text:
As usual, list your votes for your top 25 in the form of comments below and prepare for the avalanche of beatitudes from Sam, even when if include Gigli and the masterpieces of Uwe Boll.
We're nearly there…
As usual, list your votes for your top 25 in the form of comments below and prepare for the avalanche of beatitudes from Sam, even when if include Gigli and the masterpieces of Uwe Boll.
We're nearly there…
Is this the right place? There's nobody else here.
From 1 – 25 – and already disagreeing vehemently with myself
1 Three Times
2 The New World
3 Crouching Tiger, Hidden Dragon
4 Star Wars Episode III : Revenge of the Sith
5 Spirited Away
6 Notre Musique
7 A.I. Artificial Intelligence
8 Mulholland Drive
9 Antichrist
10 A Tale of Two Sisters
11 Flight of the Red Balloon
12 Miami Vice
13 The Village
14 Infernal Affairs
15 Southland Tales
16 Public Enemies
17 Knowing
18 Dark Water (Japanese)
19 Femme Fatale
20 The Descent
21 Avatar
22 Eastern Promises
23 Ponyo
24 My Sassy Girl (Korean)
25 The House of the Devil
Worst film = Limits of Control
Yes Stephen, this is indeed the place for this ballot, and you have officially launched it with a most diverse and interesting list. Allan's "nearlies" to be posted tomorrow, will officially begin his own consideration.
Fantastic. I can't wait.
Wow, we're already here? Looking forward to the nearlies. Not sure yet if I'll participate in this poll. The Best of the 21st Century? series has helped me catch up on some titles but it's still one of my weaker decades – despite the fact that it's the only one I lived through as an adult! With a little more distance than I had in its midst, I don't think it was quite as bad as I thought at the time, but it was definitely one of the weakest decades for American cinema.
I think I'll probably disagree with more of Allan's picks for this decade than any other, but we'll see (I know there are quite a few I'll definitely agree with too).
I'll simply copy the list I already posted over at "The Aspect Ratio". Anyone who wants to read my commentary again can head over there and check it out. Otherwise, here's the basic voting ballot, plus extra nearlies:
1: American Psycho (Harron, 2000)
2: Revenge of the Sith (Lucas, 2005)
3: Waltz With Bashir (Folman, 2008)
4: Che (Soderbergh, 2008)
5: Casino Royale (Campbell, 2006)
6: Paprika (Kon, 2006)
7: Angels in America (Nichols, 2003)
8: Inland Empire (Lynch, 2006)
9: Waking Life (Linklater, 2001)
10: Mongol (Bodrov, 2007)
11: The Science of Sleep (Gondry, 2006)
12: There Will Be Blood (PT Anderson, 2007)
13: Dogville (Von Trier, 2003)
14: Steamboy (Otomo, 2004)
15: Moon (Jones, 2009)
16: Miami Vice (Mann, 2006) * prev. Collateral (Mann, 2004)
17: Hotel Chevalier & The Darjeeling Limited (W Anderson, 2007)
18: Naqoyqatsi (Reggio, 2002)
19: In Praise of Love (Godard, 2001)
20: The Power of Nightmares (Curtis, 2004)
21: Metropolis (Rintaro, 2000)
22: Irreversible (Noe, 2002)
23: No Maps For These Territories (Neale, 2000)
24: Gladiator (Scott, 2000)
25: Attack of the Clones (Lucas, 2002)
Close, But No Cigar:
26: Fellowship of the Ring (Jackson, 2001)
27: The Fog of War (Morris, 2003)
28: Pan's Labyrinth (Del Toro, 2006)
29: Speed Racer (Wachowski Bros, 2008)
30: Dancer in the Dark (Von Trier, 2000)
31: The Hurt Locker (Bigelow, 2009)
32: Antichrist (Von Trier, 2009)
33: Krapp's Last Tape (Egoyan, 2000)
34: Memento (Nolan, 2000)
35: Panic Room (Fincher, 2002)
36: Mulholland Drive (Lynch, 2001)
37: Elegy (Coixet, 2008)
38: Notre Musique (Godard, 2004)
39: Kung Fu Panda (Osbourne & Stevensen, 2008)
40: No Country For Old Men (Coen Bros, 2007)
41: Traffic (Soderbergh, 2000)
42: Gangs of New York (Scorsese, 2002)
43: Inglourious Basterds (Tarantino, 2009)
44: Black Hawk Down (Scott, 2001)
45: 300 (Snyder, 2007)
46: Redbelt (Mamet, 2008)
47: Stille Liebe (Schaub, 2001)
48: When the Levees Broke (Lee, 2006)
49: Sunshine (Boyle, 2007)
50: The Animatrix (Morimoto, Watanabe, Maeda, Jones, Kawajiri, Koike, Chung, 2003)
Runner-Up Runners-Up:
51: The Dark Knight (Nolan, 2008)
52: The Deal (Frears, 2002)
53: The International (Tykwer, 2009)
54: Infernal Affairs (Lau & Mak, 2002)
55: The Lives of Others (Von Donnersmark, 2006)
56: A History of Violence (Cronenberg, 2005)
57: Unbreakable (Shyamalan, 2000)
58: In the Mood For Love (Kar-Wai, 2000)
59: The Baader Meinhof Complex (Edel, 2008)
60: Public Enemies (Mann, 2009)
61: Ratatouille (Bird, 2007)
62: Hero (Yimou, 2002)
63: Path to War (Frankenheimer, 2002)
64: The Pianist (Polanski, 2002)
65: The Departed (Scorsese, 2006)
66: W. (Stone, 2008)
67: The Queen (Frears, 2006)
68: Kingdom of Heaven (Scott, 2005)
69: Eternal Sunshine of the Spotless Mind (Gondry, 2004)
70: The Royal Tenenbaums (W Anderson, 2001)
71: A Scanner Darkly (Linklater, 2006)
72: Minority Report (Spielberg, 2002)
73: Amelie (Jeunet, 2001)
74: Ocean's 11 (Soderbergh, 2001)
75: Kill Bill, Vol. 1 (Tarantino, 2003)
Consolation Prizes:
76: Gosford Park (Altman, 2001)
77: Wall-E (Stanton, 2008)
78: Collateral (Mann, 2004) * prev. Miami Vice (Mann, 2006)
79: The Curious Case of Benjamin Button (Fincher, 2008)
80: The Cell (Singh, 2000)
81: The Life Aquatic, with Steve Zissou (W Anderson, 2004)
82: The Matrix Revolutions (Wachowski Bros, 2003)
83: Thirteen Days (Donaldson, 2000)
84: Saawariya (Bhansali, 2007)
85: Children of Men (Cuaron, 2006)
86: Ghost in the Shell 2: Innocence (Oshii, 2004)
87: Manderlay (Von Trier, 2005)
88: Zodiac (Fincher, 2007)
89: 28 Days Later (Boyle, 2002)
90: The Aviator (Scorsese, 2004)
91: The Golden Compass (Weitz, 2007)
92: Requiem for a Dream (Aronofsky, 2000)
93: The Box (Kelly, 2009)
94: G.I. Joe: The Rise of Cobra (Sommers, 2009)
95: Avatar (Cameron, 2009)
96: My Mother's Smile (Bellochio, 2002)
97: Indiana Jones and the Kingdom of the Crystal Skull (Spielberg, 2008)
98: Adaptation (Jonze, 2002)
99: Watchmen (Snyder, 2009)
100: Pitch Black (Twohy, 2000)
I was going to ask what you thought of 'Pan's… hmmm #28. I didn't like that film at all. Did you ever get around to seeing 'The Fall'? I'd wonder how you'd like that one.
those aren't even even the worst (though I'm no Mann fan by any stretch) the most head scratching film is the one at #94. KONG despite its faults it leagues better then that one.
Fish, aren't you the one who put "Freeway" in your top 50 countdown of 90's films? You can have your trickbabies & big bad Bauers, and I'll stick to my mojito fiends & cocaine cowboys…
As for your comments, Jamie– I've still yet to see "The Fall" (I was going to see it, but have since avoided it for the same reason I can't watch Miyazaki movies anymore; never fall for an anime fangirl). And as for "GI Joe", I'll simply repeat what I said over at "The Aspect Ratio"– it has ninjas!
"Ninja? More like Non-jas" or something like that.
Freeway is great – intelligent, funny, energetic, moving and a brilliant performance from Reese Witherspoon
This is why I'm glad your countdowns only feature one film at a time, Fish. I tend to visit the site while I'm having coffee, so after the resulting spit-take I only ever have to clean my screen off once a day.
Judging from what I've already seen of the countdown, I doubt that some of your choices would be declared legally competent to stand trial even in the jumpiest of kangaroo courts.
Just because you've got a more discriminating palate doesn't make your own personal selection the standard to beat. After all, some vintages go best with Fish, and others require red meat, full of shit or not. Perhaps I am as mad as a cow, but there's more method to it than meets the eye of your beholder. At the end of the day, there's far less difference between the poisons we pick than you might like to think– what you call a taste-test I see as nothing but a cinematic Pepsi challenge.
Yes. It says that the difference between colas is minimal compared to the difference between wines. Also, Pepsi is just funnier.
Hey everyone. I did my top 15 a couple months ago on my blog. Some of it has changed for my 25 here, partially because some films I really underrated (Inland Empire especially) and partially because I only allowed one film per director for my top 15. Mostly though, as you're doing a list you realize everything that's wrong with it. Anyway, heres my top 25 of the decade…
01. The New World (Terrence Malick, 2005)
02. The Story Of Marie And Julien (Jacques Rivette, 2003)
03. Miami Vice (Michael Mann, 2006)
04. The Intruder (Claire Denis, 2004)
05. Gangs Of New York (Martin Scorsese, 2002)
06. Inland Empire (David Lynch, 2006)
07. No Country For Old Men (Joel & Ethan Coen, 2007)
08. Three Times (Hou Hsiao-Hsien, 2005)
09. In Praise Of Love (Jean-Luc Godard, 2001)
10. Ali (Michael Mann, 2001)
11. The Black Dahlia (Brian De Palma, 2006)
12. Femme Fatale (Brian De Palma, 2002)
13. Black Book (Paul Verhoeven, 2006)
14. Blue Beard (Catherine Breillat, 2009)
15. Punch-Drunk Love (Paul Thomas Anderson, 2002)
16. Yi Yi (Edward Yang, 2000)
17. Birth (Jonathan Glazer, 2004)
18. Syndromes And A Century (Apichatpong Weerasethakul, 2006)
19. Talk To Her (Pedro Almodovar, 2002)
20. The Saddest Music In The World (Guy Maddin, 2003)
21. The Company (Robert Altman, 2003)
22. 35 Shots Of Rum (Claire Denis, 2008)
23. Werckmeister Harmonies (Bela Tarr, 2000)
24. The Limits Of Control (Jim Jarmusch, 2009)
25. The Village (M. Night Shyamalan, 2004)
kudos for your #2 choice, "The Story of Marie and Julien", one of three Rivette masterworks this past decade.
I picked "Va Savoir" for my own list, but I think I've come to enjoy "Marie and Julien" the most…
I am fighting the urge to go ahead and post my list now, as there are some movies I want to get to before I make an official submission… plus some that I have seen only once, and particularly ones that I have not seen for a while, in order to reassess them. So I'm loving seeing some of these lists to remind me of movies I should try and see before I post my own list. Since the noir countdown is drawing toward a close, I suppose I will now go on a 2000s binge!
Ugh, this is damn hard even when you've got several decades' worth of space to ensure that the cream rises to the top. The list I made for my own blog has already changed, and I suspect that this new one will merely be a placeholder for a later re-evaluation:
1. Yi Yi (Edward Yang)
2. No Country For Old Men (The Coen brothers)
3. A.I. Artificial Intelligence (Steven Spielberg)
4. Synecdoche New York (Charlie Kaufman)
5. Mulholland Dr.(David Lynch)
6. Werckmesiter Harmonies (Béla Tarr)
7. Miami Vice (Michael Mann)
8. Eternal Sunshine of the Spotless Mind (Michael Gondry)
9. Inglourious Basterds (Quentin Tarantino)
10. Pan's Labyrinth (Guillermo Del Toro)
11. Moolaadé (Ousmane Sembene)
12. The Pianist (Roman Polanski)
13. Talk to Her (Pedro Almodóvar)
14. In the Mood For Love (Wong Kar-wai)
15. The New World (Terrence Malick)
16. 25th Hour (Spike Lee)
17. Almost Famous: director's cut (Cameron Crowe)
18. Kings and Queen (Arnaud Desplechin)
19. Spirited Away (Hayao Miyazaki)
20. Half Nelson (Anna Boden and Ryan Fleck)
21. Syndromes and a Century (Apichatpong Weerasethakul)
22. Wall•E (Andrew Stanton)
23. Caché (Michael Haneke)
24. There Will Be Blood (Paul Thomas Anderson)
25. Zodiac (David Fincher)
Leaving off Gangs of New York and Inland Empire hurt, but I couldn't bring myself to do it. This time.
I'm lovin' everyone's list so far. Great diversity and so great to see the most misunderstood masterpiece of the decade, Miami Vice, getting some major recognition. Here's my top 25 list with links to their respective capsule reviews:
1. Inglourious Basterds (Quentin Tarantino, 2009)
2. Miami Vice (Michael Mann, 2006)
3. The New World (Terence Malick, 2005)
4. Zodiac (David Fincher, 2007)
5. Kill Bill (Quentin Tarantino, 2003/2004)
6. Le Fils (Jean-Pierre and Luc Dardenne, 2002)
7. Pan's Labyrinth (Guillermo Del Toro, 2006)
8. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2008)
9. Mulholland Drive (David Lynch, 2001)
10. Undertow (David Gordon Green, 2004)
11. Synecdoche, New York (Charlie Kaufman, 2008)
12. Minority Report (Steven Spielberg, 2002)
13. The Three Burials of Melquiades Estrada (Tommy Lee Jones, 2005)
14. Brokeback Mountain (Ang Lee, 2005)
15. The Royal Tenenbaums (Wes Anderson, 2001)
16. Traffic (Steven Soderbergh, 2000)
17. A History of Violence (David Cronenberg, 2005)
18. In Bruges (Martin McDonagh, 2008)
19. Punch-Drunk Love (Paul Thomas Anderson, 2002)
20. Me and You and Everyone We Know (Miranda July, 2005)
21. No Country for Old Men (Joel and Ethan Coen, 2007)
22. L'Enfant (Jean-Pierre and Luc Dardenne, 2005)
23. Wonder Boys (Curtis Hanson, 2000)
24. There Will Be Blood (Paul Thomas Anderson, 2007)
25. Munich (Steven Spielberg, 2005)
To see the other 50 and capsule thoughts on my top 25 follow these links:
100 – 51: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-introduction-and.html
50 – 41: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-41-50.html
40 – 31: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-31-40.html
30 – 21: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-21-30.html
20 – 11: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-11-20.html
10 – 1: http://kolson-kevinsblog.blogspot.com/2010/03/top-50-films-of-decade-1-10.html
Kevin, you've spent months at Hugo Stiglitz examining the decade, and those links are the fruits of youtr labor. It's bizarre that I dislike your #1 and #2, but do love many of your choices. Of course we are thrilled to have this great ballot here!
Weird…I just posted my list but I don't see it anywhere…when I went to resend just to be sure it said I had already posted it…hmmm
When's the deadline? I have two of the decade's best 3 films (according to They Shoot Pictures) available to watch, as well as a number of others…
Kevin J. Olson said, "Weird…I just posted my list but I don't see it anywhere…when I went to resend just to be sure it said I had already posted it…hmmm"
Hi! Kevin J. Olson,
Your top 25 list was in the spam queue…Due to the links…perhaps?!?
DeeDee 😉
I'm looking forward to these lists. I knew going in it would be the decade with the most disagreements, but damn, to see multiple users choosing Miami Vice, and a top100 selection for G.I. Joe (ugh) is more shock than I can handle this early on!
I'm going to wait until the end for this one, so I can catch up on a handful I've yet to see, and maybe Allan's list will suggest a few more to check out. Great start to this decade. I'm especially glad it's a full 100 rather than 50.
You'll be happy to note that I've just moved "Miami Vice" up in my ballot, based on just this unexpected surge of popularity for the film. Personally, I think I had it in more or less the right spot before, but hey, I'm more than happy to give some help to an unlikely candidate.
I'm just glad you didn't move GI Joe up in response!
Don't tempt me…
Well, here's what I came up with. Honestly one of the tougher decades for me, but there's some pretty good stuff in there. Still a lot of stuff on other people's lists that I have to look forward to as well!
1. In The Mood For Love (2000, Wong Kar-Wai)
2. Spirited Away (2001, Hayao Miyazaki
3. Lost in Translation (2003, Sofia Coppola)
4. Gerry (2002, Gus Van Sant)
5. Brother (2000, Takeshi Kitano)
6. Wendy and Lucy (2008, Kelly Reichardt)
7. Elephant (2003, Gus Van Sant)
8. Grizzly Man (2005, Werner Herzog)
9. Gosford Park (2001, Robert Altman)
10. Match Point (2005, Woody Allen)
11. Achilles and the Tortoise (2008, Takeshi Kitano)
12. Vicky Christina Barcelona (2008, Woody Allen)
13. Marie Antoinette (2006, Sofia Coppola)
14. The Fog of War (2003, Errol Morris)
15. 2046 (2004, Wong Kar-Wai)
16. Takeshis (2005, Takeshi Kitano)
17. Ponyo on the Cliff by the Sea (2008, Hayao Miyazaki)
18. The New World (2005, Terrence Malick)
19. No Country for Old Men (2007, Ethan & Joel Coen)
20. Scoop (2006, Woody Allen)
21. Shaolin Soccer (2001, Stephen Chow)
22. Solaris (2002, Stephen Soderbergh)
23. All The Real Girls (2003, David Gordon Green)
24. Miami Vice (2006, Michael Mann)
25. Bad Lieutenant: Port of Call – New Orleans (2009, Werner Herzog)
Thanks again Burt, for contributing a first-class ballot!
Why hasn't the top banner changed with the last few polls? I thought the practice was to put a new one up each decade?
Hey Dan. We've actually kept that same banner up since the 70's poll, as we thought it atmospherically captures the site's name quite well. But we can definitely talk about a change.
That it does. I'm not asking for a change, it's quite nice, I was just curious. Thanks for the response!
Thanks Jamie, and those are really interesting thoughts. I'm not going to argue that Mann's worldview is as defined or cogent as Melville's because it pretty clearly is not. But I don't think Mann's films really maintain the view that the world is essentially good corrupted by wicked elements, which, it goes without saying, often makes for boring movies (though not always). There is a pretty defined relationship in most of his films between the individual and the community, or more broadly everyone else, and although the community isn't usually characterized as evil necessarily, it is frequently characterized as incompetent, and in Mann's cinematic world that often comes to mean the same thing. In Thief, for example, it's basically Caan versus everyone, whether it's organized crime elements, the cops he refuses to pay off, or the adoption services he has that wonderful speech railing against. In Heat, everyone holding nine to fives become something totally abstract for Pacino and De Niro, and while normal people aren't viewed as bad, there is this implication that their work isn't as honorable, that there isn't the level of dedication. In The Insider, it's Pacino and Crowe railing against a system, whether it's CBS or tobacco. In Ali, it's Ali (at one point saying to his father "nobody made me, I made me") versus the U.S. really. Could go on and on. In Miami Vice, it's Farrell differentiating himself from the Fed who wants the quick bust, going deeper and deeper undercover. Public Enemies is both extremely Melvillian and Peckinpahian, the narrative is framed so that the honorable bandits die and the honorable cops are replaced by Hoover and the systemization of snitching.
