An Argument for the 50 Top Films of the Decade

This was difficult.

When I first considered writing this list, I was somewhat less than enthusiastic. 1999 was one of the best years in film history, and my impression of this decade was that of mediocre commercial blockbusters, big summer let downs and over-hyped comic book adaptations. I started writing a top ten, thinking I would have to compromise and barely be able to come up with ten great films. During the many months it has taken me to compose this list, my view of this decade as pertaining to film has changed dramatically. I’ve gone back and watched several films that I was on the fence about to see if they have stood the test of time (albeit only a handful of years). I’ve forced myself to go back and give some films I never cared for a second chance, based on word of mouth or critical praise. I’ve watched films I missed upon their original release if there was something or someone involved that made me think that they could make the cut. And in going back and looking over the top films of each year, both commercially and critically, I was reminded of just how many great films have come out in the past ten years. Top ten soon became twenty. Twenty soon became twenty-five. Then, I made a list of “honorable mention”, and films that just barely missed the cut, but that became too involved, so I had to bump the number to fifty. Anyway, you get the point.

So let’s take a look at this decade of film chronologically. In 2000, we were in the middle of the Teen gross-out comedy faze, as a result of the success of American Pie. Then, Gladiator came out and every critic was heralding the return of the swords and sandals epic. Peter Jackson was working on his Lord of the Rings trilogy and people were preparing for a decade of big summer epics as if Cecil B. DeMille had risen from the grave. Troy and Kingdom of Heaven came around a few years later, and that window in Hollywood was shut. By then, America was at war, and filmmakers were churning out politically and socially conscious films. Stephen Gaghan was working on a script about big oil and Michael Moore was competing for the Palme d’Or at Cannes. Since then, we’ve seen a handful of different fazes and crazes takeover at the theater. My least favorite: Horror movie remakes. Enough already. If I meet another college kid who considers him or herself a film buff but has only seen the Jessica Biel version of The Texas Chainsaw Massacre, I’m going to take a page from those slasher flicks. Right now, the latest craze is trashy Teen Vampire/Soft-core porn (Twilight, True Blood, about two-hundred other movies and television shows) and seriously, this can’t end fast enough (though, True Blood has turned into a bit of a guilty pleasure).

In this decade we saw American remakes of prominent foreign films (The Departed, Vanilla Sky, Insomnia and The Ring to name just a few). While most of them were terrible, they brought awareness to and showcased the talent of many great actors, directors and films, as well as lessened the xenophobia that comes with a market dominated by Hollywood.

We saw Hollywood greedily buy up any property that could be viewed as a potential franchise with a built in audience, and churn out scripts for adaptations of videogames, comic books and even theme park rides.

This is the decade that saw Martin Scorsese finally win a best picture and best Director Oscar.

This is the decade that saw the return of the musical. Moulin Rouge, Chicago, Hairspray and the High-School Musical series all were met with critical and commercial success.

This is the decade where Johnny Depp went from being an actor I would go see in anything, to being an actor that keeps me from seeing a film. Seriously, I can’t think of another actor I have ever been this sick of. That’s including Tom Cruise.

This is the decade that also saw a resurgence of the group, goofball comedy made popular in the eighties. Instead of Steve Martin, Martin Short, Chevy Chase and Bill Murray, you were seeing Will Ferrell, Ben Stiller, Steve Carell and Seth Rogen.

But, in between all the junk and Vince Vaughn movies, there were films that stood alone, and were great examples of what cinema could achieve. You’ve probably heard about them. You may have even seen a few of them. Hopefully, this list is full of them.

Just a quick note on how this list was created. I had to find particular criteria for judging and figuring out a numerical order. I made brackets at work, I asked for help from others and discussed these films at length to gauge how passionate I was about them as well as how several others responded. It was tricky, and became a process I became very conscious of and took very seriously.

This is what I came up with:
I was going to look at the effect each film had on the industry and genre. Not just what we have seen so far, but also try to predict the long term effects. Some films are just game changers, and in any art form, that is something that should be strived for and encouraged.

I was going to look at the individual components and contributions that make up each film. This includes the acting, the score, the photography, etc., as well the execution of concept by the director.

And most importantly, I was going to look at the film as a whole. The mosaic of all the people working on the film should, if you stand far enough back, make up an entertaining, creative and thought provoking piece of cinema.

So, based on these criteria, I looked at dozens upon dozens of films, and slowly narrowed it down to about one-hundred. From those, I followed those rules closely, and carved that number down to fifty. And, even after following strict rules of judging, I do concede that film and art can be subjective. You are not going to agree with all of my choices. You may not agree with any of them. Obviously the Academy doesn’t, as only three of my top ten were even nominated for best picture. Only one of them won*.

Also worth mentioning, I decided to only look at fictional and narrative films (this includes the biopic and films based on real life events), leaving documentaries out. It is too difficult to judge a documentary in the same context as these other films, and politics come into play which I would like to avoid.

So, without further ado, let’s start with a quick rundown of films that barely missed the cut. Honorable mention if you will. Or, you can look at this as numbers 100-51. If anything, this should give you a sense of what to expect on the final list.

Punch Drunk Love
Ghost World
El laberinto del fauno (Pan’s Labyrinth)
The Squid and the Whale
Catch Me If You Can (The only Spielberg film this decade that I can say I even liked)
Zodiac
Tideland (There’s a lack of Terry Gilliam on this list)
Iron Man
Ratatouille
Good Night and Good Luck
Gosford Park
Wonder Boys
Billy Elliot
Gladiator
Thank You for Smoking
The Passion of the Christ (Say what you want about Mel Gibson, the guy knows how to structure a good story. Plus, this film was a gamble that a lot of studios turned down, but ended up being the biggest/highest grossing independent film of all time)
Traffic
Up in the Air
Elephant
Best in Show (The best of Christopher Guest’s films in the last few years. And I may have loved it even more if I was not one of the people he was parodying)
Adaptation
Spider-man 2 (Films that actually looked and felt like comic books, the first two Spider-man movies had a huge effect on the industry. But the second film is far superior to the first, so that’s why it’s up here. Much like another “comic book movie” on this list, the first film gained the confidence of the producers and allowed a very capable director to surpass his first effort)
Le Fabuleux Destin d'Amélie Poulain (Amelie)
Mystic River (A better Dennis Lehane adaptation than Gone Baby Gone - I’m still holding out for Shutter Island and The Given Day to be the definitive Lehane films)
Oldboy
Cidade de Deus (City of God)
The Brothers Bloom
Training Day
Los Abrazos Rotos (Broken Embraces)
Atonement
L’Enfant (The Child)
Before the Devil Knows You're Dead
Amores Perros
In Bruges
Le scaphandre et le papillon(The Diving Bell and the Butterfly)
The Prestige
Rachael Getting Married (One of the best (and shocking) performances of the decade, as well as Jonathan Demme’s return to greatness)
The Man Who Wasn’t There
The Inside Man
28 Days Later (One of the better Zombie/Horror films in a decade full of genre mediocrity. For all my criticism about Slumdog Millionaire, it was always aimed at the people praising it. I really do like Danny Boyle’s films very much)
Hable con Elle (Talk to Her)
Garden State
Capote
High Fidelity
Brothers
American Splendor
Hotel Rwanda
In America
Sunshine

Ok, still with me? Good. I have no doubt that every one of you hated at least one of those entries, and possibly struggled with the idea of reading any further. On the flip side, I’m betting that most of you saw a film on that list that you are shocked and appalled that it did not make the top ten, let alone the top fifty. Such is art of any kind.

So that brings us to the meat of this list. Every time I added an entry, it never stayed in the same place for long. Catch me on a specific day, and some of these choices may move a place or two. And again, I am making a “Top” list, not a “Best of”, “Greatest” or a “Favorites” list, which leaves me with a little room for adjustment as “Top” allows me to combine the best of all worlds. Also, some of you may notice that I have borrowed heavily and used excerpts from some of my own past reviews, particularly if I have reviewed the film in question within the last few years.

If you take particular offence to one of the choices I made, let me know. Shoot me an E-mail or just comment on this post. I’m sure you’ll all have something interesting to say.
Let’s get to it.

50. Juno (2007)
I’ve watched this film, start to finish, several times now and, the thing that jumps out to me is: so many people focus on the language that Diablo Cody used when writing this great script (and it is really well written), but it was Jason Reitmans’s direction that propels it to the next level. And that is why Juno made this list. Reitman is a very accomplished director, with only three films under his belt, and has already developed a real and distinct form and style.
That, and Ellen Page’s fantastic performance. Page, along with Anna Kendrick’s performance in Up in the Air, shows Reitman’s understanding and ability to get great performances from young actors, which sets him apart from most of his contemporaries. Juno herself was an extremely difficult character to pull off without seeming to poke fun at the character. Instead, Ellen Page plays her as very sympathetic and relatable.
This is what some movies do so well: They take a concept like teen pregnancy, and they play it from an unconventional direction - In this case, a very poignant comedy.




