4-3.

Ok Ok, I lied. But I will finish up the list today regardless, starting with...

4. Pan's Labyrinth (2006)- This movie is the reason why Guillermo Del Toro is booked up until at least 2017. He had shown flashes of brilliance in the few years leading up to "Pan's Labyrinth", directing "Blade 2" and "Hellboy". Not particularly great movies, but his crazy, fantastical vision began to come through (be it the demon-vampire creatures in "Blade 2" or the assortment of ridiculous monsters in "Hellboy"). When he wrote and directed "Pan's Labyrinth", Del Toro combined his knack for creating amazing science fiction/fantasy images with an engaging story grounded in reality. I've mentioned many times on this blog that my favorite story genre is magical realism, and this movie so beautifully combines fantasy and realism; the result is one of the most gorgeous, engaging movies of the decade. From the trailers and the talk, one might get the impression that the movie was worth watching just for the little girl Ofelia's fantastic "imagination sequences"; on top of that, I have heard people say that they were disappointed that the fantasy aspect of the movie was simply her imagination. However, for me, this is what made the movie so great: the two stories intertwined perfectly and created a harmony not often found in similar films. The fantastic aspects comlimented and strengthened the main plot, and that central plot similarly gave the fantasy story so much more life--making it profound on top of it being beautiful in itself. That being said, I cannot write about "Pan's Labyrinth" with at least once mentioning the Academy Award-winning cinematography of Guillermo Navarro. If you need evidence, just think of this: remember I mentioned how great the cinematography was in "Children of Men"? Well this movie was the same year, and "Pan's Labyrinth" was completely deserving of that Oscar. Amazing, amazing movie.

3. City of God (2002)- I remember hearing all the acclaim about this movie before I was even really that into film. I had never heard of a foreign film getting as much hype as "City of God" did the year after its release. So I watched it. Few films that receive incredible hype as "City of God" did are completely deserving of it, but this movie deserved all the hype--and more. Yes, the film is quite long; however, the plot is so incredibly engaging that it doesn't seem to drag at all--the pacing is so quick and snappy and the story so fresh and epic that length was never really an issue for me. Now that I think about it, a good comparison would be to the recent Best Picture winner, "Slumdog Millionaire". Not a bad movie by any stretch but hardly deserving of the insane amount of hype it received. That film was made for more money, with legit actors, a legit Hollywood director, and a similar storyline in many aspects. Both stories encompass a unique cultural center and both follow young brothers who take very different paths in life. Aside from those congruities though, "City of God" exceeds "Slumdog Millionaire"--the universally critically-acclaimed winner for Best Picture at the Academy Awards--in almost every aspect. It is beautiful beautiful beautiful. EVERY actor in the film was a non-actor from the slums of Rio (some even from the Ciudade de Deus slum itself). The film was shot on location in Rio--a very dangerous undertaking, even if not shot directly in the City of God itself. While embellished to an extent (it is a film after all), the story is remarkably true, and the depiction of Rio and the City of God slums is eerily accurate. If you buy/rent the film, there is also an hour-long documentary about the real Ciudade de Deus, and you will shiver at some of the imagery. "City of God" does not romanticize the story or place by any means, but because it is a film and an interpretation, there is an excitement and a lightness to the story; this becomes apparent when you watch the documentary. However, this does not dimish the incredible story, amazing acting (the best use of non-actors in a film I have ever seen--some performances were better even than the best of the decade by career, Hollywood actors) and breath-taking visuals from the slums of Rio. No, this movie is not overrated or overhyped: "City of God" is simply put one of the best films of the decade--and the acclaim really shouldn't stop there.

Oh boy

I took a really long walk at midnight last night and basically deconstructed all of existence systematically in my mind. It wasn't a very pleasant experience.

8-5.

Well, I fell behind, so for now I'll just list numbers 8 through 5 on my Top 25 Films of the Decade list--hopefully I'll be able to go back later on and give them justice with full entries. But alas, until then a simple number and a quick blurb will have to suffice...

8. Mulholland Drive (2001)- Not a huge Lynch fan, but this one is amazing in so many ways. Equal parts creepy, thrilling and confusing, if you have to watch one David Lynch creep-fest, this should be it.

7. The Assassination of Jesse James (2007)- The second best movie of 2007 and easily one of the most overlooked and underrated films of the decade. I want so badly to go deeper right now but for the sake of brevity I'll leave it at that for now. Beautiful BEAUTIFUL film.

6. Road to Perdition (2002)- Speaking of underrated movies this decade...I truly feel like this movie has not gotten the praise it deserves. It's what "coming of age" stories should fucking be. I hate "coming of age" movies and I'm not the biggest gangster movie buff, but the combination in this movie works perfectly (I do love Tom Hanks though). When I made this list I hadn't seen "Road to Perdition" in a while and was beginning to wonder if I have been idealizing it--but then I bought it and watched it last night. Verdict? My number 6 fav movie of the decade.

