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What constitutes a classic movie? Depending on who you ask, yes.

For its list of the top 100 films, the American Film Institute is frequently used. “For me, a classic film is one that is 30 or more years old and has stood the test of time thanks to its exceptional storytelling, themes, or performances,” Dave Karger, host of Turner Classic Movies, tells TODAY via email. “A true classic is just as great, if not better, upon repeat viewings.”

Nevertheless, throughout the roughly 120-year history of feature film, the stories that most of us consider masterpieces have focused on specific people while neglecting, misrepresenting, or downplaying a great number of others.

Modern films that are more diverse in every way have started to be added to the pantheon in recent years; thus, this list may seem very different in a different age than it does now. Are there any troublesome parts in any of these films? Indeed, they are still discussed in the current day at this point. Who knows what will happen in thirty years?

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Following Karger’s lead and using some advice from AFI, we have compiled a list of 30 of the greatest classic movies you should watch. We have limited our selection to movies from the mid-1990s.

Though some are more well-known than others, they are all deserving of respect and recognition. These are some of the best pieces of art that are currently available for streaming on services like HBO Max, Netflix, and Amazon Prime Video yet will never be displayed in a museum. Some, like “The Wizard of Oz,” are appropriate for families and children to watch, while others are a must-see for everyone.

The 1938 film “Bringing Up Baby”

Before “Bringing Up Baby,” there were screwball comedies, but few were as screwy as this one—and we mean that in the best conceivable manner. The description is incomprehensible: A baby is given to a socialite (Katharine Hepburn). Actually, she falls in love with a much more stern paleontologist while also falling in love with a leopard named Baby. It only gets more bizarre and hilarious after her dog snatches his bone—a dinosaur bone, actually—and the cat escapes, leaving the people on a farm in Connecticut to look for both.

In 1939, “The Wizard of Oz”

Even though “The Wizard of Oz” is more than 80 years old, it nevertheless holds up admirably. With its recognizable characters and timeless quotations, it’s a favorite among both kids and adults. To refresh your memory, Dorothy (Judy Garland) is blown from her Kansas farmhouse by a tornado into the merry old land of Oz. She kills someone right away (well, she didn’t mean to, but the house fell on a witch), makes friends with some strangers, and travels to the Emerald City, only to find out she had the means to return home all along. The Wicked Witch of the West remains a scary figure even after all these years.

The 1939 film “Gone With the Wind”

On the one hand, “Gone With the Wind” is a classic: stunning to look at, with memorable characters and performances, particularly Vivien Leigh’s portrayal of the pampered Scarlett O’Hara, who persists despite her excessive obsession with the same person (“Oh, Ashley!”). It makes sense why Rhett (Clark Gable) adores her. However, the way that “GWTW” romanticizes a way of life made possible by owning others and how it depicts Black characters are both out of date and problematic. Nevertheless, even with a gimlet eye, this is a worthwhile movie.

The 1946 film “It’s a Wonderful Life”

With a premise that has been appropriated for both television and movies: What if you could see what the world would have been like if you had never been born? “It’s a Wonderful Life” is a beloved Christmas classic, regardless of whether you view it as a horror tale about a poor schmoe who simply wanted to travel the world but was unable to leave his hometown or as an inspirational tale about the ability of a good man to defeat evil. After making that wish, Jimmy Stewart’s character George discovers what it truly means to live a “wonderful” life.

“Everything About Eve” (1950)

Bette Davis plays aging stage actor Margo, who seems to have it all: a handsome husband, a successful career as a well-respected actor, and admirers who show up at her stage door and want to take her life away, like, say, Eve. “Fasten your seat belts; it’s going to be a bumpy night.” Eve (Anne Baxter) first appears to be the ideal personal assistant, but her actual intentions soon become apparent, and Margo will have to confront some harsh realities if she hopes to put this pretender in her place. Bonus: Marilyn Monroe had a minor, early role! This inside glimpse into “the theee-ay-tor,” with all of its accompanying sniping, is not to be missed.

