19. The Wrong Man (1957)

The Wrong Man almost plays like a documentary; Hitchcock felt this true account of a man wrongly tried for a crime he didn't commit was strong enough to stand on its own without any dramatic manipulations. Most procedural dramas you see on the networks today can be traced back to this. 

18. Suspicion (1941)

While the first half of Suspicion is a standard romantic romp, the second half picks up once the newlywed wife (Joan Fontaine) begins to suspect her husband (Cary Grant) of trying to kill her. If Hitchcock had kept his original ending — in which Fontaine was to deliver comeuppance from beyond the grave — Suspicion could've landed squarely in the top ten. 

17. Foreign Correspondent (1940)

Nominated for a Best Picture Oscar along with another Hitchcock film, Rebecca (which won), this spy thriller is a perfectly-chiseled popcorn action movie. 

16. The Man Who Knew Too Much (1934)

Hitchcock's original British version of this story is forty-five minutes shorter than the higher-profile remake, but still retains the same suspenseful set pieces and climax at the Albert Hall. Oh, and this one has Peter Lorre. 

15. North by Northwest (1959)

It's a familiar story for Hitch: in a cross-country adventure, a wrongfully-accused man tries to clear his name against the efforts of a nebulous spy network. And while North by Northwest features plenty of rightfully famous set pieces (the biplane in the cornfield and the climax on Mt. Rushmore being the two most obvious), it actually drags a bit in the middle. At a robust two hours and sixteen minutes, it could've been trimmed.

14. Rope (1948)

Hitchcock's "one shot" masterpiece — it was really ten shots, with the cuts obscured by various characters walking in front of the camera — starts with a murder and holds suspense throughout by keeping the body hidden in plain sight. While Jimmy Stewart's performance is rightfully lauded, it's John Dall's intellectual and ice-cold killer that sticks with you.

13. Rebecca (1940)

There are many tales of production conflict between Hitch and uber-producer David O. Selznick during the making of the former's first American picture. But they kind of don't matter, because the final work is so close to perfection. 

12. Marnie (1964)

Though Marnie was a bit of a disappointment when it was first released — it came on the heels of a five-year period that saw the release of Vertigo, North by Northwest, Psycho, and The Birds — this complex story about a thief who's blackmailed into marrying her employer is as close to a sleeper hit as you'll find in Hitchcock's oeuvre. 

11. The Birds (1963)

It's not the special effects that make this one work, or the everyday ubiquity of the enemy, or the complex personalities of the characters. What sticks with you after the final reel of The Birds is the sense of despair. Things, this time, aren't going to be all right. There are few more nihilistic visions in cinema history.