Stephen King on Monday, Sept. 8, 2025, published a list of his 10 favorite films, highlighting a mix of Hollywood classics and a lesser-seen 1977 thriller that surprised some cinephiles.
King posted the list on Twitter, noting that he purposely excluded four films based on his own stories — “Misery,” “The Shawshank Redemption,” “The Green Mile” and “Stand by Me” — and that the titles were “in no particular order.” His selections included “Sorcerer,” “The Godfather: Part II,” “The Getaway,” “Groundhog Day,” “Casablanca,” “The Treasure of the Sierra Madre,” “Jaws,” “Mean Streets,” “Close Encounters of the Third Kind” and “Double Indemnity.”
The inclusion of William Friedkin’s “Sorcerer” stood out. The film, released in 1977, was a commercial disappointment at the time, grossing about $9 million against a $22 million budget and opening in theaters against the original “Star Wars.” Over subsequent decades it has undergone critical reappraisal and gained supporters among filmmakers and critics who call it an underseen masterpiece.
Quentin Tarantino has called “Sorcerer” a “masterpiece,” and Francis Ford Coppola has described it as a “forgotten classic.” Contemporary reviews at the time were mixed; critic Rex Reed called it a “grueling, depressing experience” that nonetheless might appeal to fans of tougher, older movie heroes. King’s tweet and subsequent publicity have renewed attention to the film’s contested place in 1970s American cinema.
King’s list leans heavily on mid-20th-century cinema and films often cited in all-time rankings. “Casablanca” and John Huston’s “The Treasure of the Sierra Madre” both feature Humphrey Bogart, a frequent touchstone for critics and filmmakers. The list spans genres and eras: from Billy Wilder’s film noir “Double Indemnity” to the science-fiction wonder of Steven Spielberg’s “Close Encounters of the Third Kind” and the comedic time-loop of Harold Ramis’ “Groundhog Day.”
By excluding four well-regarded adaptations of his own work, King implicitly framed the list as a survey of outside influences rather than a tally of films tied to his authorial output. His disclaimers prompted commentary about how such exclusions alter the shape of a personal “top 10”; with the four omitted adaptations included, the roster would effectively expand to a broader top 14.
King’s tastes have long been cited by readers and filmmakers as influential; the author’s endorsements can drive renewed interest in lesser-known titles. The timing of the list comes days before the release of a new film adaptation of King’s novella “The Long Walk,” which opens Friday in some markets. King did not indicate whether that film might be added to a future list.
The list reflects both popular consensus choices — films that regularly appear on critics’ and directors’ best-of lists — and idiosyncratic picks that highlight how filmmakers and audiences reassess movies over time. King’s public naming of “Sorcerer” underscores how reassessment can elevate a commercial failure into a subject of renewed critical debate and curiosity among viewers.
King’s tweet runs in full: “My 10 favorite movies (excluding MISERY, SHAWSHANK, GREEN MILE, STAND BY ME). In no particular order: SORCERER GODFATHER 2 THE GETAWAY GROUNDHOG DAY CASABLANCA TREASURE OF THE SIERRA MADRE JAWS MEAN STREETS CLOSE ENCOUNTERS OF THE 3rd KIND DOUBLE INDEMNITY.” The post has since prompted coverage across entertainment outlets and conversations on social media about the rankings of modern and classic films.