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.

Movie Review: Date Night

**1/2 of **** (2.5 stars out of 4)

Phil & Claire Foster on the run, for fear they will get whacked off.

Phil and Claire Foster (Steve Carell and Tina Fey) are a married couple from New Jersey whose domestic life has become mundane and routine. He is a tax advisor and she is a realtor. They have a weekly “date night” at the local steakhouse, where they play a game that involves them making guesses on surrounding couples’ stories.

They learn during their book club that their best friends, Brad (Mark Ruffalo) and Haley (Kristen Wiig), have become bored by their marriage and are getting a divorce. Many of the reasons they give to Phil and Claire mirror the Foster’s own marriage. So, in an effort to spice up their romance, Phil takes Claire to a trendy, hard-to-get-into Manhattan seafood restaurant—aptly named “Claw.”

Phil decides to take a reservation from the Tripplehorns, who have decided to no-show. Halfway through their meal, two men named Armstrong (Jimmi Simpson) and Collins (Common) take the Fosters out back to question them about a flash drive they believe Phil and Claire stole from mob boss Joe Miletto (Ray Liotta). After being threatened at gunpoint and not seeing any other way out of their predicament, Phil decides to assume the identity of the Tripplehorns and lead them to the flash drive.

Phil’s only plan is to fly by the seat of his pants, and as a result the script gives the rest of the film’s story a fly by night feel. The film’s humor quickly disappears at times. This rarely happens, though, when Steve Carell and Tina Fey are on-screen. Even if they had no chemistry, they are masters of their comedy craft. That they have the ability to make viewers like the Fosters and root for their seemingly simple quest of enjoying a nice date night only adds to their scenes and the story.

However, the movie is very uneven. So much that at certain times, I was thinking “Just shut up already” immediately after a round of boisterous laughter. With some of the talent director Shawn Levy (Cheaper by the Dozen & Night at the Museum) has at his disposal, it is a real shame he could not make a more solid film.

Surprisingly enough, Date Night has its share of story logic. That is, the film does its best to avoid suffering from moments that do no follow from the actions or the personalities of the characters. But the unevenness comes from those instances where it fails to do so. Those scenes shoot themselves in the foot by allowing their middle sections to spiral out of control or to go over-the-top. During the chase scene, it seemed like loud noises were the only constituent. Whether it was due to the volume of the sound in the theater or the obnoxious yelling and effects from the film itself, the potential of the chase scene fizzled out in less than twenty seconds.

Outside of their own mastery of the material, our leads are subjected to scenes and characters that derive their humor from some external source. The humor rarely comes from the story. Rather, it tries to be the result of some contrived mess of circumstances that can cause us to laugh. But the good moments follow from the effort Carell and Fey put forth in staying true to their characters.

Great comedies often times have come from outlandish circumstances, and Date Night has these. But those great comedies do not lose themselves or their focus in all the mayhem. Instead, its characters drive it home. And more often that not, Date Night has its stretches where there is no one behind the wheel.

P.S. I am big fan of William Fichtner. He has a hilarious role in this movie. So, just remember:

This Guy

+

His Broom

=

Comedy Gold

Movie Review: Clash of the Titans

*** of **** (3 stars out of 4)

Clash of the Titans is a wonderful experience for fans of the genre. It is technically impressive and a great roller coaster ride that should allow most viewers to have a fun time. However, it does have its faults, many of which might prove insurmountable for viewers that have no idea what they are getting themselves into.

Clash of the Titans is a remake of the 1981 fantasy adventure film of the same name. Whereas the original has a veteran cast that consists of Maggie Smith, Ursula Andress, Jack Gwillim, and the great Laurence Olivier, we are treated to a cast of rising stars mixed with a fair share of veteran actors.

Perseus (Sam Worthington) is a demi-god--the son of Zeus (Liam Neeson), no less--raised as a fisherman by a human family. Mankind has begun to forsake the gods, and Perseus and his family come across soldiers from Argos toppling a gigantic statue of Zeus into the ocean. Hades (Ralph Fiennes) attacks the humans, killing many of the soldiers and Perseus’s family. Driven by the death of his family, Perseus begins his quest against the gods, in order to kill Hades.

