The 2000's: 15-11

15 Minority Report (2002)

blade runner (do androids dream of electric sheep?), total recall (we can remember you wholesale), a scanner darkly and this little beauty are the highlights of sci-fi author philip k. dick's contributions to film. take what's best about sci-fi and crime "whodunits" and what you get is "minority report". this story of a 2050's washington d.c. where crime has been all but eliminated thanks to "pre-cogs" who can see the future before it happens is in the more than capable hands of one steven spielberg, who creates a real vision of our near future, that only seems to be all the more true with every passing year. to me, that is the test of a truly great vision of the future - how much of it stands the test of time, and even seems more real. the computers here, interactive 3D projections - um, did anyone catch last year's presidential election on CNN? the cars, the degenerating society, the personalized advertising (have you been on facebook lately?), the "big brother" feel to everything, it all hits harder now than it did 7 years ago. tom "i'm batshit now" cruise is truly great in this role as a D.C. policeman overseeing the "Pre-cog" crime program who suddenly finds that his name pops up as a future murderer. was he set up? who could have done it, and why? cruise finds himself on the run, unraveling the mystery all the while fleeing the truly long arm of the future state. a truly involving cinematic experience, and one of the decade's true sci-fi gems.



14 Gladiator (2000)

i didn't even realize people didn't like this one until extremely recently. what's not to like? that it takes itself seriously? is that really such a bad thing? just because we as a culture are so postmodern and ironic we can't stand media that's not based on poking fun at something or standing for or in favor of something doesn't mean that anything with a contrarian view is wrong or inferior or somehow worthy of derision. there were simpler times when things truly could be "right" or "wrong" and didn't require debate - some "heroes" of the past were and could be "heroes" like no one alive today could be. i truly think this (along with ben-hur and lawrence of arabia) is one of the greatest films ever made. the scope and ambition of it alone make it worthy of awe and appreciation. people speak as if gladiator didn't deserve to win best picture... what did? chocolat? crouching tiger, hidden shit? erin brockovich? come on. that's silly. i can't even remember any of those films, and i remember gladiator like it was yesterday. for about 4 years of my life, this was the best film i saw in the theater. the direction, cinematography and computer rendering of the glory of ancient rome are all truly terrific. and the cast... in a word, wow. russell crowe at the height of his powers. djimon hounsou and joaquin ("i'm crazy now") phoenix and a host of supporting characters, including oliver reed in his last role, make this a film that is about so much more than the effects and battles. is the story wholly fictional? of course - but it's entirely believable, and features one of the decade's true heroes. i've watched "gladiator" at least 100 times, and it's not out of the question for there to be another 100 viewings left in this one.



13 The Prestige (2006)

Chris Nolan's inter-Batman film, starring Bruce Wayne, Wolverine and Alfred Pennyworth as dueling magicians and a trusty old engineer of tricks in turn-of-the century london (and colorado springs) is so much more than it appears. every magic trick has three parts - the turn, the pledge, and the prestige. in its brilliance, so does this film. it follows two magicians who dedicate their lives to topping (and toppling) the other following a tragic accident in their younger days. we follow these magicians as they pursue their craft with an unhealthy obsession, costing their personal lives in the process and pursuit of fame and glory. when Bale comes up with "the best magic trick anyone's ever seen", Jackman will stop at nothing to discover and duplicate the technique - even employing Nicola Tesla (David Bowie - in a brilliant turn). I really can't say enough about the actors involved. Bale, Caine, Jackman, the underrated ScoJo, Andy "Gollum" Serkis and David Bowie all bring the goods. I shouldn't even need to mention the filmmaking - it is Chris Nolan we're talking about - one of the very best working today. While, like most films with a twist, this one isn't as necessarily fun to watch and re-watch as others on the list, it certainly is a superb little piece of filmmaking, and, i dare say, Nolan's best film starring Christian Bale and Michael Caine.



12 The Pianist (2002)

despite being more famous for banging a 13 year old girl, roman polanski is a master filmmaker with a career spanning more than 5 decades, including this gem, one of the truly great holocaust films, bringing what is often portrayed as a macro phenomenon down to a human scale, not through a hero or truly stand up guy, but just a regular man who happens to be an accomplished concert pianist. we see the polish holocaust, warsaw ghetto, and famous, albeit ultimately failed warsaw uprising through adrian brody's (in a much deserving oscar winning role) eyes. one of the true horrors of human history is presented in a very personal, realistic, and often shocking way. there is a scene towards the end of the film where the titular character is forced to play for his life by a german officer - and it just serves to illustrate the shared humanity of us all - and the role of art and beauty in that humanity, even in the darkest times. this is one of those films that causes me to just sit in darkness, staring off into the middle distance, for about 45 minutes after its over - just soaking up what i've just experienced, and that's a powerful thing.



