Since everyone else has been doing it, I figured that I might as well join in the fun as well. It's time now for the obligatory top films of the past decade list. However, while most people are limiting themselves to ten, I decided to expand the list to twenty-five films. Some people are doing more films like thirty, fifty, and even Richard Roeper did one hundred. For now, I'll just stick with these twenty-five.
25. Mystic River (2003)Dir: Clint Eastwood
A hauntingly disturbing yet beautifully acted tale that is one of Clint Eastwood's better films. All three leads carry their respective roles quite well and the rest of the supporting cast does an excellent job also. Once again, Eastwood's subtle direction allows you to slowly get invested into the storytelling and become completely emerged in this world. Kevin Bacon, Tim Robbins and Sean Penn (the last two won Oscars for this film) are fantastic. I still think Penn deserved his Oscar for Milk a little more, but this is still a very worthy film.
24. A History of Violence (2005)Dir: David Cronenberg
The first couple of viewings of this film feel a little cold to the touch, but once you revisit this film more often, there's a real greatness working underneath. Cronenberg is one that always finds the balance of graphic violence and deep psychology, often times melding the two in the same scene. This is a film that reminds us why Cronenberg is so good with his camera, and another film that gives us yet another reason to love Viggo Mortensen, whose performance in this film reaches so many levels its scary.
23. Superbad (2007)Dir: Greg Mottola
To put it simply, I can't remember laughing as much during a movie than this one. That statement is made even more significant by the fact that I usually detest films like these: the raunchy teenager sex comedy. The story isn't revolutionary, but there are so many good jokes and setups that I was smiling at nearly every frame. I remember championing a personal campaign to have the script nominated at the Oscars. This is the best film to come out of the Apatow factory and succeeded at being occasionally poignant, but constantly funny with a group of characters I felt I could pick out in any high school.
22. Zodiac (2007)Dir: David Fincher
It's quite amazing how well this film operates on such a subtle level that you aren't even sure of it the first time out. Namely because David Fincher uses the visual effects in a way that few filmmakers do: to create a world that feels truer to life rather than a pixel spectacle. There are moments in this film where I can't believe they're on a green screen set, and to use the effects as a discreet tool is a bold step that deserves a lot of credit. I'd say this is Fincher's best film since Se7en and the procedural mystery plot that is drawn out is one that is in a constant state of intrigue.
21. WALL-E (2008)Dir: Andrew Stanton
First and foremost, this is a beautiful looking film. The animation gets better and better with each new Pixar film, and the worlds created within this film are dazzling. What is also magnificent is that first half hour covered between two characters with very limited dialogue. Much like that beautiful montage at the beginning of Up, the more quieter moments in these animated films offers quite a bit of emotional depth. This is one of Pixar's best films, which almost means nothing considering their library. But this is one that I never stop enjoying.
20. 28 Days Later... (2002)Dir: Danny Boyle
I suppose I might get some flack for choosing this horror films as one of the crowning achievements of the decade rather than Boyle's big Oscar winner. However, I really love how this film manages to take a tired genre, the zombie movie, turn it slightly on its head and instead make one that is exhilarating based not only on its ability to provide good scares but also for well rounded characters and a fantastic crop of acting. Though not really a zombie movie, this has been added to the genre anyway, and I think its a shining example of how you can take a genre that has all the rules and reinvent them slightly to get something the works the nerves as well as the intellect.
19. Memento (2000)Dir: Christopher Nolan
In actuality, this film wouldn't be all that great if it were told chronologically, which means that the backwards storytelling can be perceived as a gimmick. Even still, this remains an achievement in filmmaking because Christopher Nolan manages to take that rather mediocre story and make it one that is completely engaging. This was the early promise from a filmmaker who was very much delivered on a strong career in the future by providing a long list of worthy credits. This film wasn't a game changer in its story but more in its capabilities of how to tell a story quite well.