Are there inconsistencies in Mann's philosophical outlook? Yeah, probably if you look hard enough. But there seems to me to be a deliberate pattern that has to be characterized as auteuristic. It's the theme of the individual, manly, defiant, workmanlike, not owned, performing actions that differentiate himself from the herd, the mass, which is seen as less honorable. In that way I think Melville and Mann are very similar.
I haven't submitted a list since the 1970s poll but couldn't pass up getting involved again for this decade. As others have remarked, this was difficult due to the lack of distancing from the films. Thus, there are several films on my list that probably fit "personal favorites" more than "best of." Also, I couldn't resist including my 26-50 along with the list.
1. The Royal Tenenbaums (2001, Wes Anderson)
2. A Prairie Home Companion (2006, Robert Altman)
3. Spirited Away (2001, Hayao Miyazaki)
4. I've Loved You So Long (2008, Philippe Claudel)
5. The Hours (2002, Stephen Daldry)
6. Brokeback Mountain (2005, Ang Lee)
7. Wall*E (2008, Andrew Stanton)
8. Match Point (2005, Woody Allen)
9. The Curious Case of Benjamin Button (2008, David Fincher)
10. The Dreamers (2003, Bernardo Bertolucci)
11. Babel (2006, Alejandro Gonzalez Inarritu)
12. The Triplets of Belleville (2003, Sylvain Chomet)
13. Yes (2005, Sally Potter)
14. Millennium Actress (2001, Satoshi Kon)
15. Rachel Getting Married (2008, Jonathan Demme)
16. Adaptation (2002, Spike Jonze)
17. The Reader (2008, Stephen Daldry)
18. The Band's Visit (2007, Eran Kolirin)
19. Bad Education (2004, Pedro Almodovar)
20. The Inheritance (2003, Per Fly)
21. I Heart Huckabees (2004, David O. Russell)
22. L'Enfant (2005, Luc Dardenne)
23. In Bruges (2008, Martin McDonagh
24. Being Julia (2004, Istvan Szabo)
25. Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
26. Frozen River (2008, Courtney Hunt)
27. Up (2009, Pete Docter)
28. Angels in America (2003, Mike Nichols)
29. Punch-Drunk Love (2002, Paul Thomas Anderson)
30. Synecdoche, New York (2008, Charlie Kaufman)
31. Fantastic Mr. Fox (2009, Wes Anderson)
32. Talk to Her (2002, Pedro Almodovar)
33. Cranford (2007, Sue Birtwistle)
34. Gosford Park, (2001, Robert Altman)
35. The Son's Room (2001, Nanni Moretti)
36. The White Ribbon (2009, Michael Haneke)
37. Kill Bill, Vol. 1 (2003, Quentin Tarantino)
38. Up and Down (2004, Jan Hrebejk)
39. The Departed (2006, Martin Scorsese)
40. Amelie (2001, Jean-Pierre Jeunet)
41. The Darjeeling Limited (2007, Wes Anderson)
42. Far From Heaven (2002, Todd Haynes)
43. Chicago (2002, Rob Marshall)
44. Dr. T & the Women (2000, Robert Altman)
45. Closer (2004, Mike Nichols)
46. Brick (2005, Rian Johnson)
47. Hero (2002, Yimou Zhang)
48. Slumdog Millionaire (2008, Danny Boyle)
49. Speed Racer (2008, Wachowski Brothers)
50. The Nines (2007, John August)
I remember you well Jeremiah, and miss the quality of your lists over here. We are lucky you have returned! Some terrific choices here, but I don't need to tell you that!
Well, here's mine, gaps and all. I need to let go of this now. I hope you're planning to do this again in 10 years. I'm sure I'll have a completely different perspective.
1. Sideways (2004)
2. Once (2006)
3. Capturing the Friedmans (2003)
4. You Can Count on Me (2000)
5. Memento (2000)
6. Eternal Sunshine of the Spotless Mind (2004)
7. Ghost World (2001)
8. Mulholland Dr. (2001)
9. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
10. Before Sunset (2004)
11. Lost in Translation (2003)
12. Brokeback Mountain (2005)
13. March of the Penguins (2005)
14. Requiem for a Dream (2000)
15. Donnie Darko (2001)
16. Amores Perros (2000)
17. AI: Artificial Intelligence (2001)
18. Amelie (2001)
19. Kill Bill (Vols. 1 & 2) (2003-2004)
20. Star Trek (2009)
21. Stevie (2002)
22. Who the #$&% Is Jackson Pollock? (2006)
23. Spellbound (2002)
24. Zodiac (2007)
25. Rachel Getting Married (2008)
JPK, I hope I'll be around in 10 years! Ha! I can't even imagine that WitD will be here that far into the future, but you never do know. Blogsites usually go 2 to 4 years at most, many far less. Great list here, and much-appreciated!!
Jeez louise. Sam is going to one day go bankrupt from the expense of all the tetanus shots he must need at the rate that Allan keeps biting the hand that feeds him. Somebody in the UK better call animal control and clamp down on a wild case of rabies before it turns into an outbreak. Look for the Fish that foams at the mouth, and take care not to stick your hands in its bowl. It may be in the same species as the piranha…
I never did draw up a best of the decade list, though I always meant to do one, so I'll take the opportunity and contribute mine for this great poll:
1) Mulholland Drive (Lynch, 2001)
2) 35 Shots of Rum (Denis, 2008)
3) Synecdoche, New York (Kaufman, 2008)
4) Morvern Callar (Ramsey, 2002)
5) Dogville (Von Trier, 2003)
6) A.I. Artificial Intelligence (Spielberg, 2001)
7) Inland Empire (Lynch, 2006)
8) La vie nouvelle (Grandrieux, 2002)
9) There Will Be Blood (Anderson, 2007)
10) Colossal Youth (Costa, 2006)
11) In the Mood for Love (Kar-Wai, 2000)
12) George Washington (Green, 2000)
13) The New World (Malick, 2005)
14) Syndromes and a Century (Weerasethakul, 2006)
15) Miami Vice (Mann, 2006)
16) L'Intrus (Denis, 2004)
17) Caché (Haneke, 2005)
18) Zodiac (Fincher, 2007)
19) All the Real Girls Green, 2003)
20) Notre Musique (Godard, 2004)
21) Inglorious Basterds (Tarantino, 2009)
22) The Incredibles (Bird, 2004)
23) The Nines (August, 2007)
24) No Country for Old Men (Coen, 2007)
25) Millennium Mambo (Hou, 2001)
Drew, that is the coolest looking number 8 I've ever seen.
Yeah, I always have to include my little cool-number-8-friend in every list. I call him Luke…
Actually, that was entirely on accident, heh. Periods for me from now on.
Incidentally, as always seems to happen to me when I draw up these darned lists, two films popped into my head after the fact that would absolutely have been included – Richard Kelley's Southland Tales and Bertrand Bonello's De la guerre. Ah well, c'est la vie.
Without sounding like I'm condescending, this is a really a magnificent list, and the work of someone who knows serious cinema. This is the kind of voter we really want here. Thanks Drew!!!!
I posted my top picks for the 2000s on my blog but I've tweaked it a little since then. Here it is:
1. Eternal Sunshine of the Spotless Mind
2. Zodiac
3. Mulholland Drive
4. In the Mood for Love
5. Miami Vice
6. Traffic
7. Children of Men
8. Michael Clayton
9. Birth
10. Almost Famous
11. There Will Be Blood
12. Memento
13. Before Sunset
14. The Princess and the Warrior
15. American Splendor
16. Lost in Translation
17. The Man Who Wasn't There
18. Spirited Away
19. Syriana
20. 24 Hour Party People
21. American Psycho
22. Wonder Boys
23. A Scanner Darkly
24. Ghost World
25. The Royal Tenenbaums
26. Che
27. Sideways
28. Good Night, and Good Luck
29. The Good Shepherd
30. Punch Drunk Love
31. Shattered Glass
32. Half-Nelson
33. High Fidelity
34. Flags of Our Fathers
35. The Dark Knight
36. Brick
37. The Incredibles
38. Ali
39. Narc
40. Amélie
41. Sin City
42. Anchorman: The Legend of Ron Burgundy
43. The Bourne Ultimatum
44. Mysterious Skin
45. The Hurt Locker
46. The Wrestler
47. The 40-Year-Old Virgin
48. Dogtown and Z Boys
49. Brokeback Mountain
50. A Decade Under the Influence
Okay, so now there's three spots for "American Psycho"– Bobby and I put it at #1, and you've got it at #21. I'm crossing my fingers it breaks into the poll.
Back in January, I posted screen caps of my Top 50 of the decade at that point in time, and that venture is linked on the sidebar. However, with some re-viewings, re-evaluations and a very view omissions, I have now as J.D. has, "tweaked" my 50 to the point that I am now fully satisfied with the numerical order. Three films that weren't on the original 50 have now moved in, while a few others have dropped off to make room. (Added are UN PROPHETE, RED RIDING TRILOGY, STILL LIFE, 2046 and THE PHANTOM OF THE OPERA).
1 Far From Heaven (Haynes; USA)
2 Son Frere (Chereau; France)
3 The Fountain (Aronofsky; USA)
4 WALL-E (Stanton; USA)
5 Tropical Malady (Weerasethakul; Thailand)
6 A.I. Artificial Intelligence (Spielberg; USA)
7 Atonement (Wright; UK)
8 Once (Carney; Ireland)
9 The Return of the King (Jackson; Aus/UK/USA)
10 The New World (Malick; USA)
11 Dogville (Von Trier; Denmark)
12 Kings and Queen (Despletchan; France)
13 Un Prophete (Audiard; France)
14 Bright Star (Campion; Australia)
15 Moolaade (Sembene; Kenya)
16 The Last Mistress (Breillat; France)
17 Elephant (Von Sant; USA)
18 The Lives of Others (Von Donnersmarck; Germany)
19 Red Riding Trilogy (Jarrold; Marsh; Tucker; UK)
20 Downfall (Hershbeigel; Germany)
21 Assassination of Jesse James (Dominick; USA)
22 Eternal Sunshine of the Spotless Mind (Gondry; USA)
23 Chicago (Marshall; USA)
24 Brokeback Mountain (Lee; USA)
25 Avatar (Cameron; USA)
26 Mullholland Drive (Lynch; USA)
27 35 Shots of Rum (Denis; France)
28 In the Mood For Love (Kar-Wei; Hong Kong)
29 Fateless (Koltai; Hungary)
30 Children of Men (Cuaron; UK;USA)
31 Devils on the Doorstep (Wen; China)
32 Werckmeister Harmonies (Tarr; Hungary)
33 Oui Mai (Lavendier; France)
34 Letters from Iwo Jima (Eastwood; USA)
35 The House of Mirth (Davies; UK)
36 The Hours (Daldry; UK)
37 Nobody Knows (Kore-Eda; Japan)
38 2046 (Kar-Wei; Hong Kong)
39 Sideways (Payne; USA)
40 Blissfully Yours (Weerasethakul; Thailand)
41 Vendredi Soir (Denis; France)
42 The Diving Bell and the Butterfly (Schnebel; France)
43 4 Months 3 Weeks 2 Days (Mungiu; Romania)
44 Inland Empire (Lynch; USA)
45 Still Life (Zhangke; China)
46 Synchedoche, New york (Kaufman; USA)
47 Vera Drake (Leigh; UK)
48 Spirited Away (Miyazaki; Japan)
49 10 (Kiarostami; Iran)
50 Dreamgirls (Condon; USA)
The Phantom of the Opera (Schumacher; USA)
Sam, this may be a typo but you forgot to type 'There Will Be Blood' somewhere in there. LOL.
Good list, since your original posting of this I've seen a few I had never viewed (mainly the top spot 'Far From Heaven', which I enjoyed but definitely not enough to put it at 1), all the films are certainly what I'd call 'A Sam Film'. Which is all any film fan should aspire to: having a detailed and specific worldview that is articulated in the their favorite films.
Nice job, and as always you can't resist the three way tie to end it?
"Dreamgirls" is pretty good, all things considered. A fresh, buoyant movie musical about a distinctly American blend of music. Easily better than the likes of "Chicago", "Moulin Rougue" or any of the other intolerable Western musicals of the past ten years, at least.
LOL Jamie!!! Well, true be said you know me well, without actually having met me as of yet, and you seem to understand my taste and what floats my boat. You know what? You are right! Great though that you enjoyed FAR FROM HEAVEN.
Thanks Bob for that welcome respect for DREAMGIRLS, which Allan never cared for. I am also hiding out here from David Schleicher. If he sees this I'm fried!
Sam told me he dropped RATATOUILLE, HIGH SCHOOL MUSICAL, and the Pixar fish movie.
Damn, I tried to make a joke there and I couldn't even come up with a musical (other then a film for teens) and the name of more then one animated film. Shows where my tastes are. I could on the spot name my favorite ten French horror films of the '00s though, so I have that going for me at least.
Oh NINE was a musical (or was it THE NINE?), I could've said that.
FAR FROM HEAVEN? Wow, nice choice fer #1! I really dig that film too and lavish, vibrant love letter to Douglas Sirk and Vincente Minnelli.
Thanks so much J.D.! I'm thrilled you are on board, and kudos to you for that fantastic Top 50 you entered here earlier today!
ETERNAL SUNSHINE is unquestionably an American masterpiece.
LOL David and Jamie!!!!!!!!!!!!!!!
Well David, I think I dropped NO COUNTRY and SPIRITED AWAY, but intend to add UP in that #50 tie with the others. I think Jamie has figured out my taste quite well.
Ah… So painful to see "Waltz With Bashir" that close to the top 25 voting ballot, yet so far…
Interesting point there Bob, although I am a rare dissenter with that film.
Maurizio, great work, and thanks so much for imprting your expertise at our humble abode!
I will shortly be leaving again to attend the Tribeca Film Festical, where I'm hearing there may be a demonstration outside the Chelsea Cinemas by members of the gay and Lesbian Community, for what they feel is a blatent insult against their number for they way they are portrayed in TICKED OFF TRANNIES WITH KNIVES. I'll have a full report over the weekend at the Diary.
I am hoping the usual caretakers here will be handling any comments that may be posted.
I haven't seen everything yet and my ranking changes all the time but here goes:
1.Inglorious Basterds (2009) Quentin Tarantino
2.Gosford Park (2001) Robert Altman
3.The New World (2005) Terrence Malick
4.Mulholland Drive (2001) David Lynch
5.Spirited Away (2001) Hayao Miyazaki
6.Adaptation (2002) Spike Jonze
7.The Lord of the Rings trilogy (2001, 2002, 2003) Peter Jackson
8.Punch-Drunk Love (2002) Paul Thomas Anderson
9.When the Levees Broke (2006) Spike Lee
10.El laberinto del fauno (2006) Guillermo del Toro
11.Brokeback Mountain (2005) Ang Lee
12.The House of Mirth (2000) Terence Davies
13.Best in Show (2000) Christopher Guest
14.Fantastic Mr. Fox (2009) Wes Anderson
15.Monsters, Inc. (2001) Pixar
16.No Country For Old Men (2007) The Coen Brothers
17.In Bruges (2008) Martin McDonagh
18.The Triplets of Belleville (2003) Sylvain Chomet
19.I Heart Huckabees (2004) David O. Russell
20.Shaun of the Dead (2004) Edgar Wright
21.A History of Violence (2005) David Cronenberg
22.Children of Men (2006) Alfonso Cuarón
Geez, another great list, and terrific to have you back here Chester!!!
Lol, many of my top 25 are the same. A good friend of mine jokes that the more murderous and creatively psychopathic the main characters, the more I'll enjoy a film. I'm not so sure about that, but it is a little morbid.
Hi! I've found this site very interesting, so I'm going to post my list here.
1. Donnie Darko (2001) Richard Kelly
2. Kill Bill (2003/4) Quentin Tarantino
3. The Girl Who Leapt Through Time (2006) Mamoru Hosoda
4. Inglourious Basterds (2009) Quentin Tarantino
5. Little Miss Sunshine (2006) Jonathan Dayton/Valerie Faris
6. Eternal Sunshine of the Spotless Mind (2004) Michel Gondry
7. Bowling for Columbine (2002) Michael Moore
8. There Will Be Blood (2007) Paul Thomas Anderson
9. The Lord of the Rings (2001/2/3) Peter Jackson
10. Adaptation. (2002) Spike Jonze
11. Spirited Away (2001) Hayao Miyazaki
12. Howl's Moving Castle (2004) Hayao Miyazaki
13. Love Exposure (2008) Sion Sono
14. Yi yi (2000) Edward Yang
15. Southland Tales (2006) Richard Kelly
16. Domino (2005) Tony Scott
17. Slumdog Millionaire (2008) Danny Boyle/Loveleen Tandan
18. WALL·E (2008) Andrew Stanton
19. Inland Empire (2006) David Lynch
20. Mulholland Dr. (2001) David Lynch
21. Master and Commander: The far side of the World (2003) Peter Weir
22. Big Fish (2003) Tim Burton
23. JSA: Joint Security Area (2000) Chan-wook Park
24. Memories of Murder (2003) Joon-ho Bong
25. The Fountain (2006) Darren Aronofsky
Jaime, so great to have you visit WitD and submit this great ballot!
I've been following this great blog for a while, first time posting. Here's my current take on the top 25 of the 00's:
* 1. Spring, Summer, Fall, Winter… and Spring (2003, Kim Ki-Duk)
* 2. Mulholland Drive (2001, David Lynch)
* 3. 3-Iron (2004, Kim Ki-Duk)
* 4. The Royal Tenenbaums (2001, Wes Anderson)
* 5. The New World (2005, Terrence Malick)
* 6. Oldboy (2003, Chan-Wook Park)
* 7. Lost In Translation (2001, Sofia Coppola)
* 8. In The Mood For Love (2002, Wong Kar Wai)
* 9. Spirited Away (2001, Hayao Miyazaki)
* 10. Donnie Darko (2001, Richard Kelly)
* 11. Brick (2005, Rian Johnson)
* 12. The Lord of the Rings -trilogy (2001-2003, Peter Jackson)
* 13. Inland Empire (2006, David Lynch)
* 14. Zodiac (2007, David Fincher)
* 15. Zatoichi (2003, Takeshi Kitano)
* 16. No Country For Old Men (2007, Joel & Ethan Coen)
* 17. Punch-Drunk Love (2002, Paul Thomas Anderson)
* 18. Memento (2000, Christopher Nolan)
* 19. Once (2006, John Carney)
* 20. Broken Flowers (2005, Jim Jarmusch)
* 21. Låt den rätte komma in (2008, Tomas Alfredson)
* 22. Sin City (2005, Robert Rodriguez)
* 23. The Dark Knight (2008, Christopher Nolan)
* 24. Equilibrium (2002, Kurt Wimmer)
* 25. Mies Vailla Menneisyyttä (2002, Aki Kaurismäki)
The numbering here is pretty questionable since I love all these films. If I made an all-time favorite list right now, the first two films would probably remain the same.
