So I originally wanted to do a Top 10 list for movies of this decade, but that became way too difficult. So was ranking the movies in any way, so here's just a list (in chronological order of initial release) of 20 movies from 2000-2009 that are outstanding in one way or another and definitely worth watching - especially for anyone who wants to get into movies without jumping into the deep end (i.e. the ocean of great, old movies).
For another perspective on some of the best films of the decade, check out Jabe's blog entry, which is definitely written much more eloquently than what is to follow.
*****
Dancer in the Dark dir. Lars von Trier (2000)
Featuring two quirky personas in director Lars von Trier and lead actress Björk, this one-of-a-kind musical combines the best qualities of both to make one of the most memorable films of the decade. Dancer in the Dark combines the emotional pain of von Trier's earlier Breaking the Waves and the alternative filming style of all of his works with Björk's mysterious aura and unique musical style. That's right, the songs are done in the trippy, electronic musical style of Björk.
Memento dir. Christopher Nolan (2000)
Here we have one of the most interesting storytelling devices to ever hit a screen, and the substance behind it doesn't disappoint. Anti-hero Leonard Shelby has a condition in which he cannot form new memories, and so he finds himself caught in the middle of a situation - which is really only a situation because of his condition. The story is told in reverse order, yet in a not confusing manner, so that we can see an already intense plot unfold to us in the form of a mystery.
Amélie dir. Jean-Pierre Jeunet (2001)
The quintessential feel-good movie of the decade. Nitpickers can say all they want about the film, but the truth is that what it intends to do, Amélie does perfectly. Filmed with the quirky writing and rich cinematography that has become a signature of Jean-Pierre Jeunet, and filled with some charming acting - in particular by Audrey Tautou, who plays the title role - Amélie is a great watch with a significant other or just anytime you need a smile.
Moulin Rouge! dir. Baz Luhrmann (2001)
The final installment of Baz Luhrmann's "Red Curtain Trilogy," Moulin Rouge! has Luhrmann written all over it and is tons of fun. As dictated by the Red Curtain principles, the film alienates the audience so much that you're always aware that you're watching a movie. This slight uncomfortableness combines with things we've seen from Luhrmann before: vibrant cinematic touches (Romeo + Juliet) and a quirky writing style (his radio hit "Everybody's Free (To Wear Sunscreen)," combining plot elements of three famous operas with some great arrangements of pop music hits.
Mulholland Drive dir. David Lynch (2001)
David Lynch's Mulholland Drive is a thriller made in the most unconventional of ways and is probably Lynch's most accessible film, though that certainly isn't saying much. If you think Lost is cryptic - well, this movie makes the TV series seem as clear as crystal. For some reason, though, it keeps you engaged in the convoluted, dreamlike "plot." Trying to make sense of it is not only optional, but also discouraged. Still, it has been the subject of extensive study by Lynch fanatics. Only David Lynch can make a movie this twisted that is so great that people actually have the patience to want to unlock its mysteries.
Monster's Ball dir. Mark Forster (2001)
Monster's Ball is probably most known for its infamous Halle Berry nude scene, even though there are a lot of other reasons to go and watch the film. It has some of the best acting in movie history; Halle Berry, Billy Bob Thornton, Heath Ledger, and even Sean "Puffy" Combs deliver some really convincing performances that result in an intense and exciting character-driven drama. That this didn't even get an Oscar nomination is outrageous.
Minority Report dir. Steven Spielberg (2002)
A modern masterpiece from Steven Spielberg, who for the past three decades has had the amazing ability to almost consistently make movies that both are great in quality and bring in the cash. I would have to pick Minority Report as Spielberg's greatest work of this decade. Spielberg uses some really effective editing, cinematography, special effects, and art design to make a dark, sci-fi thriller that is constantly exciting and a little eerie. Other great Spielberg movies of the 2000's include Munich and Catch Me If You Can.
