46. The New York Ripper (1982; Lucio Fulci)
The duck voice is probably going to put some people off, but if you can get past that you and you generally like Fulci, you'll like this movie too. It's sleazy as all get out. This currently sits at 17% on Rotten Tomatoes, which just goes to show that you can't trust critics when it comes to horror films or movies about people who use fake duck voices.
47. Late Spring (1949; Yasujirô Ozu)
I haven't seen very many Ozu films as of yet. But I have noticed that I love that while his films are visually impressive on multiple levels, his ability to convey familial relationships on screen is second to none. And he had Setsuko Hara in his films all the time, and if you don't like that, you are a jamook.
48. Le Trou (1960; Jacques Becker)
Le Trou excels at creating tension. That tension raises the stakes in an already high-stakes situation. It's also incredibly well-crafted. As far as prison escape movies go, this one is in the upper echelon.
49. Amer (2009; Hélène Cattet & Bruno Forzani)
A perfecting melding "arthouse," gialli, surrealism, eroticism, style, and suspense. Plot optional, like most proper gialli. The world needs more experimental gialli.
50. Saturday Night and Sunday Morning (1960; Karel Reisz)
British kitchen sink realism. Albert Finney gives a star-making performance. I think for the time this is a fairly controversial film, as it deals with some things that probably weren't as widely discussed as they are now. It was filmed in black and white, and it's an ugly black and white that seems to match Albert Finney's outlook on life in this film.