11 There Will Be Blood (2007)

the sheer audacity of this one is astounding. it really, truly blows me away that anyone let PT Anderson and Daniel Day Lewis make this one. it's about oil, but not really, it's about greed, but not really, it's about the human condition, but not really, it's about religion, but not really. a character study of a wholly fictional character from an upton sinclair novel, we are presented with one of the decade's true pleasures. absolutely gorgeous, wonderful filmmaking from one of film's biggest enigmas, PT Anderson, and a truly amazing performance from our greatest living actor. just watching a madman playing a truly obsessed madman - there's something so beautiful about that. Day-Lewis truly becomes Daniel Plainview - there's no glimpse of any other person in his eyes. This isn't a man playing a man - it's a man becoming a man, who will stop at nothing to get what he wants, despite the pile of wreckage he leaves in his wake. Plainview gives me the chills - he is pure, unadulterated greed and desire - not greed for financial success, but for recognition of his abilities as a businessman, one who won't compromise for anyone, and who will crush anyone who stands in his way. day-lewis gives THE best performance of the decade in this one - and if i could figure out what this film really MEANT, it'd be probably #3. as is, madness isn't ultimately as important as maybe i'd like.




oh, and this kid has been making me laugh all day:

The 2000's: 20-16

20 In Bruges (2008)

sometimes you have to laugh to keep from crying. this is a true work of brilliance. dark comedy abounds in modern film, and can be very hit or miss. everyone and their brother is trying their hand at it - particularly across the pond. this charming little film was quite a pleasant surprise for me, and in film, pleasant surprises tend to be few and far between. now it's no secret around these parts that i've got a decent sized man crush on colin farrell, i think he's one of the more promising young actors we have, and this film is example one. he manages to be hilarious, depressed, lovestruck, and suicidal over the course of two hours. the always terrific brendan gleeson is great as a good guy who also somehow is a hitman. ray (farrell) and ken (gleeson) are hitmen sent to Bruges, "the most well-preserved medieval city in Belgium" to lay low after Ray accidentally kills a child on his first job. ralph fiennes is hilariously foul-mouthed as their boss, harry. without spoiling too much, bloodshed, midgets, mistakenly punching a canadian for being american, rants on race, and a little love ensue. come for the witty banter, stay for the great performances and surprisingly touching story. great dramedy is hard to find. this one might wind up higher on the list in a few years.



19 The Life Aquatic with Steve Zissou







bill murray is one of the true comedic heavyweights of our time. in my estimation, he's never been better than he is as the irrelevant, oblivious, sad and hilarious titular steve zissou. zissou was once at the top of his craft, producing hit documentaries and basically being jacques cousteau. now, some 20 years later, his star as faded, his best friend has been eaten by a mysterious creature and a man claiming to be his son comes forward. but it's wes anderson, so the story is really incidental to the real reasons i love this movie. this film is truly hate it or love it, but i love it. cate blanchett, willem dafoe, owen wilson all bring true comedic brilliance. seu jorge (a brazillian folk singer) plays and sings acoustic david bowie songs in portugese throughout. (!)(how awesome is that?) so zissou and company (including unpaid interns from the university of north alaska) pursue the beast on one last adventure, encountering pirates, drama and zissou's nemesis, alistair hennessey (a hilarious jeff goldblum) along the way. this one will make you laugh, make you cry, and expose you to one of the true pleasures of the 2000's. eminently quotable, eminently watchable, eminently memorable. a true pleasure. you won't regret it, unless you're no fun.



