Article in the Irish Times yesterday about this, the critic then gave his own Top Ten http://www.irishtimes.com/blogs/screenwriter/2012/08/02/vertigo-takes-the-title-the-irish-times-reveals-its-favourite-films/ Top 10 Films: Critics' Choice 1 Vertigo (Alfred Hitchcock, 1958) 2 Citizen Kane (Orson Welles, 1941) 3 Tokyo Story (Yasujiro Ozu, 1953) 4 La R�gle du Jeu (Jean Renoir, 1939) 5 Sunrise: a Song for Two Humans (Murnau, 1927) 6 2001: A Space Odyssey (Stanley Kubrick, 1968) 7 The Searchers (John Ford, 1956) 8 Man with a Movie Camera (Dziga Vertov, 1929) 9 The Passion of Joan of Arc (Carl Dreyer, 1927) 10 8� (Federico Fellini, 1963) Top 10 Films: Directors' Choice 1 Tokyo Story (Yasujiro Ozu, 1953) 2 2001: A Space Odyssey (Stanley Kubrick, 1968) 2 (joint second)Citizen Kane (Orson Welles, 1941) 4 8 (Federico Fellini, 1963) 5 Taxi Driver (Martin Scorsese, 1980) 6 Apocalypse Now (Francis Ford Coppola, 1979) 7 The Godfather (Francis Ford Coppola, 1972) 8 Vertigo (Alfred Hitchcock, 1958) 9 Mirror (Andrei Tarkovsky, 1974) 10 Bicycle Thieves (Vittorio De Sica, 1948) Donald Clarke's Top Ten 1. BRIDE OF FRANKENSTEIN (James Whale, 1935) 2. STALKER (Andrei Tarkovsky, 1979) [29] 3. THE LIFE AND DEATH OF COLONEL BLIMP (Michael Powell, Emeric Pressburger, 1943) 4. SWEET SMELL OF SUCCESS (Alexander Mackendrick, 1957) 5. THE APARTMENT (Billy Wilder, 1960) 6. THE SEVENTH SEAL (Ingmar Bergman, 1957) 7. REPULSION (Roman Polanski, 1965) 8. THE GHOST AND MRS MUIR (Joseph L Mankiewicz, 1947) 9. ERASERHEAD (David Lynch, 1977) 10. THE PASSION OF JOAN OF ARC (Carl Theodor Dreyer, 1928) [9] In the letter that Nick James, editor of Sight & Sound, sent out to voters, he made it clear that we could interpret �greatest film� pretty much any way we wished. This was both helpful and unhelpful. On the one hand, there were few rules; on the other, well, there were few rules. It seemed reasonable to do one�s best to come up with films that, after applying a critical slide rule, could be scientifically proven to be better than the competition. Then again, one couldn�t entirely ignore the eccentric, individual obsessions that fire one�s cultural synapses. James Whale�s Bride of Frankenstein brought, for me, those two mildly conflicting drives together. The picture appeals to my love of windy, camp gothic. But it is also acts as a rather brilliant cinematic demonstration of how high art (all those expressionistic sets) and low art (Ernest Thesiger�s music-hall leers) can be merged without passing through the dreaded middle-brow interzone. It figured nowhere in the top 50. Oh, well.