He does not go it alone, as he is aided by Io (Gemma Arterton), the King of Argos (Vincent Regan), and a small group of soldiers, led by Draco (Mads Mikkelsen). Along the way, they run across giant scorpions, magical sand spirits named Djinn, Stygian Witches, and the always-creepy gorgon Medusa. All of this happens in a race against time, as Hades has demanded that Argos repent for its sins. Should Argos not sacrifice the king’s daughter Andromeda (Alexa Davalos) in ten days, Hades will release the Kraken upon Argos, effectively destroying mankind.

This simple quest is framed by a running time of 118 minutes. As a result, the movie suffers from an uneven pace. However, even though editors David Freeman and Vincent Tabaillon struggle with giving the film a nice, steady feeling, the action sequences are the highlight of the film. The action scenes never feel rushed and the story is never cheated during these scenes.

Many of these editing issues can probably be attributed to a script that unsuccessfully tries to juggle the plethora of action scenes with the rest of the story. The script also suffers from some of the most outrageous dialogue I have experienced in an action movie. But the film never takes itself too serious. In fact, that outrageous dialogue is at the heart of some of the films intentionally humorous moments.

Despite the flaws listed above, this film works for its target audience. Anyone who is fan of movies like this knows what they are getting themselves into. We go to have fun. We expect to see outrageous action. And there is nothing wrong with that. Where some films fail is their inability to transcend the ordinary and what has been seen before.

Clash of the Titans does not fall into this trap. Our heroes struggle with their enemies. And it never becomes too obvious that our characters are experiencing an obligatory struggle just for the sake of sustaining the length of the movie. Often times, the characters and their weaknesses are the source of their struggle, so it is refreshing to see an action film that is somewhat driven by the characters.

Yes, this film has its weaknesses. They are not the kind that can be put out of mind easily. However, this movie never pretends to be something it is not. Consequently, many viewers including fans of fantasy action epics can enjoy a fun, wild, and ultimately entertaining film.

Release the Liam!

Movie Review: The Bounty Hunter

This movie works when it slows down.

Too bad it never does.

Every so often, a film comes along that defies all expectations. Star Wars and Avatar ruled the box office despite their sci fi themes. Slumdog Millionaire dominated the Academy Awards. Now, I must admit my expectations for The Bounty Hunter were rather weak. I was hoping only for some shimmer of originality, and that maybe the script would limit the number of romantic comedy or action clichés.

No dice, my friends. The Bounty Hunter goes above and beyond the call of duty to include everything we have seen in the way of genre clichés. The characters are caricatures, and the plot is absurd.

The film stars Gerard Butler as struggling bounty hunter Milo Boyd and Jennifer Aniston as his bail-jumping ex-wife, reporter Nicole Hurly. Much to his delight, Milo learns that Nicole is his next target and begins his assignment with enthusiasm. He thinks all that's ahead is an easy payday, but when Nicole gives him the slip so she can chase a lead on a murder cover-up, they find themselves on the run for their lives.

And that is all there is to it. Naturally, there is the bit about whether or not they wind up getting back together. Oddly enough, though, this is the only part of the movie that had any redeeming value, despite its predictability. One reason would be the tremendous chemistry between Gerard Butler and Jennifer Aniston.

One scene that really worked for me was their time spent at Cupid’s Cabin, a type of romantic bed and breakfast. They share a nice candlelight dinner, eventually expressing their true feelings for one another and admitting to making mistakes. It was a very honest scene that was effective due to its writing and the work of the actors. Even their subsequent return to the honeymoon suite was an enjoyable and funny moment. Together, these two scenes combine to make the highlight of the film.

This film and its script work when things slow down. But that’s the problem: the film rarely does.

Instead, we are treated to all of the improbable and CGI-laden action, ridiculous car chase sequences, and plenty of shots of Nicole running around in her tight skirt and high heels. They even have the classic handcuffed-to-a-bed moment. But none of this amounts to anything. The action rarely leads to advancement of the story.

Most of the advancement of the plot and the resolution of the murder cover-up are accounted for by expository dialogue. This would be acceptable in a novel. But in a movie, why waste our time with the other unnecessary moments and clichés? Characters should drive plot, not the other way around.

