51. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

Drama

So much of Stanley Kubrick’s genius was conceptual, and this one asks his most audacious question: What if the world came to an end—and it was hilarious? Nuclear annihilation was a subject in which Kubrick immersed himself, reading virtually every unclassified text. His conclusion was grim: There would be no winning. Via darkest comedy (the only way into the subject) and an unhinged Peter Sellers playing three separate parts, Kubrick made his point.

《奇爱博士》

        斯坦利·库布里克（Stanley Kubrick）的很多天才都是概念性的，而这个天才问了他最大胆的问题：如果世界走到了尽头呢——而且很搞笑？核湮灭是库布里克沉浸其中的一个主题，他几乎阅读了所有非机密文本。他的结论是严峻的：不会有胜利。通过最黑暗的喜剧（进入主题的唯一途径）和精神错乱的彼得·塞勒斯扮演三个不同的部分，库布里克展示了他的特有的观点。

52. M (1931)

Drama

One of those epochal films—there’s only a handful—that sits on the divide between silent cinema and the sound era but taps into the virtues of both, Fritz Lang’s serial-killer thriller burns with deep-etched visual darkness while perking ears with its whistled “In the Hall of the Mountain King” (performed by a purse-lipped Lang himself; his star, Peter Lorre, couldn’t whistle). The movie’s theme is vigilance: We must protect our children, but who will protect society from itself? M is like a sonar listening to a pre-Nazi Germany on the cusp of shedding its humanity.

《M就是凶手》

        那些划时代的电影之一——只有少数几部——位于无声电影和声音时代之间的鸿沟上，但利用了两者的美德，Fritz Lang的连环杀手惊悚片燃烧着深邃的视觉黑暗，同时用口哨的“在山王的大厅里”（由戴着钱包的Lang自己表演；他的明星Peter Lorre无法吹这部电影的主题是警惕：我们必须保护我们的孩子，但谁来保护社会免受自身侵害？M就像一个声纳听到了在纳粹上台之前的德国正在失去人性。

53. Blade Runner

Science fiction

2019, Ridley Scott’s vision of a dystopian future is one of the most stylish sci-fi films of all time. With a noir-inspired aesthetic and a haunting synth score by Vangelis (a massive influence on Prince), Blade Runner is iconic not just for its era-defining look, but also for its deeper philosophical examination of what it means to be human. Many have tried to imitate the film’s uncanny vibe, but these rain-slicked streets and seedy vistas possess a singular menace.