49. Art School Confidential (2006)
Terry Zwigoff’s film about the hypocrisy and absurdity of an art world education straddles the line between satire and slapstick to great effect. It is both aware and extremely accurate, but most importantly, its laugh out loud funny. I loved both Ghost World and Bad Santa, but this was my favorite of Zwigoff’s films this decade.
Yes, there is some borderline unnecessary plot turns that involve a campus murder mystery and undercover police officers that are only there to facilitate the twist in the third act, but it’s easy to forgive such scenes when you have Jim Broadbent and John Malkovich just absolutely chewing the scenery and steeling the show.



48. The Bourne Supremacy (2004):
All three films in this trilogy are fantastic, and if you haven’t seen them go out right away and treat yourself to three movies that redefine the espionage/action genre. The second of the three Films, and the first to be filmed by Paul Greengrass (who really took over these films as far as style and pace, and deserves as much credit as the films star, Matt Damon, for their success), was the best of the group. As cool as the gimmick of the third film was; Bourne reliving all of the decisions he has made in the previous two backwards until he reaches his point of amnesia, it is the second film that really defines the mission statement and the character himself.



47. The Curious Case of Benjamin Button:
First off, let’s take a moment to acknowledge the courage it took to make a film about someone’s entire life, young and old (And that is exactly what this film is; an entire life), and have it star one of the most recognizable faces on the planet. That is one big risk that happened to pay off, as I quickly dismissed the fact that I was looking at Brad Pitt as opposed to Benjamin Button.
About half way through, I realized that the gimmick of aging backwards was just slight of hand, and a way of making this story something new and different. But the film at its core is about how interesting life is, and can aspire to be. The events that make up Benjamin’s life are infinitely more interesting than the fact that he grows younger over time, and each character in the film is, at the very least, as worthy of the same attention. The acting was as seamless as the visual effects, with each character aging over the course of ninety years, but it was Tilda Swinton that I found the most charismatic. She did not have enough screen time to receive the accolades she deserves, but her character, more so than anyone else in a very rich ensemble, really summed up the mission statement best.
Here, David Fincher has crafted something truly special. With the exception of Panic Room, I have loved each of Fincher’s films, and it is good to see him taking on subject matter that can be appreciated across the board.



46. Serenity (2005):
This film would have made the list based solely on the nostalgia factor, reminding me of why I loved all the cheesy eighties science fiction shows and Star Wars so much as a kid. -- Fine, and as an adult as well. -- But Serenity is more than that. It is a Joss Whedon film, which means that you will love and care about each character by the end of the film and that at least one of those newly beloved characters will die and you will be irrationally and inconsolably sad. Because that is what Joss Whedon does so well. You could say he rips your heart out, but I prefer to focus on the good. Unlike most screenwriters working today, all looking for that high concept golden egg, Whedon writes and directs characters that make you love and care for them.
The other reason why Serenity is such a great and underappreciated film is that it uses science fiction as a background and setting only. In reality, this film is as much a western or action film as it is Sci-Fi. And that allows the characters to be the main focus and carry the film.
In this decade, we saw a lot of very good popular science fiction films. Films like Avatar, Minority Report, District Nine, etc. and I’m sorry I could not find space on this list for more of them. Genre films are as important as any other, and Serenity is one of the best.



45. The Good Shepherd (2006):
My undisputed choice for the most underrated/overlooked film of the decade. This film had had big name movie stars like Matt Damon, Angelina Jolie, Alex Baldwin and Robert Deniro and was Deniro’s directorial follow up of A Bronx Tale. That was enough to get me to the theater in the first week. But people didn’t show up and it was a bomb at the box office. And even though the critic’s reviews were mostly favorable, the few that didn’t care for it gave the film the kiss of death for American audiences: they said it was slow moving and long. -- Listen, I get it. We all live very busy lifestyles that make it difficult to sit down for two-plus hours and pay attention to anything that doesn’t take us for a wild ride. But, not to get too preachy, if you’ve got ten hours a month to religiously watch American Idol, you can make the time to watch an extremely intelligent and informative film about the inner workings of American intelligence and espionage during the twentieth century. And I don’t think you will be disappointed.
This film has a lot to say. Yes, it is about the C.I.A. and espionage (real espionage too, not the Hollywood/ James Bond/ Jason Bourne big explosion stuff you may be used to), but it is also a very personal, character driven story about a man trying to live up to an ideal. And it is a very tragic story as well, as it shows what it means to truly give ones life for their country.



44. Where The Wild Things Are (2009):
Other films have tried it in the past, but to much lesser effect; creating a film that really captures the pure, emotional and expressionist brush stroke that is a child’s narrative perspective. And this film nails it to the ground. Obviously this is an insanely personal and important film from Spike Jonze. And when an artist of any medium brings that emotion and passion to a particular project, it is almost always worth the price of admission.
One thing to know about me: I love animatronics and physical special effects. Yes, CGI was used in the emotions of the Wild Things, but it was their textured, physical presence that makes these creatures so lovable and relatable. This was a film I went into wanting to love and leave with an overwhelming sense of nostalgia, which is almost always a recipe for disappointment. Here, for two hours, I was a hyper-active, nine-year-old spaz again; which is to say I was not let down.



43. Mulholland Dr. (2001):
With all directors, writers, actors and actresses, there are going to be those people out there that just don’t care for their films. But sometimes, a film can change their minds. With David Lynch, that is a line that can not be stepped over. It seems as if people either love his films, or they hate them with a fiery passion. Personally, I side with the former.
Naomi Watts came out of nowhere and, in a span of a couple of years, had a couple of the best performances in recent history - In this film, and in 2003’s 21 Grams. Here, being an unknown actress really helped her sell the role; set amongst Lynch’s dark and twisted vision of Hollywood aspirations for fame and success.
Is this Lynch’s best film, as many critics would have you believe? No, probably not (Though a lot of critics panned 1992’s Fire Walk With Me, it may be my favorite from the David Lynch library), but Mulholland Dr. is a great film none the less. If you have never enjoyed his films, like Lost Highway or Blue Velvet, you’re probably not going to enjoy this one (though I prefer it to both those films). But if you like David Lynch, or have never seen one of his films, this is one worth picking up and giving a shot.



42. The Good Thief (2002):
Ok, this one is breaking my own rule about remakes. But again, just like with Ocean’s Eleven, this remake of the 1956 classic Bob Le Flambeur is different enough from the original to warrant consideration. Neil Jordan weaves a very stylized tale that is universal, and that is why it is not so much a remake, as it is moral that can be told a dozen different ways. This is a film about personal change, ranging from battles with heroine addiction, a midlife crisis, and trying to reform a career thief. There’s even a transvestite just to cement the idea of whether or not someone can dramatically change.
Nick Nolte steals the show throughout this film and gives his best performance to date as a charismatic loser, who’s every-other word is a lie. And Nutsa Kukhianidze is phenomenal as the young prostitute who idolizes his every step. I was sure that she would be a huge star after this role, and it’s disappointing to see that she is still an unknown.



41. Millions (2004):
I’ll say it for the millionth time, this film is better than Slumdog Millionaire. I know that is based on personal opinion and is subjective, blah, blah, blah; don’t care, it’s true. In fact, this is Danny Boyle’s best film besides Trainspotting, and looking back at his body of work; that is high praise indeed.
Millions, in my mind, is the best Christmas film to come out in a long time. One that, hopefully, years from now parents will be watching with their children alongside the other perennial holiday classics like A Christmas Story and It’s a Wonderful Life. This is a film about how intuitive the world is when you are a child. How right and wrong are somewhat obvious, and how shades of gray and doubt are bred within use as we age. It is full of important morality and hope, and if you have kids or just if you want to see an uplifting holiday film, seek this one out.



40. The Pianist (2002):
One of Polanski’s best since going into exile, and one of the only films to capture the fear and urgency of Nazi occupied Europe. Adrien Brody’s role as the title character, Wladyslaw Szpilman, is a performance to be admired and a very difficult one to pull off. As moviegoers, we like our narrative leads to be proactive, and a driving force behind the conflict/drama. Here, Brody is expected to be passive throughout the film, but where the conflict comes in is his very primal battle for survival. And that primal goal is very easy for an audience to relate to.



39. Batman Begins (2005):
Obviously.



38. Road to Perdition (2002):
The most underrated of Sam Mendes’s films, and arguably the best. Ultra stylized, which may have scared audiences away, but beautifully shot and scored. Of all the praise that Tom Hanks receives for almost every film he’s in, this is unquestionable his most subtle, sublime and under-appreciated role, with Daniel Craig, Jude Law and the amazing Paul Newman rounding out a superb cast. If you missed this one when it came out (which, based on the people I have spoken with, most of you did), do yourself a favor and find a way to see this beautiful, atmospheric and engaging period film.
Mendes is one of only a handful of directors whose involvement alone will get me to see a film. Over the course of the last ten years, starting with 1999’s American Beauty and up to 2008’s Revolutionary Road, we have been lucky to witness the growth of a very recognizable style of storytelling. I predict that Sam Mendes will be one of the best, most consistent directors in years to come, and I look forward to seeing where his career will lead.