I knew what I was getting into with this movie, so I promise I am not being unfair. I enjoy most romantic comedies, but this one was stale for the most part. The film’s advantage lies in the chemistry of its leads. And the only superlative this film has on the other films at this weekend’s box office would be “Most Attractive Couple.”

This film offered me little, and in turn I was able to invest nothing into it. I am not sure what movies owe us, if anything. But I always find myself asking, “What did this film bring to the table?” In short, The Bounty Hunter offers nothing we haven’t seen before.

P.S. I use the 4 star rating system, with a relative rating scale similar to that of Roger Ebert. If you are unfamiliar, consult his website or Wikipedia (g).

Oscar Night

So, last night was Oscar night.

Not a big deal. Well, at least for people named George C. Scott, who called it a "goddamn meat parade." (Look, he said it not me: just quoting.)

(tried to find an image here, but I was afraid to Google "meat parade")

Now, I had to look up this term "meat parade." When I did, it made so much sense. I'll spare you the trouble of research, as it goes something like this: Picture your local town throwing a giant parade. It's theme: meat. (I don't have to tell you what kind of can of worms this opens for anyone with a sick, twisted sense of humor.) Anywho, who cares about this parade? Only those who attend, which would be those who have an invested interest in meat.

So, Mr. Scott is saying that the Oscars are meaningless except to those who are in attendance/nominated/win. This might be true. I mean, I always struggle with the validity of award shows (especially one that allows Forrest Gump to triumph over The Shawshank Redemption.) It's subjective and political. But, the Oscars are the biggest celebration of movies during the year. And those are something I can get behind.

Plus, when I first started enjoying movies and building my DVD collection, I made it my objection to own all the Best Picture nominees. (I currently lack 13 of the 82, which means I am 84% done.) I've committed them all to memory and occasionally spring this useless knowledge when I meet people (in an attempt to either scare them or impress them, usually the former) or when I am bored.

Anyway, this isn't irrelevant resume material I'm illustrating: rather my fondness for the mystique, history, and tradition of the Oscars.

This year, I was asked to submit my predictions for a few competitions and publications. I did well last year, correctly guessing 18 of the 24 categories (for 75%). This year, I did the exact same. 18 for 24. 75%. Which is not as good this year as it was last year, given the field.

The first "thing" for which I had to submit my predictions was the Crimson White (UA newspaper). I decided that for the sake of continuity, I would just stick by these submissions and wouldn't make any last second changes for other contests.

I did make some last second changes to my CW predictions, though. Most notably, two that wound up biting me. I had El Secreto de Sus Ojos correctly picked as the winner for Foreign Language Film. However, I caved in and changed to The White Ribbon, which had won at numerous other award shows. Also, I had Logorama picked for Animated Short Film. It was the only film from that category I had seen. But I changed my pick because I thought that there would be no way that the only film I saw from that category would win. Wrong again.

For a complete list of my predictions, click here.

I will not delve into the rationale behind these decisions. (I mean, I will if I am asked about specific categories, but to go through and do so for all 24 categories is quite a laborious task.) Some are coin-flips, some are educated guesses, and some are so obvious that anyone could have guessed them.

Instead, I just want to give three quick shout-outs:

First up, Up.

I know people get tired of Pixar winning, but it was deserved this year. And yay for Michael Giacchino winning Best Original Score. One of my all-time favorite movie scores. It's one of the reasons why Up is so darn terrific. (Btw, he also scores LOST, so there's another reason I enjoy his work.)

So glad for Jeff Bridges.

This was not some lifetime achievement moment. No doubt he gave a performance worthy of Best Actor. Crazy Heart is one of those films that I feel is one of the best of the year, yet no one has seen it. Do yourself a favor and see it ASAP.

P.S. Best Original Song winner "The Weary Kind" is an outstanding song.

Finally, Christoph Waltz.

What a masterful performance. Inglourious Basterds receives criticism for being "too talky." Now, I feel that criticism is unjustified. I could devote an entire post to why I believe that to be the case. Regardless, even if I grant that point, no one can doubt whether Christoph Waltz excelled in his role. He had some of the trickiest dialogue in the film, yet he delivered it masterfully.

