it as the 3rd-best crime film of all time. Vertigo ranked 3rd in BBC's 2015 list of the 100 greatest American films. On review aggregator Rotten Tomatoes, the film holds an approval rating of 93% based on 87 reviews, with an average rating of 8.90/10. The website's critics consensus reads,"An unpredictable scary thriller that doubles as a mournful meditation on love, loss, and human comfort". As of January 2021, Vertigo is one of only eight films with a 100 (perfect) score on the movie critic aggregator website, Metacritic (two other Hitchcock films, Notorious and Rear Window, are also on the list). The most recent edition of the American Film Institute's top 100 films of all-time, released in 2007, placed Vertigo at #9 up 52 positions from its placement at #61 in the original 1998 listing. American Film Institute recognition AFI's 100 Years...100 Movies (1998) #61 AFI's 100 Years...100 Thrills (2001) #18 AFI's 100 Years...100 Passions (2002) #18 AFI's 100 Years of Film Scores (2005) #12 AFI's 100 Years...100 Movies (10th Anniversary Edition) (2007) #9 AFI's 10 Top 10 (2008) #1 Mystery The San Francisco locations have become celebrated amongst the film's fans, with organised tours across the area. In March 1997, the cultural French magazine Les Inrockuptibles published a special issue about Vertigo's locations in San Francisco, Dans le décor, which lists and describes all actual locations. Director Martin Scorsese has listed Vertigo as one of his favorite films of all time. Along with the renewed public appreciation of the movie, it is receiving increased academic attention; The Annual International Vertigo conference, for example, showcases recent scholarship, as in its 2018 conference at Trinity College Dublin. Critical works on Vertigo Variety review from 1958 Robin Wood's chapter on "Vertigo" in Hitchcock's Films Molly Haskell's essay, "With Paintbrush and Mirror: 'Vertigo' & 'As You Desire Me'" in The Village Voice Laura Mulvey's Visual Pleasure and Narrative Cinema, popularizing the concept of the male gaze Roger Ebert's 1996 Review Classification as film noir Critical opinion is divided on whether Vertigo should be considered a film noir. Some consider it a film noir on the basis of plot and tone and various motifs, despite its having a modernist graphic design typical of the 1950s and a more modern set design, which would otherwise remove it from the category of film noir. Others say the combination of color and the specificity of Hitchcock's vision