37. Finding Nemo (2003):
Pixar’s best film since Toy Story and Toy Story 2. Sorry all of you Brad Bird fans, but this is a modern classic.
I’m an advocate of classic 2D animation, and am sad to see it completely disappearing from theaters. Also, I am continuously under-whelmed by the 3D computer animated films that come out every year. Gone is the style that was put into every 2D film to set them apart from one another, replaced by films that all look the same.
For me, Finding Nemo is the exception. This is a film that is beautifully unique. It is also a film that would not have worked in a 2D medium, which is what really sets it apart from its contemporaries.
Also worth mentioning is the fantastic voice work from Albert Brooks and Ellen DeGeneres. So many new animated films come out and hire big name stars whether they are a good fit or not, putting voice actors out of work. These two stars make the most powerful argument for Hollywood actors in animated films.



36. Anchorman: The Legend of Ron Burgundy (2004):
I’ll be the first to admit, this list is lacking in popular comedies. This is the only one I feel is different and original enough to warrant consideration. Looking at films like this one, The Forty Year Old Virgin, Super-bad, Knocked Up, Semi-Pro, Old School, The Hangover, none of these films accomplish the balance of comedy, character and story quite like Ron Burgundy. And none of them are as funny. I, along with everyone else I’m sure, am patiently awaiting the sequel.



35. Volver (2006):
Penélope Cruz and Pedro Almodóvar are as good a combination as peanut butter and jelly, spaghetti and meatballs and Scorsese and DeNiro. I was surprised to find out that Pedro was gay, because I would guess from his films that he was in love with her. He certainly makes the audience fall hard. And this, as much as I loved Los Abrazos Rotos, is their greatest collaboration to date.
I’ll see anything by Almodóvar, for the simple reason that his films bring you into another culture and world so completely that, whether the film is great or not, it is worth the experience. And he comes at the film with a photographer’s eye, much like Julian Schnabel does, and this gives his films what I can only describe as “a postcard” like quality. Like a memory of a fond vacation.
In most great films or literature, there is a timeless quality where the story and morals can be adapted in any period and still be relevant. Almodóvar embraces the road less taken and creates a world that occupies a very specific time and space. You could not take this story out of Spain and put it in a different time. The culture and superstition, specifically pertaining to death, is too specific and precise, and he uses this to weave an amazingly rich and detailed world.



34. Lost in Translation (2003)
I’m still waiting for a film by Sofia Coppala to come along and match the personal passion that made Lost in Translation so relatable. And I’m still waiting for a performance from Scarlett Johansson to match the work she did in this film. And if neither ever comes, so be it.
But the biggest surprise this film had in store was Bill Murray. He played it straight for the entire film, which I did not think he was capable of. And he was fantastic. It almost seems like he had this last card to play, and now that he has, it can not come as a surprise again. Even being the case, it was worth it.
The premise of this film alone would have never sold me. Two lonely married people find each other in urban Tokyo, because of their “fish out of water” status. Sounds like a bad comedy made for Diane Keaton or Meryl Streep when she feels like doing something light-hearted. But this is a film that is handled with such subtlety and honesty that only an accomplished, sure handed director could have pulled it off. I guess The Virgin Suicides was just a warm up for Sofia Coppola. And the performance that she gets from her actors only adds to the list of praises.



33. Oh Brother, where art thou? (2000)
A great example of when the Coen Brothers comedies work, and a great period piece. This decade had some severe ups and downs for Joel and Ethan Coen. They had this film, which can be put up there with a lot of their great films from the nineties (Miller’s Crossing, The Hudsucker Proxy, Fargo, The Big Lebowski). They had some films that were good but I thought missed in certain areas like No Country for Old Men, A Serious Man and The Man Who Wasn’t There. And they had some flops like Intolerable Cruelty, The Ladykillers and Burn After Reading. They are so unpredictable that it has gotten to the point where I don’t immediately go out and see their latest film unless there is some other aspect that draws me to it. But they started off the decade strong with this one.
Oh Brother, Where art Thou is a great comedy, a lot like The Hudsucker Proxy, that focuses on a small window of time and space. Where Hudsucker was about the Art Deco cityscape of 50’s big business, Oh Brother takes on the depression era south. With Baby Face Nelson, selling your soul for musical skills and the Klu Klux Clan, all the bases and stereotypes are covered. It’s not a factual, historical film; but one that takes the myth of the period and makes great use of it.



32. The 25th Hour (2002):
I’ve got to admit, I am not a fan of Spike Lee. If I had to list the most consistently overrated filmmakers of the last thirty years, it would be a battle between Spike, James Cameron and Quentin Tarrentino. Anyone that bites on the comparisons between him and Woody Allen needs some serious schooling. I guess that is why this film came as such a surprise: because I didn’t think Spike Lee had it in him. I’m so used to seeing overly stylized and extremely dated films from him, that I didn’t expect him to be capable of using those flaws to his benefit. This film is dated, but it embraces that specific time and space and makes it work in the confines of the story. People often forget, and they certainly didn’t market the film this way, but this is essentially a film about going on with your life while living in Manhattan right after the terror attacks on September 11th, 2001. It is about everyone trying to get back to some normalcy, while one man is trying to come to terms with everything in his life that is about to change.
Edward Norton’s portrayal of a likable drug dealer, on the verge of a seven year prison sentence is a tough thing for audiences to relate to, and not one they would want to project themselves into. Because of this, the film is made up of several scenes of Monty’s (Norton’s character) vulnerability and of him rationalizing his actions. He is shown in comparison to his longtime friends, girlfriend and Father, who may not have violated the law in the same way as Monty, but are certainly not better or stronger willed because of it.
The more I look back at it, the more I love it. In the end, for all the praise of Spike Lee’s films like Do the Right Thing, Malcolm X or Inside Man, the think The 25th Hour will go down as his best, most complete film.



31. Låt den rätte komma in (Let the Right One In) (2008):
The creepiest film on this list by far, Let the Right One In showcases the difference in storytelling when it comes to foreign films. Gone is the shock and gore that usually make up an American horror film (though there is plenty of blood to go around), replaced by an unease and genuine emotional confusion. Creepy doesn’t do this film justice, and they need to come up with a more potent word. Between the haunting score and the desolate, snow covered Swedish landscape; the film overwhelms you with a sense of claustrophobia and bitter, piercing cold. At times I felt conflicted as to who I was rooting for, as any semblance of right and wrong are quickly tossed aside in favor of one of the decades most compelling romances. For those of you who thought that the romance in Wall-E was engrossing and unexpected? Wait until you see this film. The highest praise I can give a film is to say that it is entitled to interpretation, which you sometimes do not realize until long after you have got up from your seat and thrown away your popcorn crumbs. Ten minutes after the lights were on, a light bulb appeared above my head and I understood the film. I’ve had a handful of heated conversations about this film and it has sparked some great debates, and really, what more can you ask for from a film than that.



30. An Education (2009)
This one is going to be tough. Almost nobody that is reading this right now will have seen this remarkable film yet, so you are just going to have to take my word for it. This is a fantastic film, and one that is no doubt doomed to fall into obscurity and forever be one of those underrated films that people never get around to watching. And that is very sad, because it is a film that says a lot in a short amount to time, and it is a film that I think everyone should relate to.
If ever there was an argument against the current awards ceremony system, where all of the films that have a realistic chance for an Oscar come out at the last possible minute so that their hype is in full swing when voters make their decisions, then here it is. This film unfortunately hit its stride on the festival circuit and was seen as a sure frontrunner for Best Picture and Best Actress. But, in Hollywood time, that was forever ago and now Sandra Bullock has all the momentum for her role in The Blind Side (Which is really, really, really terrible). Carrey Mulligan’s performance is spectacular - Easily the best performance of the year, male or female. And An Education is without question my pick for the best film of 2009.
Nick Hornby’s adaptation of the Lynn Barber memoir is written with an amazing understanding of narrative source and perspective, and Lone Scherfig films it with just that in mind. This is a film about how we perceive this world at certain ages, and how an education is simply what we take from our experiences out in it. Scherfig handles this film with a personal and passionate brush stroke. It is a shame that, in the same year that Katherine Bigelow is being praised so completely for being a woman and helming the very disappointing The Hurt Locker, Lone Scherfig is being overlooked for being a female director and helming a far superior film. In another directors hands, even a very capable one, this film would not have been the achievement that it is. The scenes of Jenny’s (Mulligan’s character and the lead role) seduction into this world of late nights and intellectual freedoms are so engaging and believable that we are seduced and make the same mistakes that she does.
The acting is fantastic, especially considering the unlikable aspects of several of the lead characters. Peter Sarsgaard plays a suave and charming borderline pedophile, and Alfred Molina (who should win an award for Best Supporting Actor) plays a hypocritical father who is more than happy to see his sixteen year old daughter courted by a much older man, as long as he is well off. Not exactly Atticus Finch. Also worth noting, even though it is a small role was Olivia Williams’ role as Miss Stubbs, which I found to be very understated yet crucial to the film.
Is this a perfect film? No, definitely not. In fact, I found the last few minutes to be extremely damaging to the rest of the film. But, at its best, this is a film that, if not for an ill advised voice-over meant to wrap things up in a neat little bow, may have cracked my top ten of the decade.



