Perhaps in a few instances I opted to include a director (or even country) as a representative but even some of my favorite film makers were left out (where’s Spike Lee?). Oh well this list won’t please everyone, in fact I’m not sure it’ll please anyone, can’t even say I’m completely happy with it. Before I get into the list (no cheating and scrolling down) I’d like to talk briefly about the decade itself.
If you’re old enough to surf the internet chances are you lived through the 2000s and remember each of the years, from the major international milestones to two supremely pointless elections and an Olympic games or three no one remembers. As for film the dust is still settling as far as what came out and when. For the sake of the list I chose to limit myself to films released theatrically in 2009. I know that in the year and change after the end of the decade a few films made in 2009 and before have come out, but well it doesn’t seem wholly fair to include films that made my top ten of 2010 on this list. In all honesty I’m just cheating so I can fit more films on, but that’s how I’m justifying it.
Sorting out the film movements and major players may take a long time to figure. Most people familiar with international cinema will recognize the emergence of Romanian cinema as a major movement, and the steady increase of South Korean cinema thanks to directors like Bong Joon-ho, Hong Sang-soo, and Park Chan-wook. Elsewhere internationally Iranian cinema began the decade quite strong with such great films as Baran, The Hidden Half, The Day I Became a Woman, and others before increased censorship made great Iranian cinema a thing of the past by the end of the decade. Damn shame even the output of legends like Kiarostami, Makhmalbaf, and the imprisoned Jafar Panahi have diminished or completely dropped off.
Jia Zhang-Ke has been leading a one man Chinese renaissance to combat the bloated overdone “sell-out” films of former 5th Generation giants Zhang Yimou and Chen Kaige. His cinema is far from indicative of the norm for Chinese cinema, which has adopted huge budgets and stars since adopting Hong Kong cinema as it’s own. Wong Kar-Wai started the decade off with one of his most praised films In the Mood for Love but by the end of the decade was having to defend his poorly received English language debut My Blueberry Nights. As globalization continues the very definition of a national cinema is becoming quite blurry.
Many of the best directors of this decade may still be waiting to be discovered. I showed up late to the party with Jia, who I first heard of when The World (his fourth feature) was released here. Thailand’s Apichatpong Weerasethakul is another late bloomer for me who I didn’t discover until Tropical Malady (his third feature) was released. Their story is similar and makes me wonder how many great directors are already making gems. Early decade mavericks like Christopher Nolan and Darren Aronofsky have become part of the establishment with recent blockbusters Inception and The Black Swan, while still maintaining a large degree of artistic credibility.
Animation grew as a respectable form of cinema throughout the decade. Starting in 2001 the Academy decided to give an Oscar for the best animated feature, and aside from that first year, it has pretty much been the Pixar award. The Disney subsidiary has consistently proven itself the best name in the animation world and seem to produce a masterpiece on an annual basis. Needless to say they’re represented here. Hayao Miyazaki also made inroads on American soil (thanks perhaps to a Disney distribution deal) and made arguably his greatest film with 2001’s Spirited Away.
*After several years I decided to add years,countries, and directors for each film. I had originally done this but a computer crash lost this info, and I was too damn frustrated to fix it. So enjoy the amended list, and let it be noted, that although my tastes have slightly changed this list is left in tact. Feel free to revisit my top 100 list to see which of the top films shuffled, or just take this as a pretty accurate ranking as of 2011. I know I often blog and write about older films, so perhaps a more contemporary list can give you some suggestions going forward. Perhaps in another 5 years I'll write about 50-11 on here.