This is really an exquisite list here Jani, and we are thrilled to have you here!
Aye Maurizio, how right you are there! This blog has a number of contentious threads that seen now are admittedly priceless!!! Thanks so much for reading.
It's been a while since I last cast a ballot, but for this poll I'm in:
1 Goodbye Dragon Inn
2 Talk to Her
3 The Fellowship of the Ring
4 Far From Heaven
5 Spirited Away
6 Eternal Sunshine of the Spotless Mind
7 The Hours
8 Crouching Tiger Hidden Dragon
9 Dogville
10 A. I. Artificial Intelligence
11 Brokeback Mountain
12 Tropical Malady
13 Chicago
14 The Diving Bell and the Butterfly
15 Pan's Labyrinth
16 The Assassination of Jesse James by the Coward Robert Ford
17 Dancer in the Dark
18 Children of Men
19 The House of Mirth
20 Donnie Darko
21 The Fountain
22 Atonement
23 Sideways
24 The New World
25 V For Vendetta
To Bob
I know this response is super late to your comment on my list. I came back here to go over the movies I picked (which I wish I could change somewhat) and noticed you wrote about Waltz to Bashir. Not sure how I missed your response since I did write some other comments shortly after. The main reason I placed it outside of the top 25 is the ending. I felt showing the live footage of all those bodies after the mass killing was unnecessary. The movie had already made its point quite effectively that I found the switch to live footage almost exploitive to those dead. I know that if I was killed, in something of that nature, I would not want some filmmaker to use my remains to make or reaffirm his point on war etc. I'm sure to some extent the response the ending elicited from me is what Ari Folman was striving for. It made me depressed and angry at the same time that humans could do such things too each other. I just strongly disapprove of needing to resort to such graphic measures.
Maurizio, I wish I could agree with you, but I find myself in the complete opposite camp here. One of the reasons are think wars are prolonged is because too often, the elites paint the dead as the "glorious fallen". WW1 would have been finished far sooner had participating countries seen the carnage. In Vietnam, pictures of children running naked with full body napalm burns, or village huts being lit on fire (a person's back breaking lifetime toil – or some such words by '60 minutes' Morley Safer), or the Mia Lai attrocities galvanised the public. And the result was still 3 million plus dead. How many butchered casulities have you seen from the CIA sponsored dead squads of the '80s, or the two last wars.
The BBC and other broadcasters say it to respect the dead, but really – they have no choice, if they showed the true price of these foreign resource snatching expediations, there would be mass protests on the streets and revolutions. Instead, we get footage that looks like it came from a video game.
Bobby I agree with you. The Sabra/Shatilla massacres were beyond war – the targeted genocide of innocents – and showing the reality of what was done was as important as showing the Nazi death camps.
My own list is shaping up sort of like this:
1. The Assassination of Jesse James by the Coward Robert Ford
2. The Devil's Backbone
3. Kingdom of Heaven: Director's Cut
4. Ingolourious Basterds
5. Minority Report
6. The Puffy Chair
7. Bad Education
8. Memories of Murder
9. Werckmeister Harmonies
10. No Country for Old Men
11. Kings and Queen
12. Up in the Air
13. Zodiac: Director's Cut
14. Let the Right One In
15. Roger Dodger
16. A Prophet
17. Pulse
18. Eternal Sunshine of the Spotless Mind
19. Irréversible
20. The Hurt Locker
21. Oldboy
22. X2: X-Men United
23. Pan's Labyrinth
24. Avatar
25. The Royal Tenenbaums
27. Unbreakable
28. Dogville
29. The Dark Knight
30. Star Wars Episode III: Revenge of the Sith
Aw, hell. First somebody posts "Waltz With Bashir" just outside the reach of their top-25 ballot, and now "Revenge of the Sith"? Wake up, people!
Eh, at least it's in good company. "Dogville" is also painfully low to my eyes, but whatever.
OK, since the final post of my series has gone up at my blog, I will post my Top 25 here:
1. The New World (Malick, 2005)
2. The Assassination of Jesse James (Dominik, 2007)
3. Mulholland Dr. (Lynch, 2001)
4. Zodiac (Fincher, 2007)
5. Lost in Translation (Coppola, 2003)
6. The Black Dahlia (De Palma, 2006)
7. Once (Carney, 2006)
8. Atonement (Wright, 2007)
9. Downfall (Hirschbiegel, 2004)
10. The Lives of Others (von Donnersmarck, 2006)
11. United 93 (Greengrass, 2006)
12. Eastern Promises (Cronenberg, 2007)
13. Flame and Citron (Madsen, 2008)
14. There Will Be Blood (Anderson, 2007)
15. The Fellowship of the Ring (Jackson, 2001)
16. A.I.: Artificial Intelligence (Spielberg, 2001)
17. Sideways (Payne, 2004)
18. The Aviator (Scorsese, 2004)
19. Mystic River (Eastwood, 2003)
20. Road to Perdition (Mendes, 2002)
21. City of God (Meirelles and Lund, 2002)
22. Up (Docter and Peterson, 2009)
23. Collateral (Mann, 2004)
24. The Proposition (Hillcoat, 2005)
25. Black Book (Verhoeven, 2006)
This updated list is dedicated to Bob Clark! 🙂 I'm kidding, Bob, I mean nothing by it… just some good-natured ribbing. Glad to see that I can include another of my favorites.
1. The New World (Malick, 2005)
2. The Assassination of Jesse James (Dominik, 2007)
3. Mulholland Dr. (Lynch, 2001)
4. Band of Brothers (various, 2002)
5. Zodiac (Fincher, 2007)
6. Lost in Translation (Coppola, 2003)
7. The Black Dahlia (De Palma, 2006)
8. Once (Carney, 2006)
9. Atonement (Wright, 2007)
10. Downfall (Hirschbiegel, 2004)
11. The Lives of Others (von Donnersmarck, 2006)
12. United 93 (Greengrass, 2006)
13. Eastern Promises (Cronenberg, 2007)
14. Flame and Citron (Madsen, 2008)
15. There Will Be Blood (Anderson, 2007)
16. The Fellowship of the Ring (Jackson, 2001)
17. A.I.: Artificial Intelligence (Spielberg, 2001)
18. Sideways (Payne, 2004)
19. The Aviator (Scorsese, 2004)
20. Mystic River (Eastwood, 2003)
21. Road to Perdition (Mendes, 2002)
22. City of God (Meirelles and Lund, 2002)
23. Up (Docter and Peterson, 2009)
24. Collateral (Mann, 2004)
25. The Proposition (Hillcoat, 2005)
Hi! Sam Juliano, Allan Fish, and that Tabulator Extraordinare, Angelo A. D' Arminio Jr,…Here goes my list…for the year 2000…
1. Ratatouille
2.V for Vendetta…(McTeique, 2005) Recommended by a friend and I agree with him 100%…Highly Recommended!
3.Edvard Munch…(Peter Watkin, 2007) "F" is for finally…and Thanks, to D.H.Schleicher…With me being an artist, but of course!
(Hmm…This film is questionable?!?)
4.Amélie (Jeunet, 2001)
5.The Diving Bell and the Butterfly (Le scaphandre et le papillon)…(Julian Schnabel, 2007) (By the way, he happens to be a great artist too!)
6.Chocolat (Directed by Lasse Hallström, 2001)
7.Good Night and Good Luck…(Clooney as in George and Heslov…2005/2006)
8. In The Valley of Elah…(Haggis, 2006) Thanks, to Tony d'Ambra…
9. Micheal Clayton…(Gilroy, 2007) Thanks, to Tony d'Ambra, again!
10. A Scanner Darkly…(Linklater, 2006)
11. The White Ribbon…Once again, Thanks, to my friend and follow blogger, Sam Ju-li-ano…again and again and…
12. Tim Burton's Sleepy Hollow…(Burton,1999)
13.Tim Burton's Charlie and the Chocolate Factory…(Which is a much darker film than the original version. (Check out Dahl's book too…It's considered a Children book…Hmm…Maybe I have a childheart?!? What can I say…(As I shrug my shoulders and protrude my bottom lip.)
14. Tim Burton's Corpse Bride (Burton, 2005)
15. Tim Burton's Sweeney Todd: The Barber of Fleet Street (Burton, 2007)
16.The Incredibles (Brad Bird, 2004)
17.Wall-E…(Stanton, 2008)
18.Batman Begins (Nolan, 2006)
19.Batman:The Dark Knight (Nolan, 2008)
20.Eastern Promises (Cronenberg, 2007)
21. All The Real Girls…Tipping my Fedora in Treadway as in Dean's direction…
22.In America (Jim Sheridan, 2004) Thanks, to Dean Treadway…
23. Julie and Julia (Ephron, 2009) (Thanks, Sam Juliano, and B.D.)
24.The Departed (Scorsese,2006)
25. The Hurt Locker (Bigelow, 2009) Even though as a rule I don't like "war" films this one was interesting and the top honour going to a female director was groundbreaking this year.
Once again, I want to thanks, Sam Juliano, for sending this film in my direction.
DeeDee 😉 🙂
1. Battlefield Earth (Christian, 2000)
2. Radio (Tollin, 2003)
3. Lady In The Water (Shymalan, 2006)
4. The Fast And The Furious (Cohen, 2001)
5. Lara Croft: Tomb Raider (West, 2001)
6. The Hitcher (Meyers, 2007)
7. Cloverfield (Reeves, 2008)
8. 8 Mile (Hanson, 2002)
9. Transformers: Revenge Of The Fallen (Bay, 2009)
10. The Perfect Storm (Petersen, 2000)
11. Meet The Parents (Roach, 2000)
12. The Passion Of The Christ (Gibson, 2004)
13. Meet The Fockers (Roach, 2004)
14. Mr And Mrs Smith (Liman, 2005)
15. Bad Boys 2 (Bay, 2003)
16. BloodRayne (Boll, 2005)
17. Charlie's Angel (MCG, 2000)
18. Beowolf (Zemeckis, 2007)
19. House Of The Dead (Boll, 2003)
20. Dreamgirls (Condon, 2006)
21. Avatar (Cameron, 2009)
22. Hancock (Berg, 2008)
23. Star Wars: The Phantom Menace (Lucas, 2000)
24. Pearl Harbor (Bay, 2001)
25. Austin Powers In Goldmember (Roach, 2002)
These are my favorites. More sucessfull than sum of the movies you guys mention. The Dark Knight was to dark for me.
Also, "The Phantom Menace" was released in 1999, and I'm pretty sure it was a worldwide release, unless you're in some derelict pocket of the globe that didn't see it for a full year, the cinematic equivalent of the Battle of New Orleans, or those Japanese soldiers hiding out in caves. If you want to include a "Star Wars" movie, there's two from the decade in question worth considering.
With the movies you didn't even put up on your timeline, Fish ("American Psycho", "Angels in America"), and some of the stuff you did ("King Kong", "The Lovely Bones"), I can't say your criteria for consideration really impresses me, at least for this decade. Granted, everybody's lists are likely to have both gems and stuff others wouldn't touch, but don't try to claim you have the world's longest ten-foot pole.
Allan after that first line I thought you were going for the jugular of male insults, glad the second line was included to bring it to a cleaner place.
I'd rather play with fire and sulphur than the likes of your ivory tower despotism. Better to reign in the hot place than serve tables upstairs, especially when the choices are more or less the same above as below, with the exception of a little garnish. The proud Promethean flame is a torch I gladly lift to enlighten minds beclouded by the likes of such hypocratic darkness, even if most of time it does feel a bit like being chained to a rock and gnawed on by eagles whenever you talk.
Jamie, if he were, it would bring a new definition to the term cinephile (or perhaps I should say, cinephalus).
The in-mates are running the asylum.
HA! I can't speak for Jamie, but surely you must realize I'm the type to take that as a compliment. You spelled my name wrong, though.
It is called satire, but you are teflon-coated after all, and I know irony escapes you. To put it plainly your baiting and Uhler's carping are tiresome. Go and lose yourselves in one of your revered gore-fests.
Oh, don't worry. I get your parodizing hijinks. And it's very clever. I'm just saying I'd rather be compared to Dr. Mabuse than an Inspector Von Wenk– hell, on a site like this, it's high praise to be elevated to the status of a mad scientist. Anyway, horrorshow splatterfests are Jamie's caviar, not mine. Wait until he chimes in again before badmouthing them.
Art is subjective. In the end all we have is our own opinions. Funny that 90% of the human population would probably agree more with M. Robinson's list than any of ours!!
In seriousness, I've always said my taste in all things is the juxtaposition of Stuart Gordon meets JL Godard. The Rauschenberg effect, trash from the street. If anyone can or is willing to degrade Rauschenberg I'm all ears (and eyes). Not all trash is created equal, there's THE PROWLER (that yes is garbage more or less) then there is AFTERMATH/GENESIS, or Miike, or TROUBLE EVERY DAY.
I don't need to break my own arms patting myself on the back self-congratulating about how elitist my tastes are. Tony, the one time your favorite term 'bourgeois' is actually needed you instead become its physical embodiment. I'm happy to be the self-taught art lover and probably the only one with a high art degree as well. I'll also be the one able to speak on these shock films with actual viewing experience. These sort of things don't make it to the suburbs Tony, so I'm more then willing to offer my knowledge.
the fact that you feel all splatterfests are created equal speaks volumes on your ignorance on the matter, and hey if you want to argue form that vantage point by all means be my guest.
So you agree The Prowler is garbage. Where did I say that all splatterfests are equal?
If I am the 'physical' embodiment of a bourgeois, when and where did me meet?
High art? So the crypto-anarchist-surrrealist is also a fully paid-up art critic? Take a reality-check with that powder.
"Paid up"? Are we bringing money into the discussion again? It seems high art and capitalism go hand in hand (sadly, that's about right).
Where did I say i was a 'paid-up' art critic? I suppose in the 'burbs sitting in a rocking chair all day one is unable to divorce finance and art…
You are a pretentious little prick aren't you?
Don't blame me for this quagmire, Fish. Tony needs to get over himself, first and foremost. At the very least, climbing down off that high hobbyhorse of his would be a good start to driving the conversation away from bourgeois capitalist ideals.
Fish, as the confirmed misanthrope mascot of Wonders, you're the last person entitled to lecture anyone on the niceties of good social etiquette. I don't claim to be the world's most outgoing people-person, but I also don't bother to antagonize every single person I meet, either. Check your short-sighted personal colorings at the door, if you please.
And as for unemployment– don't even go there. Mostly, this is just a horrible time to be looking for work, especially if you have two degrees, which leaves you more or less overqualified for the only openings that might periodically exist. It also doesn't help that the two things I studied in (writing and interactive arts) have more or less dried up as viable industries since the economy turned to shit, leaving me with next-to-nil in terms of job prospects right at the time when I graduated. So be a mensch and just leave it alone.
Jesus, with friends like these who needs enemies? Bob, sorry to hear about your recent unemployment… to be young and educated in America right now can be pretty rough. My employment is spotty as well, though as a designer I can seek freelance gigs to always scrape by when things get tough. Hopefully you can get by, and things ease up on ya. I also hope you don't have to bear anymore kicks while you're down.
We all can be a spot cranky from time to time but Bob is hardly even close to the worst of the lot around here. It's one thing to be cynical or dark or anything else like this, it's quite another to just be an out and out dickhead.
Bob is not that bad. He has strong opinions but I have never found him to be offensive (other than his love for Lucas lol). Unemployment in the US is a disaster right now. Its harsh to blame his personality for a problem that has affected millions. My girlfriend is an employed staff editor at a sizable magazine and she knows people who were laid off that cannot find any work. Print media is a T.Rex waiting for the proverbial asteroid to hit. His difficulties are not unique. Anyone who loves Heaven's Gate is okay with me. The problem on this site is I have never seen so many narcissistic people congregating in the same space (me included). If everyone was less sensitive the insults would not hold as much weight.
Jamie, what are you, an art designer? Or web designer? My main creative focus (in the endless downtime I have) is game design, mostly working in Flash. Obviously there's not as big a market for freelance gigs (I've actually been scammed a few times that way).
Maurizio, glad to hear that one of my cinematic heresies can cancel out another in your eyes. And sorry to hear about your girlfriend's troubles– yeah, print is mostly dead nowadays. What's so sad is how it's basically kept alive by papers that buy syndicated articles so frequently, killing off their own local flavor and commentators, which often counted as one of the few reasons people read the papers to begin with.
Eh, maybe I should've stuck with my original dream all along and been a cartoonist. But then I'd probably just be toiling away on webcomics nobody looks at. Man, being in the internet-transition generation bites.
Bob, I'm studied in fine art/illustration (which has become more of a passion/hobby/dream then anything else), and graphic design. I've done a little web, but don't really like it, so my focus remain in 2D print design. I generally find work with publishing houses, paper companies, individual clients (wide range), and (currently) in advertising. If it can be printed I can of have probably designed it.
Should you need an design services to assist your job search (resume, business card layout etc.) please do not hesitate to ask.
WitD has been officially trolled…
why no 'Garfield' though? or was that a 90's release?
A "Garfield" movie might've held some potential back when Lorenzo Music was still alive to do the voice. Without him, it just turned into an utter long-distance phoned-in conference call of a movie. Breckin Meyer as the terminally nerdy Jon Arbuckle? Jennifer Love Hewitt as his incongruous love interest? A real fucking dog as Odie? Christ. Even Bill Murray doesn't sound like he gives a damn, and why should he? The movie lacks the cynical charm of Jim Davis' early years on the strip or the TV specials with Lorenzo Music ("People like that should be dragged out into the street and shot!"). Total waste.
Hilarious list.