29. The Departed (2006):
Martin Scorsese’s best film since Casino.
I feel confident in putting this on the list because the original film that The Departed was based on, Mou gaan dou (Infernal Affairs), came out in 2002. – A point I wanted to make because, had Abre los Ojos (Open your Eyes) come out in this decade - it, along with Vanilla Sky (2001) which is a borderline shot for shot remake albeit with a better soundtrack, would have definitely cracked the top fifteen. And, The Departed is not your everyday remake. What Scorsese did was borrow the main plot points from Infernal Affairs, and merge them with a retelling of Boston’s most notorious drama with organized crime. If you grew up around Boston in the seventies and eighties, or if you’ve read Dick Lehr and Gerard O’Neill’s Black Mass, then there was no question who Jack Nicholson was really playing.
A lot of people come down on this movie for being overly symbolic (the rat on the windowsill), too predictable and/or overacted. Personally, I think those arguments can be made about a lot of Scorsese’s films because above all else, he’s a director that is crafting our modern mythology. I prefer to word it differently; The Departed is a film full of relatable symbolism, established morality tales and recognizable archetypes. There… that sounds much better.



28. 21 Grams (2003):
Not the most uplifting drama on this list to be sure. 21 Grams is a tough film, where the characters straddle the line between life and death. This is another film that is non-linear, but here it used to far more affect than a simple gimmick. As I watched this film, I was always trying to figure out why the film was cut up the way Alejandro González Iñárritu decided to arrange it. For most of the time, I thought that each scene was a memory leading up to the scene that follows and giving the viewer an insight into the motivations behind each characters action. But soon I realized it was that and more. It is a mosaic, arranged in a constant contrast of ups and downs. It is puzzle, placed together, where as reality is pieces spilled on the floor. It is all of these things, and that alone would be an accomplishment worthy of praise if the narrative was coming from one main protagonist. But here, we get to see this play out in three different, overlapping stories.
And I haven’t even touched on the performances. Sean Penn won an Oscar for Mystic River the same year that 21 Grams came out, and in my opinion, he won for the wrong film. Of all of Sean Penn’s great performances this decade, I think that this role was probably the most challenging. Talk about playing against type. And Naomi Watts gave a performance that she will most likely never top. She was absolutely heartbreaking and tragically believable. Benicio Del Toro is usually great and here is no exception, even though he is given less to work with than Watts or Penn.
This film created a template that Iñárritu has tried to mimic since, but to much less success. Babel, which was a similar film, did not have the honesty that made 21 Grams a great film. I look forward to the day that Iñárritu can replicate his success, and create a film as engaging and emotional as 21 Grams.



27. Vicky Christina Barcelona (2008):
Along with Match Point, Woody Allen returns to making interesting studies of human interaction. This is Woody’s best film of the decade. It’s a rare thing when a writer/director is conscious of his or her own shortcomings, and Allen is so experienced a film maker, that he may be the only instance of where this combination can be used to benefit a film. What I mean is; the clichés that make up each of the main characters are purposefully cliché. And that’s the moral of the film, that we are each one of us clichés, and the more we think we broke the mold or strive to avoid being labeled, the bigger cliché we end up becoming.
Rebecca Hall is quickly climbing the ladder of actresses to keep an eye on, and is finding herself on all the right people’s radar. Plus, she deserves points for playing the “Woody Allen role” in this film. Scarlett Johansson is great and Javier Bardem plays a very likable character for the first time in a while, but it is Penélope Cruz who outshines the rest of the cast even though she is onscreen for a handful of minutes. I usually like her much more in Spanish language roles, but this is the first time I’ve been blown away by her speaking her second language.



26. Harry Potter and the Prisoner of Azkaban (2004):
To understand just how important this film was, let’s take a look at another coming of age fantasy saga. The Chronicles of Narnia: Prince Caspian, the second film in a planned trilogy, came out in 2008 to mediocre (at best) reviews and disappointing box-office returns, and the third film was thrown on the backburner and almost scrapped completely. This could have happened with the Harry Potter franchise (now the highest grossing film series of all time, beating out Star Wars and James Bond), as the reviews of the first two films, helmed by Chris Columbus, left something to be desired. Huge changes had to be made, which pushed the release of a third Potter film back a whole year, which was a big risk when working with teenage actors and attempting to appease a rabid fan base. Enter Alfonso Cuarón, and a generation of cinephiles, like myself, who were all of a sudden interested in the goings on at Hogwarts. I loved Cuarón’s adaptation of Dickens’s Great Expectations (and still do), and enjoyed (though less than a lot of you) his Y tu mamá también.
And, just so you know, I hated the first two Potter movies. But like many others, I was converted by the Prisoner of Azkaban. This is a film where everything just seemed to gel. It is also the point in the series where the books start to get much better, which always helps. Because of this film, I have gone back and read all of the books, and wait with great anticipation for each film that comes out. Something I would have never thought possible based on those first two efforts. To this day, only months before the release of the seventh film, based on the final book of the series, Harry Potter and the Prisoner of Azkaban remains my favorite. And the other great accomplishment of this film was to make Cuarón a big enough name to give him the freedom to make Children of Men, his best film so far.



25. Ocean's Eleven (2001):
Even though this is a re-make, Steven Soberbergh’s film is different enough from the original Rat Pack caper that I feel like it’s inclusion on this list is still warranted.
When films that aim to be taken seriously have actors that put themselves above their roles, they often have an overconfidence about them that is unsuitable to their character. It’s referred to as “Winking at the camera”, and can often ruin a film. Harkening back to the old studio system, Ocean’s Eleven has a wink and swagger about it that actually works. Take for example this listing in the closing credits - “And introducing Julia Roberts as Tess”- In another film, this pompous act of self-congratulation (along with several other not-to-subtle references) could really alienate the audience. In another directors hands, or with less capable actors, the scene where Brad Pitt and George Clooney stroll past the frenzied paparazzi, who instead are more interested in the teen heartthrobs behind them, could seem a little self aware. But here, these scenes come off as vintage. And it’s cool. Real cool.
Steven Soderbergh crafted a very fun heist film that never attempts to reach real drama or comedy. It is never tense and never slapstick. And this formula is something that has existed before, but you hardly ever see it in films anymore. In fact, Ocean’s Eleven has been responsible for literally dozens of retreads and knockoffs (The Italian Job, I‘m looking at you), but that formula is what sets it above the pack. That, as well as an unbelievable cast that doesn’t disappoint.
This film has a self life that will outlive us all. It’s already a cable regular, and can probably be found playing at any time of any day, given enough channels. I’ve seen it (though sometimes broken up, catching the tail end or just the opening) countless times, and nine years later I’m not anywhere near sick of it.



24. Wo hu Cang Long(Crouching Tiger, Hidden Dragon) (2000):
I’m usually the first person to argue that film does not have to be an adaptive medium. So many movies come out and are simply photography mixed with a play or novel. Here though, is a film that took another medium and adapted it to film. Crouching Tiger, Hidden dragon is as much a Ballet as it is a film. The films fight sequences are more of a dance than an act of violence. And they are so engaging that, when I first saw this film at the old Cheri Theater in Boston, following the first big choreographed sequence the audience erupted in applause. To this day, I’ve never seen that happen in the middle, let alone the beginning of a film again.
The effect that this great film had on the genre for the next few years is incalculable. So many films sought to emulate this same successful formula, only focusing on each of the components that made it an international hit. Whether it was the return of the Martial-Arts epic, the often imitated wire work, or the ancient period/costume drama, each film that came after fell short of its inspiration. And that is because Ang Lee made this film something that was the mixture of all those things, but also a classic fairytale that was more The Nutcracker than it was Enter the Dragon.



23. Das Leben der Anderen (The Lives of Others) (2006):
The first time I watched this film I liked it a lot. I thought it had an interesting take on voyeurism, and was an engaging portrayal of life behind the Berlin wall. But I had some issues with it. I felt that the main character changed far too easily, from the hard-line socialist who believed in the ends always justifying the means, into the empathetic, very human character he becomes. But, with a second viewing some time later, I realized that this was the intent of the Writer/Dierctor all along. It didn’t, and often doesn’t, take much. It was the emersion into the life of two young artists in love, and the intimacy of the situation that converted this man, showing him what was missing in his own life and the mistakes he has made. He made attachments almost immediately, which, considering the urgency and drama of the situation, is very believable.
This is a film about the flaws of civilization. A film about how, when grouped together in a symbiotic ecosystem and forced to rely on one another, it is very easy to fall into paranoia and distrust. And what better setting to show this in, than a city that functioned for forty years as a prison.
Florian Henckel von Donnersmarck wrote and directed this very tense film (and will be, unfortunately, directing the American remake. Ugh.), and does a remarkable job of pulling the viewer into this very specific mentality. And the film is masterfully acted, particularly Sebastian Koch, who gives one of the better performances I’ve seen this decade, and should have been a contender for best supporting actor. Martina Gedeck gives a heart wrenching performance and the late Ulrich Mühe is fantastic in the lead role.
This was a very cerebral film, and a film worth watching. At the very least, if you are a fan of Orwell’s novel 1984, then you can appreciate the not too subtle references and homage.