50. Edge of Heaven (2008) - Turkey/Germany Faith Akin
49. Dancer in the Dark (2000) - Denmark/France/Sweden Lars Von Trier
48. Gran Torino (2008) - US Clint Eastwood
47. Memories of Murder (2003) - South Korea Bong Joon-ho
46. La Commune (Paris 1871) (2000) - France Peter Watkins
45. The Royal Tenenbaums (2001) - US Wes Anderson
44. Last Days (2005) - US Gus Van Sant
43. Rambo (2008) - US Sylvester Stallone
42. 4 Months, 3 Weeks, and 2 Days (2007) - Romania Cristian Mungiu
41. Regular Lovers (2005) - France Phillipe Garrel
40. Traffic (2000) - US Steven Soderbergh
39. The Saddest Music in the World (2003) - Canada Guy Maddin
38. Moulin Rouge (2001) - US/Australia Baz Luhrmann
37. Eureka (2000) - Japan Shinji Aoyama
36. Zodiac (2007) - US David Fincher
35. Cache (2005) - Austria/France Michael Haneke
34. Million Dollar Baby (2004) - US Clint Eastwood
33. Elephant (2003) - US Gus Van Sant
32. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) - US Larry Charles)
31. Two Lovers (2008) - US James Gray
30. The Death of Mr. Lazerescu (2005) - Romania Cristi Puiu
29. Kings and Queen (2004) - France Arnaud Desplechin
28. Bloody Sunday (2002) - UK/Ireland Paul Greengrass
27. The Day I Became a Woman (2001) - Iran Marzieh Meshkini
26. Angels in America (2003) - US Mike Nichols
25. Syndromes and a Century (2006) - Thailand Apichatpong Weerasethakul
24. Brand Upon the Brain! (2007) - Canada/US Guy Maddin
23. The Departed (2006) - US Martin Scorsese
22. Hero (2002) - China/Hong Kong Zhang Yimou
21. Up (2009) - US Pete Docter
20. Spirited Away (2002) - Japan Hayao Miyazaki
19. The Pianist (2002) - Poland/UK/France/Germany Roman Polanski
18. The Young Victoria (2009) - US/UK Jean-Marc Vallee
17. The World (2004) - Japan/France/China Jia Zhang Ke
16. Yi-Yi (2000) - Taiwan Edward Yang
15. No Country for Old Men (2007) - US Joel and Ethan Coen
14. Dogville (2003) - Denmark Lars Von Trier
13. Pride and Prejudice (2005) - US/UK Joe Wright
12. A History of Violence (2005) - Canada/Germany/US David Cronenberg
11. Sin City (2005) - US Frank Miller/Robert Rodriguez/Quentin Tarantino
10. Talk to Her (2001) - Spain Pedro Almodovar
Coming right after All About My Mother it’s hard to say this is Almodovar’s best film, but I’ll
make that claim and stick by it. Much more subdued than his more hysteric earlier work but just melodramatic and perverse enough to let you know it couldn’t have come from another director. Along with the previous film it’s a fine place to start with Almodovar whose earlier work might seem too crazy to be taken seriously. Essentially it is the story of two men who form a bond caring for women who happen to be in a coma. That makes it sound like a regular talk fest that will bore you to tears but never with Almodovar, it gets creepy, provocative, brilliant, and somehow throws a miniature (in more ways than one) silent film in the middle of it. It’s rare when a director is so completely in control of his craft as Almodovar is on this, even enough to earn himself a best original screenplay Oscar as well as a best director nomination.9. Requiem for a Dream (2000) - US Darren Aronofsky
The first great film of the decade took so long to follow up that the cult/legend of Aronofsky grew exponentially to a point that his subsequent films were at a decided disadvantage. One of the
bleakest films of the decade this is a classic “everyone loses” sort of melodrama about addiction in myriad forms but one of the most fascinating to watch. Flexing some serious film school muscles Aronofsky has a new trick in store for virtually every shot in the film, recalling the carefree experimental days of the French New Wave, without the humor. The performances are great all around, particularly Ellen Burstyn who makes a welcome return to the screen as the diet pill addicted mother. Seen by very few during it’s initial theatrical run, like Donnie Darko and Memento it became a favorite of nearly every kid entering film school that decade and unlike those two films well it’s a hell of a lot better.8. The Dark Knight (2008) - US Christopher Nolan
Although Memento put him on the map, it wasn’t until Batman Begins that Nolan made himself a household name in the director’s chair. As great as that first Batman film was, and spawning a whole wave of “gritty reboot” films it was the follow up The Dark Knight which may arguably lay claim to being the best sequel possibly ever made, and on the very short list of the best super
hero films. It’s exclusion from the best picture race in 2008 is what many people are citing as the reason for the Academy nominating 10 pictures in the two years since. Heath Ledger delivered a memorable swan song as one of cinema’s greatest villains. Batman the character has never been better in any form than on screen here. Nolan proved that he was far removed from the backwards trickster he seemed to be with his first two films. He also proved that sequels could be better without necessarily having to be bigger. Doesn’t hurt that it was shot in Chicago, and well every movie can use a little more Eric Roberts. All that aside there is no shortage of great moments and juggling Harvey Dent’s descent and Joker’s unequaled mayhem made Scarecrow and Ra’s Al Ghul all but forgotten from the first. Perhaps the only downside was Rachel Dawes whose character was pointless for the most part and inexplicably replaced by Maggie Gyllenhaal. That aside you can scarcely find a comic book movie more perfect.7. The Incredibles (2004) - US Brad Bird