Hilarious & atrocious…
1 Chicago
2 Wall-e
3 Atonement
4 The Phantom of the Opera
5 Sideways
6 Far From Heaven
7 A. I. (Artificial Intelligence)
8. The Hours
9 The Diving Bell and the Butterfly
10 Eternal Sunshine of the Spotless Mind
11 Dancer in the Dark
12 Brokeback Mountain
13 Cranford
14 The House of Mirth
15 Ratatouille
16 Lost in Translation
17 Million Dollar Baby
16 Up
17 Talk To Her
18 In the Mood for Love
19 Spirited Away
20 Birth
21 Dreamgirls
22 Almost Famous
23 Ghost World
24 Monster
25 Hero
OK, so I've finally finished my list. I listed all the films I consider pretty good or that I like for this decade and I ended with just over 100 (hence my list ends on a strange number). I also left off a few horror films I like from this decade to save a little surprise down the line. Anyways, here goes:
1. The Man Who Wasn't There (Joel Coen, Ethan Coen)
2. There Will be Blood (Paul Thomas Anderson)
3. Dogville (Lars Von Trier)
4. Mulholland Drive (David Lynch)
5. Eastern Promises (David Cronenberg)
6. The New World: Extended Version (Terrence Malick)
7. Talk to Her (Pedro Almodóvar)
8. Closer (Mike Nichols)
9. The Piano Teacher (Michael Haneke)
10. Peppermint Candy (Lee Chang-dong)
11. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
12. Munich (Steven Spielberg)
13. Taxidermia (Gyorgy Palfi)
14. Russian Ark (Alexander Sokurov)
15. The Death of Mr. Lazarescu (Cristi Puiu)
16. 25th Hour (Spike Lee)
17. 2046 (Wong Kar-Wai)
18. In Bruges (Martin McDonagh)
19. You, the Living (Roy Andersson)
20. Éloge de l'Amour (Jean-Luc Godard)
21. Kill Bill Vol 2 (Quentin Tarantino)
22. Werckmeister Harmonies (Béla Tarr)
23. Alexandra's Project (Rolf De Heer)
24. Match Point (Woody Allen)
25. Antichrist (Lars Von Trier)
26. Downfall (Oliver Hirschbiegel)
27. Before Sunset (Richard Linklater)
28. In the Mood for Love (Wong Kar-Wai)
29. Inside (Alexandre Bustillo, Julien Maury)
30. A Serious Man (Joel Coen, Ethan Coen)
31. The Ground Truth (Patricia Foulkrod)
32. Irreversible (Gaspar Noé)
33. Lilya 4-Ever (Lukas Moodysson)
34. A History of Violence (David Cronenberg)
35. The Girlfriend Experience (Steven Soderbergh)
36. Zodiac (David Fincher)
37. Bright Star (Jane Campion)
38. Punch Drunk Love (Paul Thomas Anderson)
39. Control (Anton Corbijn)
40. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu)
41. The Shape of Things (Neil Labute)
42. Inland Empire (David Lynch)
43. Lost in Translation (Sofia Coppola)
44. About Schmidt (Alexander Payne)
45. Brief Crossing (Catherine Breillat)
46. Oldboy (Park Chan-wook)
47. The Lives of Others (Florian Henckel von Donnersmarck)
48. A Single Man (Tom Ford)
49. Speed Racer (Wachowski Brothers)
50. Storytelling (Todd Solondz)
51. Dancer in the Dark (Lars Von Trier)
52. The Limits of Control (Jim Jarmusch)
53. Inglourious Basterds (Quentin Tarantino)
54. Regular Lovers (France…Philippe Garrel)
55. Michael Clayton (Tony Gilroy)
56. 101 Reykjavik (Baltasar Kormakur)
57. Lust, Caution (Ang Lee)
58. Hunger (Steve McQueen)
59. Adaptation (Spike Jonze)
60. No Country for Old Men (Joel Coen, Ethan Coen)
61. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Larry Charles)
62. Paradise Now (Hany Abu-Assad)
63. Gosford Park (Robert Altman)
64. 10 (Abbas Kiarostami)
65. My Winnipeg (Guy Maddin)
66. Far from Heaven (Todd Haynes)
67. The Fountain (Darren Aronofsky)
68. Road to Perdition (Sam Mendes)
69. Jarhead (Sam Mendes)
70. Thirst (Park Chan-wook)
71. The Saddest Music in the World (Guy Maddin)
72. Visitor Q (Takashi Miike)
73. Black Book (Paul Verhoeven)
74. Seraphine (Martin Provost)
75. Wendy and Lucy (Kelly Reichardt)
76. Manderlay (Lars Von Trier)
77. George Washington (David Gordon Green)
78. Shotgun Stories (Jeff Nichols)
79. Man on Wire (James Marsh)
80. The White Ribbon (Michael Haneke)
81. Spider (David Cronenberg)
82. The Believer (Henry Bean)
83. This is England (Shane Meadows)
84. The International (Tom Tykwer)
85. Training Day (Antoine Fuqua)
86. The Three Burials of Melquiades Estrada (Tommy Lee Jones)
87. Casino Royale (Martin Campbell)
88. In the Bedroom (Todd Field)
89. 24 Hour Party People (Michael Winterbottom)
90. Bully (Larry Clark)
91. Elephant (Gus van Sant)
92. The Proposition (John Hillcoat)
93. Notre Musique (Jean-Luc Godard)
94. Letters from Iwo Jima (Clint Eastwood)
95. Children of Men (Alfonso Cuarón)
96. My Blueberry Nights (Wong Kar-Wai)
97. The Fall (Tarsem Singh)
98. Young Adam (D. Mackenzie)
99. Death to Smoochy (Danny DeVito)
100. Freddy Got Fingered (Tom Green)
101. Gomorrah (Matteo Garrone)
102. Pumpkin (Anthony Abrams and Adam Larson Broder)
This is an absolutely extraordinary, extraordinary, extraordinary list. Love, love, love TALK TO HER, DOGVILLE and THE NEW WORLD in the top 10. But I am really only scratching the surface here. You have an amazing grasp.
5. Eastern Promises (David Cronenberg)
34. A History of Violence (David Cronenberg)
I still really don't get the appeal of either of these movies. Maybe on their own and outside of Cronenberg's essentials, but certainly not as a part of his canon. Disagree all you like, but for me this was his weakest decade, by far. I really don't like the mainstream Cronenberg, the guy who makes gritty thrillers from mercenary scripts alongside "The Scourge of Carpathia, the Sorrow of Muldavia". I prefer the artsy work he did in the 60's and 70's, the heady sci-fi horror of the 80's, and the sex-obsessed literary adaptations of the 90's. Perhaps we'll see a return to his best work in that movie of Don DeLillo's "Cosmopolis". I will allow that "Spider" was an interesting work from him.
84. The International (Tom Tykwer)
87. Casino Royale (Martin Campbell)
Very happy to see both of these on somebody's list. "The International" was one of my favorite action movies in a long time; very smart, patiently filmed, and it's got the signature shoot-out set-piece of the whole damn decade. Blows all those ADHD-filmed "Bourne" seizures out of the water. And Campbell's film, quite frankly, might just be the best Bond film ever made, an absolute treat of classic, restrained filmmaking.
99. Death to Smoochy (Danny DeVito)
100. Freddy Got Fingered (Tom Green)
You, sir, are insane. Bra-fuckin'-vo.
I like EASTERN PROMISES a lot, more then most. It's weird because I like all his stuff, SCANNERS, VIDEODROME, but I think when he's really arty– CRASH, DEAD RINGERS, and M. BUTTERFLY is him at his best. But the new stuff, what you call mainstream, specifically EASTERN PROMISES I think show his worldview the clearest and are actually the most humanist work(s) of his career (he's taken everything he's learned and blended it). EASTERN PROMISES and my love for it was no doubt where I was at and where I am at in my life right now (at least my head space), it's bleak, depressing, and dark. We open the film with a drug addicted still born fetus, and you call it 'mainstream'. I saw that film twice back to back on a Saturday off from work and I walked home rather then catch the train, I was in a stupor. It connected with me.
I'm actually reading COSMOPOLIS right now, I never have. I can't wait to see what it becomes, DeLillo's trademark use of scatter shot narrative will be interesting to see how it works. Either way I can't wait.
THE INTERNATIONAL I liked, as I am a Clive Owen fan, and that Art Museum shoot out was, the action set piece for me of the 2000's. Riveting stuff. CASINO ROYALE, I was/am a Bond fan from my youth, so I liked it more then it may merit. I do think it's a great Bond though, I still like watching it, and I don't like many of the old ones like I used too. I think Craig is as good as any Bond we've had.
FREDDY GOT FINGERED, I was and am a HUGE Tom Green fan. To the point that I've written a script called 'Tora Boring' about Osama Bin Laden. That's a slapstick-political-satire, kind of a DR. STRANGELOVE for the 2000s. I wanted Green to play Osama… could you imagine? I think he's our generations Peter Sellers/Lenny Bruce. he's awesome, how he got a studio to back him AND let him direct a film I'll never know. PUMPKIN really completes the trilogy of strange films that close my list.
I see some definite overlaps here with what would be on a "favorites" list of mine (which makes sense, since I don't think you make or are interested in a distinction between "best" and "favorite"). Love to see 25th Hour up there – it's one of the few American films to grapple direclty with 9/11 (United 93 is about that day, obviously, but in a different way). Spike Lee took a big risk coupling NYC's trauma with the night-before angst of a convicted drug dealer, but while the film is not flawless I think this risk pays off big time.
I also really liked This is England – terrifically dynamic performance from Stephen Graham (sad to say I had to look up the actor's name again – in my defense we'll just say that I remember him as Combo, he was so good). I enjoyed Michael Clayton quite a bit too.
Well, the owners, contributors & readers of WiTD, here's my official submission for the 2000's poll. Didn't know if the feature here would've sufficed, so decided to post it here as well.
1. No Country for Old Men (US, '06) – Joel & Ethan Coen
2. Utsab (India, '01) – Rituparno Ghosh
3. Pan's Labyrinth (Mexico, '06) – Guillermo Del Toro
4. Oldboy (S. Korea, '04) – Park Chan-Wook
5. 4 Months, 3 Weeks & 2 Days (Romania, '07) – Cristian Mungiu
6. A History of Violence (UK/Canada, '05) – David Cronenberg
7. Yi Yi (Taiwan, '00) – Edward Yang
8. Shubho Mahurat (India, '03) – Rituparno Ghosh
9. The Diving Bell & the Butterfly (France, '07) – Julian Schnabel
10. The White Ribbon (Austria/Germany, '09) – Michael Haneke
11. 2046 (Hong Kong, '04) – Wong Kar-Wai
12. Memento (US, '00) – Christopher Nolan
13. Kill Bill Vol. I & II (US, '03, '04) – Quentin Tarantino
14. Revanche (Austria, '08) – Gotz Spielmann
15. Zodiac (US, '07) – David Fincher
16. The Proposition (Australia, '05) – John Hillcoat
17. Eternal Sunshine of the Spotless Mind (US, '04) – Michel Gondry
18. Amores Perros (Mexico, '00) – Alejandro Gonzalez Inarritu
19. Sympathy for Mr. Vengeance (S. Korea, '02) – Park Chan-Wook
20. Let the Right One in (Sweden, '08) – Tomas Alfredson
21. Before the Devil Knows You're Dead (US, '07) – Sidney Lumet
22. 12:08 East of Bucharest (Romania, '06) – Corneliu Porumboiu
23. Spring, Summer, Autumn, Winter… and Spring (S. Korea, '03) – Kim Ki-Duk
24. A Bittersweet Life (S. Korea, '05) – Kim Jee-woon
25. Uzak (Turkey, '02) – Nuri Bilge Ceylan
26. Memories of Murder (Hong Kong, '03) – Bong Joon-Ho
27. The Royal Tenenbaums (US, '01) – Wes Anderson
28. The Edge of Heaven (Turkey/Germany, '07) – Fatih Akin
29. Capote (US, '05) – Bennett Miller
30. California Dreamin' (Romania, '07) – Cristian Nemescu
31. Herbert (India, '06) – Suman Mukhopadhyay
32. No Man's Land (Serbia/Bosnia, '01) – Danis Tanovic
33. In the Mood for Love (Hong Kong, '00) – Wong Kar-Wai
34. The Assassination of Jesse James by the Coward Robert Ford (US, '08) – Andrew Dominik
35. Dogville (Denmark, '03) – Lars von Triar
36. Waltz With Bashir (Israel, '08) – Ari Forman
37. The Lives of Others (Germany, '06) – Florian Henckel von Donnersmarck
38. Talk to Her (Spain, '02) – Pedro Almodovar
39. Werckmeister Harmonies (Hungary, '00) – Bela Tarr
40. Paromitar Ek Din (India, '00) – Aparna Sen
41. The Death of Mr. Lazarescu (Romania, '05) – Cristi Puiu
42. Mulholland Drive (US, '01) – David Lynch
43. Monsoon Wedding (India, '01) – Mira Nair
44. Minority Report (US, '02) – Steven Spielberg
45. Spider (UK/Canada, '02) – David Cronenberg
46. City of God (Brazil, '02) – Fernando Meirelles
47. Cache (Austria, '05) – Michael Haneke
48. Goodbye, Lenin! (Germany, '04) – Wolfgang Becker
49. The Girl with the Dragon Tattoo (Sweden, '09) – Niels Arden Oplev
50. Punch Drunk Love (US, '02) – Paul Thomas Anderson
51. Shotgun Stories (US, '07) – Jeff Nichols
52. Omkara (India, '06) – Vishal Bharadwaj
53. The Squid & the Whale (US, '05) – Noah Baumbach
54. Before Sunset (US, '04) – Richard Linklater
55. I'm Not There (US, '07) – Todd Haynes
56. Bad Education (Spain, '04) – Pedro Almodovar
57. The Son (France/Belgium, '02) – Jean-Pierre & Luc Dardenne
58. Y Tu Mama Tambien (Mexico, '01) – Alfonso Cuaron
59. The Devil's Backbone (Mexico, '01) – Guillermo Del Toro
60. Eastern Promises (UK, '07) – David Cronenberg
61. Little Miss Sunshine (US, '06) – Jonathan Dayton
62. Dancer in the Dark (Denmark, '00) – Lars von Triar
63. The Motorcycle Diaries (Argentina, '02) – Walter Salles Jr.
64. Ashes of Time Redux (Hong Kong, '08) – Wong Kar-Wai
65. Hunger (UK, '08) – Steve McQueen
66. Sympathy for Lady Vengeance (S. Korea, '05) – Park Chan-Wook
67. Munich (US, '05) – Steven Spielberg
68. A Christmas Tale (France, '08) – Arnaud Desplechin
69. Death Proof (US, '07) – Quentin Tarantino
70. Kaalpurush (India, '08) – Buddhadeb Dasgupta
71. Antares (Austria, '04) – Gotz Spielmann
72. The Departed (US, '06) – Martin Scorsese
73. Nowhere in Africa (Germany, '01) – Caroline Link
74. Mystic River (US, '03) – Clint Eastwood
75. Children of Men (US, '06) – Alfonso Cuaron
76. The Darjeeling Limited (US, '07) – Wes Anderson
77. The Man Who Wasn't There (US, '01) – Joel & Ethan Coen
78. Amelie (France, '01) – Jean-Pierre Jeunet
79. Head-On (Turkey/Germany, '04) – Fatih Akin
80. Movern Callar (UK-Scotland, '02) – Lynne Ramsay
81. Flight of the Red Balloon (France, '07) – Hou Hsiao-Hsien
82. Traffic (US, '00) – Steven Soderberg
83. The Piano Teacher (Austria, '01) – Michael Haneke
84. Downfall (Germany, '04) – Oliver Herschbeigel
85. The Queen (UK, '06) – Stephen Frears
86. A Serious Man (US, '09) – Joel & Ethan Coen
87. Hero (China, '02) –Zhang Yimou
88. The Bow (S. Korea, '05) – Kim Ki-Duk
89. Johnny Gaddar (India, '07) – Sriram Raghavan
90. Malena (Italy, '00) – Guiseppe Tornatore
91. Persepolis (France, '07) – Marjane Satrapi & Vencent Paronnaud
92. The Savages (US, '07) – Tamara Jenkins
93. Katyn (Poland, '07) – Andrzej Wajda
94. I Served the King of England (Czech Repub, '07) – Jiri Menzel
95. L'Enfant (France/Belgium, '05) – Jean-Pierre & Luc Dardenne
96. There Will be Blood (US, '08) – Paul Thomas Anderson
97. Police, Adjective (Romania, '09) – Corneliu Porumboiu
98. Lust, Caution (Hong Kong, '07) – Ang Lee
99. Raincoat (India, '04) – Rituparno Ghosh
100. The Wrestler (US, '08) – Darren Aronofsky
My top 50 list… Probably missed out some films though.
1) Lost in Translation (2003) – Sofia Coppola
2) Three Times (2005) – Hou Xiao Xian
3) The Romance of Astrea and Celadon (2007) – Eric Rohmer
4) Unknown Pleasures (2002) – Zhang Ke Jia
5) Before Sunset (2004) – Richard Linklater
6) The Great Happiness Space: Tale of an Osaka Love Thief (2006) – Jake Clennell
7) Demonlover (2002) – Olivier Assayas
8) Mulholland Dr. (2001) – David Lynch
9) Lilya 4-ever (2002) – Lukas Moodysson
10) Like You Know It All (2009) – Hong Sang Soo
11) In the Mood for Love (2000) – Wang Jia Wei
12) Millennium Mambo (2001) – Hou Xiao Xian
13) Ghost World (2001) – Terry Zwigoff
14) Donnie Darko (2001) – Richard Kelly
15) The Science of Sleep (2006) – Michel Gondry
16) Last Life in the Universe (2003) – Pen-Ek Ratanaruang
17) Gespenster (2005) – Christian Petzold
18) Y Tu Mama Tambien (2001) – Alfonso Cuarón
19) Russian Dolls (2005) – Cédric Klapisch
20) Suzhou River (2000) – Lou Ye
21) Yella (2007) – Christian Petzold
22) My Blueberry Nights (2007) – Wang Jia Wei
23) Marie Antoinette (2006) – Sofia Coppola
24) Garden State (2004) – Zach Braff
25) 49 Up (2005) – Michael Apted
26) Talk to Her (2002) – Pedro Almodóvar
27) The Spanish Apartment (2002) – Cédric Klapisch
28) The Wayward Cloud (2005) – Ming-liang Tsai
29) Amores perros (2000) – Alejandro González Iñárritu
30) All About Lily Chou-Chou (2001) – Shunji Iwai
31) Sex and Lucia (2001) – Julio Medem
32) Goodbye Lenin! (2003) – Wolfgang Becker
33) Beyond Our Ken (2004) – Peng Hao Xiang
34) Crouching Tiger, Hidden Dragon (2000) – Li An
35) Dear Frankie (2004) – Shona Auerbach
36) City of God (2002) – Fernando Meirelles
37) The Sea Inside (2004) – Alejandro Amenábar
38) Happy-Go-Lucky (2008) – Mike Leigh
39) Coffee and Cigarettes (2003) – Jim Jarmusch
40) Va Savoir (2001) – Jacques Rivette
41) Downfall (2004) – Oliver Hirschbiegel
42) Dancer in the Dark (2000) – Lars von Trier
43) Blow (2001) – Ted Demme
44) The Story of Marie and Julien (2003) – Jacques Rivette
45) Flight of the Red Balloon (2007) – Hou Xiao Xian
46) The Quiet (2005) – Jamie Babbit
47) Arven (2003) – Per Fly
48) L'enfer (2005) – Danis Tanovic
49) The Royal Tenenbaums (2001) – Wes Anderson
50) Waking Life (2001) – Richard Linklater
I feel like I haven't seen many films over the last decade; so, my list may be missing a few critical masterpieces. That said, I did purposefully leave off Mulholland Dr (I generally dislike Lynch) and No Country for Old Men as I don't care for either film.
