husband's extra-marital activities. What unfolds is a murky tale of double-crossing, deceit, and murder that feels like it's paying tribute to the classic film noirs of the 1930s or 1940s while also offering some of the grittiness and cynicism that ran through so many films of this decade.

The exceptional screenplay — which won "Chinatown" its only Oscar out of 11 nominations — is one that constantly surprises, and just as you think the film is going in one direction, a new layer is uncovered. The more complicated things get, the more the suspense builds, and as the film spirals, there's the crushing feeling that the corruption is too great and too vast to resolve. Its lack of resolution is bitter, melancholic, and undeniably bleak — something that epitomized much of '70s cinema — and is perfectly summed up in one of the all-time great closing lines.

While he had set an unreasonably high bar for himself with "The Godfather," Francis Ford Coppola's sequel managed to live up to the first film and delivered an effective continuation of the Corleone crime family's story. Shifting the focus onto the new Don Michael Corleone (Al Pacino) as he takes care of the family business, a prequel story runs parallel to this showing the young Vito Corleone (Robert DeNiro) as he moves from Sicily to establish his family empire.

Due to the success of the first film, Coppola was given free reign to tell the story in the way that he wanted, charting the next steps of the Corleone family while also exploring how they rose to their prestigious position as a formidable crime syndicate. While it didn't perform as well at the box office as "The Godfather," "Part II" was still a resounding success, with some contemporary critics — such as The Guardian's Peter Bradshaw — even going as far to call it the superior film.

In a decade packed with some of the greatest films of all time, there can be only one that sits above them all and that is Francis Ford Coppola's crime epic, "The Godfather." The film charts the powerful mob family, the Corleones, focusing on the head of the clan, Don Vito Corleone (Marlon Brando) and his reluctant son Michael (Al Pacino). Introducing his son to the complex web of deceit, violence, and betrayal, Vito draws Michael deeper into their Mafia activities.

There's not much that can be written about "The Godfather" that hasn't been said already, but its reputation as one of the most influential gangster movies and one of the greatest films ever made is earned. With the magic formula of perfect casting, a purposeful script, and masterful direction along with the exquisite score, production design, and editing. Simply put, it is hard to find fault in this film, and this is one of the many reasons why it has endured for so many years. A massive box office success at the time and amassing even more revenue due to subsequent re-releases, "The Godfather" has made more than $250 million worldwide, placing it in the all-time highest-grossing films when adjusted for inflation.