Diego Pineda has been a devout storyteller his whole life. He has self-published a fantasy novel and a book of short stories, and is actively working on publishing his second novel.
Music has been a key part of entertainment throughout the entirety of human history. As such, as soon as sound became a part of the motion pictures, music didn't take long at all to show up. In fact, the very first talkie that won Best Picture at the Oscars was only the 2nd-ever recipient of the award, the infamous 1929 romance The Broadway Melody.
It's over the course of the last 75 years, however, that we've gotten several of the greatest movie musicals of all time, reminders of just how close the genre can come to perfection. A cult classic rock opera? Loving adaptations of Broadway stage musicals? Disney princess classics? Modern homages to the genre? From 1951 to the present, there has been something for everyone—even those who think they don't like musicals—to enjoy. It's a varied, incredibly entertaining genre, and these ten masterpieces and artistic achievements demonstrate that beyond a shadow of a doubt. 10 'The Rocky Horror Picture Show' And God said:"Let there be lips!" And lips indeed there were, and there have been since The Rocky Horror Picture Show came out in 1975. Sensual, silly, and campier than any film that's ever camped, this tribute to the sci-fi and horror B-pictures of the olden days was initially ignored by pretty much everyone. Over time, however, it started growing a cult following. In the present day, Tim Curry's Dr. Frank-N-Furter is the face of cult cinema and the midnight screening circuit. It's one of the edgiest and most violent movie musicals ever, perfect for those who like when the genre is sexy, bloody, and delightfully self-aware. It's definitely not an experience fit for every cinephilic palate, but those who give themselves the opportunity to watch it at 12:00 a.m. in a theater full of costumed people shouting at the screen will be not just surprised, but delighted by how enjoyable campy musicals can be. 9 'The Blues Brothers' Several movies have been made based on sketches from Saturday Night Live, but there's a strong argument to be made that none of them have ever been better than The Blues Brothers. With Jon Belushi and Dan Aykroyd reprising their roles of a paroled convict and his brother trying to prevent the foreclosure of the orphanage in which they were raised, this is another musical that has become a huge cult classic. Over-the-top, incredibly charming, and full of soul-stirring musical numbers, it's a comedic musical masterpiece unlike any other. It's also one of the funniest movies of the last 100 years, and that unique sense of humor that characterizes it is another reason why it has remained timeless over the years. It's an all-time great as enchanting as its two starts, and it will forever be remembered as one of the greatest musicals of the '80s. 8 'Fiddler on the Roof' Based on the 1964 stage musical of the same name, itself based on Sholem Alaichem's short stories about a Ukrainian Jewish milkman named Tevye, Fiddler on the Roof is a film that should need no introduction for fans of musicals. Starring Chaim Topol in the iconic role of Tevye, it's one of the most iconic musicals of the '70s, with a score adapted and composed by John Williams. It's one of the best movie musicals of the last 100 years, with director Norman Jewison pushing the source material to its limits in all sorts of interesting ways. Clocking in at over three hours long, some may find it boring; but those used to slower-burning musicals will find it to be a beautiful, rousing artistic triumph, the kind that makes people go"they don't make 'em like that anymore." 7 'Beauty and the Beast' The artists are Disney have been the masters of fairy tale movies since the '30s, authors of several of the greatest animated films and family films of all time. It was during the period known as the Disney Renaissance, however, that the House of Mouse reached its artistic peak. During this time came Beauty and the Beast, a movie that Walt Disney had been trying to adapt since the '30s. If there were a Mount Rushmore of Disney movies, this one would most certainly be up there. Charming, magical, romantic, and—yes—full of marvelous musical numbers, it's a testament to the peak of Disney's creative and artistic strength as a studio. The importance of animated fantasy films to the history of musicals cannot be overstated, and there are few better movies to watch to understand that importance than Beauty and the Beast. 6 'La La Land' While the musical genre has been one of the least prolific over the course of the 21st century, it has definitely not been absent. Damien Chazelle demonstrated that in 2016 with a nostalgia-infused movie that lovingly pays tribute to the many wonderful, colorful, and vibrant musicals of the past: La La Land, the film that made him the youngest winner of the Best Director Oscar in history. It's easily one of the best movie musicals of the last 50 years, a bittersweet and deeply poignant love story that carefully examines the sacrifices that come with chasing the Hollywood dream. Ryan Gosling and Emma Stone are phenomenal, Justin Hurwitz's music is absolutely unforgettable, and the glitz and glamor with which Chazelle directs every musical number is a treat. 5 'Cabaret' While Francis Ford Coppola's The Godfather won Best Picture at the 1973 Academy Awards, it wasn't the night's bigger winner. So, what was? What film could possibly be great enough to earn more Oscars than what many consider to be the single greatest film of all time? Bob Fosse's Cabaret, of course. Based on the 1966 stage musical, itself based on the 1951 play I Am a Camera and the 1939 novel Goodbye to Berlin, it's one of the most intense movie musicals ever made. Not all musicals need to be bright and joyful, and with some of the bleakest material of any film in the history of the genre, Fosse proves that. Bolstered by Liza Minnelli and Joel Grey's transcendental performances, it's one of the most legendary musicals in the history of film. Not all musicals need to be bright and joyful, and with some of the bleakest material of any film in the history of the genre, Fosse proves that without leaving place for doubts. Seductive, electric, catchy, and visually stunning, it's a masterpiece whose eight Oscar victories were all well-deserved. 