City of God dir. Fernando Meirelles (2002)
If I had to rank these movies, the thrilling Brazilian film City of God would take either the #1 or #2 spot (competing with No Country for Old Men). If one word could best describe this movie, it would be "awesome." There are just so many elements that make this movie so great: a captivating plot, superb acting, lightning fast editing, and a great, visceral depiction of the violent Brazilian slums. Sadly, City of God isn't too well known outside of the film enthusiast circle ("wait, is that the movie with Nicolas Cage in it?"), but it is a modern classic and a great piece of foreign cinema.
American Splendor dir. Shari Springer Berman & Robert Pulcini (2003)
As far as biopics go, American Splendor probably tops the list in terms of creativity. The film looks at the life of comic book artist Harvey Pekar, whose comic series "American Splendor" is itself semi-autobiographical. Unique storytelling techniques make the film always entertaining, including the intertwining of portrayals of Pekar and his wife Joyce Brabner by actors with documentary footage of Pekar and Brabner themselves. When it comes to adapting a comic for the big screen, Pekar has to be happy with this result, as opposed to frame-for-frame recreations like those done in Sin City, 300, and Watchmen.
Sideways dir. Alexander Payne (2004)
I feel like Sideways is often underrated because it was advertised as a comedy about wine. It does have a few funny moments, and it does have wine, but I would definitely call it a drama - a fantastic one - that uses wine as a metaphoric device. The main strength of the film is definitely the acting. The four leads can really draw out all different kinds of emotion from a script that is efficient but very demanding from an acting perspective. Paul Giamatti's performance was particularly memorable, and it's a shame that the Academy thinks that more acting is better acting, when it penalizes those like Giamatti who are trying to be genuine.
Grizzly Man dir. Werner Herzog (2005)
Our representative of the documentary genre in this list is Werner Herzog's Grizzly Man - an intriguing though at times haunting look into the life and death of "Grizzly Man" Timothy Treadwell. The film is made largely from footage shot by Treadwell himself as he makes yearly ventures into the depths of Alaska, living among the bears and hoping to raise awareness about them. It is also a meditation on both Treadwell's complex drives and passions, as well as human nature itself, and throughout the film you can't help but deeply analyze Treadwell's nature - is he a hero or is he just nuts?
Children of Men dir. Alfonso Cuarón (2006)
Mexican director Alfonso Cuarón of Y Tu Mamá También and Harry Potter 3 fame follows up with the visionary Children of Men, which creates one of the most believable dystopias in fiction. Instead of having a world with flying cars, robot servants, and laser guns, the future world in Children of Men looks much like the world of today, but just a lot worse. The film creates a dark but fascinating atmosphere that combines with some smart action and themes that are all across the emotional spectrum, resulting in one of the greatest films of our generation.
Pan's Labyrinth dir. Guillermo del Toro (2006)
This past decade has been marked by the sudden growth of Mexican cinema, with directors like Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro leading the way. Del Toro's Pan's Labyrinth stands out in particular and has been able to gather a mainstream acceptance in the U.S. because of its amazing, quasi-hypnotic depiction of a fantasy world. Well, really what makes this fantasy world so effective is its juxtaposition with the violent realities of the Spanish Civil War and its role in a well-crafted, painful and cruel story.
Zodiac dir. David Fincher (2007)
David Fincher, most famous as the director of Fight Club and Se7en, released this largely overlooked gem in 2007, which I consider to be the best of the three films. Unlike the other two films, Zodiac - which follows the true story of an everyman's obsession with tracking down and identifying the "Zodiac" serial killer - is told very plainly. Gone is the borderline-excessive grandeur of image (Se7en) and word (Fight Club), and instead we get a straight-up, captivating "thriller" of a mystery along with a fascinating character study.
Once dir. John Carney (2007)
Like its title, Once is simple. Watching this music-infused love story is like experiencing life itself. It's just a charming little story that doesn't hit you in the jaw when you watch it but sticks with you and grows on you. The two nameless lead characters are played by musicians, who not only play their roles more genuinely than any actor could, but also write all of the great music performed throughout the film. As for the plot, it's much like the classic Brief Encounter minus all the sappiness - and this lack of sappiness is exactly what makes Once feel so familiar.