1. Twilight Samurai (Yoji Yamada)
2. In the Mood for Love (Wong Kar Wai)
3. A.I. (Steven Spielberg)
4. Spirited Away (Hayao Miyazaki)
5. New World (Terrence Malick)
6. The Pianist (Roman Polanski)
7. House of Mirth (Terence Davies)
8. Rabbit Proof Fence (Phillip Noyce)
9. Zodiac (David Fincher)
10. Shadow of the Vampire (E. Elias Merhige)
11. Hero (Zhang Yimou)
12. Widow of St Pierre (Patrice Leconte)
13. Ratatouille (Brad Bird)
14. Solaris (Steven Soderbergh)
15. Three Times & Millennium Mambo (Hsiao-hsien Hou)
16. Small Time Crooks (Woody Allen)
17. Bamboozled (Spike Lee)
18. Assassination of Jesse James (Andrew Dominik)
19. There Will Be Blood (P.T. Anderson)
20. Eternal Sunshine of the Spotless Mind (Michel Gondry)
21. The Fall (Tarsem Singh)
22. Nobody Knows (Hirokazu Koreeda)
23. 28 Days Later (Danny Boyle)
24. The Beat that My Heart Skipped (Jacques Audiard)
25. Memories of Murder (Joon-ho Bong)
Honorable Mention
Yi Yi (Edward Yang)
Baadasssss! (Mario Van Peebles)
Dirty Pretty Things (Stephen Frears)
Gerry (Gus Van Sant)
Godsford Park (Robert Altman)
Planet Earth (BBC, 2006)
White Teeth (Jullian Jarrold)
North and South (BBC, 2004)
Cache (Michael Haneke)
Whoops. I meant:
5. The New World (Terrence Malick)
I've already posted my list, but seeing that everyone seems to be expanding their own lists beyond the 25 spots, I'll do the same.
1. Donnie Darko (2001) Richard Kelly
2. Kill Bill (2003/4) Quentin Tarantino
3. The Girl Who Leapt Through Time (2006) Mamoru Hosoda
4. Inglourious Basterds (2009) Quentin Tarantino
5. Little Miss Sunshine (2006) Jonathan Dayton/Valerie Faris
6. Eternal Sunshine of the Spotless Mind (2004) Michel Gondry
7. Bowling for Columbine (2002) Michael Moore
8. There Will Be Blood (2007) Paul Thomas Anderson
9. The Lord of the Rings (2001/2/3) Peter Jackson
10. Adaptation. (2002) Spike Jonze
11. Spirited Away (2001) Hayao Miyazaki
12. Howl's Moving Castle (2004) Hayao Miyazaki
13. Love Exposure (2008) Sion Sono
14. Yi yi (2000) Edward Yang
15. Southland Tales (2006) Richard Kelly
16. Domino (2005) Tony Scott
17. Slumdog Millionaire (2008) Danny Boyle/Loveleen Tandan
18. WALL·E (2008) Andrew Stanton
19. Inland Empire (2006) David Lynch
20. Mulholland Dr. (2001) David Lynch
21. Master and Commander: The far side of the World (2003) Peter Weir
22. Big Fish (2003) Tim Burton
23. JSA: Joint Security Area (2000) Chan-wook Park
24. Memories of Murder (2003) Joon-ho Bong
25. The Fountain (2006) Darren Aronofsky
26. Departures (2008) Yojiro Takita
27. Memento (2000) Christopher Nolan
28. Sympathy for Lady Vengeance (2005) Chan-wook Park
29. Oldboy (2003) Chan-wook Park
30. Sympathy for Mr. Vengeance (2002) Chan-wook Park
31. Fahrenheit 9/11 (2004) Michael Moore
32. Frost/Nixon (2008) Ron Howard
33. Che: Part One (2008) Steven Soderbergh
34. The Prestige (2006) Christopher Nolan
35. K-PAX (2001) Ian Softley
36. V for Vendetta (2006) James McTeigue
37. Sweeney Todd, the Demon Barber of Fleet Street (2007) Tim Burton
38. Drag Me to Hell (2009) Sam Raimi
39. Gone Baby Gone (2007) Ben Affleck
40. Silent Hill (2006) Christopher Gans
41. The Mist (2007) Frank Darabont
42. The Descent (2005) Neil Marshall
43. Pan's Labyrinth (2006) Guillermo del Toro
44. Borat: Cultural Learnings for the Glorious Nation of Kazakhtan (2006) Larry Charles
45. Recount (2008) Jay Roach
46. Lost in Translation (2003) Sofia Coppola
47. In the Mood for Love (2000) Wong Kar Wai
48. 2046 (2004) Wong Kar Wai
49. The Box (2009) Richard Kelly
50. Super Size Me (2004) Morgan Spurlock
I never understood the appeal of Donnie Darko. Does the guy who tabulates everything wait until the deadline or has he begun already? I'm itching for a third revision lol!!
I prefered "The Box" over "Darko", but they're both fairly decent, I'd say. Every generation needs its own mindfuck artist, and Richard Kelly will do in a pinch.
Once again the list is no particular order but I chose a personal favorite for the top film:
1) Assassination of Jesse James (Dunne)
2) Talk to Her (Alomodvar)
3) Broken Embraces (Almodovar)
4) The Aura (Bielinsky)
5) In the Mood for Love (Kar-Wai)
6) 2046 (Kar-Wai)
7) Werckmeister Harmonies (Tarr)
8) Cache (Haneke)
9) The White Ribbon (Haneke)
10) The (Barison/Ross)
11) Three Times (Hsiao-Hsien)
12) I Don't Want to Sleep Alone (Ming-Liang)
13) Pan's Labyrinth (Del Toro)
14) Still Life (Zhang Ke Jia)
15) 4 Months 3 Weeks 2 Days (Mungiu)
16) The Lives of Others (von Donnersmarck)
17) The New World (extended) (Malick)
18) Che (Soderbergh)
19) Platform (Zhang Ke Jia)
20) Avatar (Cameron)
32) Of Time and the City (Davies)
22) The Prestige (Nolan)
23) Three Rooms of Melancholia (Honkasalo)
24) Letters from Iwo Jima (Eastwood)
25)O Brother Where Art Thou? (Coens)
an alternate list:
1)Code Unknown (Haneke)
2)The Commune (Watkins)
3)Kannathil Muthamittal (Rathnam)
4)The Aviator (Scorsese)
5)Gangs of New York (Scorsese)
6)Eureka (Aoyama)
7)Consequences of Love (Sorrentino)
8)Lust Caution (Lee)
9)Mystic River (Eastwood)
10)The Return (Zvyagintsev)
11)Synecdoche NY (Kaufman)
12)Inland Empire (Lynch)
13)The Intruder (Denis)
14)Regular Lovers (Garrel)
15)Le Fils (Darndennes)
16)L'enfant (Dardennes)
17)Babel (Inarritu)
18)Lady Chatterley (Ferran)
19)Syndromes and a Century (Weerasethukal)
20)Alexandra (Sokurov)
21)Girl cut in two (Chabrol)
22)Zodiac (Fincher)
23)Bright Star (Campion)
24)A Prophet (Audiard)
25)Revanche (Spielmann)
26)Up the Yangtze (Chang)
27)There Will Be Blood (Anderson)
28)Man on Wire (Marsh)
29)I'm Not There (Haynes)
30)Days of Glory (Bouchareb)
31)Katyn (Wajda)
32)Mesrine (Richet)
Tremendous list Kaleem!!! Most appreciated!!!!!!
A correction.. # 10 in the first list is 'The Ister'.
With a decade as awful as this (2000 to 2009), i'm exhausted to come up with 25 signature films, much less 100 that some have listed. So, here goes:
1. THERE WILL BE BLOOD-Anderson
2. TALK TO HER-Almodovar
3. THE WHITE RIBBON-Haneke
4. DANCER IN THE DARK-Von Trier
5. THE LIVES OF OTHERS-Von Donnersmarck
6. WERKMEISTER HARMONIES-Tarr
7. THE ASSASSINATION OF JESSE JAMES-Dominik
8. THE NEW LAND-Malick
9. THE INCREDIBLES-Bird
10. ROAD TO PERDITION-Mendes
11. ETERNAL SUNSHINE OF THE SPOTLESS MIND-Gohndry
12. IN THE MOOD FOR LOVE-Kar Wai
14. INLAND EMPIRE-Lynch
15. NO COUNTRY FOR OLD MEN-Coen
16. THE FOUNTAIN-Aronofsky
17. CLOSER-Nichols
18. Y TU MAMA TAMBIEN-Cuaron
19. LET THE RIGHT ONE IN-Alfredson
20. A HISTORY OF VIOLENCE-Cronenberg
21. SPIRITED AWAY-Miyazaki
22. ADAPTATION-Jonze
23. CAPOTE-Miller
24. BRIGHT STAR-Campion
25. PUNCH DRUNK LOVE-Anderson
Great list Dennis, but the decade is not remotely awful. I don't know where you got that idea from.
I agree Sam. This decade is equal or even better than the 80's and 90's.
Breakdown by best decade………In my opinion……..
1. 40's
2. 50's
3. 70's
4. 00's
5. 60's
6. 90's
7. 80's
8. 30's
I leave out the 20's since I need to investigate that decade more.
I like the 30's much more (and I am also a big fan of the silent cinema of the 20s) but I can't question this order Maurizio!! Nice.
I agree, I might actually think the 00's were my favorites since the 60's and 70's. There was just so much wild stuff going on!
My problem with the 30's is that there isn't enough quantity. The French were on fire but Hollywood needed the war before they made more realistic modern films. There is a drastic difference between the 30's and 40's in LA. Chaplin was great and the Universal Horror cycle was magnificent but other than I Am A Fugative From A Chain Gang and a few others I find the decade lacking in great American films. Germany was also putting wonderful stuff out in the early days but slowly grinded to a halt with Hitler and UFA's decline. Italy, Japan, Great Britain, Spain, and the Scandanavian's would all be a larger force in the immediate future. I would maybe concede that the 80's were weaker but not the 90's.
Are we talking American cinema or cinema in general? I think American cinema was pretty awful this decade – an easy contender for worst ever. I'm not saying there weren't great movies, but they were few and far between and the middling movies were as bad as ever, and a good deal less enjoyable to my eyes. The 80s was less stylish (Bob might disagree), but more fun – and at least its ubiquitous blockbuster franchises were original.
As for Maurizio's list, I agree 60s was bad for American film (despite the tail end of a strong era in the first year or two, and the beginning of another strong one in the last few years) but for the rest of the world it was a kind of golden era. I'd put 60s at the top of my own best-decades list – there's few other eras at once so rich, so diverse, and so innovative. It also managed to straddle the history and the future of film in a way no other decade had before, and almost certainly in a way no decade will since.
M. Roca, respectfully disagree, for me the thirties are probably the greatest decade, and easily the funniest. Your characterization of Hollywood in the thirties seems really, really off….Sternberg, Lubitsch, Hawks, McCarey, Chaplin? Not to mention that that it probably marks the pinnacle of the studio system in its ability to turn out such consistently entertaining products.
I heartily disagree. There was some interesting stuff coming out of Hollywood in the 30's, but the vast majority of it was coming from transplanted European expats, and even then real quality was only ever intermitent. In the 80's, at least you have genuinely American talents flexing their muscles in cool ways, and lacking absolutely nothing in style, I'd argue. I'll take the decade of Lynch, Mann, the Coens and the slow rise of the American independant movement, before its peak in the 90's.
By the way, I tried to come up with a favorite decades list, but it's too difficult because there are so many different criteria. Even if I try to eschew questions of greatness (how important is influence and originality in judging a decade?), sticking to personal preference (which decade's films are the best) still leaves a number of questions.
Even if we agree to focus on world cinema in general, do we skim off the cream of the crop and judge by their relative weight, or do we look at the big picture and determine which decade dominated the middle range? Your average film was probably better in the 30s than the 50s, at least in Hollywood – sparkling house styles ensured that even mediocre films were fun to look at in the Golden Age, whereas in the postwar era some dead weight settled on your average film's mise-en-scene – though at the same time there were arguably more great, visionary directors working than in the 30s.
Do we give American cinema more sway in judging the overall quality of a decade, since in terms of volume and influence it dwarfed most other nations (then again, how does a productive but relatively enclosed industry like the Indian factor in)? Or do we try to judge it, electoral college-style, giving each nation equal weight no matter its relative output?
And this is with all of twelve items to choose from – you can see why I typically refrain from the decades' polls when there are thousands of contenders!!
See above. Doniphon and Bob's disagreement seems to stem from whether or not we are judging overall consistency or just the peaks. (Bob might not feel the 80s has better overall consistency, or Doniphon that the 30s had better peaks, but it's a moot point as their arguments betray different criteria for judgement).
Personally, I'm with Doniphon on this. Due to the studio system humming on all cylinders, your average 30s film will usually contain something – art direction, music, costumes, lighting, star power, etc. – to hold your interest, whereas your average 80s film, if it's lacking a compelling script or adventurous direction, more often than not falls flat. I suppose one could say an 80s movie is more initially engaging, given that it's closer to our present culture and visual sensibilities, but once you get past that I think the case falls apart.
Oops – it appears Bob's disagreement is not with Doniphon at all – it's with me! To clarify, by American cinema, I mean films produced within the American system (a criteria which is easier to meet in the 30s than in any other decade, since the "system" was as enclosed as it's ever been, not in terms of rejecting external influences of course, just in terms of resolutely putting its own stamp on the result). So the expat point is kind of moot.
Bob you would really take Thief, Blood Simple and Blue Velvet over Trouble In Paradise, Love Me Tonight and Man's Castle? What about The Bitter Tea Of General Yen? What about Show Boat? What about Only Angels Have Wings? I'm not knocking you or anything, I just find that hard to understand.
Or it could be pointless to objectively argue subjective opinions on decades? I think the ones we list as 'best' or 'favorite' say more about our personal tastes then anything about the history of cinema.
For example saying the 30's was 'the best' is rather xenophobic (unintentionally), much of the world wasn't making films back then, and much wasn't being discussed or shown anyway. This is ok of course it just makes another idea to contemplate. I almost think that every decade is better then the one that preceded it, even if there weren't as many 'good' films if we stacked them on top of one another (another rather worthless endeavor). Cinema, like all art, is an ever-changing evolution with 'this years model' (elvis costello) always being at the apex. Life, more or less, is like this too.
Movieman, I agree with the point I apparently betrayed (ha). Movies aren't one director or even ten. They're movies.
Jamie, I see what you're saying, and in some respects it's true but I also tend to be leery of the "This Year's Model" model as it smacks too much of advertising and short attention spans. Sometimes, this year's model sucks and last year's was better…
I'll also concede that I really have no use for the bread-and-butter genres of the 30's– screwball comedies and musical extravaganzas. I also don't really like the works produced by the studio system, for the most part (only "Casablanca" still has any worth for me, and even that movie is sort-of suspect), as they all feel rather generic in their uniform polish after a while. The stuff from that era can come from the expats– Fritz Lang, obviously, above all with underrated gems like "Fury" and "You Only Live Once"– and certainly, you still had a few great American directors like Hawks and Ford. Still, the best work by domestic filmmakers didn't really arrive 'till the 40's, when the film-noir finally evolved fully enough to allow more daring stuff to be produced, and when Welles crashed the studio gates.
If I had to name a favorite Hollywood film from the 30's off the top of my head, I'd probably go with "King Kong". That's worth more to me than the filmographies of Lubisch and Von Sternberg combined.
Jamie, first off, I don't differentiate between favorite films and the best films, and I don't think we can objectively argue anything, and I'm certainly not trying to do that here. Additionally, saying the thirties are the best decade (read: my favorite) isn't xenophobic, it just means that I think folks in that time period made movies better than anyone has since. That doesn't mean I hate Iranians; it just means I don't think Kiarostami could ever touch McCarey.
Bob, I used to feel similarly to you but when I delved into 30s cinema (not saying you haven't, just that this was the particular turning point for me) I really came to love its economy and, paradoxically, its ephemera (I think the economy enables the ephemera – the storytelling is usually so tight and the filmmaking so polished, that there's room for extraneous detail which might seem like padding elsewhere). American cinema in the 30s discovered that if you have the skeleton tight, you can do just about anything with it.
Later epochs messed with the skeleton – and often came up with great results (as well as many messes). I dig that too – indeed, I used to dig it more and in some ways perhaps I still do. But there's something to be said for the classicism of golden-age Hollywood; if nothing else, it's provided a terrific template for later innovators to bounce off of.
Jamie/Doniphon/Bob, I DO distinguish between "favorite" and "best" but increasingly am not very interested in mounting the ramparts for the latter – not that it isn't a worthy cause, just not something I'm really in the mood for these days. I will say I think most of us humor both objective and subjective reasoning more than we may admit – without some semblance of standards or objectivity, not to mention the fact that they are – at least to a certain extent – shared – dialogue dissolves into everyone standing in their own corner shouting at the wall.
Not that this doesn't describe Wonders in the Dark at times, but I like to think we move beyond that on occasion! 😉
Doniphon, to put it mildly, yes. If you have any trouble imagining someone prefering "Thief" or "Blue Velvet" to "Trouble in Paradise" or "General Yen", well, I have trouble understanding why people like the latter two movies at all. Talk about bitter tea.
MovieMan you've taken me wayyyyy to literally. A film of the past may be better but it's just part of what's gotten us here. Every film is about all other films before it, every book is about all books that's come before it, every painting is about every painting that's come before it. It's not really about critical assessments and stacking films, ya dig?
Sure a cop thriller from 2010, may not be as good as the FRENCH CONNECTION, but that's not the point. Looking to an infinite horizon is.
what do these two stanzas tell you (from good ol Elvis) thinking along these lines?
"Still you're hoping that she's well spoken 'cause she's this year's girl
You want her broken with her mouth wide open 'cause she's this year's girl
Never knowing it's a real attraction, all these promises of satisfaction
While she's being bored to distraction being this year's girl
Time's running out, she's not happy with the cost
There'd be no doubt, only she's forgotten much more than she's lost"
"Oh, I don't want to disease you
But I'm no good with machinery
Oh, I don't wanna freeze you
Stop looking at the scenery
I keep thinking about your mother
Oh, I don't wanna lick them
I don't wanna be a lover
I just wanna be your victim"
Fair enough Bob. We obviously come from very different places cinematically, and I love Mann and Lynch, and I think those are both great films (although in both cases I prefer their works this decade). As for loving the thirties films, I cannot see a picture of Herbert Marshall without cracking a smile. Can't say the same of Kyle MacLachlan.
"Jamie/Doniphon/Bob, I DO distinguish between "favorite" and "best" but increasingly am not very interested in mounting the ramparts for the latter – not that it isn't a worthy cause, just not something I'm really in the mood for these days. I will say I think most of us humor both objective and subjective reasoning more than we may admit – without some semblance of standards or objectivity, not to mention the fact that they are – at least to a certain extent – shared – dialogue dissolves into everyone standing in their own corner shouting at the wall."
you see I think this sort of dialogue is great, and what I want from these things. I also think when it's civil–which all the parties here always remain that way in my opinion–it doesn't get any better (only when we act pompous is it off putting). Sometimes we do think our opinions are objective but they never are, they are always just a singular opinion or a 'scholarly' reference to a collection of personal opinions. I like the former… when you cite a film Joel, I care just as much what you thought, as what the film is… and it would be a shame if you moved away from this form of thinking (also since we've talked in the past that you are an aspiring artist you shouldn't intentionally dull your subjective opinions in this way either, you may find one day when oyu want to return to them you'll find yourself 'vanilla-fied').