OK so maybe this is the best super hero film of the decade. Brad Bird’s Pixar debut was made as the company was already riding high on the success of Finding Nemo. Rather than adapt a well
known super hero group, Bird created his own borrowing on plenty of traditions. In it’s place he made a family comedy that was all about the actual family. It’s humor was universal and didn’t pander to 3 year olds as many earlier Disney features did. This was designed as much for the comic book fan boy as the average first grader. In the process Bird made what is in my opinion the best animated film of the decade and the crowning achievement of the Pixar studio to date. So much of the humor arises from the mundane, Mr. Incredible’s massive weight gain, the weight gain in only one particular area of Mrs. Incredible, Fro-zone searching for his super suit and simultaneously arguing with his wife, and on and on. It’s sound design is also among the best of the decade an art much more felt than seen. Not to detract from other Pixar films of the decade like Finding Nemo, Up, Wall-E, or Ratatouille but well one of them had to be the best.6. Lord of the Rings (2001-2003) - US/New Zealand Peter Jackson
A massive trilogy planned and executed at once that turned out to be one of the most mammoth undertakings in cinema history forever took Peter Jackson from the quirky disgusting filmmaker of Meet the Feebles and Dead Alive and made him a major Hollywood player. It did more for
New Zealand cinema than any film before it, and almost instantaneously joined the discussion as being one of the best science fiction/fantasy franchises of all time. Motion capture became a new cinematic term, and even the most ardent of Tolkien fans had to admit these films got things about as right as they were going to get. Multiple viewings can only hope to reveal how much is going on and truth be told it can be a little tricky following all the various battles and wars going on but it never ceases to be an entertaining ride. The deluxe DVD’s set new standards for special features and behind the scenes access, a nice added bonus. Different people have a different favorite from the franchise, but as a collective whole this is one of the most impressive feats of cinematic storytelling you’re likely to find.5. Children of Men (2006) US Alfonso Cuarón
As the debate raged amongst which of the Mexican director’s had the best 2006, I was casting my vote for Cuarón. As a fair comparison I went to see Children of Men immediately after Pan’s Labyrinth (I paid a then astonishing $10 for a movie ticket and I was going to turn that into a
double feature damnation). You may already know I’m a sucker for long takes, and this film had them in abundance. Free of typical trickery entirely new rigs were built and designed to accommodate the ever elaborate photography. Aside from a mere technical marvel though the film’s political backdrop is enough to fill an entire philosophy and ethics class. Perhaps it is the best films that make us think, and this one does that, perhaps what would it be like to live in a world where no one can have kids anymore? What would we do if after 18 years someone was found pregnant? What would it mean if that person happened to be black? What would be the point at all of maintaining in that environment? 2006’s best film is densely layered indeed and is one of the most impressive works of cinema I have ever seen. The highlight of what was a very productive decade for Cuarón, who broke through with Y Tu Mama Tambien, and even helmed a Harry Potter film, which consequently happened to be the best of that franchise.4. Eternal Sunshine of the Spotless Mind (2004) US Michel Gondry
Before Michel Gondry was at the helm of a painfully unnecessary Green Hornet movie, and
before Charlie Kauffman took his first turn in the director’s chair the two teamed up for what was one of the most unique and original cinematic tales of the decade. Although un-nominated Jim Carrey was never better and isn’t likely to get any better than he was in this film. Kate Winslet earned another well deserved nomination for her work, but this is really Kauffman’s show. Taking us into an ethical dilemma of what would we do if we could erase painful memories but without lecturing or sounding like a philosophy professor. Juggling a few multiple plot strands and jumping into rapidly fading memories, there is a whole lot going on here. Even a third or fourth viewing won’t reveal all the things going on in the background of the shots. Gondry has a penchant for cluttering up his frames, as was evident in The Science of Sleep and Be Kind Rewind, but it makes some of the images appear almost like a Where’s Waldo drawing. A perfect compliment to Kauffman’s scatological style which never found a better marriage than here. Reminding us that two people who are supposed to be together will find some way, somehow.3. Kill Bill (2003-2004) - US Quentin Tarantino