The 1952 song “Singin’ in the Rain”

“Singin’ in the Rain” would be the image of joy if it could be captured on film. It’s a musical about the actors caught in the middle of Hollywood’s transition from silent to talkie pictures. It’s also a love story between Kathy (Debbie Reynolds, as perky as she can be, but down-to-earth) and Don (the ever-charming, graceful Gene Kelly), who meet cute, argue, work on the show all night, and team up to take down one actor who simply doesn’t know how to share credit. Additionally, “Make ‘Em Laugh” by Donald O’Connor is a gem of rubber-faced song and dance.

“High Noon” (1952)

The phrase “High Noon” should be in your lexicon regardless of your preference for Westerns. Gary Cooper portrays Marshal Will Kane, who is about to retire after being married to Grace Kelly, a Quaker and pacifist whom he has vowed to sacrifice a violent life for. You know what? He’s preparing to leave when bad people, including one Kane who was formerly incarcerated, arrive in town. His conscience will not allow him to flee and abandon the community to the outlaws’ schemes. Who is going to support him? Could it be a tumbleweed? The confrontation at noon is as iconic as cinema can get, and the plot is about doing the right thing because it’s, well, the right thing.

“Godzilla” (1954)

You might laugh at the corny monster, the paper-thin “buildings,” and the excessive use of green screen, but without the first “Godzilla,” Hollywood might not have realized how powerful special effects could be. In addition, it’s a fun, full-on smash-a-thon and a statement on nuclear weapons testing (how do you think the giant Kaiju got awakened in the first place?).

1954’s “On the Waterfront”

The story of a former boxer (Marlon Brando) who follows orders from a dishonest union head in “On the Waterfront” is a modest one with significant ramifications. till he abruptly stops. Brando is passionate and captivating, and he rightfully earned an Oscar for best actor for the part. It’s about the ability of workers to unite against not only the enemy but also the corruption within their own ranks.

In 1957, “The Bridge on the River Kwai”

“Bridge” depicts multiple storylines simultaneously, all of which branch off from a WWII prisoner of war camp in Thailand. It is a rich adventure tale that also explores the cost of war. Inmates are used to construct a bridge that will span the Kwai and transport the enemy’s supplies. Until Col. Nicholson (Alec Guinness) encourages the men to do well in order to maintain morale, everything goes terribly wrong. In the meantime, William Holden, an American, is dispatched to demolish the bridge and… Things don’t go smoothly. This is a character study of a country and its people, beautifully photographed and incredibly captivating.

1967’s “The Graduate”

It’s normal for young men to feel a little lost after graduating from college. Given his lack of focus, what does young Ben (Dustin Hoffman) do? falls in love with one lady, has sex with her mother, thinks about working in plastics, and ruins a wedding. only to find himself still unsure of his life’s purpose. Despite being marketed as a comedy, “Graduate” frequently comes across as solemn and reflective, and Simon & Garfunkel’s music—from which “Mrs. Robinson” originated—is both dark and timeless.

In 1969, “The Wild Bunch”

Do you believe that movies nowadays are violent? Wait until you see this one, then. Director Sam Peckinpah’s revisionist version, which was released in the midst of a wave of films and television shows that idealized the American West, did not skimp on the shootings, the blood, or the general chaos. Additionally, he frequently employed methods that were novel at the time but appeared familiar to modern viewers, such as quick-cut editing and slow-motion fighting. The plot centers on an elderly bandit gang, which includes Ernest Borgnine and William Holden, who are out for one more con before becoming entangled in the Mexican Revolution after being conned themselves.

“MASH” (1970)

Like your crazy uncle, who actually has some pearls of wisdom to impart, “MASH” entered the mix when the Vietnam War was raging and Americans were fighting about how to handle both soldiers and peace campaigners. The ensemble cast is full of sarcasm, quips, existential angst, and yes, the era’s customary misogyny, but it’s also funny, incisive, and real. It is a more mature and difficult version of what you would have seen in the TV series, and fans of the show (which stylizes itself as “MAS*H”) might be startled to see Tom Skeritt and Donald Sutherland as Hawkeye and Trapper John. However, it was a direct shot to the core of the debate over the pointlessness of war, which is why it will always be relevant. (Rated R)

The 1973 film “Enter the Dragon”

Bruce Lee was already a well-known international figure before “Enter the Dragon” was released, so it wasn’t his breakout performance. However, it was his final finished movie before his death at the age of thirty-two. A group of antiheroes battles a man who owns a fortress island, and it’s a fun time with lots of foot-kicking and hand-flailing. “Dragon” is a martial arts masterpiece that is captivating and enjoyable overall.