5. Eternal Sunshine of the Spotless Mind (2004)- Ugh. The deeper I get into this list the more I want to write. But it's 11:30 and I'm fucking tired. Anyway, Eternal Sunshine is everything I love in one movie: Kaufman as a director has too much of a writer's mentality and Gondry as a writer lacks substance and structure...but together, in this movie, they are an unstoppable force with each working at their strengths--Kaufman as writer, Gondry as director. Subtle, smart, funny, heart-tugging, beautiful, complete.

Well, there you have it. Again, will update with full posts when I get the chance (you can tell it was getting hard to keep the above short). But that's for later. Tomorrow, I'll be posting the number 3 and 4 films (and I mean it, damnit), so look out!

The Artist

Well, you've probably noticed I haven't updated my decade movies list in a few days. Truthfully I've been pretty preoccupied with other things and haven't found a lot of time to write multiple paragraph entries (as I'm doing for the final 10). I'll try and find time to catch up over the next couple days so I can finish the list before the New Year hits, but for now you'll have to settle for some of my thoughts.....

Recently I came across this song by a band called The Hush Sound. Having the privilege of knowing and working with many artists from many disciplines, I can very much relate to the lyrics. While I've never been in a serious relationship with an artist, these words sum up why I don't know if I ever could. I've always had a weakness for female artists, but for a lot of reasons--many expressed perfectly in the song--I've also had an aversion to them.

"The Artist" paints both sides: why artists are so attractive and why it would certainly be destructive to be intimately involved with one. Of course, this is all generalization, but I can certainly speak with a good degree of second-hand experience as well as through my friendships with artists. The line "you perceive all of these things I'd never have known" hints at the depth of emotion and personality of an artist: the ability to break down the most mundane of objects and ideas and reveal their stark nakedness ("you find all of your ugly meanings/in the things I find beautiful").

But this is also the problem. The "canvas", or whatever the medium might be (film, still image, stage, writing paper, etc), becomes the outlet for all of these perceptions and emotions and deep thoughts and desires and pain--sometimes to the point where the canvas becomes their whole world. The stanza that stands out most to me is this: "But your eyes are drawn of charcoal/they're black they're so cold they're so imperfect/because they see a sleeping world/where waking isn't worth it". I can speak to this because I am an artist myself, and I regularly struggle with a lot of these points I've mentioned. My deepest ideas and thoughts are expressed through story and film, to the point where I become closed off and hollow; every day is a challenge to keep myself grounded and focused and emotionally healthy.

I don't know if I could bring myself to be in a serious relationship with an artist because I see what I am--even as a very light example of the ideas expressed in this song--and realize that I could not willingly subject myself to such a potentially destructive line of thought.

Then again...I can't stop myself from falling for them. A great risk, surely, but also the possibility of an amazing, unfathomable connection. Perhaps that's what keeps attracting me: to me the challenging relationships are the only one's worth their weight, and in my eye artists are certainly the most challenging--and often the most beautiful.

Really though, all that might be needed is someone there to say, "love will you turn out the lights because we're already home."

Here are the lyrics in full:

"I know that you're an artist
You're the hardest one to deal with
Everything that you conceal
Is revealed on your canvas

You find all of your ugly meanings
In the things I find beautiful
Do you see the fall is coming
Come I'm falling into you

You perceive all of these things I'd never have known
Love will you turn out the lights 'cause we're already home

You painted me in pastels
Colors that don't tell of any boldness
'Cause that's the way you'd love to see me
So delicate so weak so little purpose

But your eyes are drawn of charcoal
They're black they're so cold they're so imperfect
Because they see a sleeping world
Where waking isn't worth it

You perceive all of these things I'd never have known
Love will you turn out the lights 'cause we're already home

How how can you live without your lies
Oh oh love I've had enough of you tonight

All of these things I'd never have known
Love will you turn out the lights 'cause we're already home
You perceive all of these things I'd never have known
Love will you turn out the lights 'cause we're already home."

9. Lost In Translation

9. Lost In Translation (2003)

There aren't many movies on this list that I can say resounded the way "Lost In translation" did the first time I saw it and still manage to maintain that original luster; even after six years and many, many viewings, Sofia Coppola's coming out party shines as bright as when I first saw it.

As slow developing and unstructured as the film seems, it's brilliance lies in the world Coppola constructs from various layers. From a purely technical standpoint, the soft focus and soft lighting that dominates the film casts the whole thing in a dreamlike haze, out of which everything else in the movie is strengthened, specifically the tone and pacing.

However, what's even more amazing is the reported "ad-lib" apparent throughout the entire making of the film--not just with some of Bill Murray's scenes. Not only was the film shot in just 27 days, but supposedly the script itself was more of a rough outline than anything else (Coppola used pictures she took around Japan to simulate the locations in the film) and she wasn't even sure if Murray was going to show up for shooting (she's said she wouldn't have made the film if she didn't get him for the role as it was written with him in mind). Sometimes though, things just work out, and a directors passion and dedication to a project are certainly a testament to this.