After a rather prolonged absence during which he tried to make Inglorious Basterds, Quentin Tarantino decided to put all his influences on his sleeve. In the process he made a film that combined all his love of kung-fu, samurai, blaxploitation, spaghetti westerns, and everything else in between to form the most awe-inspiring revenge story in all of cinema. As a collective whole
the two films (originally intended to be released together) are an excessive, kinetic, over the top orgy of blood and guts with that wonderfully nuanced sense of character and dialogue that only Tarantino can use. It’s what separates this film from countless Japanese slaughter fests made throughout the decade. The reason why so many bloody films are so easily forgotten. Trimming the majority of the dead space away from the films this was paying homage to, it’s an all-killer no-filler thrill ride for a new generation. Yeah you can quote me on that, but clichéd movie critic speak aside this is a film that was well worth the wait and sadly Tarantino’s next two features didn’t come anywhere near equaling it. Greater than the sum of it’s parts Kill Bill ranks among the decades best just like Pulp Fiction does for the 90s and has already inspired a host of younger people to hunt out films like Shogun Assassin, Lady Snowblood, and The Streetfighter among countless others. Always wearing his influences on his sleeves but finding a way to supersede and improve upon them Tarantino every so often can remind people just why the hell he’s so damn good.2. City of God (2002) - Brazil Fernando Meirelles and Katia Lund
The decades best foreign film drew plenty of controversy for itself. Many people claimed this was exploitation at its finest with small children brandishing guns and quick to shoot anyone.
Romanticizing the slums and exploiting intolerable conditions the film did none of that for me. Perhaps a criticism of sensationalism is understandable but it doesn’t detract from the film. There is nothing wrong with finding a way to make a film entertaining, and there is nothing romantic about this film. For most of the characters you can’t get away fast enough and it shows a Brazilian idea of what American films have been showing with countless gangster films for decades. Shown from the eyes of an outsider makes the film that much easier to identify with for us who see just how scary the situation can be and how easily falling into that life could be. There’s a lot going on and there is a quite a bit to take in over the three decade story which doesn’t seem so much a nostalgic recollection of the good old days as a tale of whose who from the eyes of a first hand witness standing just outside of it all. Some of it is brutal and hard to watch, but ultimately redeeming I find and I’ll take this film any day over the whitewashed garbage that Walter Salles has been turning out the last two decades. This has all the excitement of classic cinema novo ala Glauber Rocha with better production values.1. Mulholland Drive (2001) - US David Lynch
Well before I even started this project I knew Lynch’s film would top my list. In fact not long after I saw it I knew it would top my list. For the past 9 years or so I’ve been wondering if any film would come out that would be better, and well you have your answer to that question. Most of the films in my list I’ve seen more than once, and the upper echelon always benefit from
repeated viewings. Not only do repeated viewings reveal more layers that were previously missed, but they also serve as the best judge of a film’s quality to decipher whether or not it can hold up. Mulholland Drive more than holds up. It is in my opinion Lynch’s masterpiece which is saying a whole hell of a lot. It’s disturbing, provocative, enigmatic, mesmerizing, and just damn perfect. Every time I watch it more and more of it makes sense, but there’s always a scene or two that make me scratch my head. Perhaps it’s Lynch’s way of saying “that’ll teach you to try and decipher meaning in my work” or perhaps it’s just another mystery waiting for me to reveal. As a side note this film also contains the best sex scene of the decade and well it made me a Naomi Watts fan for life. As he goes digital it’ll be interesting to see if Lynch will ever come close to topping this, or even bother being this coherent again. As it stands though this is the finest film of the decade and I will stand by that for a long time.
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