The Godfather isn't in any real conversation on the greatest film -- it's a mainstream filmgoer's idea of "greatest"; watch more foreign films! -- and one absolutely should, after watching at least the first two films, read Puzo's novel. It's mediocre pulp fiction, for sure, but offers so much valuable context.

In answer to the greatest of film masterpieces, the 12 I'd place foremost in that conversation:

The Rules of the Game (Jean Renoir, 1939)

Citizen Kane (Orson Welles, 1941)

A Brighter Summer Day (Edward Yang, 1991)

Seven Samurai (Akira Kurosawa, 1954)

Satantango (Bela Tarr, 1994)

Man With a Movie Camera (Dziga Vertov, 1929)

Stalker (Andrei Tarkovsky, 1979)

The Cranes are Flying (Mikhail Kalatozov, 1957)

Tokyo Story (Yasujiro Ozu, 1953)

The Wild Pear Tree (Nuri Bilge Ceylan, 2018)

Berlin Alexanderplatz (Rainer Werner Fassbinder, 1980)

La Dolce Vita (Federico Fellini, 1960)

Probably another dozen or so deserving of consideration, the vast majority of them in a language other than English.

I see three masterpieces here (Fight Club, Princess Mononoke and GoodFellas), another that might be (The Silence of the Lambs) and one other very good film (Pulp Fiction). Then a lot of overrated films, one of them truly awful (Forrest Gump) if quite entertaining.

Your guys' take on cinema is so pedestrian, like a kindergartner's take on, well, anything. You really ought to look for contributors who know cinema.

Here are 20 actual 1990s masterpieces (I could list more):

A Brighter Summer Day (Edward Yang, 1991)

Satantango (Bela Start, 1994)

Underground (Emir Kusturica, 1995)

The Thin Red Line (Terrence Malick, 1998)

La Promesse (Jean-Pierre and Luc Dardenne, 1996)

Flowers of Shanghai (Hou Hsiao Hsein, 1998)

Raise the Red Lantern (Zhang Yimou, 1991)

Rosetta (Jean-Pierre and Luc Dardenne, 1999)

The Remains of the Day (James Ivory,, 1993)

Quiz Show (Robert Redford, 1994)

Heat (Michael Mann, 1995)

The Big Lebowski (Joel and Ethan Coen, 1998)

Jackie Brown (Quentin Tarantino, 1997)

Howards End (James Ivory, 1992)

Casino (Martin Scorsese, 1995)

Dazed and Confused (Richard Linklater, 1993)

Sense and Sensibility (Ang Lee, 1995)

Boogie Nights (Paul Thomas Anderson, 1997)

Rushmore (Wes Anderson, 1998)

Cold Water (Olivier Assayas, 1994)

It's better to educate than to pander.