There are some other things I would like to acknowledge, but I do not have the time. I could go on for days regarding different aspects of the Oscars. I'm certain I've failed to address certain topics or subjects that are of interest to you (other categories, the ceremony itself, the people, the fashion, etc.). If that is the case, or if you just want me to expand upon anything that was mentioned, let me know and I'd love to talk about it.

Feel free to discuss...

P.S. I apologize again for this terribly incomplete post. There is no way I can condense a few weeks worth of dialogue into one post.

P.P.S. I believe I fixed the comments setting, making it much easier to leave comments.

Gary Oldman: Man of Many Faces

Gary Oldman is one of the most diverse actors I know. Other names that come to mind are Johnny Depp, Russell Crowe, Daniel Day-Lewis, and many others who are equally deserving.

But Gary Oldman has always had a soft spot in my heart as one of my favorite actors. I wish I had reasonable analysis, other than "I know what I know." But I don't.

Having said that, let me again say: he is probably the most diverse actor I've seen. Obviously, these kinds of thing are up for debate. But let me submit to you...

Sid Vicious

Rosencrantz

Lee Harvey Oswald

Drexl Spivey

Mason Verger

Dracula

Commissioner Gordon

Carnegie

Jean-Baptiste Emanuel Zorg

Sirius Black

Shelly Runyon

Ludwig van Beethoven

Rev. Arthur Dimmesdale

Ivan Korshunov

Pontius Pilate

(and one of my favorites...)

Agent Stansfield

Now, before the accusations of man-crush start flying, I will address them upfront: they are absolutely true.

Seriously, though, this was my attempt to illustrate just how awesome of an actor Gary Oldman is. Diverse, loses himself in a role, gives 110%, etc. As a cinephile, it's a real joy to watch him transform himself on-screen.

Agree or disagree?

P.S. This says it all...

Top Films of the Past Decade (2000-2009)*

* I have decided not to include films from 2009 yet. Also, I reserve the right to change this list at any point.

Well, here it is. My list of best/favorite films of the past decade. After going through every film released this past decade, my first cut consisted of 149 films. Today, I have it down to 20. (I kept animated and foreign films separate, in order to give some bonus picks at the end.)

I have so much to say about this list. First, if a title is not on here, I can only think of two reasons why I it's absent. 1) I haven't seen it yet. 2) It's not one of the tops films that I've seen during the past decade. People will always take offense to list like these, due to certain inclusions/omissions. That is why I hope to be able to discuss whatever issues you have with the list.

I will not rank the films. Many Top 10 lists don't. It can be an impossible task often times.

20 films is not too many, considering how many films have been since Jan. 1, 2000. It's hard enough to pick ten films for a given year, much less for an entire decade.

There are a bunch of other things I want to say or explain. But I've forgotten them. They will come to me later (as they always do).

So, without further ado, here are my top films of the past decade...

(in alphabetical order)

The Assassination of Jesse James by the Coward Robert Ford (2007)

One of the most interesting character studies I've ever seen. Pitt's performance as James gave me chills. So did Affleck's performance but for different reasons altogether (and not of the positive variety.)

I love the style of this film. Roger Deakins does a masterful job as cinematographer, as he usually does. Never before have bleak landscapes looked more dazzling. And if that doesn't do a good enough job setting the mood, the score sure does.

A different kind of western, but one of the best I've seen. The story never felt like it was dragging, despite a running time of 160 minutes. One of the most compelling accounts of America's legendary outlaw.

A Beautiful Mind (2001)

Films rarely have this kind of impact on me. A truly beautiful film, due to its heartbreaking-yet-touching story. My emotions rarely settle when I watch this film.

And one of the main reasons is Russell Crowe. His portrayal of John Nash is one of the best of the past decade. Thank goodness Jennifer Connelly was able to match him. Their scenes together sparkle with a magic and genuineness that is rarely matched on-screen.

James Horner has composed many scores that have been fairly criticized for their similarities. But not here. The score is simply outstanding. "Haunting" may seem too limited a word for it, but it is and that only seems appropriate given the story.