4 'The Sound of Music' Robert Wise's The Sound of Music starts out bright and joyful enough, but as the story progresses, it joins Cabaret among the ranks of musicals which prove that the genre isn't all sunshine and rainbows. This World War II classic is one of the most perfect movie musicals ever made, a biopic based on the story of Maria von Trapp and her family. It initially received mixed reviews from critics, but it was a commercial success of such a dimension that its theatrical run lasted four and a half years. By November 1966, it had snatched Gone With the Wind's record as the highest-grossing film of all time, a record it held until Steven Spielberg's Jaws came along. Complex, romantic, rousingly anti-fascist, and full of catchy tunes, it's everything that a musical should aspire to be, and then some. Add Julie Andrews' wonderful lead performance as the cherry on top, and you get one of the best films of the '60s. 3 'Pink Floyd: The Wall' By the time they released their 11th studio album, The Wall, in 1979, Pink Floyd were already bona fide rock legends. This rock opera concept album was something transcendental altogether, though, and it's no surprise that it's one of the highest-selling albums of all time. What is rather surprising, however, is that a musical film based on the album was based. Even more surprising is the fact that Pink Floyd: The Wall is one of the greatest musicals in the history of cinema. Subscribe for Curated Movie-Musical Insights and Picks Join the newsletter for curated coverage of movie musicals, from cult classics to animated favorites, plus thoughtful recommendations and context across cinema to deepen your appreciation of the genre. Get Updates By subscribing, you agree to receive newsletter and marketing emails, and accept our Terms of Use and Privacy Policy. You can unsubscribe anytime. It's the sort of surreal movie that makes you feel like you're tripping balls, so it can definitely be a bit too strange for some people. But for those who don't mind musicals that go all out on the wild capabilities of the genre, it's a must-see. Thematically sharp, highly metaphorical, visually jaw-dropping, and—of course—full of magnificent music, it's obligatory viewing even for those who aren't Pink Floyd fans. 2 'The Lion King' Easily the greatest film of not just the Disney Renaissance, but the whole Disney library, The Lion King is a movie whose reputation precedes it. Inspired by both Shakespeare's Hamlet and West African folklore, it's one of the best kids' movies of the last 100 years, a masterpiece made with gorgeous animation, gorgeous writing, and gorgeous music. For one, Hans Zimmer's score and the original songs penned by Elton John and Tim Rice turn the film into one of the catchiest animated musicals of all time instantly. But aside from its legendary songs, The Lion King is a deeply philosophical coming-of-age that works wonderfully. Tautly structured and equally enjoyable for kids and grown-ups alike, it's the kind of timeless classic that people will surely continue to re-watch religiously many decades from now. 1 'Singin' in the Rain' There are plenty of musical movies worth watching over and over again, but none more so than the greatest musical movie of all time, Singin' in the Rain. Part beautiful rom-com, part hilarious satire poking fun at Hollywood's awkward transition from silent pictures to talkies, it's a movie that has something in it for everyone: Those who want to laugh, those who love romance, those who are cinephiles, and those who simply enjoy watching a perfect movie now and then. Gene Kelly and Stanley Donen achieved something truly special here: a musical that's a pure bundle of uplifting hope and joy yet never feels saccharine or emotionally cheap. On the contrary, Singin' in the Rain works precisely because its emotion, energy, and romance all feel so sincere. There's something irresistibly magical about its every character, its every performance, its every comedic set piece, and its every musical number. It's an absolutely unforgettable masterpiece, and musicals haven't been any better at any point during the last 75 years.Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one. 🪜Parasite 🌀Everything Everywhere ☢️Oppenheimer 🐦Birdman 🪙No Country for Old Men FIND YOUR FILM → QUESTION 1 / 10TONE 01 What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind. ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame. NEXT QUESTION → QUESTION 2 / 10THEME 02 Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours? AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does. NEXT QUESTION → QUESTION 3 / 10STRUCTURE 03 How do you like your story told? Form is content. The way a story is shaped changes what it means. AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more. NEXT QUESTION → QUESTION 4 / 10VILLAIN 04 What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you? AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical. NEXT QUESTION → QUESTION 5 / 10ENDING 05 What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like? AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is. NEXT QUESTION → QUESTION 6 / 10WORLD 06 Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible. AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason. NEXT QUESTION → QUESTION 7 / 10CRAFT 07 What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable. AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could. NEXT QUESTION → QUESTION 8 / 10PROTAGONIST 08 What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you. ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense. NEXT QUESTION → QUESTION 9 / 10PACE 09 How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately. AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action. NEXT QUESTION → QUESTION 10 / 10AFTERMATH 10 What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want? AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days. REVEAL MY FILM → The Academy Has Decided Your Perfect Film Is… Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. BEST PICTURE 2020 Parasite You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image. BEST PICTURE 2023 Everything Everywhere All at Once You want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. BEST PICTURE 2024 Oppenheimer You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort. BEST PICTURE 2015 Birdman You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. BEST PICTURE 2008 No Country for Old Men You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be. ↻ RETAKE THE QUIZ Like Singin' in the Rain G Comedy Musical Romance Release Date April 11, 1952 Runtime 103 Minutes Director Stanley Donen, Gene Kelly Writers Adolph Green, Betty Comden Cast See All
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