Ranking the Best Picture Winners (2000-2009)

I don't know how much explanation you'll find sufficient. I hope that however much I write about a film, there is a clear reasoning behind it.

10. Slumdog Millionaire

This has got to be one of the most overrated films of the past decade. The script was decent, in that there were many setup/payoff moments that were great. However, I never felt like the main character had anything at stake or that it was doubtful he'd win. Some say that shouldn't matter, but since the film's tone tried to make it matter to us, it's failure to offer me suspense is a big detraction. There were even moment where I was just flat-out bored.

This film also ranks so low due to the fact that it benefitted from a weak Oscar field. Seriously, how could Gran Torino or The Dark Knight not get nominated!? (And look at this poster: thank goodness they are not giving anything away...)

Slumdog's last place position on this list is a strong indictment of my feelings toward it. However, to make matter worse, this film grades significantly lower than the rest of the films. That is, the biggest gap in quality is between #10 and #9. Slumdog is the only film on this list I don't enjoy. Although I like #9-1, there is also a clear distinction amongst them as to which are the better films.

For example, take...

9. Chicago

This is a fun and entertaining film. About the only weak spot that cannot be overcome is Renee Zellweger. Other than that, this film sizzles with the same energy that made the stage production a success.

The best part of the production numbers, oddly enough, is the music. In a visual medium, its Danny Elfman's work with the Kander & Ebb source that makes this film what it is. It is only enhanced by the film's stylish visuals.

But this film does have its faults. The story is not as clear and tight as it should be, jumping from character to character like... well, a stage play. But, this film is a good experience overall.

8. Crash

Crash is in the same tier as Chicago: much better than Slumdog but clearly behind the other films, due to its weaknesses.

Crash really rubs some people the wrong way. For everyone that feels the film handled the themes of prejudice and racism with great candor and care, there is someone who feels the film is insensitive and exploitative.

To me, though, my problem is with the Dickensian way that numerous coincidences hurl our characters into the heart of their stories. You can show the type of interconnectedness the film is aiming for without the use of freak chance.

But the direction and the acting are strong. And the script does manage to overcome its weaknesses for the most part, because I was affected and my emotions were stirred.

7. The Hurt Locker

The Hurt Locker is a film that many people down South really think is overrated. I thought it was a wonderful piece of filmmaking. Editing was awesome. Like Crash, the director and actors are in full control of their roles.

The criticism it most receives is that it is boring/predictable/just okay. I never felt that way, so we'll just have to disagree. The tension in the film is gonna be different for everyone, so there is no way to say that someone is just wrong for feeling one way or the other.

My only issue with the film is its length. I don't say that, though, because of boredom or the issues I mentioned above. The film had its share of scenes that, looking back, I enjoyed but could have been cut without hurting the film.

This film, along with the six ranked above it, are in that tier where weaknesses in the films are few and far between. These films are the good/great films.

6. No Country for Old Men

For my money, Michael Clayton was the best film of 2007. That's a strong statement, considering the amount of love No Country for Old Men and There Will Be Blood get. Heck, those two films are ones I really enjoyed. (Yes, I did enjoy TWBB.)

This film is beautifully shot. I don't know if there is anyone better at directing atmospheric films. The Coen Bros. do a masterful job of that. This film also has tremendous dialogue, for which I confess I have a sweet spot.

Some people complain about the pace and/or the ending. I'll admit, I was perplexed the first time, as I had drifted off during Tommy Lee Jones's monologue at the end. When I saw the screen abruptly go black, I felt irritated. But in that instance, I was to blame.

Whenever I see it again, it makes perfect sense. Even though TLJ's character is considered a supporting one, the title/theme of the film has his character at its heart. So, if you were annoyed but haven't revisited it, I recommend you do so. If you have done so and were still irritated, then we have another fundamental difference for which there is no and should be no resolution.

5. The Departed

Even if this movie was terrible, Floyd's "Comfortably Numb" with Van Morrison would place this in the top 5. It only helps that this film is dynamite.

Such a volatile film... language and violence that would make Tarantino blush. Yet, I never felt it was gratuitous (even Mark Wahlberg's character).

The acting is at such a high level. The cast does a terrific job with William Monahan's script.

Gotta love cop mysteries. Especially ones by Scorsese. Especially ones with the ending this film has. So shocked by the last 20 minutes of this movie. Holy crap!

Some people think this may be one of Scorsese's weaker films. They probably hold this film to a higher standard, since it is the one that brought him much Oscar gold. But, this film is a great effort by Scorsese and will become a classic in his canon (if it isn't already).

4. The Lord of the Rings: The Return of the King

The last installment of my generation's Star Wars trilogy. 'nough said.

3. Million Dollar Baby

I'm pretty sure men everywhere have a man-crush on Clint. If you are a man and this strikes you as curious, you are probably cursed forever...

This may be Eastwood's most mature film as a director. This, or Letters from Iwo Jima. Of course, I may be biased when it comes to Eastwood, as two of his films made it into my Top 20 Films of the Past Decade list.

But I don't think I am that biased. I ask you: name a weakness of Million Dollar Baby. It is hard for me to come up with one. Some people may complain about the pace, but this story's second half thrives upon the film slowing down.

2. Gladiator

These next two films also made it onto my tops films of the past decade. They are very different, but for me to pick one over the other is almost impossible. (I initially had them tied, but I didn't want to get called out for copping out.)

Of course, Russell Crowe is the common link. He is one of the greatest actors on the current scene. I imagine his work will stand the test of time and place him in the conversation of the all-time greats.

His performances here, along with the performance of Joaquin Phoenix, are what make this film incredible. Joaquin did so well, I used to hate him in other films because of how well he portrayed one of the cinema's great new bad guys.

Of course, Ridley Scott is one of my favorite directors of all time. His visual style is unmatched. He does a fantastic job of surrounding himself with incredible talent, too.

Like Hans Zimmer. His score is simply outstanding. (Heck, just see the Pirates of the Caribbean trilogy.)

But what makes this film so good is the story. So heartbreaking at times, so triumphant at others. The mood of the film is balanced, most likely due to the great screenplay. (Well, ignoring the huge historical inaccuracies of the script helps.)

1. A Beautiful Mind

I know this film is called "overrated" by many. For the life of me, I do not know why. Maybe many people feel duped by the end.

But that is precisely why this film is so effective. To experience the same shock and disbelief that Nash himself probably felt when he was told the truth is an absolutely breathtaking cinematic experience. Akiva Goldsman's script is perfect. As a result, of the ten films listed here, this film has the most emotional impact on me.

This is Crowe's best work. I know he won the Oscar for Gladiator but this film should have won him his second. Jennifer Connelly is also amazing, and this is the film that should have snapped Ed Harris's streak of Oscar snubs.

It's hard for me to put into words just how much I love this film. I know one might argue that if it's so good, it should be no problem to say why. But that's precisely it: it's just so obvious that this film is incredible, having to justify why is like justifying why someone should eat when they are hungry. (Man, I hope that makes sense.)

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Anyway, I hope this has been a decent post. If there are any glaring lapses in reason or if I have been unclear or if you simply want to discuss the mertis (or lack thereof) of any of the above films, I'd love to do so.

P.S. Although I did mention it for a few times, let's save talk for whether these films deserved Best Picture for later.