In the case of "Lost In Translations", things didn't just "work out". The film went out to get nominated for four Academy Awards (picture, actor, director and screenplay for which it won) and very high critical acclaim. Certainly Bill Murray put on (quite possibly) the performance of his career and one of the greatest of the decade, but the success and excellence of "Lost In Translation" extends far beyond the acting of Murray--and really even the script. Coppola took these pieces and painted an entire world around them, using the pallets available to her: images of Tokyo, bits and pieces from her own childhood and life experience and the dreamlike vision that really drove the film. The story itself is captured completely and complimented perfectly by the movie's slow (but not too much so), laissez-faire pacing and dream-like, "hazy" tone--in turn made possibly by the way the pacing itself and the style of shooting.

All of these elements came together unimaginably well by the hand of Coppola, creating a work that so richly captures the themes of the film--from loneliness and alienation in a completely foreign environment to deeper existential ideas of finding meaning in life through the viewpoint of different generations and human connection. These are certainly not light topics, but Sofia Coppola balances them with a deft hand and a light touch, letting them resonate subtly but with great impact. Murray and Scarlett Johansson complete the image, giving it vibrant life and meaning. If creating new worlds for an audience to step out of themselves and get lost in is one of the aims of filmmaking, then Coppola has succeeded with flying colors. Every time I watch "Lost In Translation", I lose myself in the Toyko she paints and in turn the characters that inhabit her framed, temporal world. And trust me, as a filmmaker, this is an incredibly difficult task and something I should strive to emulate with everything I make. I only hope Sofia Coppola can even get close to replicating the beautiful filmmaking she put on display in "Lost In Translation".

10. Half Nelson

Now that we're down to my top 10 films of the 00's, I'll be posting one at a time in order to give proper attention to each of these amazing films. First up on our way down is...

10. Half Nelson (2006)

This movie has a lot of elements I normally hate...child actors (and non-actors at that), somewhat bare script and unorthodox structure, lots of hand-held camera-work, lots of improvisation, way too close to realism for my comfort...but, somehow, director Ryan Fleck makes this work--and makes it work really fucking well. "Half Nelson" goes to show that a movie doesn't have to have a huge budget ($700k) and a polished "Hollywood" script and director to be great. Here's some of the reasons why "Half Nelson" should have just been another boring "independent Sundance" movie:

1. $700 budget
2. Shot in 23 days
3. Entirely hand-held except for one sequence
4. Developed from a 19-minute short film
5. Unknown director/writer
6. Rehashes the worn "teacher with a heart of gold" adage
7. Contains large amounts of improvisation (and from kids!)

I could go on, but you get the point. The fact is, "Half Nelson" takes these supposed "weaknesses" and turns them into strengths. The result is a very organic film that seems to transcend all of the "independent" and "Sundance film" stereotypes. The story, for example, takes the tried and tired "teacher with a heart of gold" theme and gives it a dark realism so believable that it makes the topic engaging and almost new.

Basically, "Half Nelson" is about an elementary school teacher, played by Ryan Gosling, who is both an inspiration to his students and a complete fuck-up in his own life--he's a crack addict, his relationships are on the rocks and he seems crippled by depression that is so well-portrayed in the film that it really rubs off on the viewer (or at least it does for me). A large part of this is due to Gosling's absolutely incredible performance--movies with a $700,000 budget don't have actors nominated for academy awards. But his Academy nomination was truly a testament to his chilling realistic performance.

However, Gosling could not have done it alone: he was helped by some top-notch directing and a group of normal elementary school kids eager to be in a film. Some of the best scenes in the film are Gosling's classroom history lessons, and they really help the film to take on an identity of its own. The student interactions are largely improvised, from my knowledge, and that combined with the organic feel of the handheld camera-work and Gosling's brilliant performance make it feel as though you are watching documentary footage of actual class lessons.

Of course, a movie is still not much without the story. While "Half Nelson" is not necessarily linear, that is actually part of the point. In his classroom lectures, Gosling's character, Dan, teaches history--but he teaches it using "dialectics", a method of argument that has four main principles which are illustrated in the film. I won't get into it here, but the central idea evoked here is that of "change". This is represented throughout the script, which revolves around Goslings character and his interactions, princibly with one of his students, Drey, played by the wonderful Shareeka Epps. The story is not stagnant by any means, but it does evolve slowly and loosely, as far as plot goes. However, this element compliments the realism of the film, as well as its themes, and the performances are perfectly in tune with this. You might have to think about the ending a little bit, but if you paid close attention to the film, you'll realize it is actually quite perfect.

Finally, there is the soundtrack, which provided in large part by the Canadian band Broken Social Scene. There is minimal score, but the ambience of some of BSS's songs essentially acts as such. The rest of the soundtrack is very well placed, and the songs really serve to drive some of the more intense scenes in the film, where simple "bare realism" would not suffice.