22. The Constant Gardner (2005):
On of the greatest accomplishments of this very affecting film is - that we have seen it before. A Civil Action, Michael Clayton, etc are structurally and story wise, the same basic movie. But with The Constant Gardner, we get the heart that the other films lack in comparison.
The film makes a very powerful statement, but it is in the form of a question. The films main character, Justin Quayle, lives a very introverted and sheltered life until the violent death of his activist wife. As he comes out of his shell, he is opened up to a very dark, treacherous and deceitful world, but he is also given something that he never really had before the catalyst of his wife’s murder - and that is passion. The film does not make an argument for opening your eyes to the atrocities around us, as Justin is definitely worse off for his newfound perspective, but instead makes a case for both sides, including keeping your head in the sand. It may be a cynical viewpoint of the world, but it is one that is definitely worth exploring.
Ralph Fiennes plays the role of Justin perfectly, and it is one of the more overlooked and underappreciated performances this decade. His decent into knowledge feels 100% honest and 100% painful. Rachael Weisz plays Tessa, his doomed wife who we mostly see in flashbacks and who fills the role of Justin’s conscience and guide into darkness. Weisz won an Academy Award for this role, deservingly, as she was outstanding. Even in playing the roles in a distant, often dishonest marriage; I thought Weisz and Fiennes had great chemistry, which really sells the premise. You can understand Justin’s motivation, and his longing for his wife, to whom he grows more in love with long after her death.
A lot of you are going to disagree with this pick, probably for its inclusion and the exclusion of Fernando Meirelles’s previous film, Cidade de Deus (City of God). Both are beautifully rendered with a respect for nature and an uneven trust in mankind, but personally, I thought Meirelles grew as a director and that The Constant Gardner is a more complete, compelling journey. If you haven’t already, go watch both films and let me know what you think.



21. The Royal Tenenbaums (2001):
Sorry all you Rushmore and Bottle Rocket fanatics out there, Tenenbaums is Wes Anderson’s best film to date. Showcasing his unique brand of family dysfunctional comedy, Anderson creates a film that is the finest representation of his style, and I will be surprised if he is ever able to surpass it. It happens with Actors all the time, where they are never able to get out of the shadow of their own performance. Didn’t The Life Aquatic with Steve Zissou seem like a retread?
Each family member is such a caricature and so obscure, that you can’t help but assume they are real. I am a big fan of Gene Hackman, and he is just pitch perfect here, alongside great and full performances by Gwyneth Paltrow, Anjelica Huston, Danny Glover and Bill Murray. Even Ben Stiller and Luke and Owen Wilson (who I usually don’t like) give great and funny performances without resorting to slapstick. And Alec Baldwin’s narration is so emotionless and matter of fact that it works perfectly in this darkly-comedic disguised drama.



20. The Fountain (2006):
Ask me again ten years from now to write this list, and I don’t know where this film will end up. All I know is, every time it is on Cable, I compulsively watch it. It is a hypnotizing film. It is a film about ambition, regret, and ultimately, penance. It is beautiful, hopeful and at the same time heartbreaking.
Hugh Jackman gives a fantastic and layered performance, which would be his best except for his role in The Prestige. And, once again, Rachael Weisz makes us fall in love with her. Between this, The Brothers Bloom and The Constant Gardener, that makes three times this decade, and two with tragic results. Go easy on us next decade Mrs. Weisz. Please.
Eventually, I think this film will be viewed as where Darren Aronofsky showed his range as a director. All of his other films are very urban, gritty and personal in scale; where as The Fountain spans multiple continents and galaxies, as well as thousands of years (though, really, these scenes are just the adaptation of Izzi’s and, eventually, Tommy’s book. And the entire “real” story takes place in modern times). I’ve heard this film referred to as Aronofsky’s own 2001: A Space Odyssey; and those comparisons are pretty accurate. There is no question this film has a definite Kubrickian quality about it.
And, obviously I can’t write about this film without mentioning Clint Mansell’s incredible score. I think that is why I can’t walk away from this film. The music is so recognizable and subtle at the same time. And all it takes is a note or two, and I’m completely immersed in this world.
The most shocking thing about this movie though, is that it seems to be a polarizing film, as I’ve spoke to several people who have hated it (though, as of yet, never with an intelligent argument or explanation as to why). Personally, I think it is a wonderfully creative example of the visual heights that cinema can achieve, and a very engaging narrative.



19. Syriana (2005):
One of the best and completely different scripts I’ve ever read. This film broke a lot of rules, having almost no scenes of exposition. Each scene seemed to start in mid-conversation, allowing the dialogue and action to explain the story. I’m sure that was disconcerting for a lot of people, but I’m not about to dock points because a film made you have to pay attention.
This was a great ensemble film, with George Clooney, Matt Damon, Chris Cooper, Christopher Plummer and Jeffery Wright all giving extraordinary performances. But it was the story and the structure that made this film so great. Stephen Gaghan adapted Robert Baer’s book in a way that didn’t point fingers, or take any political stance, but instead simply showed the effects that the oil industry has on people all over the world, and how that ties into the C.I.A.’s priorities since the end of the Cold War. This is a fantastic film if you haven’t seen it, as it supplies a much needed humanization of young Muslim men who are tragically converted into terrorists; something that has been severely lacking from Hollywood considering the events of September 11th, 2001. And not only does it make them relatable, they are also the most likable characters in the film. Pretty ballsy in a time where our country’s wounds were still pretty fresh.



18. Requiem for a Dream (2000):
The litmus test for Darren Aronofsky, as a sophomore effort is often the make or break film for many Directors. Pi had won praise and several festival awards, but it was clearly Requiem for a Dream that shot this young director up to A-list status. This is an extremely engaging and enveloping downward spiral that draws you into the bleak world of several people all fighting (and losing) a battle with their own addiction. And that is what Aronofsky’s films tend to do so well; draw you into a world slightly askew from your own. With the exception of maybe Christopher Nolan, no other director working today constantly creates entertaining and pervasive films like Darren Aronofsky.
The cast is fantastic in their roles (even Marlon Wayans gives a great performance), and I want to single out Jennifer Connelly whom I consider to be one of the most underrated actresses working today (Look at the resume from this decade alone: Little Children, A Beautiful Mind, Blood Diamond, The House of Sand and Fog, etc…). But this film belongs to Ellen Burstyn, who was robbed during award season because of Julia Roberts’s popularity and standing as America’s Princess. Burstyn’s role as Sara Goldfarb stands today as arguably the greatest descent into madness and addiction ever captured on film.
Combine these elements, and you have a fantastic film, but what sends this one over the fence is the beautifully haunting and tense score by Clint Mansell and The Kronos Quartet. Mansell’s involvement is enough to get me excited and in the theaters, and I cannot say that about any other composer working today. Every film he works on is given another whole dimension because of his contribution. Think of The Fountain, or even more recently Moon, and try to imagine them without the magnificent music that is as big a part of the films as the lead actors.
I do warn you though; this is a tough, hard film that will make you really feel. If you do not enjoy film or art that will challenge you, or make you react, then stick to films with Sandra Bullock because this one may have you squirming in your seats. For me, that experience is what you pay your ten dollars for, and why film is more than just entertainment.



17. Ali (2001):
For anyone that disagrees with this choice, go back and watch the opening, all the way up to the first Sonny Liston fight, and then the fight itself. With Sam Cooke laying down the backdrop, it is quite possibly the best 15 minute sequence of film to come out this decade. And when you’re done with the film, go back and watch the Rumble in the Jungle (or the fantastic documentary When We Were Kings), and be amazed at how real and accurate that fight was portrayed.
I am usually not a fan of the biopic, but this is one of the rare cases when a director and screenwriter choose a particularly interesting side of the story to tell. Had this film come out ten years before it did, it would have been huge. The problem was that, when it came out, the younger generation was less familiar with the story of Cassius Clay. Michael Mann, Gregory Allen Howard and Stephen Rivele decided to focus on the real Ali, warts and all, and leave out his public persona, never really showing the contrast between the two.
To say I’m disappointed that there is only one Michael Mann film on this list is an understatement. After The Insider in 1999, his best film to date, each film has been a little worse than the previous one, opting for more star power and box-office appeal. Let’s hope his next film returns him to A-list status and does not strive to please too base an audience.