18 Mystic River (2003)

dennis lehane is probably my favorite contemporary american author. mystic river is a true work of brilliance out of him. lehane manages to describe so well the american underclass, to tell without judging or preaching. you recognize the humanity in it no matter how far removed from the blue collar streets you may be. that being said, there are times when a film is simply a superior way to tell a story, when actors can simply convey the emotions and thoughts involved in superior way to words on a page. clint eastwood has been one of hollywood's biggest players for a long time, this decade is when he brought his A game consistently behind the director's chair. mystic river, million dollar baby, flags of our fathers, changeling and grand torino are all works of subtle, understated genius (to varying extents). but what really makes this film are the brilliant performances of the leads. to say that sean penn and tim robbins bring their A-games would be the understatement of the century - they swept the 04 acting awards. they say with their faces what lehane takes pages to describe. powerful and devastating, mystic river is a distinctly american tale that says so much with so few words. 3 childhood friends whose lives were forever changed by a monstrous act find themselves reunited by another some 30 years later. it's not always pleasant to watch, but it is, in the end, an experience that will make you appreciate what a great actor(s) can bring to the table. sean penn and tim robbins have never been better. kevin bacon, marcia gay harden and lawrence fishburne are far more than adequate. add in one of the top 5 directors working today, and you've got an oscar-worthy film, probably deserving of a rank higher than the one i've given it.



17 Munich (2005)

i'll be the first to admit that spielberg's eyes get too big for his stomach sometimes. he can be overly sappy and sentimental, too big picture oriented, and have weak characters at times. despite all of this, Munich is a personal favorite of mine, it has a lot to say, and says it powerfully. especially prescient in this day and age, munich speaks to the nature of revenge and violent reprisals, and the profound changes engaging in such messy business can reap on all of us. pretty heady stuff. eric bana and daniel craig, among others, are on the elite team of israeli specialists hand picked by golda meir to enact israel's revenge on the palestinian militants responsible for infamously killing 11 members of the israeli olympic team at the 1972 munich games. what is seemingly a simple task becomes convoluted and much more complicated than any of the parties could have possibly imagined as the team travels the globe in pursuit of their targets. spielberg's direction does an incredible job of demonstrating the consequences of this plan, and bana's conflicted protagonist, avner, finds his world shattered by his involvement. whether you're pro-israeli, pro-palestinian or somewhere in between, spielberg's statement on the uselessness of violence as a means to accomplish ANY ends is a powerful allegory for the modern day geo-political situation. there's one amazing scene where the israeli commandos (claiming to be basques) and the palestinian commandos sent to foil them (claiming to be algerian) are put up in the same safe house and forced to deal with one another as individuals rather than abstract ideas. great stuff. well worth the 2 hr 45 minute commitment.



16 Gangs of New York

i love this movie a lot more than 16, but a cursory look at the films yet to be listed requires placement in this spot. the greatest villain in movie history (in my book), is portrayed in legendary fashion by the finest actor working today, daniel day-lewis. leonardo dicaprio in his first grown-up role. cameron diaz, john c. reilly and brendan gleeson highlight the others in this terrific ensemble. other than 'the last temptation of christ', this scorsese's most ambitious film, and the audience should be thankful that at least one director cares about creating such expansive and gorgeous sets (he built the 5 points in Italy). i've watched this one far more than is healthy to watch a film that requires two DVDs to fully enjoy, and can quote the butcher ad nauseum. however, ultimately, for me, leo isn't grown up enough to adequately foil DDL, and the film suffers for it. 'departed' 2007 leo would have been able to do it, 2002 leo fresh off of 'the beach' wasn't ready. also - it's a crime that liam neeson's badass priest vallon gets relegated to the prologue. that being said, i'm in love with scorsese's pull-no-punches, unapologetic depiction of history. who better to helm a tale of america's criminal past than the cinematic master of its criminal present? some all time classic characters and one-liners in this one, and the fact that DDL came home from the oscars empty-handed is a complete crime. a travesty even.

The 2000's

Now, I know this list may be a little redundant, what with the top 100 so near in the past and all, but what the hey, the end of a decade only comes around every so often, let alone what may in fact be the formative decade of my life. So I'm not going to promise that the lists are identical, in fact, they are not, there's been some reflection and additional film watching since the original list was made. Also - I can't help but notice that some people like to call it a "decade" from 1999-2009. That is not a decade, that is in fact 11 years. A decade is 2000-2009, zero has a value when you're talking years. So without further ado, I'm going to present my top 25 since 2000 over the next several weeks.

Oh - one disclaimer, I'm only going to include one film per series in here, i.e., only one of the Lord of the Rings, because it'd just be boring to put them all in. Let's do it.