18. Sideways (2004)Dir: Alexander Payne
While I do give points to Superbad as the film I probably laughed at the most, it is Alexander Payne's very touching film that reaches a level that few comedies manage to get to. Like that previously mentioned film, this is one of the comedies where every single member of the ensemble fires on all cylinders to nab equal time for laughs. But they all get equal time for strong emotional moments in between the humor, and we get people that feel convincingly real. Paul Giamatti, Thomas Haden Church, Virgina Madsen and Sandra Oh have never been better, and the Oscar-winning screenplay is rich with the ironic sense of sad humor and joyful bleakness.
17. Capote (2005)Dir: Bennett Miller
One of the best debuts I've ever seen, this is a perfect slice of nonfictional life that is expertly told. Bennett Miller, who has yet to make another film at this point, never indulges in flashbang set pieces or histrionic presentations. It's a very quiet film and hones in on Philip Seymour Hoffman's brilliant performance around a plot that, granted, is slow but at the same time creates a steady breath to become invested in the psychology of the characters. Every member of the production of this film should be proud, and while you can also find some enjoyment in the copycat that was released the following year, Infamous, this is the much better film.
16. Kill Bill: Vol. 2 (2004)Dir: Quentin Tarantino
While everyone else this year has been cheering on Inglourious Basterds, I think Tarantino's real achievement in the last ten years has been his second part of his revenge saga, a film so dramatically different in tone and style than the first chapter that I could argue a separation between the two. This is a film that indulges on the best sides of Tarantino: a presentation of both the wonderfully executed style of the technical aspects as well as the great dialogue as spoken by interesting characters. Thurman is terrific, but the real star of this film is the dearly departed David Carradine, who ended his legacy on a high note by giving us a character that was charismatic yet sadistic at the same time.
15. Monster (2003)Dir: Patty Jenkins
Everybody knows about Charlize Theron's mesmerizing, physical transformation that earned her a very well deserved Oscar. However, this film offers more than just one great performance. Christina Ricci also delivered a tender performance for a character whose more meek personality clashed well with the vibrant roaring by Theron. This is also a film that treats its morally ambiguous character with some sense of decency. Mind you, we are never meant to believe that the murders committed by Aileen Wuornos should be condoned, but there is an earnest approach in the filmmaking that allows us to understand this damaged mind at a proximity few films are capable of approaching.
14. Collateral (2004)Dir: Michael Mann
Of the many films to come out in the last few years concerning Los Angeles and the manner of its inhabitants, I would say that this is one of the best out there. This film starts and ends as a tight thriller, but also provides a sober look at L.A., perfectly capturing the excitement and melancholy. The first excursion into Michael Mann's obsession with digital photography is arguably the best, as it captures all the small details of modern night life perfectly. And even though Jamie Foxx wound up with an Oscar nomination for this film, Tom Cruise, playing against type, deserves the most praise for a performance that captures a villain who is smart, cunning but knows how to deliver on the intimidation and cruelty. This is actually the type of role that's been winning Oscars recently in the Best Supporting Actor category, and it looks like Cruise just missed the deadline.
13. The Lord of the Rings Trilogy (2001-3)Dir: Peter Jackson
All three films in this monstrous series deserve equal recognition, and because each is another continuous thread of the other, its impossible for me to separate these films. Even the 11 Oscar win for the last one is agreed to be a representation for the entire series. Rightfully so, because Peter Jackson not only put an entire country on a world stage, but also turned a tremendous uphill battle into one of the most memorable cinematic experiences. These films stand as a testament as to what can be achieved by mixing great storytelling with exhilarating visuals. It should also be noted that the animated character of Gollum is what convinced James Cameron to do Avatar now, and achievements like that one are only a few of the ones that this series has accomplished in uniting the world around a single piece of entertainment.
12. The Dark Knight (2008)Dir: Christopher Nolan
Say what you will about this film, it doesn't change the fact that Christopher Nolan presented a defining moment in the culture, and one that significantly changed the direction of where a comic book movie could go. He setup the groundwork in Batman Begins, but here he created a Batman that most had finally waited for: a Batman who operated in the real world and took on issues that seemed to parallel our own political scene. Nolan can't get enough credit for the success of this picture's tone, mood and excitement (even if AMPAS disagreed), but we of course cannot forget the marvelous performance of Heath Ledger's Joker, who gave us a turn on a familiar villain like we'd never seen before and gave him equal sides horror and humor.