In 1941, “Citizen Kane”

All of your most film-savvy friends and family will tell you that “Citizen Kane” is the greatest movie ever created. And what do you know? They may be correct. With that high bar set, keep in mind that the film is more than 80 years old, and both the industry and the world have advanced both technically and narratively. However, the Oscar-winning “Citizen Kane,” which Orson Welles, at 25 years old, co-wrote, acted in, and directed, establishes the case for cinema as a legitimate art form. This picture about an idealistic sudden millionaire who rots from inside is heartbreaking to see and gorgeous to look at because of Welles’ use of lighting, camera angles, and elliptical storytelling, as well as his ability to be both charming and threatening on camera.

“Casablanca” (1942)

Your ability to appreciate Ingrid Bergman and Humphrey Bogart will determine how much you enjoy “Casablanca”—and you will, in fact. She appears to be shot in soft focus all the time, and it’s startling to see him smile during the flashbacks to happier times, but their story works as it goes: Rick, the cynical bar owner, is running away from his former life until Ilsa, played by Bergman, enters the scene. The circumstances, some amazing one-liners, and Bergman’s perpetually dewy face highlight the passion between her and her husband Victor (Paul Henreid), a World War II freedom fighter. It will leave you feeling as happy-sad as any movie can.

1951’s “The African Queen”

In “The African Queen,” Bogart plays a tough, hard-drinking riverboat owner who becomes stranded with a prim missionary whose outpost has been destroyed (Katharine Hepburn). This is a totally different look at Bogart. They experience a sense of adventure and romance as they attempt to avoid capture, and they come up with the stupid notion to sink the German gunboat in front of the British to prevent them from attacking. The water, however, is not so understanding. They are severely tested by leeches, alligators, and shallow, muddy swampland. A thrilling journey helmed by two of Hollywood’s biggest stars.

“Psycho” (1960)

To the uninformed, saying nearly anything about “Psycho” would be excessive. A masterwork of tension, Alfred Hitchcock conceals the monster and prevents the plot from taking an unexpected turn. Because Hitchcock hints at the horror rather than shoving it at the spectator, “Psycho” isn’t overly graphic, but that’s part of its appeal. Let’s just say that, once she stops at the Bates Motel, where Norman and his mother are in charge, a woman who embezzles from her job (Janet Leigh) does not fare well in the real world.

The 1962 film “Lawrence of Arabia”

It is impossible to view “Lawrence of Arabia” on your home theater, no matter how large it is. David Lean’s breathtakingly photographed widescreen depiction of the life of former British soldier T.E. is a film that truly begs to be seen on a large screen. Lawrence is stunning to look at. Then there is a youthful Peter O’Toole, dressed in white with piercing blue eyes, and his Arab buddy, Omar Sharif, who is dressed in various shades of black. Both of them defy preconceptions and don’t accept no. In the opening scene, O’Toole’s Lawrence uses his fingers to extinguish a lighted match and observes, “The trick is not minding that it hurts.” Seldom has a single line so effectively captured a single guy.

In 1965, “The Sound of Music”
“The Sound of Music” is actually two movies in one sense: A love tale about an aspiring nun who is sent to nanny a very strict wealthy man’s children and who end up falling in love with one another. a narrative about defying Nazism and choosing to leave your country of origin rather than be forced to join the Nazis. But some of the most moving tunes any Hollywood musical has ever written help the two come together flawlessly. The saddest thing about the movie is that, despite winning five Oscars, Julie Andrews, who will win your heart from the first scene in which she is spinning on an Alpine hill, did not receive any of them.