In the end, "Half Nelson" in a way stands alone on this list in many ways, simply because it is quite unlike most of the films on the list. Really, it is unlike most films in general: a truly organic piece of art that rises above many of the common conceptions of feature filmmaking today. The result is a beautiful and thought-provoking piece that towers above films with budgets 100 times larger, actors with much more acclaim, and directors and cinematographers with much more experience. If you're an aspiring filmmaker and need a shot of hope in light of the slim chances of ever making it in Hollywood, look no farther than "Half Nelson". And even if you aren't, it will be tough to find a piece as true to life as this.

13-11.

13. O Brother, Where Art Thou? (2000)- What's not to love about this movie? When I first made the list, I wasn't sure this was an 00's film, so I was psyched when I found out it was. Anyone who knows my taste in movies knows my love of the Coen Brothers. However, "O Brother" is hardly just a testament to that. The movie takes a classic story and piece of literature and completely turns it on its head, giving it a fresh new taste. The classic Coen Brothers signatures are there--the epic sarcasm and dark humor, the quick, crisp dialog and strong cast of supporting characters. Joel and Ethan Coen have always been known for their tight scripts, preperation, and adhereance to detail while shooting, and this is certainly the case for "O Brother". But it's those little bells and whistles that really make this movie shine: the incredible award-winning soundtrack, the dust-bowl imagery, and of course the incredible supporting cast. John Goodman in particular shines as the "cyclops"--in this case a con artist bible-salesman--and other amazing performances are given by Charles Durning, Michael Badalucco (as Babyface Nelson), Wayne Duvall (as Homer Stokes) and Ray McKinnon. Despite the great performances of the leads (Clooney, Turturro and Tim Blake Nelson), it is these supporting characters that carry the film and really complete the film's dust-bowl/depression-era imagery.

12. The Prestige (2006)- Christopher Nolan is another of my all-time favorite directors (and it's no coincidence he is one of two--or three depending on how you look at it--directors with two films on this list, the Coen brothers bring the other). I tell people the reason I like Nolan so much is because he almost single-handedly carries the modern noir genre, as evidenced by films like "Following," "Memento" and even "The Dark Knight" (trust me, this film is undeniably modern noir in so many ways). However, his noir vision is perhaps best executed in "The Prestige", a film that recieved slightly less fanfare than it should have, as it bridged the gap between "Batman Begins" and "The Dark Knight". I'll be honest, though, one of the main reasons the Prestige is here is because it combines two of my favorite genre elements: film noir and magical realism. The result is an incredible story somewhere between mystery, thriller and science fiction. Like a noir, the film is cast in an eerie and somewhat sinister mystery and does not follow a linear timeline, but the film takes another dimension altogether when the little bit of "magic" is introduced--and it's this element that makes the film so great for me. Truly and simply one of the most enthralling films of the decade, I could watch this film 100 times and not lose interest. (Also, David Bowie has an amazing cameo as Nicolai Tesla...and Scarlett Johansson is really fucking hot. Oh, and Michael Caine again.)

11. There Will Be Blood (2007)- This one will probably draw some raised eyebrows for where its positioned. Before you start crying "blasphemy!", let me just say this: I have only seen this film once, and it did not blow me away the first time. For many of the films on this list, it look more than one viewing to really fall in love (I even hated "The Royal Tenenbaums" the first time I watched it). This is definitely the kind of film that will take subsequent viewings to fully appreciate, but that being said, I'd say its place at number 11 speaks to the strong initial impression. While it's true "There Will Be Blood" did not blow me away, it was clear that this was a great work of filmmaking. There is no doubt that Paul Thomas Anderson directed Daniel Day-Lewis in probably the finest individual performance of the decade. Simply put, Day-Lewis was absolutely bone-chilling in his portrayal of oil mogul Daniel Plainview, and Anderson's style and subtle touches perfectly complimented the performance. And "subtle" really is the word I'd choose for this movie. Despite the dark subject matter, the film does not come off as heavy-handed: the soundtrack by Jonny Greenwood and gorgeous cinematography by Robert Elswit are both eerily beautiful, but they hardly dominate the film (well...maybe the cinematography at times). Both the soundtrack and photographer are well-balanced and subtle enough as to not take away from the real centerpiece--Day-Lewis--but they are never lost completely, which is quite impressive, considering the performance in question. Who knows, five years and a few more viewings from now this may become one of my all-time favorites, but for now you'll have to take solace in its place at number 11 on the list.

16-14.