Capote (2005)

Anyone that has seen this film knows of the superb performance of Mr. Hoffman. But I submit Catherine Keener's turn as Harper Lee is the true gem of this movie. Keener's work is so good that I felt rather acquainted with H. Lee, even though she has made very few public appearances or interviews.

Much like Jesse James, Capote's visual style is absolutely fantastic. It's a beautiful film to watch. Capote's relationship with Perry Smith and Dick Hickock was truly unique, and this film does a great job of taking us into their world.

This is a film that left me feeling rather empty as soon as the credits started rolling. But about five minutes later, the emotions started flooding me. The theme of redemption in this story is quite profound.

Casino Royale (2006)

I almost feel like I have to justify this entry more than the others because it's a Bond film. Well, the Bond franchise is my favorite film franchise. I owned every single Bond movie on VHS. (Your welcome, Tim and Ducote family.) And this is my favorite Bond film.

So, favorite title of my favorite film franchise = selection to this list. I mean, this film has tremendous merits that would warrant inclusion on such a list as this. The acting is a great complement to the terrific script. Vesper Lynd (Eva Green), in addition to being my new favorite Bond girl, is one of the classic film characters from this decade.

And there are plenty of others. But I will not bother listing them given my obvious bias. What's the point?

Children of Men (2006)

What can I say? Of all the films on this list, not a single one impressed me more with its overall style, design, look, etc. Emmanuel Lubezki's cinematography is exceptional and absolutely unforgettable. The use of single-shot sequences in this movie remains one of my all-time favorite cinematic experiences.

And what a story. Fascinating. The tension holds you without allowing you a chance to breath. What will happen next? That's the kind of question this film instills in you, from the beginning and all the way to the screen fading to black.

I'm always a sucker for speculative fiction. Maybe that is why I responded so much to the story. Regardless, this is one film you need to see, if only for the visual experience. It is that good.

Gladiator (2000)

*This will not be the only Ridley Scott film on this list. I am not ashamed to say he is one of my favorite directors.

This film is great on many levels. The story (although filled with many historical inaccuracies), the editing of the action sequences, the film's stylish visuals, the score (see "Pirates of the Caribbean" for further proof), etc.

But what sets this film apart from so many others is the quality of the performances from top to bottom. I hated Joaquin Phoenix for years after I saw this film. I quickly realized it is because his work as Commodus is perfect. I've tried to stay away from that word so far, but it applies here. No doubt in my mind. This film is always one of the first to come to mind when I begin to think of my favorites of all-time.

Gosford Park (2001)

Whodunit's are my weak-spot. Even if they weren't, this film would on this list. If you have never seen a Robert Altman film, do yourself a favor and see one ASAP (preferably this one).

The ensemble cast and naturalistic nature of the film are typical of Altman's films. But they are also why this film is so compelling. The characters are so intertwined. The complexity just adds to the charm of the film.

And so does the camera work. I love the moving cameras, because it allows us to enter the story seamlessly. A kind-of holistic approach to filmmaking. It's an entertaining experience that I adore. Every time I see this movie, I never think about what I am missing out on by watching it. This is one of the few movies that effortlessly commands my undivided attention.

Gran Torino (2008)

I'm tempted not to write anything. In my mind, if you've seen this film, no explanation is needed.

First thing that stands out is the writing. Especially the dialogue. Yeah, it may seem like it's not taking itself seriously, but I don't get that feeling. Instead, I see it as proof that Walt Kowalski is in serious need of attitude adjustment (no matter how much he makes us chuckle).

And it is Clint Eastwood as Walt that is the highlight. I couldn't imagine the film with anyone else. He has not lost "it." Despite being nearly 80 years old, Mr. Eastwood continues to make misfits need a change of pants. It's not that he has become limited in his acting, due to roles he has continued to take. It's just that our perception is burned with the indelible image of a man who has perfected a particular craft.

In Bruges (2008)

*This may be the film that I could bring myself to drop from the list for another title. Begrudgingly so, but I could if I wanted.