Doniphon–I think all of Hawk's better films came later. I also am no fan of screwball comedies, musicals, or dated melodrama's that the Hollywood of the 30's specialized in. The gangster films of this era are unintentional comedies now and world cinema was not as large and still in its infancy. I credited Chaplin but find the rest either overrated or uninterested in discovering. Ford and Hitchcock were still not at their peak. And yes I would take Blue Velvet or Blood Simple over those dated period pieces. Showboat is not for me. Only Angels Have Wings is overrated. Lets compare those and others you mentioned to 40's classics like The Third Man, The Big Sleep, Out Of The Past, The Seventh Victim, The Oxbow Incident, Double Indemnity, and The Treasure Of The Sierra Madre. Its a total shutout. Hollywood needed the horror of World War 2 to grow up and become less naive. The acting got better as well. I 100% agree with Bob that film noir opened America up to more daring fare. The 30's are like a naive teenager trying to understand adulthood. The 40's is when they finally grow up and mature.
Also this is just my opinion. If anyone disagrees that is totally fine.
The Third Man is British. No matter as I can replace it with Laura, Shadow Of A Doubt, Cat People, Citizen Kane, etc…..
Jamie, to the 2 points (boy, this sub-thread is getting long!):
1. No, I get what you mean, and agree to a certain extent – I just felt obliged to lodge a general dissent to where the notion might lead, even if you in particular were not headed in that direction. By the way, I love EC but I'm not quite sure how the lyrics pertain. That said, I generally enjoy your wild tangents so keep 'em comin'…
Part 2 turned out much longer and will be up in a few minutes.
If I knew this list was gonna set off such a enormous thread i'd have been inclined to pose as new posters and put a new one up everyday. Sorry Schmulee. Along with the 80's I FEEL that this was one of the weakest decades. MY OPINION.
2. My thoughts on subjectivity v. objectivity have been better-expressed elsewhere (including perhaps a thread with you over a year ago, and several long, long ones with Stephen) but suffice it to say my use of "objectivity" may be somewhat idiosyncratic at times. I don't mean objective in the sense that it can be put under a microscope, but rather that it exists within a commonly-held framework. Within this framework we can have disagreements but the framework exists as an overall context against we can judge. I don't think we utilize this possibility very often (perhaps out of not wanting to become too pompous, or else not wanting to expend the time or effort, or maybe just not wanting to "prove" anyone wrong if such a thing were possible, as we like each other and our differing opinions…). However, if we did I think we could cokme to some pretty conclusive determinations about what seems to us a "subjective" opinion. So maybe it's objectivity within a subjective framework (which may be all objectivity ever is anyway, in some sense: even science relies upon a certain perception of the world and linguistic conventions which facilitate what we're describing). However I think there may be something "objective" about the framework too.
To go off on a related tangent: Stephen caused an outcry by criticizing Citizen Kane, but even he did not step very far outside the framework – taken as a whole, his opinions however offbeat still show a certain sensibility and understanding at work, one which we all share at least fragments of. Wonders in the Dark is kind of remarkable in that way – we're all very, very different people with very different ideas about particular movies and sometimes even movies in general, but we share an unspoken consensus which actually differs from a lot of people out there. Put another way, Bob might say he prefers 80s cinema to 30s cinema but he isn't saying "black-and-white sucks." To paraphrase what you said once, Sam and Allan might be at each other's throats but they both use and approve of Bresson's donkey as their icon. You noted that this kind of erudition was actually pretty rare in the blogosphere (I'd add that it's even rarer to find on a blog that is not lofty and scholarly in tone, nor seemingly focused on an academic context, but that's another discussion).
If we were suddenly deluged by people who thought the box-office was the arbiter of quality, that foreign films were crap, that westerns were uniformly terrible – I think we might feel more strongly about countering their objections with a mere "that's your opinion." But because we all seem to agree on certain fundamentals we can agree to disagree about details and still respect one another's opinion. For myself, the notion that Fantastic Four is no better or worse than Citizen Kane on any grounds other than personal experience makes me extremely skittish. This doesn't mean we should abandon our subjective perception is this (as you note) is what tends to illuminate and motivate much enthusiastic analysis, appreciation, and just plain sheer enjoyment. But I do think it serves well to keep in mind a kind of objective yardstick, both for ourselves (we can sometimes surprise ourselves with a movie by going looking for "what others saw in it" – objective investigation yielding subjective enjoyment – and can also defend something we loved by looking into it deeper and finding what it was that motivated our enjoyment, possibly creating the same opportunity for others).
As for what I seek in art – I think it has to do with tensions, between characters, forms, ideas, and also between reason and emotion. I find both subjective, impulsive responses and a more cool, analytical appreciation of what's onscreen and what went into it both yield enjoyment (though in a sense what we're discussing our differing subjectivities rather than objectivity vs. subjectivity) and inspiration.
Recently, on the There Will Be Blood thread, I ruminated a bit upon "greatness" but I think the tree fell in the woods when no one was listening. Here it is again, to perhaps cover some ground I didn't already cover in my already ridiculously long comment:
"If greatness can be boiled down to one element, I would call it the ideal long-term effect. Ideal in that it is a possible reaction, but bound not to occur in every viewer, although it should be accessible if one digs into it (to split hairs further, what is the "highest" effect – i.e. the best possible reaction, and to what extent is it reliant on the work or on extraneous factors, say an association with the viewer's own life that the movie did not have to do much to facilitate?). Long-term because sometimes a piece of art delights but its effect fades with time, either upon reflection or repeat viewings – ephemeral joy is nice but I do think longevity matters in calling a work "great." And effect because while the ingredients may be objectivly quantifiable (craftsmanship, meaning, etc.) it's what they add up to that matters. In this sense, one trains one's sensibilities but then flies by guts, learn & sublimate the learning so that instinct guides once again – but an informed and developed instinct. Lest someone find this too prescribed, I think this process more or less occurs naturally in a movie-lover and need only be semi-conscious.
I think of the "effect" is a subjective reaction that rests on an objective bed (i.e. controlled effects and context facilitate the response); to be judged, it has to be inverted somewhat – the judgement is lodged in objective terms, but rests on a bed of subjectivity, an assumed consensus about response and values. Kind of convoluted, but there I stand."
Maurizio, I disagree with much of what you say – but one things bears mentioning: gangster films as unintentional comedies? What makes you think the comedy was unintentional? Cagney always had a dark sense of humor. And I just watched Scarface last night and it was quite clearly intentionally funny – as well as still shocking and brutal in its violence.
Better to see 30s films as children and 40s/50s films as adolescents. They may gain a bit in knowledge of the world and complexity of thought and mood, but also lose the unstressed grace and clarity of childhood and take on an at times unflattering awkwardness – particularly true once wider aspect ratios and color took hold, with filmmakers struggling to make filmmaking dynamic again.
I agree that the peaks of 40s and 50s filmmaking are higher, but just beneath that level I'd say 30s movies have the edge.
Joel– I'm not necessarily saying that 80's cinema was better than that in the 30's overall, just that American output in the former is superior. Worldwide, the question becomes a little hazier. There was some truly great stuff from around the world in the 80's, and thanks to the advent of video, cable television & better theatrical distribution processes, I'd say it was the first truly international decade for cinema. Stuff from Europe & Asia that would've been tough to track down in earlier years was able to reach US audiences much easier, and more American obscurities were allowed to flourish throughout independent markets and more readily available production tools (though not nearly as much as we've seen in the past decade).
Still, was there anything that really matched the work that guys like Lang or Renoir? Were there any equals to "M", or "Grand Illusion"? It's debatable, and to a certain extent not really worth getting into as a serious argument. Overall, I'd say the two decades are more or less equal, with their own differing merits and weaknesses. My main beef before was the question of American cinema, which again I'd say was stronger in the 80's.
Bob, my statement on the 30s v. 80s is in light of American cinema – not world. I understand why you think the peaks of 80s America are higher, though frankly I disagree, but can you really say that the dominant aesthetic of the 80s served your average film better than the dominant aesthetic of the 30s? The fluid camera movement, imaginative sets, and crisp economy of the 30s far outstrip the blocky, functional, at-best-flash-in-the-pan visuals of the 80s. And frankly black-and-white, particularly in the hands of Hollywood's consumate craftsmen, served the average movie better than color, which if used lazily just seems drably realistic.
Fish, I was talking more or less about American cinema in the 30's, which by and large was a joke. Screwball comedies and musical extravaganzas are nothing but wish-fulfillment wastes of time, especially when you factor in the downtrodden hard truths of the Depression. Warner Bros. was putting out some edgier fare, and a few isolated directors like Lang, true. But for the most part, Hollywood of the 30's was a supremely ignorant bread-and-three-ring-circus, and the sooner we grew out of that phase, the better. At least the mindless entertainment of the 80's showed a bit more imagination, but for my money, as I said before, the two decades are more or less equal.
Joel– I honestly think there's more substance in the dominant aesthetics of the 80's than there ever was in the 30's, more opportunities for soul-searching and introspection than guys like Bubsy Berkley or Ernst Lubistch ever engaged in. I particularly like how some directors were able to go under the radar with filmmaking that didn't necessarily call too much attention to themselves right away, allowing them to slowly burn and burrow their way under an audience's skin instead of impressing them with kaleidescopic razzle-dazzle right from the start. There's a delightfully subversive quality to the decade's greats– "Blade Runner", "American Gigilo", "Manhunter", for example– that offers a great commentary on the burgeoning culture of conspicuous consumption.
Also, as I've said before, there was a real indie-movement in the 80's, while the 30's was almost exclusively a studio game (and no, the Hollywood studio system was never a good thing). Plus you had true opportunities and avenues for documentaries and artsy stuff, wheras the avant-garde was a little harder to come by in the 30's (as opposed to the 20's, say). There's simply more variety to be found in the cinema of 30 years ago than of the 30's themselves.
These are all good points, Bob, and among the reasons that I have trouble ranking decades, there are just too many contingencies. That said, however, I don't think movies are only about "soul-searching and introspection"; I think the seemingly trivial aspects of 30s cinema had a wonderful, artistic effect of their own, namely spinning dream-worlds which remain fascinating not only aesthetically but psychologically – what attracts us (or at least so many) to these fantasies? At any rate, I find a Berkley sequence so exhiliratingly overpowering that questions of soul-searching seem a bit moot. To paraphrase a book I grew up with, "The Great Movies": "Imagine coming out of a double-feature of Hour of the Wolf and Duck Soup, weary from the anxiety of the first and the belly laughs of the second. One is forced to conclude that the cinema is both a deep, penetrating human art and a vulgar, hilarious medium of entertainment. Both present opportunities for greatness." Or something to that effect (I'm trying to quote from memory).
As for Hollywood, yes it always played a negative role in American cinema but that doesn't mean that – particularly in its prime – it didn't have positive results as well (results which would not have arisen without it). Kind of like… the Catholic Church.
Maurizio, Allan's gotten under my skin in the past but in the end I think most people find his bark is worse than his bite. Anyway, his attacks tend to roll off, at least from my perception, because he's much better at advocating for what he loves than criticizing what and who he doesn't (as he himself often acknowledges).
As for the writing, I'll stick up for Allan there. I think comparing him & Bob are kind of apple/orange – they are going for different effects with their essays and each achieves them more often than not. I think Allan sometimes compromises his work by shooting it off to fast (he himself says he gives himself it less than an hour & one page immediately after a viewing). A quick revision could easily take care of word redundancy and occasional awkwardness. At the same time, the speed of his output, as well as the depth of his viewing, is what has enabled this enormous backlog of reviews in the first place; and this backlog is what has enabled the decade countdowns, which I think stand amongst the top achievements I've encountered in the blogosphere.
Also, his economy and restrained impressionism have, I think, been a good influence on my own writing, which can have a tendency to get long-winded and inside-baseball at times. Yes, he can be a tough customer as Sam likes to say, and you're not wrong to fight fire with fire when the situation warrants, but I'll take Mr. Fish warts and all and now's the time to say so (hint: a further tribute is on the way in a couple weeks…)
Anyway, hopefully the air has been cleared enough for us to proceed to the final dirty dozen smelling like roses, albeit with dirt under our fingernails and thorns in our side. Such is the Wonders way…
MAURIZIO-Allan's bark is really alot worse than his bit. I've had plenty of cynical shots leveled at me by our friend from the U.K. and, though the first few weeks here stung like a bitch, have grown rather a thick skin to ward off assaults in the future.
Now, I'm not saying a blogger should always back down and squeeze into a corner and die like a big pussy, frightened by the bully on the block. No, I say fight back if you really think your views are correct. The problem, with my fight with Allan anyway, is that I often spout out before I do my homework. Often, and this happens when I go up against Sam sometimes, I err in realizing that the intake of films these two have seen is so massive that anythingI refrence can, usually be cross-referenced by them from some other film they, not I, have seen.
Allan's opinions are very strong, no question about it, but, he's seen sooooooooooooo many films within the confines of each decade that I find it hard to question his authority on alot of what he says.
Now, personal opinions are another thing. If I like a film and Allan doesn't, well i chalk that up to personal taste. However, when I question something like what is the most prolific decade, then i better just let the big man take the spot-light. In scenarios like that, I'm dwarfed by the volume of films he's seen and studied.
BOB CLARK, in alot of ways, is like Allan. The mass of his study is tremendous and his writing skills are detailed and persuasive (I don't know too many that could have gotten me to reevaluate HEAVENS GATE-they both got me on that one!). But, where I'm more akinned to agreeing with Allan (and I think this is because we're closer in age and, for the most part, share the same tastes), Bob is a breath of fresh air sometimes with his more, dare I say, "rock-n-roll" sensibilities. There's a more adolescent sensibility about Bob that, i find, can be both a pleasure and a hinderance.
I have tendency to agree with Allan more times than not and, again, this has to to with his age, and the mass amounts of film that is coursing through the memory centers of his brain. He's just got so much under his belt it's hard to refute his facts. Where Bob and I mix is in his way of making you see things from another point of view. Talking like a "dude', he infuses his theories with a youthful perspective that I find refreshing considering the old ways I have tendency to think. I won't say that Bob doesn't perplex me from time to time (he and i have really torn it up on several occasions), but, for the most part, I like to take his reviews and commentaries as an alternate perspective. Combining Allan with Bob, on occasion has warranted a deeper appreciation for films I normally would have nothing to do with.
Writing style-wise. I think they both have faults and admirable qualities. I appreciate Allan's compact prose and succint way of getting dtraight to the point. However, on occasion, I think Allan's compactness often does him in on certain films we all feel he could go alot further with. Bob, whose essays are massive, are so finely detailed it's hard to challenge him in an argument as he's usually tackled every perspective. However, there are times where I feel he gets a liitle long-winded and wish he'd just tighten up and conclude.
Funny, when I look at all of the writers here (and I don't include Joel Bocko or John Lanthier as they are professionals in the field), I find that, of the amateurs, the one who really never misses is SAM.
Sam's style, I feel is more of a combination of both Allan and Bob. He DOES have no problem with going on for pages in his compositions (like Bob), but the fat is usually so trimmed (like Allan) that you can't say that their was ever run-off at the mouth. In honesty, I feel, SAM is, by far, the best reviewer we got at WONDERS.
If I were to slam Sam on anything, its more about his politics here (always trying to say something nice, coddling a blogger, etc.). Rather than always playing the smiling mediator, I wish he'd just haul off and level someone when they're completely off the mark (funny, at home he has no problems with leveling me, but then again I've been one of his closest friends, compatriots, informants and adversaries for damn near 20 years, so the fimiliarities are massive). His sugary flavor and want to please everyone here is a noble, if not always positive, reinforcement. He's really the sweetest guy.
That said. I'm glad to see you're growing a leather hide. Here at WONDERS we accept no single person who can't take the heat. Good job! You stood tall against the Dragons.
Dennis, what a great comment! I have to take issue with only one thing and that's the characterization of me as "professional" – I assume this refers to my 6-month stint at the Examiner but the editorial policy there was so lax (which I appreciated, believe me) that to call me a pro for that would be to stretch the term to bubble-gum proportions – unlike, say, Jon, who keeps up a steady stream of reviews at Slate. Yes, officially a professional is someone who gets paid (though on that mark I fall rather short too, sadly) but to me a real pro is someone who can keep up the discipline of a profession. In that mark, I have to cede ground to those who deserve it. Thanks anyway, though…
As for the rest, brilliant analysis of the crew here. I can imagine Bob being somewhat tweaked by the rock'n'roll characterization, but I think the blue suede shoe fits. If Wonders in the Dark didn't exist, the blogosphere would have to invent it: the very amateurism and "hubris" which it is often decried for are part of its strength, at least when they're kept in check by the vast stores of knowledge on display, and the remarkable lack of pretension and stuffiness which is really rare in environments this knowledgeable. It's the vibrant clash of personalities, opinions, styles, and backgrounds which keep the engine humming, and keep us coming back (and of course Sam, not just as a writer whom you pay eloquent tribute to, but as the proprieter and facilitator of the blog who keeps constant vigilance to keep it humming).
In many ways, the blog is like a perfect storm; may the thunder keep rolling.
JOEL-Thank you so much for the kind words, they're really appreciated and, most likely, will calm Sam down from lambasting me for taking what he might see as "ass-kissing and sucker-punching" him, Bob and Allan.
I'm in total agreement with you. WONDERS IN THE DARK is like no other site on the net and I think it's precisely because the gloves come off. I feel privledged to have been accepted here (although I wish my skills in writing a proper review were more finely tuned so I could produce and offer more to this community) and, like so many looking to find a path, I find this place my salvation. For all the many people i know and will meet in that great city across the water from me, I have rarely met anyone who could quench my thirst for the kind of interaction, I feel, I so desperately need. Here, I have friends and adversaries who teach me, help me fine tune my thinking. Theories get slapped across the boards and there is ALWAYS someone out there looking on the screen that may be able to add to, or kindly edit, what it is I'm festering in my noggin'….
My criticisms of Allan and Bob, I hope, were not seen as harsh or, in any way, deflammatory. I have buckets of respect for both of these wonderful guys. But, if I am truthful with myself (and this has NOTHING to do with a close 20 year friendship), I just cotten more to Sam's way of composition (I just wish he'd put credits for cast and crew above his essays, like Allan, to make them look a bit more professional-but that's a slight, nit-picking beef-i'm sure, with prodding, I'll convince him to start up the practice). I feel his work is tight without missing aspects crucial to an all encompassing review and, after that, wraps with his final heartfelt feelings. Of all the guys here that I believe can go pro (and I think Allan and Bob certainly could, as well as Tony D'Ambra etc.), I think Sam would be the most likely candidate to get picked up by a periodical or paper (but, again, htis is just MY OPINION).
As for you and your argument on being a pro?????? BULLSHIT! You were asked (or chosen) by a prefession publication to contribute for all to see. YOU WERE PAID (what you were paid, et-al, is not the point). In my book, you have an edge on the guys that only Jon Lanthier can lay claim on. In my mind, you are a professional, published writer. Nothing to be sheepish about at all. Actually a real feather in the cap, so to speak.
Myself. I'd like to write more. Now that I have the computer in my house up and running, I see no reason why i cannot produce (although laziness and my ADD for unimpotant things like clubbing and trying to get laid do get in the way-and I'm a failure in both department-ALMOST-heh, heh! ;-)). However, I'm hoping to exercise and tone my skills and I find that reading the work of the guys and gals here a pure learning experience by example. The more I preruse this site the more I learn.