16. Gladiator (2000)- Not to be misogynistic or anything, but this is the "man's movie" of the decade. Some of the baddest characters, coolest fight scenes, and...fuck, it's about the Roman gladiators and takes place in fucking Rome. Of course, none of this would have made "Gladiator" a great movie unless it had been done very well, and this is certainly the case. While the Colosseum fight scenes are very awesome, the movie is so much more than just those three or four action sequences. The story and stakes are epic in themselves, and the fight scenes really act as lubricant for the rest of the movie more than carrying the movie in themselves. And for a film set in the time of Caesar, the characters and situations are amazingly believable. A big part of that is the acting. As I thought about my top 25 films of the decade, I came to realize that Russell Crowe is probably the greatest actor of the decade (Viggo Mortenson is probably second); in "Gladiator" he plays to his strengths as the ultimate badass, but the more I watch Crowe in these roles, the more I realize he transcends the image of the stereotypical man's man, which is the case in some of his other films as well, like "LA Confidential". He brings more to these roles than just brawn, and I think it's really quite a subtle and underappreciated art. As Maximus, he plays one of most memorable heros of the decade. In addition to Crowe, Joaquin Phoenix plays perhaps one of the most hateable villains of the decade as the despicable Commodus. Of course, a movie of this magnitude isn't without its faults; all too often the film seems to drag and develop very slowly. While these minor quabbles might keep "Gladiator" from cracking my top 10, it still stands undeniably as one of the best films of the decade and one of the finest pieces of high-budget filmmaking.

15. I'm Not There (2007)- This is what a biopic should be. When I watched "I'm Not There" for the first time, I was becoming more and more tired of the agonizingly boring and unoriginal biopic formula that seems to have infested Hollywood over the past 20-30 years. Critically acclaimed films like "Ray" and "Walk the Line" just slid right by, uninteresting and typical. Thank god for Bob Dylan and Todd Haynes. The story behind the making of "I'm Not There" is in and of itself a great story and a testament to a filmmaker's passion. Just getting permission from the big D to make a movie about him and have free access to his entire library is a once-in-a-lifetime achievement. And filmmaker Todd Haynes did not waste his opportunity. What followed was perhaps the freshest take on a biopic in a very long time, and the execution of such a risky undertaking was nearly flawless. And this was a VERY risky film, especially from a Hollywood/investment standpoint. But he pulled it off, and not just barely getting by--this movie pulled it off with flying colors and then some. Between the unbelievable performances (namely the shockingly brilliant performance of Cate Blanchett and the wonderful portrayal of "Woody" Dylan by newcomer Marcus Carl Franklin), the impeccably written script and precisely balanced story, and original soundtrack, "I'm Not There" blew me away. For someone expecting a standard formula (or at least some variation of it), it might take a while to adjust to the style of the film, as it did for me. I won't get into everything I loved about this film (you can check out this blog post for more), some of my favorite parts were the way Dylan's songs were integrated into the film and made new, Richard Gere's Dylan segments, and just the incredible knowledge of the time period and subject matter that exuded from every aspect of the film. Todd Haynes should stand as an example for all aspiring filmmakers; the passion, determination, originality and creativity he displayed in making this film stands out, and the result is one of the greatest films of the decade and one of the best biopics ever made.

14. Oldboy (2003)- When I first started making the top 25 list, I grouped all of the films into the genre that best fit them, to make things a little easier and more organized. "Oldboy" was one of the toughest films for me to categorize, and that really is a sign of a great film. Part thriller, part Hong Kong-action move, part drama, part mystery and even part horror, "Oldboy" is as mercurial as it sounds. But it juggles all of these genre-labels perfectly, balancing each aspect to the right degree. What results is simply one of the finest pieces of filmmaking of the 00's. The second in a "trilogy" of vengence-themed movies by Korean filmmaker Chan-wook Park, "Oldboy" is not for the faint of heart. The subject matter is quite intense, the action sequences bloody and brutal, and there are plenty of scenes that will make those with the strongest of constitutions squirm in their seats. But at the core of the film is a brilliantly smart and well-told story that excutes the theme of vengence perfectly. The film has so many more layers though, adding to a complex tapestry of incredible artistry. Quite simply, "Oldboy" is an example of great filmmaking and one of most complete films of the decade in every aspect.

19-17.

19. Spirited Away (2001)- While not quite the epic masterpiece that "Princess Mononoke" is, Hayao Miyazaki's "Spirited Away" is nonetheless a great work of fantasy and animation. The world he creates in the film is incredibly rich and beautifully animated, complete with fantastic creatures, wonderful environments and terrifying creatures--No-Face particulary is very memorable. Miyazaki's world in "Spirited Away" sucks you in with the lush visuals and well constructed characters, but it is the situations that Chihiro, the female child protagonist, gets into that complete the film--from washing a giant spirit covered in trash to taking a ghost-train to find a cure for her friend, Haku. Miyazaki's strength as a story-teller and artist is evidenced by the domestic success of films such as a "Spirited Away" and "Princess Mononoke", drawing big-name voice talent for the impecably dubbed English version. While Disney was failing to repeat the success of their 90's animated films, Miyazaki continued making amazing animated features, and "Spirited Away" is no exception.