Colin Farrell and Brendan Gleeson do a wonderful job with terrific material. This films features some of the wittiest and quickest dialogue I've experienced. When it hits overdrive, it can make "Gilmore Girls" seem like "Once Upon a Time in the West." (Not a shot at GG, if you knew my enjoyment of that show.) The story takes off rather unexpectedly, which is a real treat. Nothing contrived about it, though. The scenery of Bruges offers a nice contrast to the main characters and their backgrounds.

The film has some minor flaws, but like another title that is coming up, the positive aspects far outshine them.

Kingdom of Heaven - Director's Cut (2005)

"Wait, more Ridley Scott?" Before you freak out at the inclusion of this film, please make sure you understand the director's cut (DC) is what is being included. I guarantee you if I had never seen the DC, this film would not be listed.

Alas, I have seen it and it is included. Probably because the DC allows this film to reach its maximum potential. Pacing may be an issue early in the film, but the story is phenomenal. And like Scott's other film on this list, the cinematography and music are in a world of their own.

The movie's cast is one of my favorites. If it isn't enough that Jeremy Irons and Liam Neeson are wonderful in this film, then add in Eva Green, Brendan Gleeson, and David Thewlis for an extra dose of awesomeness. The cherry on top, though: Orlando Bloom in the best role of his career. (Yes, I hear your protests, Elizabethtown.)

The Lord of the Rings (2001-03)

Our generation's epic trilogy.

For my purposes, I'm considering the three films together as one title. They were filmed together. Also, if you've ever seen them, you know the first two movies end with the characters continuing on their quests. Maybe if they could stand alone, then I'd not consider them as a whole. But I've never watched the first two films and thought, "Well, I guess I call it a wrap on this story."

What is there for me to say regarding this cinematic landmark? Even if fantasy isn't your thing, you're bound to enjoy these films.

I mean, I haven't addressed this movie like the others. I tried to avoid doing so by explaining why I have them grouped as one. This is simply because I can't imagine a scenario where someone wouldn't include these films on a similar list.

Match Point (2005)

This movie is what I consider a "hidden gem." Despite being directed by Woody Allen, this film flies under radar. And for the life of me, I can't figure out why. Heck, WA himself has claimed that this film "arguably may be the best film that I've made."

This is another one of those movies that keeps you on the edge of your seat throughout. Not that you are rooting for any particular person--that's the beauty of this film: no one has my sympathy. Regardless, it's a thriller with terrific script and cast to match.

The drama is infused by the nuances of certain ordinary situations. Nothing is as it seems. The plot depends on these minor intricacies, though, in a way that beautifully illustrates it's opening monologue. Today, many films seem to lose their way. But do not include Match Point among their number.

Michael Clayton (2007)

Two films from 2007 have dominated recent "best films of the past decade" lists. Neither of them are on here. Why? Perhaps it is because Michael Clayton has taken their spot.

A film with flawless acting? Check

A script that is bordering on perfection? Sure thing

I've mentioned good acting and writing before in previous titles. But few of them can hold a candle to best film of 2007. (Yes, I just said it.) How Tom Wilkinson was snubbed by the Academy, I will never know. Perhaps it's best that way, to prevent my anger from turning into fury.

All I know is this: this film produces one of the few stand-up-and-cheer moments (not necessarily the ending, mind you) that leaves you feeling completely satisfied. My response to this film the first time I saw it was overwhelming.

Mystic River (2003)

Speaking of overwhelming reactions to films...

Yes, another film directed by Clint Eastwood is on here. Get over yourself.

This film is stunning. It's a good-looking film. Powerhouse performances all around. A story that grabs hold of you and never lets you go.

Heard this before?

Yes, because those are elements are good films. And there have been plenty of good films listed so far. I mean, I hope this isn't getting old. In fact, I hope it has the opposite effect. I want you to be thinking, "Man, there were films listed that were proclaimed as great for many of the same reasons. Mystic River is one of 'em? Then I definitely need to check it out." (By the way, you'd be correct in doing so. Mystic River is that good.)

Paris, je t'aime (2006)

For the record, I do not like this film because of all the preconceived romantic notions regarding Paris. From what I've been told by numerous people, such notions are false when compared to the reality of the city.