25 V for Vendetta (2005)
How do you make a film about a super-strong, horribly burned and disfigured anti-hero terrorist in a fictional fascist Great Britain feel prescient and more relevant than half of the shit you read on nytimes.com? Great question. If I knew I'd probably have left this blogging nonsense behind a long time ago. My point, however, is that a mere 3 1/2 years after 9/11, a film where a terrorist brings down major landmarks in opposition to his government succeeds brilliantly, as a political statement, a testament to the individual, and a rousing action film. Mark this one up as one of the biggest surprises of the decade for me, and one I go back to more than just about any other. As a protagonist, you the viewer can't help but side with V even as you shake your head at his megalomania. I could rave for pages about Natalie Portman in this one, but the always lovely and always charming Miss Portman brings a much needed human, grounded face to the whole endeavor. Plus, the one-shot head shaving scene? Awesome. Hugo Weaving manages to make a Guy Fawkes mask more expressive than most actor's faces, and lets be honest, the only thing this film is missing is Tom Wilkinson.



24 The Wrestler (2008)
Can you ever really teach an old dog new tricks? Does a tiger ever change its stripes? Do I know any more animal cliches? Who knows these things... I certainly don't. Brilliant is not the proper word to describe Mickey Roarke's performance or Aronofsky's direction (super pumped for robocop, by the way), and rarely, if ever, this decade have actor and material ever come together in such a way. At once uplifting & inspiring and crushing & devastating, we witness a once proud man, once a superstar - reduced to near homelessness, as he hangs on to the one thing that gave him any meaning. He continues to make self-destructive choices in pursuit of glory - forcing us to ask the question - does he really have any choice? You'll cry, you'll laugh, you'll marvel at the very real beauty of what you're seeing, but one thing I guarantee is that you'll be affected, deeply, by what you see.



23 Kill Bill: Vol. 2 (2004)











What's a top 25 list without one of the decade's most accomplished, controversial and divisive filmmakers? While I wouldn't be surprised if in 10 years Inglorious Basterds is the 2000's Tarantino film I come back to most often, right now Kill Bill 2 is the one that stays with me. Vintage Tarantino, with snappy dialogue, great shots, memorable characters, and non-linear storytelling. The lovely Uma Thurman is adequately badass as the unstoppable killing machine otherwise known as Beatrix Kiddo, and brings a much-needed sensitivity to the required scenes. The additions of Michael Madsen, Pai Mei and David Carradine (RIP) in addition to the filling in of the backstory make this the (much) stronger half of the Kill Bill series. I am sticking with my original statement that Kill Bill would be much stronger as a single film, but if I'm picking one, it will definitely be this one. The Kung-Fu training with Pai Mei is beyond awesome, and is one of my favorite scenes in any movie. I'll be the first to admit that Tarantino can be hit (Pulp Fiction) or miss (Jackie Brown), but this one is all hit, even if installment number 1 of Kill Bill isn't.



22 Collateral (2004)
Yes a Tom Cruise movie made the list. I wonder how many people really ever saw this one. It's Michael Mann you know. Yes, Heat Michael Mann. Jamie Foxx is a taxi drive who unwittingly becomes hitman Tom Cruise's personal driver as he cuts a swath through the L.A. underworld over the course of one very long night. It's Michael Mann, so I can tell you what you're going to get... awesome shoot-outs, heavy use of rock music and sweeping panoramic shots of the cityscape. This is a Mann (pun intended) who knows his craft, his city, and what the hell he's doing. Come along for the ride, it's one hell of a wild one. Foxx and Cruise are great, Mark Ruffalo is more than solid in a supporting role, and there are some great little scenes in this one. One of the more underrated films of the decade in my book, and a true pleasure. It was tough for me to pick just one Mann film to include, but in the end, this one had to be the choice. If you're staying away just because you can't buy Tom Cruise as a "bad" guy, give it a shot, you won't be disappointed.



21 Pan's Labyrinth
A terrible (in the way old testament God is terrible) fairy tale for the 21st century, director Guillermo del Toro's beautiful and wonderful spanish-language fantasy scape is a true cinematic breath of fresh air. Set in the backdrop of the Spanish Civil War, one girl's fantastic escape from the horrors of her reality gives the director of Hellboy an opportunity to create a world of fairies, trolls, fauns and other creatures unlike anything else you've ever seen. The creatures and fantasy are un-nerving but strangely gorgeous, like an old growth forest, snarled with undergrowth. I'll be the first to admit that the little girl can be obnoxious, but hey, she can't help herself, she's 8, but you'll be transfixed to the screen and the true sense of wonder del Toro brings to life. It's been too long since I've sat down to the rich and rewarding experience that is Pan's Labyrinth, I'll have to do it again. At any rate, this one is rewarded for the depth of its creativity and artistry, and the overall beauty of the experience, in any language. A true masterpiece and gem.