16. Memento (2000):
Did you hear that? That was the collective sigh and building anger from everyone that discussed this film with me over nine years ago. I’ll admit, at the time, I felt that this film was a little… overrated. Personally, I blame everyone but myself. The response from this film was way over the top, with its loyal following on the verge of tattooing messages on themselves to remind them that this was the greatest film ever created on God’s green blah blah blah. I get it and I’ve been there; you get swept up in it and you need people to understand. Hell, most of you think that I am the same way about another film helmed by Christopher Nolan that came out eight years after this one (more on that later). But Memento didn’t change cinema forever and if you play it backwards it doesn’t cure Cancer. What it is though, is a fantastic film noir and an extremely suspenseful thriller. It is also extremely cerebral and forces you to pay attention, which is usually a recipe for box office failure. But this film resonated for some reason, and thank God for that; because if it hadn’t, Christopher Nolan may not have gone on to be the best storyteller working today. He is this generation’s Steven Spielberg.
I went back recently and watched Memento again for the first time in at least six years. What I think I admire most, and it’s a formula Nolan used to great affect in The Prestige as well, is that the whole film works because of simple slight of hand. It’s a magic trick. You are so busy with what’s going on right in front of you that you can not prepare yourself for where it is leading.
Memento is a lot of things. It’s non-linear, which is a formula used a little too often these days, but with an actual purpose here. It is extremely well acted and masterfully directed. It is a film that holds up extremely well over time and I can’t wait to see the Blu Ray conversion. But the one thing it is not, and I’m not above admitting it, is overrated.



15. Synecdoche, New York (2008):
Art imitates life. Life imitates art, imitates life, imitates art and so on and so on…
Of all the layered meaning and points to be made about this fantastically textured film, the one thing I can say with some confidence is – that this is a story about control. When your perception of life is that of a disease infected world where we are all just slowly dying, then directing plays (or writing, playing music, painting, etc. as long as it is creative) gives you the illusion of control. And some happiness, even if said play is a downer like Death of a Salesman. Creative process can be a compulsion, and not one that should always be nourished. It can also be an escape, and even when it can be viewed as being productive, an escape still means you are avoiding something. And Phillip Seymour Hoffman’s portrayal of director Caden Cotard shows this quest for control as a long, losing battle. In fact, the battle itself furthers our hero from his goal, and the more he strives for reality in his plays, the more his plays start to seep into his own reality.
I have to stop myself here, because I could ramble about all the intricate layers of this film for days, and I will have only touched on the surface. It needs to be viewed to be appreciated - And probably twice. Because this is one of those rare instances of film being its own, and not an adaptable medium. Writing about it doesn’t do it justice.



14. The Wrestler (2008):
Obviously I have to mention Mickey Roarke’s performance, and it is more than noteworthy particularly because no other actor in Hollywood could have pulled it off, but I really want to focus on Darren Aronofsky’s contribution more than anything else. When I first saw Pi, the film that put Aronofsky on the map, I thought it was something special, but it narrowly missed catching me at the right age. Then, Requiem for a Dream came along and knocked me down. Now, when I look back on both those films, I am not drawn in as I once was, and they both seem more suited for a younger, attention-deficit based audience. The Fountain was esoteric and beautiful, as well as being a unique narrative that really spoke to me at a time in my life when I was beginning to lose interest in the direction the industry was moving. Anyway, my point is that I have matured along with Darren Aronofsky’s body of work. And The Wrestler, as well as being his best film so far, leaves me feeling old and washed up. Sad as that may be, it is meant as the highest form of praise. The juxtaposition of the wrestling ring and strip-club stage as well as the comparisons between them helped to show the world from the point of view of people who were only here for our entertainment, past their prime and no longer the circus geeks they used to be. I was drawn into the world of this film unlike almost any other before it, and this world was freezing cold, filled with sharp, cutting edges and very, very real.



13. Children of Men (2006):
Here is yet another film that has a rabid and loyal following, and for good reason. Alfonso Cuarón’s best film so far is also his most bleak. This film has been branded as one of the best Science fiction films in a long time but, personally, I think that is a little limiting. There is less science than you would believe, as this is a film about people and about faith. This is high drama at its finest.
What really brings you into this bleak world, where there are no more children and people can not conceive, is the way Cuarón handles all of the suspense scenes. Long tracking shots that make you forget you’re watching a movie as well as make the danger very real. Sometimes the angles don’t change for minutes at a time, and the camera follows the main characters as though you are right there with them. It’s really an amazing accomplishment, both by the director and the actors that have to get it all right through very, very long takes. It worked for Orson Welles, and it works here. And kudos to Emmanuel Lubezki for shooting 3 films that are in my top twenty. He is one of the best cinematographers working today.
This is a very dark film, in both tone and concept. But sometimes, the darkness can make the little moments of hope shine all the more bright. And that is what this film is all about: finding the will to hope and a reason to keep fighting.



12. Almost Famous (2000):
Cameron Crowe’s best film and that fact alone should get it in the top twenty. Like all of Crowe’s worthy films, this one is honest and very personal, but here he embraces the autobiographical aspect that the rest of his films just hint at, and that allows his passion for the subject matter to completely take over. And it helps that most of us can really relate to the idea behind this film. How many of us can remember the way that music just absolutely blew our minds as teenagers. There was nothing more in tune with our thoughts and emotions and nothing more important. As an adult I really miss that feeling, and this film gives me a sense of nostalgia that makes watching it for the umpteenth time as enjoyable as the first. If you can watch the “Tiny Dancer” scene without singing along or at least a little humming, then you are an emotionless black hole and I feel sorry for you.
But under all of the music and Seventies style, there is also a recognizable and classic coming of age tale. Boy goes on journey/odyssey, boy meets girl, girl likes older man/rock star, boy learns valuable lessons about life and love and ultimately returns home with said knowledge. And that is why this film works so well. We can all write autobiographies about our lives but, even if we are the most interesting person in the world, it’s not going to make a compelling film. Crowe’s ability to adapt his own experiences into a coherent and rich story structure is what makes his films so personal and at the same time extremely enjoyable, and Almost Famous is the best, truest example of that.



11. Closer (2004):
Maybe this film, based on the Patrick Marber play of the same name, is a cynical take on the relationship between modern men and women, but I tend to view it as the lone voice being drowned out by all the schmaltzy melodrama that overwhelmingly dominates Hollywood releases. What I mean to say is; I find this film, and play, to be extremely poignant and accurate. And maybe our Disney-bred idea of love and relationships is the problem to begin with. Here, and certainly in real life, relationships are so often used as place holders until Prince Charming or Natalie Portman come along to sweep us off our feet and bring us the happy ever after we think we deserve. In reality, sometimes the most you can hope for is a different type of happy ending, often at the end of a Thai massage.
What makes this film so important though, and sets it apart from the play, is the actors that were cast in such unappealing roles. Here, mainstream movies stars like Julia Roberts and Jude Law are able to play honest, very flawed, real people and not the idealized heroes that we are so comfortable seeing them as. But it is Clive Owen and Natalie Portman that absolutely own this movie. They both are so real and tangible in their roles that the film takes on an almost voyeuristic quality and keeps you very interested in their lives and what comes next.
I’ve heard and read many arguments against the play and the Mike Nichols film: It is cruel and pessimistic. It’s about hateful and jealous relationships, etc, etc. I prefer to see it as introspective and brutally honest. There is a side to each of us that is not all flowers, chocolates and Shakespearian sonnets. Not all of us hold up a boom box outside your window. And for that reason, I think this film is both important and unique, and worthy of its place on this list if only for the balls it took to put out there.


Ok. Before we get to the top ten of this decade, just for fun, lets take a look at my top 10 films from the nineties:

1. Unforgiven
2. The Shawshank Redemption
3. The Insider
4. Léon
5. Goodfellas
6. The Silence of the Lambs
7. Twelve Monkeys
8. Fargo
9. Eyes Wide Shut
10. Schindler’s List

It may shock a few of you that The Thin Red Line, Heat and Fire Walk With Me did not make this list, but what can I say. The Nineties were a strong decade for film. Ok, back to the list.



10. The Reader (2008):
With one of the best performances I have seen this decade, Kate Winslet brings to life one of the most tragic characters ever captured on film. And it is a performance that is asked to carry a remarkable film through subtle expression and heartbreaking honesty.
What an accurate observation on the human condition, and what a shining example of the power of art (in this case, literature). The tragedy of Winslet’s character Hanna is that there is no poetry in her life. She is a blank canvas, void of conscience and understanding as well as the ability to forgive. And the reason for this raw, child-like id, is that she is an illiterate and has never developed what most of us take for granted every day. The fables and stories we are taught as children help us to develop a moral center, and give us an understanding of the world. Hanna is so damaged by this, that she cannot differentiate which flaw is worse, the murder of hundreds of people or her own illiteracy. And because she has been concealing it for so long, she even goes so far as to side with the later. So it is all the more tragic when she is read to, inevitably developing a sense of right and wrong as well as a conscience, too late to change the mistakes of the past.
Here, Stephen Daldry crafts a film that allows the actors to say it all with a raised eyebrow, and never misses a beat. And that is a sign of a great job done by the director. Never is a theme, analogy or metaphor beaten to death; but instead, by embracing self-confidence and confidence in the actors, Daldry is able to fully explore real ideas and flaws in humanity. This film does a masterful job of pointing out our need to have examples made of people, as if to appease some warped sense of justice. In that sense, we have not come so far from sacrificing the village virgin to the god in the volcano. And there is no way to review this film without mentioning Roger Deakins. He is able to create scenes of such intimacy that are only added to by nakedness, instead of the nudity itself being expected to flesh out the scene.