What I do like about this film, though, is the essence of the stories. Since it's a collection of 18 short films, there seems to be no continuity within this work. There are even a few of the shorts that are just downright bad. But in its entirety, there are too just many marvelous and satisfying moments to ignore.

And there is continuity amongst the 18 films. Just look at the title and the poster... Still can't figure it out? Then, maybe this film isn't for you. For the rest of us, though,--the ones that embrace it without prejudice or a lack of awareness--this film is about as delightful as they come.

Revolutionary Road (2008)

Definitely the film for which I will catch the most flak.

And definitely the film that would most closely resemble the antithesis to Paris, je t'aime.

This is one of the rare breed of films that can be both remarkable and troubling. Breathtaking and heartbreaking. I've never felt more conflicted in my emotions coming out of a movie.

This film has a wonderful style to it. Cinematography, art direction, costumes, it has it all. The music just adds to the tone of the film, helping to evoke an era that is far different from our current one.

Finally, I am convinced that had Heath Ledger not given one of the best screen performances of all-time, Michael Shannon would have easily won the Oscar for Best Supporting Actor for 2008.

Road to Perdition (2002)

I've said it before, and I've definitely echoed the sentiment so far with this list: cinematography and music are two of my favorite aspects of film. I know there is so many others, but these two have the biggest influence on shaping a film for me.

Well, this film is spectacular because of the two reasons listed above. Conrad Hall & Thomas Newman are two of the best at what they do (cinematographer and composer, respectively). What they do with this film is nothing short of arresting.

Throw in a story that deals with the consequences of violence better than 95% of other films that tackle the issue and the result is one of the best films of the past decade. I've heard that Tom Hanks is the modern day Jimmy Stewart--our contemporary "everyman." In Road to Perdition, Tom Hanks puts a new twist on this term and continues to shine as a brilliant actor.

Sideways (2004)

Probably one of the few films that transcends the screen upon which it is being shown. It's not that you are just watching two buddies hit up wine country. As most great films do, you are invited along for the ride.

One reason this film is just so darn good is simply this: as Roger Ebert said, "what happens during the seven days adds up to the best human comedy of the year -- comedy, because it is funny, and human, because it is surprisingly moving."

I could list all the reasons why (excellent writing, superb acting, etc.) this film is "surprisingly moving." But at its most fundamental level, it's about the human heart, or the human condition. This film shows every facet of this heart. With all its flaws and with all its strengths, for better or for worse, it is what drives us the most.

Shopgirl (2005)

Another "hidden gem."

I know this sounds like an excuse for me to take the easy way out, but this film echoes everything said about Sideways. It is all about human relationships and the driving force that is our hearts.

Steve Martin wrote the screenplay, based on his novella of the same name. And what he writes shows tremendous insight into the human condition. That is why this film has its moments that break your heart, regardless of how "sad" they might or might not appear.

This is the type of film that allows you plenty of opportunities to reflect upon the love that you have for yourself and others. If you were only able to see one film from this list, this movie might be the one.

Traffic (2000)

(We've finally made it.)

This is the type of film that interweaves several stories into one cohesive unit: one that not only grabs your attention but also shakes you to the core. But despite such a complex story, it is told with great flair and vision.

Another ensemble cast that absolutely knocks a wonderful script out of the park. With so much emotion, this film feels like a firecracker waiting to go off.

I love the visual style of the film. The graininess reflected the mood of the film very well, as the lives of these characters resemble anything but a clear and smooth path. It's a breath of fresh air when characters and plot are not shaped by the "cookie-cutter" approach. This film succeeds by giving us characters with plenty of jagged edges.

Runners-Up (in no particular order)

• In the Valley of Elah
• 25th Hour
• Good Night, and Good Luck
• The Contender
• The Prestige
• United 93
• Munich
• The Fountain
• Pooh's Heffalump Movie
• The Dark Knight
• Appaloosa

***Please, I'm very interested in your feedback, and I would love to hear/read your comments, thoughts, etc. Positive or negative, the only thing I enjoy more than movies is participating in dialogue about movies.

P.S. Is this list really all that bad?

P.P.S. Bonus selections (top animated film and top foreign films) will be added tomorrow.