The 1968 film “2001: A Space Odyssey”

Expectations of rigid narrative consistency should likely be checked at the airlock by those who arrive at “2001: A Space Odyssey” with such expectations. First of all, “2001” is a compilation of several short stories that are connected by the emergence of an unexplained monolith in a “cosmic zoo,” on the moon, and in front of monkeys. The audience is left to determine the significance of the monolith. However, the main plot of the movie is on a spacecraft traveling to Jupiter, where an astronaut embarks on a surreal adventure into the future, and the onboard computer has some of its own ideas. Despite its visual impact, “2001” remains one of the best depictions of what space life and extraterrestrial life might actually look like.

1972’s “The Godfather”

The plot of “The Godfather” is not hinted at. This is a film about a kid who chooses his father’s life of power and peril over an escape into fully-assimilated America, despite all the gunshots, bloodshed, and horse heads left as messages. And so many other things, of course. However, “Godfather” is an adult Mafia tale in which Michael (Al Pacino), the son, eludes the viewer as a potential hero and ends up becoming the next Don. He accepts that it is his destiny. It makes “The Godfather” both a tragedy and a piece of art.

“Chinatown” (1974)

Surprisingly, “Chinatown” doesn’t spend much time in or with Chinese people. Rather, it’s a neo-noir mystery with a detective lead character (Jake, played by Jack Nicholson) who spends the most of the movie with a bandage over his nose and a really surprising conclusion, all of which are related to water rights in Los Angeles in the 1930s. “Chinatown” is a tough cookie of a movie that gets under your skin when you’re not looking. It’s clever, tight, and as sharp as the edge of a knife.

In 1975, “One Flew Over the Cuckoo’s Nest”

In “Cuckoo’s Nest,” Jack Nicholson returns in a rare role. The film appears to be a feel-good drama about a normal guy named Randle McMurphy (Nicholson), who commits himself to a mental institution to avoid hard prison labor. He then organizes the true mental patients to rebel against Nurse Ratched, the most uncompromising caregiver ever made, who bullies patients rather than sympathizes with them. The movie has some happy, funny parts, but as everything falls apart, it suddenly becomes somber and depressing.

“Rocky” (1976)

A bulldog movie is one that won an Oscar for best picture and spawned six sequels, including three spin-off series to date. Rocky Balboa is an outsider attempting to force his way into a system that doesn’t appear to want him, much like actor (and writer) Sylvester Stallone himself (at least at the time). However, unwavering resolve and a singular objective (to become a great boxer for Rocky; to get his movie made without compromising—the then-nearly unknown actor insisted on starring in his own film) demonstrate that you can, in a sense, win if you’re prepared to go the full 15 rounds with a champion.

In 1977, “Star Wars Episode IV: A New Hope”

After falling in love with a hologram woman and fending off the galaxy’s biggest threat, the farm boy meets androids, learns a secret message, and realizes his destiny. It’s a classic story. Naturally, George Lucas, the director and writer, forever perplexed everyone by referring to it as “Star Wars,” then revealing that he had begun in the middle of the narrative, and finally having to clarify that it was Episode 4, not Episode 1. To put everything in perspective, however, you must set aside all of that and be fully aware of the decades-long journey that this franchise takes everyone on. Nothing like it has ever been done at a high level in a theater before, either visually or with this degree of ambition and storyline. Movies, toys, special effects, and everything else were all altered by it. As it happens, these were the drugs we were searching for.

1980’s “Raging Bull”
It’s difficult to believe that another boxing-related movie could captivate audiences just three years after “Rocky”‘s triumph, but Martin Scorsese was a promising filmmaker not to be overlooked. Additionally, after a few movies, he had firmly established some of his best themes (gangsters, guys who are their own worst enemies) and performers (Robert De Niro and Joe Pesci are the film’s stars). This film, which was made by a young but self-assured director, is more about the psychological struggle of a man (played by De Niro’s Jake LaMotta) who has it all and loses it all than it is about the punches that are thrown.

The 1981 film “Indiana Jones and the Raiders of the Lost Ark”

Punching Nazis and raiding tombs has never been so entertaining on television. The title character, Jones, played by Harrison Ford, is an archaeology professor who is so naive that his students write phrases on their eyelids to blink their love at him. He finds out that the true Ark of the Covenant is going to be uncovered and stolen by some evil Germans. There are plenty of swashbuckling, pirates, elbow kissing, and melting faces, and believe us when we say that you shouldn’t undervalue the divine’s ability to handle itself.