9. Million Dollar Baby (2004):
Clint Eastwood’s and Paul Haggis’s adaptation of F.X. Toole’s short story from Rope Burns is, above everything else, a sports movie. Boxing is the catalyst and the crossroads where these characters meet, and it also provides them with an escape from the their real opponent and the one that has been beating them down much more than anything that could happen in the ring. And that focus and those analogies are what make a great sports film. But it also happens to be the best acted film in the last ten years. Based on performances alone, this would be my top film. And that’s ironic based on Eastwood’s reputation as a director that doesn’t do more than one take.
Before I go on to overwhelmingly praise the performers, let’s talk about Clint Eastwood as a director. Some of his films have not been the greatest, but for sheer volume alone he would have to be in discussion for director of the decade. Invictus, Gran Torino, Changeling, Letters from Iwo Jima and Mystic River are all great films that have his recognizable visual stamp on them. And this one is his masterpiece.
Ok, on to the acting. Morgan Freeman and Hillary Swank each won an Oscar, very deservingly, and were fantastic in their roles (particularly Hillary Swank, who absolutely blew me away with her heartbreaking turn as Maggie Fitzgerald). But the person that deserved it most was Eastwood himself. His portrayal of Frankie Dunn is arguably his best performance (Maybe even better than William Munny from Unforgiven) in a career that has spanned fifty-five years. His loss to Jamie Fox in Ray is one that the Academy wishes they could do over, I’m sure. And the fact that he was directing himself only adds to the accomplishment. Oh, and he also Produced, composed the music as well as wrote and played a song on the soundtrack. I’m just saying.



8. Brick (2005):
Rian Johnson’s take on High School noir is, at first glance, a clever gimmick. But once you get past that initial aversion, it is also an extremely well crafted vision put to film. Talk about creating a world; San Clemente High School has a language and style all its own, but also harkens back to old Hollywood pulp noir. Mickey Spillane had Mike Hammer, Raymond Chandler had Philip Marlowe, Dennis Lehane has Patrick Kenzie and Rian Johnson, in this film, has Brendan. He’s both a throwback, and something all his own, and like those other Detectives before him, he’s our eyes and ears in this world.
This is clearly a work of some passion, as you can see from the Novella it is based on:
http://www.rcjohnso.com/brickscript/BrickNovella.pdf
Some of you that have seen this film, probably on Cinemax late some night when insomnia is keeping you up, know exactly what I’m talking about, even if you can’t believe I’ve ranked this film so high. But let me answer for you as to why you were so involved in such a, what seemed like, throwaway film. Joseph Gordon-Levitt’s portrayal of Brendan is a character you immediately relate to and root for. He takes beating after beating and keeps getting up because he’s fighting for something and looking for answers and you know he’s not going to give up or even have a moment of weakness.
And if you haven’t seen this film, seek it out. DVR it when it comes on at 2am on a Wednesday, or rent it (if people still do that, I don’t know). You may not feel the same way I do, but you will see my point and this film will stay with you. For me, Brick is a reminder of why I love film and why I write. If ever I have a moment of writers block or am not feeling creative, then this film and the passion and creativity behind it will always give me the push I need.



7. The Assassination of Jesse James by the Coward Robert Ford (2007):
How did this film fall through the cracks? Is it that unapproachable? Is it the cast? Casey Affleck and Brad Pitt don’t exactly scream period drama. I don’t know why this film has been so overlooked. When it first came out, I could barely find a sole that had seen, or wanted to see it. Thankfully, a handful of years later and I have found a few kindred spirits who share my admiration for this beautiful film. And what a beautiful film it is.
This film had Terrance Mallick written all over it, and I was not surprised to find out that Andrew Dominik worked as a second unit director on The New World. Each frame could be matted and hung on a wall, as Roger Deakins cemented his place as the most consistent Director of Photography working today.
The story was compelling and tense, narrated with an ironic, emotionless monotone, also reminiscent of Malick (See Sissy Spacek in Badlands). Here, celebrity is viewed almost like a disease, where one character catches it from the other and they are both worse off for it. The film somehow manages to be predictable and tense at the same time. As though you are hoping the inevitable is not as obvious as it would seem. But the story and the characters all manage to twist and turn in unexpected ways, resulting in the same conclusion.
The score moves the film along as though it was one of the old serials that were such an obvious influence, breaking the film into several smaller portions and giving the film a richness that is only added to by narration.
But again, the beauty of each shot is what makes this such an important film. The landscapes look like Tempera paintings that could have been done by Andrew Wyeth. Just gorgeous in every sense. This is filmmaking at its finest, not often seen by an unknown director. Keep an eye on Andrew Dominik. I think we will be hearing his name quite a bit in the future.



6. There Will Be Blood (2007):
If there were an award for performance by an actor in this decade, Daniel Day Lewis would have it locked up. He was Daniel Plainview. And Daniel was a train wreck of a human being. One that was horrible and grizzly, but impossible to look away from.
This movie probably frustrates a lot of people. It is a film that spits in the face of modern filmmaking. It is utterly simplistic in its narrative, and follows the protagonist from point A to point B, never allowing his arch to show any change or development. And that is what sets Paul Thomas Anderson above the rest of us; the scope of his vision. Robert Elswit captured a landscape that was both harsh and beautiful, recreating the period perfectly. And let’s not forget the score - Absolutely haunting. If any portion of this film moved slowly, you would never know it because of the tense music; never letting you let your guard down. Never once do you feel safe during this film, as though the title is a promise you are constantly expecting to drop like a bowling pin to the head.
If I had read this as a script, I may have dismissed it as too simple. But combine the greatest, most intense actor of his generation along with a Director with a singular vision and love of film, and you have a cinematic masterpiece that is one part Days of Heaven, two parts Giant and one part Citizen Kane.



5. The Lord of the Rings Trilogy, Extended editions (2001-2003):
This is cheating a bit, I know. But, I’m a bit of a purist, and I believe that these films really don’t work as separate, whole films. I’ll take it one step further as well, and instead of the nine hour epic that the theatrical releases would be, I’m only going to consider the extended editions, the true Director’s cut (truly, if you have only seen the original cuts, please remedy this as soon as possible. The extra footage is well worth it and really completes these films). Clocking in at just over twelve hours, Peter Jackson’s Magnum Opus is clearly the most ambitious project on this list. The scope of this project is something that the industry has never seen, and it will be a while before we see an undertaking of this size again.
Films that rewrite the book on special effects are often praised for a short while, and then fail to stand the test of time, as technology is always advancing at breakneck speeds. Unfortunately, I think that is what is beginning to happen with The Lord of the Rings, as the Weta Workshop’s cutting edge tech is already a bit dated. And in HD, it really shows. Which is why, if I had to choose a particular third of this film, I would choose The Fellowship of the Ring; because the effects in that first part are much more subtle and creative, really allowing you to enter this fantastic world. But let’s not nitpick. This film is to be praised, if nothing else then for its ambition and scale, as well as Jackson’s clear love and admiration of the source material. Looking back, there is no finer film to define this decade than The Lord of the Rings.



4. I’m Not There (2007):
Anyone who has discussed film with me over the last decade knows too well my disdain for the Biopic. If they are autobiographical, they will almost always be in the vain of “Poor me, look what awful things I endured”, or the “Everyone but me is evil and bad and I’m really just a misunderstood, stand up drug dealer” (see Blow). If they are done post-mortem, they are the classic homage, where all the deceased’s relatives and friends tell the 2 dimensional story of how absolutely perfect this person was. And if it’s historical, then it’s almost always a collage of what people have researched and too often veers in the direction of too much historical accuracy, too little drama/story. I’m Not There sets the bar pretty high from now on. This is not a Biopic. It’s something new. It is a story about the myth of a man.
Each Character plays a completely different, complex individual, resulting in a mosaic of what it is to be a realistic human being. And if that was not enough for some people, the narrative structure actually works as a fluid, complete story. This was not an easy task to accomplish. There is an argument and a mission statement made in the beginning of the film that plays out until the end, leaving the question open. And in the segment where Cate Blanchet plays Jude Quinn, this question is most relevant. Does celebrity make one part of the collective, social consciousness? Is what you think of as self or personality decided by you, or by everyone around you? Who are you to think that you decide who you are, when millions think of you as one way or another? Who’s right, you or everyone else? This was not just a great film, but it also sets a precedent for what a Biopic, or just a creative film, can achieve.