11. Munich (2005)Dir: Steven Spielberg
For my money, this is the type of Spielberg film that I prefer watching. I do like it when Spielberg for a little darker of a subject because I think it allows him to challenge himself a bit by trying to create a tone that isn't so cut and dry. Munich is perhaps his most underrated masterpiece, and one that offers a line of interesting philosophical questions against the guise of a tight thriller. This quest for the "correct" response against terrorism and a small dissection of Israeli-Palestinian conflicts offers a much more stimulating conversation than the current display of Jewish revenge fantasy that leaves a bitter aftertaste. I'm glad Spielberg did not indulge on that request, because he has made a film that is engaging to watch and even more engaging to discuss.
10. Y Tu Mamá También (2001)Dir: Alfonso Cuarón
Looking at this film, it's almost amazing that this hasn't been remade into a slick, mediocre American version. After all, with a premise of two horny adolescents taking a road trip with an older woman who teaches them lessons of love and lust, that seems like it's destined for a dumbed down remake. Fortunately it hasn't so we can enjoy Alfonso Cuarón breakout American hit unspoiled. The dynamics between the three characters is fascinatingly portrayed and offers a deep well in which to mine great emotional depths. The sexual scenes are very graphic in this film, but each one of them is a moment of revelation, whether it be concerning to plot or an emotional truth to a character. This film not only gave us a great filmmaker who would give us more great films, but also opened the door to a new wave of Mexican cinema, allowing others like Guillermo del Toro and Alejandro González Iñárritu to follow suit.
9. Letters from Iwo Jima (2006)Dir: Clint Eastwood
Eastwood's streak continues here with, what I think, is his best film since Unforgiven. This companion piece to the earlier film Flags of Our Fathers, about that battle on the Japanese island during WWII, shows us why Eastwood is a master of film. Not only is this movie enjoyable for the ironic note of such an American icon directing a foreign film, it is also an intriguing study on war itself, and Eastwood gives us a fascinating portrayal of that struggle. He manages to show us that no matter what side is fighting, war carries the same amount of patriotism, fear, cowardice, loyalty and overreaching emotion without paying attention to who is pulling the trigger. This film doesn't glorify nor demonize the Japanese. Instead, it makes them full of the same emotions that the American get treated to in so many other war films, and that diligence seen on the other side is a comforting thought from a filmmaker who shows that he's still capable of creating a great work of art.
8. Eternal Sunshine of the Spotless Mind (2004)Dir: Michel Gondry
Of all the contrived genres out there, the romantic comedy is the one I respond to the least. That is, unless I can see a film that turns on the execution a bit and gives me well rounded characters to become invested in. 2009 did have (500) Days of Summer, but even the greatness of that film is indebted to this one. The tracking of a romantic relationship is well told in the cryptic jumps from the fragmented mind of the main character to the slightly parallel world outside of his. Charlie Kaufman provided yet another great script, one that one him the Oscar, and Gondry's direction is one that is never flashy but always understands how to get the right feeling from just the right amount of gimmickry.
7. City of God (2002)Dir: Fernando Meirelles
I have to admit that I don't revisit this film too many times. However, when I do, I get so wrapped up in this dazzling and gritty spectacle that it feels as if I'm experiencing it for the first time all over again. The violence in the film never feels staged or stylized, and the realistic nature to it is what makes the film carry a more emotional weight. At the same time, this film never makes all of its characters out to be total monsters, and instead gives us an idea of a how a group of people cope with an incredible amount of suffering and deceit. This is perhaps the best edited film of the decade, and Fernando Meirelles has yet to make a film that comes even close to the greatness he showed here.
6. Pan's Labyrinth (2006)Dir: Guillermo del Toro
I don't usually consider fairy tales to be the best direct reference for a film, but here, all the beauty, sadness and terror that make up those stories are perfectly embodied in Guillermo del Toro's excellent work of art. This films goes right into a place where few other films venture: the mind of a child. This film also treats that mind as one that is just as sophisticated and terrified as an adult, trying to battle the internal and external forces that are equally stunning and dangerous. This film treats both the real and fantasy worlds with the same amount wonderful art design and complexity within the emotions and plot. This is a beautifully dark fairy tale that reminds us why we tend to fall in love with those stories in the first place.