18. The Royal Tenenbaums (2001)- If I had made this list three or four years ago, "The Royal Tenenbaums" would undoubtedly be in the top 5. However, its placement at this spot is more of a testiment to the work that followed in the next 8 years than my diminishing infatuation with the film. After 8 years, this film still stands as the finest example of Wes Anderson's unique artistry. Perhaps I've grown tired of his unflinching style over the last couple films ("Darjeeling Limited" and "Fantastic Mr. Fox" namely), but regardless, this film deserves to be mentioned among the best of the decade. Anderson's masterpiece reads more like a book than a movie, but that compliments his style of filmmaking more than anything else. His characters in the film are some of the richest of any movie this decade, and this allows his ideas to come across all the more strongly. While I find his earlier films "Rushmore" and "Bottle Rocket" to be meandering and unfocused, "The Royal Tenenbaums" sees Wes Anderson finally creating a balance between the characters, the story and the world they inhabit. Though still anything but linear and straight-forward, the story in presented in such a way that the emotions and themes of the film really resonate. "Rushmore" is a little too uncoordinated and "The Life Aquatic" has perhaps too much of a standard story arc, but "The Royal Tenenbaums" seems to successfully walk the thin line between those films. The result is Wes Anderson's crowning achievement and most complete film. Pretentious? Sure. But a great film, regardless.

17. Children of Men (2006)- I've considered putting this film both higher and lower in the list, so this spot is more of a compromise than anything else. I love this film. This is the kind of movie you can watch over and over again. I remember seeing this is theaters and expecting a high-budget blockbuster, which the marketing campaign for the film hinted at. Instead, what I got was a beautiful and gritty piece of storytelling and cinema. The first things film buffs will tell you about is the camera-work, which--don't get me wrong--is some of the best of the decade, utilizing new technology and amazing feats of tripod-free shooting. However, "Children of Men" is so much more than just a showcase of cinematography and editing. It's easy to get lost in the technical aspects of the film, but when you do look past them, you'll notice an enthralling story and an incredibly constructed future-world. This is the future, but this is a dark, realistic future. The film avoids the romanticization of other sci-fi films set in near-future Earths and bombards the viewer with a chillingly believable world. We realize that this "future" may not be so far-fetched, and worse, may not be so far in the future. While the central idea of women losing the ability to birth children is very much science fiction, it is presented in a way that makes it seem very possible. The realism and grittiness of the film is what makes it stand out among other science fiction films of the decade, and this is only enhanced by the story and action of the film, as well as the strong performances by Clive Owen, Julianne Moore (who I don't normally like), the realitively unknown Clare-Hope Ashitey as Kee, and of course the always great Michael Caine. Oh yeah, and then there's that sick camera-work...

22-20.

22. Brick (2005)- Initially, the idea of a "high school film noir" sounds a bit cheesy, but "Brick" is anything but. Well written, well acted and well shot, "Brick" is--in complete truthfulness--the best true noir since "Chinatown"...which was made more than 30 years previous. I say true noir, but really "Brick" is a fresh take on the genre. The film is set in the culture of a California high school; the characters are all students (with the main exception being the school's principal), and the world is focused as if the high school was its own little society. However, this film is far from high-school corny--the characters and situations are ripped straight from the darkest and grittiest of 40's/50's noir, and the plot itself is quite bleak and very intricate. Each character steps into the shoes of a classic noir role: there's the loner detective with the dark past (portrayed by the excellent Joseph Gordon Levitt), the femme fatale, the crime lord and many others. But the thing that makes "Brick" so great is how it takes the classic noir and twists it, making it modern and casting it in a fresh light. Every so often, little comical moments pop up that remind the audience that this is all taking place in a high school society (which is surprisingly easy to forget). Rian Johnson even creates a unique set of lingo that gives the film a wit and makes the diaglog really snap (and even hard to follow sometimes). This is a noir set in a high school society, not a high school noir. And that's why this one makes the list.

21. High Fidelity (2000)- I'm not sure most people would qualify this as such, but this is probably my favorite "chick flick" ever. It's smart, witty, well-acted and not completely pretentious. I've never read the book and I have heard Nick Hornsby exudes pretention, but in my opinion High Fidelity avoids this distinction wonderfully. This is John Cusack in a role he was probably born to play, Jack Black adds great personality without completely overtaking the film or making it ridiculous. Really, though, it's the little bit roles and situations that make the film. Lisa Bonet as the super sexy Marie De Salle, Catherine Zeta Jones as the equally sexual wanna-be intellectual Charlie Nicholson, and Tim Robbins in one of the more hilarious comic cameos of the decade. Iben Hjejle provides the finishing punch, bringing the film back to earth with her portrayal of Laura, Cusack's ex/girlfriend in the film. All in all, a brilliantly executed, smart and consistant film.