Across the Universe dir. Julie Taymor (2007)
This musical, whose numbers are original renditions of Beatles' classics, was welcomed with mixed reviews. Overall, the music and visual style was received warmly, while the plot was more harshly criticized. While the plot is indeed far from the best, I'm pretty sure the main point of Across the Universe was to pack as many Beatles songs (33 to be exact) as they could into the movie and connect them with a loose plot to allow the narrative to flow linearly. The arrangements and visuals are so good that the weak plot is forgivable. I like to think of the film instead as 33 great, creative music videos.
No Country for Old Men dir. Joel & Ethan Coen (2007)
Along with City of God, this would be the other leading contender for what I consider the best film of the decade. The Coen brothers once again show off their versatility by creating this suspenseful take on Cormac McCarthy's novel that would make Alfred Hitchcock proud. In doing so they bring to life one of the craziest characters to ever hit the screen in the main villain Anton Chigurh, perfectly portrayed by Oscar winner Javier Bardem. In addition to a thoroughly exciting plot, which is essentially a big chase, the film features brilliant contrasts among the main players and evokes interesting thoughts about chance versus fate.
WALL-E dir. Andrew Stanton (2008)
Pixar has been releasing some great movies (and short films) year after year and definitely has been raising the bar when it comes to making high-quality animated films. In terms of overall quality, I'd have to put WALL-E at the top of the list, though Ratatouille, The Incredibles, Up, and Finding Nemo are all great, too. WALL-E is a visionary work that at times is reminiscent of ballet or Charlie Chaplin films, at others is an interesting look at a dystopian society, and at others is just tons of fun to watch. And perhaps the best part of WALL-E and Pixar's other works is that you can enjoy their movies no matter what you expect or look for.
Revolutionary Road dir. Sam Mendes (2008)
Sam Mendes won an Oscar in 1999 for American Beauty, which in many ways is similar to Revolutionary Road, though I would argue that the latter is the better film. Leonardo DiCaprio and Kate Winslet pair up once again and deliver performances of a lifetime to the tune of Richard Yates's classic novel. As we already saw in American Beauty, crazy things can happen in a family. In this case, the couple's desire to be special in the midst of a dull life results in some intense emotional agony, causing domestic chaos to ensue.
The Hurt Locker dir. Kathryn Bigelow (2009)
The Hurt Locker is a unique kind of war movie, which instead of building up to all-out battles focuses on the intensity and visceral nature of the individual on the battlefield. The film follows a group of three soldiers in Baghdad who defuse bombs. Of these three, the most interesting is their leader Sgt. James (Jeremy Renner), whose unique mentality, at times reckless behavior, and bomb-defusing expertise lead the team into some tight situations. The movie is worth watching if even just to appreciate its "realism," but also includes a fine portrayal of a complex character in Sgt. James.
*****
For those who want even more recommendations...
The Next 20
- Amores Perros dir. Alejandro González Iñárritu (2000)
- In the Bedroom dir. Todd Field (2001)
- Hero dir. Zhang Yimou (2002)
- Kill Bill: Vol. 1 dir. Quentin Tarantino (2003)
- Mystic River dir. Clint Eastwood (2003)
- In America dir. Jim Sheridan (2003)
- Eternal Sunshine of the Spotless Mind dir. Michel Gondry (2004)
- The Incredibles dir. Brad Bird (2004)
- Million Dollar Baby dir. Clint Eastwood (2004)
- Tsotsi dir. Gavin Hood (2005)
- Brokeback Mountain dir. Ang Lee (2005)
- Munich dir. Steven Spielberg (2005)
- Little Miss Sunshine dir. Jonathan Dayton & Valerie Faris (2006)
- Letters from Iwo Jima dir. Clint Eastwood (2006)
- Ratatouille dir. Brad Bird (2007)
- Into the Wild dir. Sean Penn (2007)
- Iron Man dir. Jon Favreau (2008)
- Slumdog Millionaire dir. Danny Boyle (2008)
- Gran Torino dir. Clint Eastwood (2008)
- Fantastic Mr. Fox dir. Wes Anderson (2009)
Before you ask... no, I'm not particularly a fan of the LOTR trilogy, and yes, my favorite superhero movie is indeed Iron Man and not The Dark Knight.