In conclusion, I feel WONDERS IN THE DARK is something I hope goes on for decades (Sam often comments that it can'y go on forever) , and i think it can. Allan will be bowing out of the daily grind after this count concludes (dropping a review here and there). However, I say that this will give the other wonderful writers and thinkers (I hope mtself included), a little more elbow room to offer pieces that destinctly define them.
I'm looking forward to see what Jamie Uhler, Bob Clark, Kevin Olsen and newly parenting Troy Olsen will unleash with their anticipated Horror film count. I'm sure it'll be an eye-opener and a pleasure to read at the same time.
We always have Jim Clark with his gigantic pieces covering Lynch, Bergman and Antonioni and, I hope, we'll always have new stuff coming from you.
Tony D'Ambra is as solid as a rock and you know he's always got something festering on the back burners. Let's not forget DEE-DEE. Her creative and often hilarious take on the prefessional interview are always good for a smile.
Finally, we got a few up-n-comers. My dear friend< Mr. Marc Bauer has provided a few hot-topic spins on some of the bigger films to come up in the past few months and, by reading through his commentaries here, I believe Maurizio Roca has a few articles he's busting to see publication here.
The door's open, everyone's welcome to come in and stay a while. This place has SAVED my sanity.
Hey Dennis, lest my silence be seen as agreement. I know you are trying to be even-handed, but you are being too nice all-round. We can all make our own judgements about each other, but I am no pro-in-waiting. I am a hack and a hack I will ever be. Being a hack is an honorable estate; have you met a more rum fellow than Holly Martins?
To steer the conversation back to more pleasant things, if I had to choose a favorite decade of film, I'd say that the 60's would be a good choice. Just about every corner of the globe had high points in their cinema back then– Japan had Kurosawa at his loosest and most fun and the very best from Hiroshi Teshigahara; Britain had David Lean's unforgettable epics and the Bond films; Sweden had Bergman at his peak and the adventurous side of Sjoman's "I Am Curious" films; Italy had masterpieces by Fellini and Antonioni, as wel as Leone's classic spaghetti westerns; France, of course, had the innovators of the New Wave, Godard especially (the decade's unquestionable MVP); the US had pros like Kubrick and Frankenheimer delivering some of their best work and the first tentative shorts and features of the Movie Brats. Hell, even Canada saw Cronenberg's "Stereo" in '69, and Germany saw the release of Lang's final work, "The Thousand Eyes of Dr. Mabuse", in '60.
I agree with Sam. I really don't understand how people could think this was such a bad decade for film. It was certainly better (read: more balanced and consistent) than the 90's, which in my opinion was saved only because of the insane amount of quality that was being produced in 1998 and 1999.
Excellent point there Kevin!
But then again I'm the guy who had Inglourious Basterds and Miami Vice number one and two respectively on my end-of-decade list, hehe. Soooo…there's that! Ha!
Kevin, I remember that infamous #1 and #2!!! LOL!!!!!!!
There's a few here I'm not big on, and several that I am. The one that sticks out for me, though, is "Capote". I would never have imagined that such a colorful, engaging and entertaining man, talented in writing and speaking at equal turns, would turn out to be the subject of such a dour, humorless picture. Phillip Seymour Hoffman was a terrible choice for the lead– not only did he fail to resemble the writer at that time of his life (he looks rather like someone who ate Truman Capote), but his performance never rose above the level of the lisping hiss of mere impersonation. A truly cold blooded film. I wonder how the other Capote picture turned out.
"Looks like someone who ate Truman Capote" LOL!!! This line coupled with Spain's victory made my day!!!
Aye Maurizio! I just heard the news and was admittedly shocked at how the Spaniards shut down that dangerous German offense! Spain was the favorite from the very beginning of this tournament, but after thaose two 4-0 and 4-1 wins by the Germans, it appeared a Holland/Germany final was likely. I suspect this is Spain's year, but I feel for the Dutch and may like to see them win.
Both the Dutch and Spain both sport the best collective mid-fields in the world same (both go about 6 deep and all world class)… when picking soccer this is always the thing to look at over anything. As great as Germany has looked they were totally outclassed today.
As such those two mid-fields going head to head should make for an unbelievable final. Spain's defense is an edge here I think. Should be epic.
The point of the film is to be bleak, BOB. Capote's life took a turn for the darker the day he entered Kansas. aside from a few friends he made there and a few weeks of hilarity in turning the town to conform to his needs, the period in which he was researching IN COLD BLOOD was marred with alcoholism, deep depression and feelings of absolute guilt.
Upon meeting and, subsequently, knowing Dick and Perry, Truman's life was turned dark. his fascination in them and the reasons behind their slaughter of the Clutters drove Truman closer and closer to the brinks of insanity and moral dilemma. That he cared deeply about Perry, both spritually and sexually, confused the line of decency he was walking. He wanted the boys to get a fair trial, perhaps even go free (this was in want of getting the chance to be fucked by Perry). On the other hand; knowing how white hot the subject of his book was and how well it was being written(this was confirmed by the round of ecstatic applause at the first public reading of excerpts), Truman also understood that the boys needed to swing for him to get the sensational ending required of such a sensational begining and mid-section.
Everyone associated with Truman, from his publisher to Jack Dunphy (his life partner) to Nell Harper Lee: all of them testify in the biography this film is based on, that this was the most despairing and deadening period in life, one that leaked into his life after the publication of the book and so much so that it drove him into a suicidal whirlwind of drinking and drugs that would end his life in 1982.
As someone who remembers Truman from his innumerable appeareances on Johnny Carson's THE TONIGHT SHOW, one can get a sense of a man trying too hard to please. That was, in fact, Truman putting on a masking act in juxtapose of the depression he was going through. Phillip Seymour Hoffman nailed the despair and the quiet introspection of the character of Truman and, though may not hve been a perfect physical match for the little author, ave us a rather complete representation of the famous man. He won his Oscar and accolades deservingly.
I suggest you read Gerald Clarks biography on Truman. Culled from years of interviews with Truman and the people around him, its an eye opener to nay-sayers of the film. Bennett Miller (director) and Dan Futterman (writer), i feel, unflinchingly recreated the darkest recesses of Trumans surroundings and inner demons and presented an accurate depiction of this period in his life. For me, CAPOTE stands as a A+ psychological thriller and was clearly my favorite film of that year. i dont mind anyone saying that they didn't like it. I do mind those that say its cold-bloooded.
" I would never have imagined that such a colorful, engaging and entertaining man, talented in writing and speaking at equal turns, would turn out to be the subject of such a dour, humorless picture. "
This is where you err, Bob. The fact that its of this period in his life does not warrant anything other than a colorless and humorless film. there are some hints as to Trumans wit and flamboyancies in scenes at the NYC parties and at the dinners at the Dewey residence but, for the most part, Truman's journey to Kansas was anything but fun. No, no, the film-makers got it absolutely right.
I don't know– it just sounds like the contraditions you're talking about were probably better represented by "Infamous", where Toby Jones was allowed to show the lighter side of Capote, as well as all the dark, depressive and manipulative stuff. "Capote" is a one note movie. The most interesting thing about it, for me, is that it was written by the little brother from "Judging Amy".
I doubt Dan Futterman would like to be best remembered for his work on that forgettable show. Most network television should be shown to prisoners as a sub-mental form of torture and Judging Amy was one of the worst of its kind. Rather his turn as Robin Williams son who drops the marriage bomb on the all gay house in THE BIRDCAGE or his Academy Award nomination for penning CAPOTE would probably be seen a better high-water marks for him.
One note? NO. Capote is a riveting look at deepening despair and regret. it also walks a tight-wire on morality. the should i/shouldnt i question that is raised towards Truman is fascinating. he wants his cake and eat it too. he knows the book is dynamite and that his seperation from the boys will get him the fame and riches that come with the success of a monumental hit (IN COLD BLOOD still sells milions of copies every year). its this gradual tug-of-war for Truman's soul, which he sells down the road, that makes the film so riveting.
Ok, so you didn't like it. you wanted to see the more flamboyant Capote. i suggest you stay with INFAMOUS or rent the BEST OF JOHNNY CARSON.
No big deal. I just POLITELY disagree. I think CAPOTE is a tremendous little low-budget flick.
Now, of course… I could have thrown all the voting and listed THERE WILL BE BLOOD in every slot of my top 25. but, hey, I'm not that devious a guy…. YET… LOL!!!!!!!
Jamie, the "unwanted, untrue hateful dogmas" are not imposed from without, they come from within, from the very same place that the hopes and dreams come from. No alien force imposed them on the human race, they are a part of human nature, facilitated to varying degrees by environment and culture – which is itself conditioned by environment and circumstances. Tradition is worth investigating rather than disposing of altogether, because it derives from some necessity – either something which has become irrelevant, or perhaps something that hasn't.
At the same time, not to seem contradictory with my talk of where values come from below (since I just pointed out that their original source is "within"), these dogmas ARE facilitated by our surroundings. The form they take is determined not only by the motivating factor within but the societal factors without (which itself derives both from environmental conditions and human response to said conditions). However, the thing is that the "good" as well as the "bad" dogma are both psychologically motivated and historically and socially conditioned – so one has to be careful not to throw the baby out with the bathwater.
I questioned the concept of the "new world" not to be overly literal, but to point out that there's really no such thing – and such a point is relevant to your encouragement that we drop everything and start from scratch. There is only the "real world" and what we do with it. Our philosophy and openness are both important, but so is a knowledge of where we come from and what conditions our existence and paradigms. Often times what we think is a blank slate is, in fact, only an unexamined one.
Keep in mind I say this as someone rather devoted to notions of discovery and making a fresh start, so I say this to remind myself as much as anyone else! Anyway it seems that in seeking a "new world" you would want to retain reverence for at least two principles: "reality" and "respect for others." I would ask in return: a) what is "reality"? what has conditioned your opinion of said reality? and b) where does this desire for "respect for others" come from and how is it manifested?
Many values which we may treasure, including liberty, freedom of thought, the very ability to start from scratch are historically conditioned and not taken for granted universally in all cultures. That doesn't mean they're wrong, or don't have universal application (I am not a relativist), merely that a fresh start which includes these values is already somewhat weighted with the burdens of traditions. Rousseau's notion of the "state of nature" did not derive from actually existing in said state, but from living in and learning from the very culture he hoped to reject. All interesting food for thought, I think. The conversation continues!
I can see that despite my efforts, the comment still seems somewhat contradictory – beginning by saying that human nature is the obstacle to a new world and ending by saying cultural conditioning is. So let me try to be succinct and clarify: both "nature" and "nurture" (which is itself shaped by "nature") offer both the incentives and the impediments for the utopian impulse. The good and bad values and dogmas cannot be so easily detached and are deeply interconnected: the peaceful teachings of a Jesus led to wars in his name, meanwhile brutal destructive wars led to human development and happiness. This is not to say the end justifies the means just to caution that good intentions and good results are not the same thing. Best to recognize our flaws and attempt to keep them in check rather than try to "overcome" them altogether – to bring things full-circle this is where Bob's notion of the value of confession comes into play.
I agree with what you say here Joel, (I might not take so many various avenues to get there but whatever). You somewhat say what I've been saying. The world is to be defined by the individual, a philosophical blank slate. Sure the physical world isn't one, but the metaphysical one should be treated as such. If it isn't it is just someone bowing to tradition, or treating something sacred that isn't inherently sacred (after all nothing is–and this gets to film canons I spoke on a little the other day too).
this is as simply as I can state it, and when the world is approached like this, Messiah's from centuries past and ceremonial dinners really have no meaning to the individual (then then therefor the culture). The difference in cultures you speak of just highlights this point, how trivial it all actually is. We should look to personally create our own traditions, and customs and they should die with that individual person. From here biology would (somewhat) take over, ethics could be determined by what best benefits the species (and plural species). Showing compassion benefits us all.
"Jamie, the "unwanted, untrue hateful dogmas" are not imposed from without, they come from within, from the very same place that the hopes and dreams come from. No alien force imposed them on the human race, they are a part of human nature, facilitated to varying degrees by environment and culture –"
I would say that I don't agree with that, it's not human nature to believe any of the theist dogmas. It's not human nature to belief human sacrifice for example (or anything else these religions purport when you break them down further). They have come from alien forces, the alien force of tradition, something that exists before we are born and shackles us at the arms, legs, and brains into giving it credence when we are born. And it deserves none. So I guess I do break from what you say here quite a bit.
I have often argued to myself that all the high-minded effusiveness about cinema as art is bunk. This thread serves to confirm it. The great cineaste is as likely to be as bigoted as the next guy. Spare me the agony and the ecstasy next time. Compassion is true faith from whomever it comes.
Was it really necessary to respond to what Tony said here? He ventured a valid opinion, and it should be left as that. We've had enough contentiousness teh past few days–let's get our mind on the rest of teh countdown! Geez!
No worries guys. Allan, isn't that what I said? My dear mother and father never read the Bible and had a simple faith, but taught me to respect a man by his actions not his beliefs. Compassion is individual not organized, and not a matter of philosophy or faith. I am no apologist for any church.
PS: Two great films that portray compassion do not figure in any of the lists and countdowns here: Madam Rosa and Monsieur Ibrahim. What does that say?
Yes, compassion. I agree Tony. I'll try and remember that the next time you feel the need to constantly insult any of us posters that are 'beneath you' (I think Bob, Joel, and I have all been steady targets). But hey this is when high minded virtue meets real life, real interaction…. it disappears like dust in the wind.
Jamie, are you on commission? Or the janitor from Scrubs?
If you want me off the site, say so and clear the air. What has been your singular contribution here? An illiterate and incomprehensible paean to Tarantino's Inglorious Basterds is about all I can recall.
Here's the compassionate Tony I know and love.
Interesting that some of these recent lists have a few horror films on them (the Mist, Let the Right One In, Drag Me to Hell, The Descent, ect), I always like Horror represented in these alongside other masterpieces, but I'd count all those films in the bottom 8-20 (if at all) range for horror in this decade. A decade that is perhaps the greatest horror has ever seen (at least as good as the 70s). Just curious to me.
I was tempted to include "Freddy Vs. Jason", myself.
That's strange, but at least it's inspired. I can't wait to offer some really out there new horror during the horror countdown…
Of course, I myself have THE DESCENT and LET THE RIGHT ONE IN as my top two horror movies of the 2000's — though this is probably the decade when I've watched the least amount of horror. You'll have to send your list of better stuff my way!
Those are the two of the ones I listed that I do like, I just think there are quite a bit more that's out there, and interesting.
Ok I'm going to post my final 25 before Allen gets into his top 10. I did rewatch every single film on this list along with many others in the last two months. My first attempt was rushed and I included some films I find deeply flawed now. I decided to leave out Band Of Brothers due to the fact I wanted to include only feature length works. I will not apologize for my reliance on neo-noirs and films that stylistically hark back to that favorite genre of mine. While their is some fine tuning, the bulk of my original list remains unchanged.
1. Zodiac
2. There Will Be Blood
3. The Assassination Of Jesse James By The Coward Robert Ford
4. No Country For Old Men
5. The New World
6. The White Ribbon
7. Mulholland Drive
8. Cache
9. The Lives Of Others
10. The Prestige
11. Mystic River
12. A Prophet
13. AI Artificial Intelligence
14. Mesrine
15. The Man Who Wasn't There
16. Munich
17. Che
18. Red Riding 1974
19. Grizzly Man
20. Werckmeister Harmonies
21. 3 Months, 4 Weeks, Two Days
22. Man On Wire
23. The Illusionist
24. Russian Ark
25. The Return (2003)
Glad to finally see somebody else put "Waltz With Bashir" within voting distance. One of the most overlooked, taken-for-granted flicks of the decade, and my vote for the most impressive animated effort.
Yeah, mostly taken for granted as a "Waking Life"/"Scanner Darkly" style rotoscoped-animated film, with the substance of its surprisingly clever and playful meditations on memory drowned out by the political criticisim of Israel, which made it cinema non grata to a lot of commentators. To think that fluff like "Persepolis" was given more notice than Folman's film was disappointing to me. I'm just glad he's now tackling a Stanislav Lem book with the same aesthetic approach.
Not looking for a fight but how is Persepolis fluff? My only knock on Brashir as I mentioned earlier in this countdown is the switch to images of the massacre at the end. In my opinion, they were not needed.
As I look over your list I see plenty of fluff as well. I never realized you have G.I. Joe ranked in the top 100!!! My favorite toys as a kid but………I do find you to be very amusing. The MVP of this site actually.
Before I give you too much credit…the MVP of the comments section lol!!!!
It's fluff because, like "Sin City", the movie didn't really add anything new, except putting the imagery of the graphic-novel into motion. Sure, it's nice, and to a large extent a more attractive way to present the author's story, but having already read it in comics form, it didn't really offer enough to impress me as a film. I also have gotten a little bored with the story itself, frankly– there's a long stretch of Oprah's Book Club-style personal sob-story navel gazing in the latter European stretch, something that's made even worse in the film by the rote "Eye of the Tiger" sequence. At the end of the day it's cute, fleet and meaningful enough, but I could do without out it. I sort of wish she'd followed Art Spiegelman's example with "Maus" and kept it on the page, where it belonged.
As for WWB's ending– count me among those who feel opposite the way you do about it. At the very least, I'm glad you still felt the movie was strong enough even with your reservations about its closing.
As for my own fluff, a top 100's obviously has a bit more room than 25. And regarding "GI Joe": It. Has. Ninjas.
Well I'm not into comics or graphic novels so I've only seen the movie. I can't critique it from that particular angle. I guess compared to the intense nature of most of my other films, I went with something a little lighter. I don't consider it fluff but it definitely has a more positive tone. The ending of WWB is a very small part of the overall film. I know that some dislike the film for its ending but I am able to overlook a minor flaw (in my opinion at least) that does not consume too much running time. Its not like "Up" that has an astonishing 10-15 minutes but then deflates slowly into an average picture for a way longer duration. Snake Eyes was my favorite character as a kid. I also loved Tomax and Xamot. Still couldn't find the drive to go see the film though. I would say that all of my list is fluff free. I'm a pretty miserable bastard when it comes to cinematic tastes. Thats why screwball comedies and musicals are generally avoided. I do enjoy 42nd Street and Golddiggers Of 1933 to a certain extent.
Well, that's all fair. One man's "Golddiggers" is another man's "Goldfinger". Interesting comparison with "Up", where I'm with you all the way. It really would be too bad if anyone wrote off all of WWB for its last minute or two. And I understand including "Persepolis", it's not a bad movie. It just offered me nothing new. That tends to happen when a cartoonist adapts their own work for an animated film (the exceptions might be Miyazaki on "Nausicaa" and Otomo on "Akira", though both have to cut/condense more than I like).
As for "GI Joe", I'd say it has about the same level of quality as a Brosnan Bond flick– way better than any of the Moore flicks, nowhere near as good as most of the Connerys.
Maurizio, your love of ZODIAC is remarkable, but I know you are not alone.
THE FOUNTAIN nearly made it! Some great choices here!
I'm surprised looking over the lists how many people have added Zodiac. I think it may make the final WITD list!!! I remember falling in love with that film when I watched it on the big screen that summer night. Many people were disappointed it wasn't about the serial killer, but that was where its greatness can be found. There is a little bit of Graysmith in all of us at this site.