20. 28 Days Later (2002)- I don't care what fans of the genre say: this is a fucking zombie movie. And easily the best of the decade (although this year's Zombieland and Shaun of the Dead are very close). Cillian Murphy is one of my favorite actors of the decade, and "28 Days Later" is a showcase of his talent (and super crazy eyes). The film is equally gritty and stylish, creating a tension throughout the film that a lot of recent horror/zombie films have failed to do. "28 Days Later" successfully creates a sense of dread, isolation and fear with a minimum of over-top-top special effects or intense action sequences. And the zombies themselves are made much the more horrifying by having the ability to run (why can't they do in other zombie movies again?). The ending(s) will certainly not satifsy everyone, but it is the film's next-to-last sequence that really cements the movie's placement here. By successfully integrating film into a digitally shot movie, this 15-20 minute sequence is heightened to levels I don't think would be otherwise attainable. Cillian Murphy morphs into a persona as creepy as any zombie in the film, and the soundtrack only adds to this brilliant 20 minutes of filmmaking. A digital zombie movie has never looked so good.

***P.S. In writing about "28 Days Later" I realized I forgot to consider "Sunshine" (another Danny Boyle film starring Cillian Murphy) for the top 25 films. "Sunshine" is easily one of my fav sci-fi/thriller films of the decade and could quite possibly have made the list. Just another little asterisk for the final list.

25-23.

Without further ado, the first installment of my top 25 films of the decade...

25. Up (2009)- I'll be honest, I came into this film with somewhat low expectations (for Pixar standards at least). The trailer didn't really draw me at all, but the promise of a new Pixar movie along with their track record for not producing crap drew me back to the theater. What once looked like a post-WALL-E "breather" quickly became one of my favorite Pixar films. Rich characters, beautifully rendered visuals, fantastic story..."Up" drew me in (or Up, if you will) and never let me go. The 3D was pretty nice too.

24. 21 Grams (2003)- The second in a "trilogy" of sorts by director Alejandro Gonzalez Inarritu and writer Guillermo Arriaga, "21 Grams" drew big name talent and a wide domestic release due to the success of "Amores Perros" (which you will find in my 26-40 list). While the film boasts great performances from Benecio Del Toro and Sean Penn (and arguably Naomi Watts--a fantastic overacter and one of the greatest "movie sobbers" of all time), it is the writing that will blow you away. All three films in the so-called Trilogy--which have no immediate connection except by theme and structure--juggle multiple (usually three) intertwining plot-lines that also jump around in time, but "21 Grams" is the most well-rounded and dynamic of the three. It is also the smallest in scale, which is perhaps not a coincidence. Despite being sometimes slow and maybe a little bit too heavy-handed, "21 Grams" is just one of those movies that makes your mind spin when the closing credits start to roll. Truly one of the most underrated--and one of the best--films of the decade.

23. Kill Bill 1 and 2 (2003/4)- OK, so this is kind of cheating, but since they were originally conceived and shot as a single film and I often view them as so, I can't see any other way to put them on this list (to be honest, separate I don't think either of them make the top 25). Anyway, my qualms with Tarantino aside, he's a fucking good director and--as he's proven time and time again--an even better writer. Kill Bill 1 is certainly the more fun of the two parts, boasting some of the greatest fight sequences of the decade along with a killer soundtrack provided in part by RZA. The second one is slower and more inconsistent but also much more substantial. Really though, what catapulted the two-parter into my top 25 was the last act (30-45 minutes) of each. Taratino knows how to fucking close a film. He works story arcs perhaps better than any director of the last 20 years, always bringing ridiculously satisfying conclusions. As slow as the second part was, this was no exception. From the moment Beatrix Kiddo arrives at Bill's Hacienda begins one of my all time favorite film sequences--not just of the 00's.

***Note: I was too exhausted last night to write/post this, so I will still be posting the next three films on the list later today.

The Best of the Rest

Before I jump into my top 25 movies of the decade, I want to first go over some of the movies that didn't quite make the cut--keep in mind these are all still very very good films that I like a lot. But there were a lot of very very good films this decade and I could only pick 25.

When I started thinking of my top 25, I just listed all of the movies that I really liked from the 2000's...it ended up being 68 movies long--quite a ways from 25. The "first cut" sliced it to 50. That was hard enough, and that was only 18 films. I still needed to cut 25 more!

After whittling down another ten, some of the notable victims included Lord of the Rings: The Two Towers (in my opinion, the best in the trilogy), Catch Me If You Can, Signs, American Psycho, Training Day and Ratatouille.

Once I got to 40 though, I decided to go ahead and start ranking from 1. When I reached 25, there were still some great films leftover that just missed the cut, so I just went and ranked to 40. I won't go into detail about the 26-40 films, but I thought it would be fun to show what just missed the cut...including a few films from just this year. Enjoy!

40. Sin City (2005)
39. The Fountain (2006)
38. Star Trek (2009)
37. Casino Royale (2006)
36. Volver (2006)
35. Let The Right One In (2008)
34. Snatch (2000)
33. WALL-E (2008)
32. The Bourne Ultimatum (2007)
31. The Road (2009)
30. Amores Perros (2000)
29. Shaun Of The Dead (2004)
28. Inglourious Basterds (2009)
27. Requiem For A Dream (2000)
26. The Life Aquatic With Steve Zissou (2004)

Well, there you have it. Check back later today for the start of the top 25 countdown! Numbers 25 through 23 are up first.