The 1982 film “E.T.: The Extra-Terrestrial”

Turn on your heartlight for this one, a contemporary masterpiece by Spielberg that, for once, isn’t about terrifying extraterrestrials attempting to take over our bodies or lives, but rather about a lost visitor who befriends the most accepting of us all: small children. You might not have completely understood how much of “E.T.” is about missing fathers and finding someone unique to call your own if you just ever saw the movie as a kid. It’s also about putting your friend’s needs ahead of your own, as Elliott obviously wants his new acquaintance to stay on Earth. Love is that.

“The Story of a Soldier” (1984)

Race quickly becomes more than simply an issue when Howard E. Rollins Jr., a Black soldier in the Judge Advocate General’s Corps, is dispatched to look into the 1944 death of a Black master sergeant outside of a segregated Army base. Despite being mistrusted by everyone, Rollins’ Captain Davenport has just three days to determine who did it and why. It’s hard to find a big-budget film from the 1980s with serious racial themes and Black actors at its core, yet this one endures and offers powerful commentary that still feels eerily contemporary.

The 1985 film “My Beautiful Laundrette”

In Thatcher-era London, Gordon Warnecke plays a young British-Pakistani man who receives a break when his uncle hands him the keys to a laundry. However, he has a secret that soap bubbles cannot conceal: he is gay and in love with Daniel Day-Lewis, an old boyhood buddy he hired to assist with business-related tasks (in one of his earlier roles). It’s about cultural conflicts, love, intolerance, and punks, and it’s funny, endearing, and (for the time) rebellious. It’s simultaneously sweet and revolutionary.

“Take the Correct Action” (1989)

After making waves with “She’s Gotta Have It” and “School Daze,” director and co-star Spike Lee made a big splash with his third film: On the hottest day of the year in the Bedford-Stuyvesant neighborhood of Brooklyn, a racial and cultural conflict between the black and white residents erupts over a seemingly insignificant incident that holds great significance for many in the community. With a truly amazing cast that includes Giancarlo Esposito, John Turturro, Ossie Davis, Samuel L. Jackson, and Ruby Dee, as well as a unique look, feel, and voice, it’s a humorous and emotional ensemble character study.

The 1991 film “Boyz ‘n the Hood”

A few years after Lee’s “Right Thing,” John Singleton, the first feature director, spoke for Black communities and conflicts in South Central L.A. Tre (Cuba Gooding Jr.) is sent to live with his sage father Furious (Laurence Freeman) following a fight. There, he meets new people, gets a girlfriend, and discovers what it’s like to live in an area where gangs rule. Overall, it depicts a scenario where success implies leaving the house rather than staying put and focuses more on a Black neighborhood that is fighting to avoid being dragged down by its criminal aspects. It’s a story that’s both heartbreaking and wonderful, and it’s essential to understanding how America functions.

The 1991 film “Raise the Red Lantern”

The crimson lantern in your room signifies that you will be the object of your husband’s attention that evening in the Chen household in 1920s China. However, because there are four concubines living in the mansion, the ladies are left to plot, scheme, and betray each other in order to get his graces, which confer position in the home, power, and better food. “Red Lantern” is both a historical record and a vividly detailed account of a segment of Chinese culture. It is powerful, gripping, and exquisitely crafted.

In 1994, “Pulp Fiction”

“Pulp Fiction” is undoubtedly not a movie for everyone (particularly if you like your movies with fewer characters), but it is a wild story of entwined tales, altered timeframes, and characters who are both immediately strange and enduringly memorable. For openers, you have a couple of hitmen, a group of diner robbers, a bag filled with the smartest MacGuffin ever seen in a movie, a boxer who betrays a gangster, and a drug-using, pampered rich man’s wife. Seeing the renowned filmmaker Quentin Tarantino appear late in the movie, annoyed that one of his friends has arrived covered in viscera, is also a delight. Funny, bold, and instantly iconic.