5. Brokeback Mountain (2005)Dir: Ang Lee
Perhaps one of the most memorable Oscar movies around because it didn't win Best Picture. Now, I like Crash quite a bit, but it doesn't compare with this grand masterpiece. Ang Lee's subtle direction is still highly suggestive and very powerful. The performances from Heath Ledger and Jake Gyllenhaal are career bests, particularly from Ledger, whose soft spoken character trying to hide a secret love has become one of the most memorable and endearing cinematic characters and a strong reminder at what film history had lost with his untimely passing. The supporting cast is also strong, the script is packed with emotion and the scenery is gorgeous. This is a hauntingly beautiful film that takes on the classic romance themes are presents them in a different way. Yes, it did succeed incredibly well on the social front by bringing gay issues to the mainstream, but above all else, this is a beautifully crafted film that is one of the greatest achievements of film that has ever been seen.
4. United 93 (2006)Dir: Paul Greengrass
This was a story that seemed impossible to tell tastefully, and Paul Greengrass had an uphill battle to climb with a slight controversy regarding the timing of the film. But he managed to pull it off, and offered a film that paid respect to what happened on that day and the participants on that flight. With a docudrama approach and a cast of non A-listers, this is a film that feels real from beginning to end, and never exploitatively. This is another film that I don't revisit regularly, but I can say it is one that left a significant impact. I can no longer look at any 9/11 footage without acknowledging every personal story, and that is an achievement that very few films have accomplished.
3. The Incredibles (2004)Dir: Brad Bird
This has remained my favorite Pixar film for quite some time, and every time I return to it, I'm reminded why. This is a film that really gets what it means to be a family film. There's elements for the kids, such as the bickering relationship between siblings and the colorful, fast paced action sequences. For the adults, there's the cool '60s design and delicate touches on grown up issues like mid-life crises and infidelity. But for everyone, there is a sweet story about the bonds of family, and how that unity can overcome any obstacle. It's a warm message that manages to seep through all the loud action that is also still very humorous. Brad Bird continues to this day to show that he is working on a level of animation that few can reach, and he still provides the best film that Pixar has ever done, which again, is saying quite a lot when looking at their library.
2. The Assassination of Jesse James by the Coward Robert Ford (2007)Dir: Andrew Dominik
I have to say that I probably shouldn't like this film. For one thing, it's a western, one of my least favorite genres. Not only that, it's well over two-and-a-half hours. Not only that, but its also very slow paced. It seems like I should hate this movie, but every time I watch it, I am totally transfixed by the beauty of what's happening. This is the perfect example of a film that relies on great characters to propel the story forward, and with that, I can get lost within this 160 minute adventure unscathed. Brad Pitt gives a good performance, but Casey Affleck gives a lot of depth to a character that I'm still figuring out. Shot brilliantly by ace cinematographer Roger Deakins, this is a movie with haunting beauty that remains to be an extremely well executed character study. Give it some time, and I might even say this was the best of the decade, which is in a very close race with my number one pick...
1. There Will Be Blood (2007)Dir: Paul Thomas Anderson
I admit that the first time I saw this film, I knew that what I watched was great, but I wasn't completely sure about the whole thing. It didn't win me over as much as it did other people, but I tucked it aside to see what it could do some time later. After many trips back, I'm still picking apart all the subtle layers that exist in this film, and I am constantly amazed at how much there is. Paul Thomas Anderson continues to show that his eye as a filmmaker is one that is unmatched in his ability to create a film that rewards one on an intellectual level by peeling back all the layers, which constantly adds another feeling of reinvention, as if you're watching the film for the first time yet again. One cannot also forget the amazing performance by Daniel Day-Lewis, who also creates one of the best performances of this new century. Mark my words, in twenty, thirty, fifty years or so, this will be analyzed, discussed and hailed as a masterpiece in the same way that Citizen Kane is today. This is a film that's hard to get a first, but once you start to dive into its deep well, you won't be able to come up, lest you stop looking for all the little gems it has laid.