I'm more surprised by the votes for "Miami Vice", frankly. But I'm pulling through for that one.
Ah, what the hell: off the top of my head.
1. Rejected (2000, Hertzfeldt, sh)
2. Monsters, Inc. (2001, Docter/Silverman/Unkrich)
3. Inglourious Basterds (2009, Tarantino)
4. Hot Fuzz (2007, Wright)
5. A Serious Man (2009, Coen/Coen)
6. Everything Will Be Ok (2006, Hertzfeldt, sh)
7. WALL-E (2008, Stanton)
8. The Lord of the Rings: The Two Towers (2002, Jackson)
9. Le scaphandre et le papillon [The Diving Bell and the Butterfly] (2007, Schnabel)
10. Fa yeung nin wa [In the Mood for Love] (2000, Wong)
11. Lost in Translation (2003, Coppola)
12. Das Leben der Anderen [The Lives of Others] (2006, von Donnersmarck)
13. Memento (2000, Nolan)
14. Thank You for Smoking (2005, Reitman)
15. Kill Bill Vol. 1 (2003, Tarantino) – if we're separating, if not, slot the whole film here
16. Before Sunset (2004, Linklater)
17. Artificial Intelligence: AI (2001, Spielberg)
18. Die Fälscher [The Counterfeiters] (2007, Ruzowitzky)
19. Ying xiong [Hero] (2002, Zhang)
20. In the Loop (2009, Iannucci)
21. Eternal Sunshine of the Spotless Mind (2004, Gondry)
22. 25th Hour (2002, Lee)
23. The Proposition (2005, Hillcoat)
24. In Bruges (2008, McDonagh)
25. Bowling for Columbine (2002, Moore)
Not bad at all "1" for a top of the head listing. In fact, quite good!!!
Thanks. In fact, 00s are one of my weakest decades, so I'm sorry I missed the earlier polls. Looking forward to how this one will turn out though.
This is my top 50 in alphabetical order – for information only.
2 Days in Paris
36 Quai des Orfèvres
A Love Song for Bobby Long
The Air I Breathe
Before Sunset
Bloody Sunday
Boiler Room
Bread and Tulips
The Constant Gardener
The Darjeeling Limited
Das Experiment
Der Krieger und die Kaiserin
Don't Move
El perro
Far From Heaven
The Fountain
Good Night and Good Luck
Harry, He's Here to Help
In the Mood for Love
In the Valley of Elah
In Bruges
Insomnia (US)
Kiss Kiss Bang Bang
L'homme du train
The Last Kiss
Michael Clayton
Monsieur Ibrahim
My Brother is an Only Child
Pan's labrynth
People I Know
The Pianist
The Prestige
Ricordati di me
Slumdog Millionaire
Sur mes lèvres
Thirteen Days
Up the Yangtse
Wonder Boys
The Yards
A lot of diversity here Tony, and many films that I already have in my own list, or would strongly consider! Nice.
Here is my revised and expanded list of favorite films of the decade. Top 50. I should say these are in no particular order, since rankings change depending on my mood, but for the sake of this thread, and for the fun of the list, this is how it was decided:
01 BEFORE SUNSET Richard Linklater
02 MULHOLLAND DRIVE David Lynch
03 SPRING, SUMMER, FALL, WINTER… AND SPRING Kim Ki-duk
04 GANGS OF NEW YORK Martin Scorsese
05 SPEED RACER Andy, Larry Wachowski
06 THE STORY OF MARIE AND JULIEN Jacques Rivette
07 THE ASSASSINATION OF JESSE JAMES Andrew Dominik
08 THERE WILL BE BLOOD Paul Thomas Anderson
09 LOST IN TRANSLATION Sofia Coppola
10 CAFÉ LUMIÈRE Hou Hsiao-hsien
11 WARM WATER UNDER A RED BRIDGE Shohei Imamura
12 WOMAN IS THE FUTURE OF MAN Hong Sang-soo
13 THE LAST MISTRESS Catherine Breillat
14 VA SAVOIR Jacques Rivette
15 COFFEE AND CIGARETTES Jim Jarmusch
16 CHE Steven Soderbergh
17 IN THE MOOD FOR LOVE Wong Kar-wai
18 CATCH ME IF YOU CAN Steven Spielberg
19 INGLOURIOUS BASTERDS Quentin Tarantino
20 MIAMI VICE Michael Mann
21 WOMAN ON THE BEACH Hong Sang-soo
22 BAB'AZIZ Nacer Khemir
23 MATCH POINT Woody Allen
24 I'M NOT THERE Todd Haynes
25 I HEART HUCKABEES David O. Russell
26 A SERIOUS MAN Ethan, Joel Coen
27 SPIRITED AWAY Hayao Miyazaki
28 THE TASTE OF TEA Katsuhito Ishii
29 WAKING LIFE Richard Linklater
30 LUST, CAUTION Ang Lee
31 THE EDGE OF HEAVEN Fatih Akin
32 INLAND EMPIRE David Lynch
33 THE MAN WHO WASN'T THERE Ethan, Joel Coen
34 TOKYO GODFATHERS Satoshi Kon
35 PUBLIC ENEMIES Michael Mann
36 THE NEW WORLD Terrence Malick
37 CHILDREN OF MEN Alfonso Cuarón
38 CONTROL Anton Corbijn
39 ONCE John Carney
40 MINORITY REPORT Steven Spielberg
41 THE DUCHESS OF LANGEAIS Jacques Rivette
42 NO COUNTRY FOR OLD MEN Ethan, Joel Coen
43 TETRO Francis Ford Coppola
44 THE ISLE Kim Ki-duk
45 THE PRESTIGE Christopher Nolan
46 VOLVER Pedro Almodóvar
47 I'M NOT SCARED Gabriele Salvatores
48 FLIGHT OF THE RED BALLOON Hou Hsiao-hsien
49 IN BRUGES Martin McDonagh
50 TIME Kim Ki-duk
Ari: This high-quality, diversified listing is very much appreciated at the site, though your past submissions are no less magnificent. We've already discussed our mutual love for THE LAST MISTRESS, THE EDGE OF HEAVEN and that Haynes film, not to mention a number of others including JESSE JAMES. And you've stayed strong behind a number of others. Great stuff!
Ok guys, here we go…..
1 American Psycho
2 Eternal Sunshine of the Spotless Mind
3 The Pianist
4 A.I. Artificial Intelligence
5 No Country For Old Men
6 Far From Heaven
7 The Fountain
8 Let There Be Blood
9 Pan's Labyrinth
10 Talk To Her
11 The Village
12 Downfall
13 Mullholland Drive
15 4 Months 3 Weeks 2 Days
16 Sideways
17 Gosford Park
18 Dogville
19 Donnie Darko
20 Hero
21 Burn After Reading
22 Spirited Away
23 The Dark Knight
24 Punch Drunk Love
25 Dreamgirls
Finally! Someone else with "American Psycho" on their list! And at the top-spot, to boot, like mine! Bravo! If a few more people show up with that kind of wisdom, maybe it'll have a chance of being a "Miami Vice" style upset!
Ok Bob how much did you pay this guy……..lol.
Lets not forget this is also the 4th or 5th vote for Dreamgirls.
I've only been an occasional poster but an avid reader, and I want to give a huge thank you to Allan, Sam, and all the other regulars for the tremendous amount of work put into this series. I welcome a new direction as much as the next guy, but things will be very different around here without Allan's daily essays. The superlative writing here has opened me up to dozens of new films and directors from around the globe that I otherwise may never have encountered. More importantly, the site has been a gateway to some of the finest blogs on the net, some that have become something of an obsession to read. I'll be eagerly awaiting Allan's book, though it will never be the same without all the insightful comments.
That being said, I think this was a strong decade and am very happy with this list:
1. No Country for Old Men
2. Eternal Sunshine of the Spotless Mind
3. Mulholland Dr.
4. The Assassination of Jesse James by the Coward Robert Ford
5. A Serious Man
6. The Departed
7. Kill Bill
8. Talk to Her
9. Road to Perdition
10. 2046
11. In the Mood for Love
12. There Will Be Blood
13. 4 Months, 3 Weeks and 2 Days
14. Mystic River
15. 25th Hour
16. Waltz with Bashir
17. The Hurt Locker
18. Pan's Labyrinth
19. Y Tu Mama Tambien
20. Lost in Translation
21. The Dark Knight
22. Spirited Away
23. Eastern Promises
24. Amores Perros
25. Inglourious Basterds
Dan: That's one of the nicest comments I have ever seen at this site, and Allan deserves the appreciation you have graciously afforded him. Yes, the countdown essays can truthfully never be replaced, and what with all the contentious rhetoric and fruitful discourse they have become an institution at the site since only two months after it launched. The upcoming genre polls will be most interesting though, and I do believe we'll see some great writing and management. Allan's goal was indeed to educate, and humbly your testimony here validates that mission ten times over. Thanks so much Dan (you commented several times before I know) and this is a wonderful list you've entered too!
I can't call this a definitive list, but this update switches the order and adds a few new choices that I either saw for the first time or re-evaluated and loved, so it'll have to do for this poll.
1. Yi Yi
2. No Country For Old Men
3. A.I. Artificial Intelligence
4. Synecdoche New York
5. Mulholland Dr.
6. Werckmesiter Harmonies
7. Miami Vice
8. Eternal Sunshine of the Spotless Mind
9. Pan's Labyrinth
10. Inglourious Basterds
11. In the Mood For Love
12. Moolaadé
13. Gangs of New York
14. Talk to Her
15. The New World
16. Syndromes and a Century
17. Songs from the Second Floor
18. 25th Hour
19. The Prestige (well, I concede now that Allan was right about this)
20. Summer Hours
21. The White Ribbon
22. Wall•E
23. Kings and Queen
24. Half Nelson
25. Zodiac
1. A.I. Artificial Intelligence
2 The Hours
3 The Fountain
4 Crouching Tiger Hidden Dragon
5 The Return of the King
6 Far From Heaven
7 Chicago
8 Avatar
9 Ratatouille
10 Gangs of New York
11 Once
12 Chocolat
13 Sideways
14 Memento
15 Brokeback Mountain
16 28 Days Later
18 Dreamgirls
19 Dancer in the Dark
20 Let the Right One In
21 Adaptation
22 Children of Men
23 Amoros Perros
24 The Curious Case of Benjamin Button
25 The Dark Knight
listed in chronological order, one film per director…
2000 —– Requiem for a Dream
2000 —– Malena
2000 —– Crouching Tiger Hidden Dragon
2001 —– Momento
2001 —– The Lord of the Rings. The Fellowship of the Ring
2002 —– The Pianist
2003 —– Mystic River
2003 —– Seabiscuit
2003 —– City of God
2004 —– Eternal Sunshine of the Spotless Mind
2004 —– Spider-man 2
2004 —– The Corporation
2005 —– Enron. The Smartest Guys in the Room
2005 —– Good Night, and Good Luck 2
2005 —– Munich
2005 —– Why We Fight
2005 —– Walk the Line
2007 —– Paris, Je T'aime
2007 —– The Assassination of Jesse James by the Coward Robert Ford
2007 —– SiCKO
2007 —– The Lives of Others
2007 —– War Made Easy
2008 —– Wall-E
2008 —– Waltz With Bashir
2009 —– A Serious Man
# What I've found mildly interesting is the complete lack of ANY documentaries in virtually any of the polls of the decades, no 'Year of the Pig' in the '60s, nor 'Hearts and Minds' from the '70s. I'd say that the last ten years have been a godsend for the documentary, perhaps because technology has allowed them to made without huge overheads and the complete meltdown of the news media in the US.
Bobby J if you like docs I suggest you check out one form my list:
31. The Ground Truth (Patricia Foulkrod)
I think it's the best Iraq war doc that's been made yet.
Also I am in the process of watching the 4 and a half hour PHILOSOPHY OF A KNIFE that's part documentary, part reenactment, part acting. It's pretty gripping too.
I'd also recommend "The Power of Nightmares" (ballsy stuff, even if its presumptions are a little shakey), "No Maps For These Territories" (90 minutes in the back of a cab with William Gibson? I'm there), "Naqoyqatsi" (very different from the other two) and "The Fog of War" (the only Errol Morris doc where the subject actually puts up a fight).
Allan, I'm trying to remember the title of a charming Chinese film that was shown on BBC 4 about two or three years ago. It was about a son's strained relationship with his father over the years, covered the Cultural Revolution and the father's betrayl by his friend and neighbour and the son's courtship on an ice-ring and his drawn sketches of that young woman. Do you know the title?
Ok, even though there's a huge number of acclaimed films I've yet to see, I'm going to submit a list. It's a sort of combination best/favorite. Most of these films I've only seen once. I suspect the positions would change radically upon re-viewing, and that quite a few would drop out of the top 25 altogether. But this is how they stand now, based on memory of enjoyment and admiration.
1. Mulholland Dr.
2. Lost in Translation
3. Iraq in Fragments
4. Historias Extraordinarias
5. In the Mood for Love
6. Y Tu Mama Tambien
7. Syndromes and a Century
8. Wall-E
9. Dogville
10. Bus 174
11. Platform
12. The New World
13. Eternal Sunshine of the Spotless Mind
14. The Royal Tenenbaums
15. 2046
16. The Five Obstructions
17. Still Life
18. Mutual Appreciation
19. City of God
20. Spirited Away
21. The World
22. 4 Months, 3 Weeks, and 2 Days
23. AI Artificial Intelligence
24. No Country for Old Men
25. Antichrist
runners-up: Zodiac (was #24 until I remembered to include Historias Extraordinarias; then it was #25 but I switched it with Antichrist, a film I'm ambivalent about overall but whose opening is hands-down the most overpowering sequence I've experienced in a film this decade, and is up there amongst all-time astonishing scenes, in terms of sheer uncanny power of execution), Where the Wild Things Are (this came very very close to concluding the list, but got bumped off when I remembered to include
Funny Ha Ha Mutual Appreciation – I need a second viewing to determine if its oustanding qualities, and it has quite a few particularly the creatures themselves, are enough to elevate into this category or if it just made a strong first impression which fades with repeat viewings), Funny Ha Ha (originally this was on the list and not Mutual Appreciation, but upon reflection I decided MA was the more accomplished picture even if FHH is somewhat more powerful), The Assassination of Jesse James by the Coward Robert Ford, Oldboy, The Diving Bell and the Butterfly, Russian Ark, 25th Hour, The Gleaners & I, The Flight of the Red Balloon, Inglourious Basterds, This is England, Lilo and Stitch, The Pianist.
Joel — Glad you found a spot for BUS 174 on your list. It was my favorite doc from the decade and was somewhere in the 26-30 range on my own list.
Thanks, Troy – it was an excellent doc, and one of the best Latin American films I've seen this decade.
JAFB, Iraq in Fragments is actually from James Longley, a young filmmaker who not only directed, photographed, sound-recorded, and composed the score for the film as well as co-editing and co-producing! This is another aspect of the movie which fascinates me; aside from the subject matter and style, the process points the way to the future of a more personal, low-to-the-ground yet uber-"cinematic" way of making movies. As for Curtis, I was not particularly taken with (what I saw of) Power of Nightmares either. On the subject of docs, though, I ALSO suspect that in a year or so much more of this list would be taken up by documentary (right now only 3 made the cut, but I think re-viewings of some other strong docs might also push them back onto the list). This was the decade of both Asian film and documentary – most other areas and forms (except for Latin America and animation) did not match past accomplishments, from what I've seen.
I have seen IRAQ IN FRAGMENTS and remember it as powerful stuff!
I nearly forgot to vote! Ranking things this precisely is always rough for me, so treat this as today's gut feeling.
1. Zodiac (Fincher)
2. Katyn (Wajda)
3. Offside (Panahi)
4. Good Morning, Night (Bellocchio)
5. Flags of Our Fathers (Eastwood)
6. There Will Be Blood (P.T. Anderson)
7. Munich (Spielberg)
8. No Country For Old Men (Coens)
9. The White Ribbon (Haneke)
10. The Lives of Others (von Donnersmarck)
11. Devils on the Doorstep
12. Children of Men (Curaron)
13. The Wrestler (Aronofsky)
14. The Hurt Locker (Bigelow)
15. The Prestige (Nolan)
16. Inglourious Basterds (Tarantino)
17. The Royal Tenenbaums (W. Anderson)
18. Un Prophete (Audiard)
19. The Best of Youth
20. The Lord of the Rings: The Return of the King (Jackson)
21. The Assassination of Jesse James… (Dominik)
22. Ten (Kiarostami)
23. Crimson Gold (Panahi)
24. The Dark Knight (Nolan)
25. Moolaade (Sembene)
Honorable Mentions:
26. Pan's Labyrinth (del Toro)
27. Downfall (Hirschbiegl)
28. L'Enfant (Dardennes)
29. Shaun of the Dead (Wright)
30. Grindhouse (Rodriguez, Tarantino et al)
Well, here's my list. As always, wish I could have watched more to make it more complete. My biggest movie watching years didn't begin until 2007-2009, so there is a bit of a bias to those years.
1) Mulholland Dr. (David Lynch, 2001)
2) Yi Yi (Edward Yang, 2000)
3) In The Mood For Love (Kar Wai Wong, 2000)
4) No Country for Old Men (Ethan Coen, Joel Coen, 2007)
5) There Will Be Blood (Paul Thomas Anderson, 2007)
6) WALL-E (Andrew Stanton, 2008)
7) Kill Bill Vol. 2 (Quentin Tarantino, 2004)
8) Downfall (Oliver Hirschbiegel, 2004)
9) Enfant, L' (Jean-Pierre Dardenne, Luc Dardenne, 2005)
10) 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007)
11) Still Walking (Hirokazu Kore-eda, 2008)
12) Far from Heaven (Todd Haynes, 2002)
13) New World, The (Terrence Malick, 2005)
14) Piano Teacher, The (Michael Haneke, 2001)
15) Talk to Her (Pedro Almodóvar, 2002)
16) Inglourious Basterds (Quentin Tarantino, 2009)
17) Devils on the Doorstep (Jiang Wen, 2000)
18) Cache (Michael Haneke, 2005)
19) In Bruges (Martin McDonagh, 2008)
20) Fall, The (Tarsem Singh, 2006)
21) Let the Right One In (Tomas Alfredson, 2008)
22) Zodiac (David Fincher, 2007)
23) White Ribbon, The (Michael Haneke, 2009)
24) Still Life (Jia Zhang Ke, 2006)
25) 35 Shots of Rum (Claire Denis, 2008)
1. The Prestige
2. Let the Right One In
3. Eternal Sunshine of the Spotless Mind
4. The Class
5. Inglourious Basterds
6. The Assassination of Jesse James by the Coward Robert Ford
7. Wall-E
8. You, the Living
9. The Lord of the Rings
10. Pan's Labyrinth
12. Zodiac
13. Almost Famous
14. Up
15. The Wrestler
16. No Country for Old Men
17. There Will Be Blood
18. King Kong
19. Finding Nemo
20. A Prairie Home Companion
21. The New World
22. Adaptation.
23. Lost in Translation
24. The Lives of Others
25. (500) Days of Summer
Thanks , I've recently been looking for info about this topic for ages and yours is the best I've came upon till now.
However, what in regards to the bottom line? Are you positive about the supply?