since 1952, the British Film Institute's film magazine, Sight & Sound, has asked the world's leading film critics to compile a list of the 10 greatest films of all time. In the 1962 and 1972 polls, Vertigo was not among the top 10 films in voting. Only in 1982 did Vertigo enter the list, and then in 7th place. By 1992 it had advanced to 4th place, by 2002 to 2nd, and in 2012 to 1st place in both the crime genre, and overall, ahead of Citizen Kane in 2nd place; in 2022, the Sight & Sound poll ranked Vertigo 2nd place. In the 2012 Sight & Sound director's poll of the greatest films ever made Vertigo was ranked 7th. In the earlier 2002 version of the list the film ranked 6th among directors. In 2022 edition of the list the film ranked 6th in the director's poll. In 1998 Time Out conducted a poll and Vertigo was voted the 5th greatest film of all time. The Village Voice ranked Vertigo at No. 3 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. Entertainment Weekly voted it the 19th Greatest film of all time in 1999. In January 2002, the film was voted at No. 96 on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. In 2009, the film was ranked at No. 10 on Japanese film magazine Kinema Junpo's Top 10 Non-Japanese Films of All Time list. In 2022, Time Out magazine ranked the film at No.15 on their list of "The 100 best thriller films of all time". Commenting upon the 2012 results, the magazine's editor Nick James said that Vertigo was "the ultimate critics' film. It is a dream-like film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul-mate." In recent years, critics have noted that the casting of James Stewart as a character who becomes disturbed and obsessive ultimately enhances the film's unconventionality and effectiveness as suspense, since Stewart had previously been known as an actor of warmhearted roles. Already in the 1960s, the French Cahiers du cinéma critics began re-evaluating Hitchcock as a serious artist, rather than just a populist showman. The film ranked 8th on