3. The Dark Knight (2008):
I, along with everyone else with a laptop and an obsession with film, have analyzed and picked this film apart start to finish more times than I feel is necessary. So I’m going to try and keep this short.
Most people have noted the influences of Michael Mann’s Heat and Coppola’s The Godfather part 2 when discussing this film. I want to look at another film, one not mentioned often when comparing The Dark Knight; and that is Brian DePalma’s The Untouchables. Not my favorite film, but one that shares something very important with Christopher Nolan’s masterpiece. The Untouchables is about a handful of strong willed men, trying to drastically change things and make their city a safer place - A place that, in their minds, makes sense and has a semblance of order. In both films, this theme is explored because; in these worlds there are good guys and bad. Black hats and white hats. There is a line drawn in the sand, and you are on one side or the other. Where the films diverge is: at the end of The Untouchables, you can still tell the villains from the heroes. In The Dark Knight, the world so meticulously crafted in Batman Begins and the first two thirds of this film is completely turned on its head. Black is white, white is black. And the White knight is literally spit down the middle, one half good and one half evil.
After watching this film roughly a hundred times in the last couple years, some of its faults do stand out. I can’t help but imagine how much better it would have been if not for the all around awfulness and awkwardness that is Maggie Gyllenhaal. There are some moments where the studio obviously influenced the film, most likely trying to sell toys or create a fast food franchise tie-in. But overall, this film is a remarkable achievement. In looking back on this decade, there is no doubt in my mind that this film will be the first film I think of. It is one of a small handful of pop culture masterpieces to come around in my lifetime.
Of course, I may be biased or predisposed to loving this film. After all, in a thesis paper for a course on modern mythology, I wrote that The Batman was the protagonist for the age of Freud and Psychology, as he is the damaged hero as opposed to the flawed, anti-hero of Shakespeare’s Hamlet. That’s right, I compared Batman to Shakespeare. That said if you want a real bases for argument as to why this is my number 3 pick, how about the fact that Heath Leger’s Joker is the greatest movie villain of all time? Not enough for you? How about the fact that it is one of, if not the best, ensemble casts of the decade (seriously, look at that cast. It looks like a list of the decades best actors)? Or that the Director, Christopher Nolan, has quickly climbed the ladder to become the most compelling storyteller working today? Okay, fine, you still don’t see what all the praise is for. Now look back on those statements and realize that those were describing a film where the main character wears a cape, as well as a film that grossed a billion dollars world wide. If I was simply writing a list of my favorite films of the 00’s, this would have been my undisputed number one.



2. The New World (2005):
Half of you are wondering how a Colin Ferrell vehicle that barely got a nation wide release is the number two on this list. The other half is shocked that this film is not my number one (So, guessing that only four of you have managed to read this far, that means two of you understand and know about my love of Terrence Malick. Hey, I’ll take it).
In January of 2006 I drove down to Manhattan to see this film in limited release, by myself, out of fear that it would not ever reach a theater closer to home. That’s how little faith I have in the American movie going public. A lot of you, four years later, still have not seen this film and have no plans to in the future. I’m hoping I can change that.
This is the most beautifully shot film of the decade and Malick’s best film in more than twenty-five years. What Malick does so well, and what other directors struggle with, is make films that are pure cinema and are not done in an adaptable medium. His love and understanding of film and what sets it apart from other media is what makes him such an important director. His unique take on narrative source, his use of natural light and nature as a character in each of his films helps to create a very recognizable style, but with each of his films, that style never encompasses or overpowers his story.
Of course the sound, music and visuals are what first come to mind when one thinks of a Terrence Malick directed feature, and here that is obviously no exception, but where The Thin Red Line lost some points in the casting and performances, The New World excels beyond all expectation. Casting unknowns, especially in the roles of the Native Americans, paid off well and gave the film an honest, almost documentary feel. And in the English roles, actors were cast perfectly against type and gave great and believable performances (particularly Christian Bale and Christopher Plummer). But Q'orianka Kilcher is the glue that ties this remarkable masterpiece together. She is pure magic. When the film starts, she is as uncorrupted and virginal as the land her people occupy. She curiously and excitedly learns the English language and culture from Colin Ferrell’s John Smith and promptly takes over as the narrative source. Her journey is a long coming of age tale that is both beautiful and heartbreaking, and her transformation is the greatest achievement of this film.
But let’s not forget about those other aspects. Again, this is the most beautifully shot film in ten years. Probably a lot longer. The camera work is just amazing as Emmanuel Lubezki knocks it out of the park yet again (Here, Children of Men and Ali). And the films score, utilizing excerpts from Wagner and Mozart throughout, is a joy all itself. Seriously, buy or download the soundtrack and have it play in the background of your life. The sound effects put you there, in touch with a very natural world that resembles nothing of the world we know today. Rippling water, chirping birds and insects, leafs rustling free of the trees that hold them, sounds you instinctively recognize but have never heard in a film where they are used to such affect. These are the reasons to see this film on a big screen with surround sound. Preferably on Blu Ray, which has done a fantastic job with the conversion of the directors cut. If you don’t have access to anyone with these outlets, come by and watch it at my house. But I have to warn you, this film does not have fans so much as religious followers, few as we may be. And if you want to watch it with me, I will try and convert you. Kool-aid and all.



1. The Eternal Sunshine of the Spotless Mind (2004):
Yep, after all of those serious dramas, a romantic comedy comes in at number one. But, this is no regular romantic comedy (you can tell because Jennifer Aniston and Reese Witherspoon are nowhere in sight), this is the best romantic comedy of all time. And that’s just one of the many reasons that this fantastic achievement is the top film of the decade.
First, let’s talk about the script. I’ve read all the books, and read them multiple times - There is a formula for writing a successful screenplay. There are beats and act breaks and catalysts and climaxes, etc, etc. And once you know and understand these rules you can almost always see the skeleton below the skin. Here, Charlie Kaufman throws out the playbook like Andy Reid running a two minute drill and down by eight. I’m sure that a lot of potential producers read that initial script and thought it was a complete mess. Even after cutting his teeth on Being John Malkovich, I’m shocked that Kaufman was enough of a name to get this film made. I’ve read the script, and it’s and intricate, layered mosaic of jealousy, lust, desire, longing and affection run backwards through a meat grinder of flickering memories. So basically, exactly how we remember our significant romances. And there is no trace of a skeleton anywhere. This script is an invertebrate.
And speaking of the romance of this film, Michel Gondry films this script in a perpetual dreamscape, never allowing you to maintain complete focus. Kind of how when you meet someone you like, you want to be focused and in control of the situation, but instead you have no bearing on the garbage that falls out of your mouth. In this film, that loss of control is because you have zero idea of what is coming next, because it’s never been done before. Forget story structure and archetypes, all bets are off as this film simply moves along organically backwards and forwards as it needs.
As far as the acting is concerned, for four years after this film I thought that I had seen the best performance possible from Kate Winslet, until she filmed The Reader and blew away any sense of expectation. Her Clementine is very flawed and impulsive, but still she makes it easy to fall for her, as Jim Carrey’s Joel does so completely. And I’ll be the one-thousandth person to admit it, I like Jim Carrey in his more serious, less slapstick roles (here, The Truman Show, Man on the Moon, etc.). And the two of them together, as flawed and human as they seem to be, you can’t help but root for them to find each other and make it in the end.
And the reason for that is because the characters, as well as the entire film, is wonderfully and brutally honest. If Closer was this decade’s best interpretation of how men and women relate to one another, then The Eternal Sunshine of the Spotless Mind is the one that comes at it with a lighter, more humorous touch. And because of that approach, it offers something that Closer does not. At the end of the day, it is a film that is about, and full of, forgiveness.


Ok. There it is, love it or hate it, my top 50 films from 2000-2009. If you have made it this far, then I thank you for taking the time to read this. Right now you are probably thinking to yourself “What a pretentious ass, thinking he knows better than anyone else or that anyone needs to know what he thinks!” And to that I say… well, I say nothing in defense because that is a very accurate observation.
I’ve already spoken with several people who noted the absence of some of their favorite, top five films. And I understand if you can’t believe that (insert your film here) did not crack my top 100. Please, feel free to make an argument and see if you can sell me on why you think said film is so great.

Personally, I’ve always felt that these films were somewhat (in some cases, hugely) overrated.

Films like:
Slumdog Millionaire
United 93
Unbreakable
WALL-E
Knocked Up
Sin City
Irreversible
Brokeback Mountain
Donnie Darko
Pirates of the Caribbean
The Last King of Scotland
Sideways
Avatar
No Country for Old Men
Crash
Mamma Mia!
A History of Violence
The Hurt Locker
Shrek
Bend It Like Beckham
Little Miss Sunshine
Man on Fire
Alexander
Gangs of New York
Munich
Caché (Hidden) (Anything by Michael Haneke. I may be pretentious, but even I have my limits)
Casino Royale
Zoolander
The Devil Wears Prada
Old School
Big Fish
American Psycho
Master and Commander
Kill Bill Volumes 1&2
Inglorious Basterds (Anything by Quentin Tarantino really)

All very good and worthy films but what can I say; all art has some level of subjectivity that comes with it.

*I did not count The Lord of the Rings when I mentioned Academy Award nominees and winners, because it was too difficult to qualify. In reality, the third film won the Best Picture Oscar as an acknowledgement of all three films, and all three were nominated.


Hope you enjoyed this. My regular, End of the Year Review should be finished and posted in about two Weeks. Thanks,

Ryan Black
January 26th, 2010