Top 25 Films of...the Decade!!

Peter Travers, a writer for Rolling Stone, recently released a list of his top 10 "best films of the decade". This was his list:

10. Lord of the Rings Trilogy
9. Mystic River
8. The Departed
7. Brokeback Mountain
6. The Incredibles
5. No Country for Old Men
4. A History of Violence
3. Mulholland Drive
2. Children of Men
1. There Will Be Blood

While a list like this is very much a subjective thing, this kind of strikes me as more of a potpourri than a list of the very best films: the best of each in a variety of categories organized into a top 10. You've got a Scorsese flick, an Eastwood joint, a Kronenberg and Lynch film to satisfy the arty types, his favorite Pixar movie (I mean, what's a decade list without at least ONE animated movie??), the "controversial" film of the decade, and the big budget blockbuster(s) that defined the early part of the 00's. Maybe these really are his top 10 best films, but I have a hard time believing he really puts the Incredibles on the same level as No Country for Old Men or There Will Be Blood. Good? Yeah. Entertaining? Sure. Great film? Ehhh...

But again, subjective, so it's hard for me to talk too much shit about this list. However, it got me thinking about MY favorite films of the decade. I started drafting a rough list of my top 10, but then I realized I can't contain all of the great films of this decade in a list that small...

Soooo..I made a list of 25!! With 15 days until the New Year, I will count down from 25, posting new films everyday until, on December 31st, I have reached my single favorite film of the decade. But first, a few distinctions:

-This list is comprised of my 25 FAVORITE films of the decade, not the 25 BEST films. It will always be a completely subjective list, and the word "best" just creates too many arguments. In theory though, these are in fact the movies I think comprise the "best" 25 films.
-Don't get too caught up in the rankings--it was VERY tough for me to come up with just 25 films and much tougher to give any kind of exact order to them. Let's call it a rough estimate.
-I won't list any specific criteria, but for the sake of universality, I will try to consider things like a movie's success, how groundbreaking a film is, and anything else not directly associated with a film's artistic scope but nonetheless relevant in some form.

That last distinction is the toughest for me and creates the biggest "blur". Should a movie's success be considered alongside artistic achievement even though a large part of that success is a film's marketing and general appeal? Well, after some deliberation, I decided to include that in my own internal criteria due to the fact that box-office return is a very important aspect of the film industry as a whole. While it may not have anything to do with any artistic aspect, it is still an integral cog in the machine that moves the industry forward and upward.

Check back tomorrow for my number 25 through 23 of...NATE'S TOP 25 FILMS OF THE DECADE!

*Note: Also please keep in mind I haven't seen EVERY film this decade, so there will probably be some notable absences. To name a few: Gosford Park, Gangs of New York, 2046, Million Dollar Baby, The Aviator, Match Point, A History of Violence, The Lives of Others, Into the Wild, Gone Baby Gone, Eastern Promises, Michael Clayton, Rachel Getting Married, The Reader, Antichrist. These films will not be in my top 25. Sorry, fans of any of these movies!

I Am Flawed

We are all flawed.
But we are strong through our weakness
Because it is our weakness which unites us.
We gain strength through weakness.
It is our flaws-not our strengths-which shape us.

We easily recognize weakness in others
But we are afraid to recognize weakness within ourselves.
Until we realize we are all flawed
And we are all fucked up
We will never be equal.

And if we are not equal
We will fall.

Time is NOT on my side

Ugh...busy busy busy lately.

I've kind of backed myself into a wall this week--job searching+newly established contract work that I barely have time for already is devouring all of my free time (soon to include weekends).

Of course this means I can't dedicate any time to research, which SUCKS. But I really did this to myself. Oh well, the extra bucks will help I guess.

Anyway, just means I (probably) won't be updating again until I journey home for the holidays (18th-28th). Pretty awesome how right when I decide to dedicate most of my free time to my film pursuits, it turns out I actually don't have any free time. Woo.

Thanks god I go home in a week and a half.

Terry Gilliam's Imaginarium

! Two blog posts...AT ONCE! I've really outdone myself, now.

So Christmas blockbusters are coming down the pipe like crazy, including The Road, Avatar, and Sherlock Holmes, among others. But the one I'm excited the most about is probably the one that will get the least pub/do worst in theaters: The Imaginarium of Dr. Parnassus.

Anyone who knows my taste in movies knows I fucking love Terry Gilliam. 'Brazil' is a near masterpiece and 'The Fisher King' is one of the most underrated films of the last 20 years. Unfortunately, though, Mr. Gilliam hasn't done anything that's mattered since 1998, when he directed 'Fear and Loathing'. As many great movies as Gilliam has directed over his career, he's never been the most popular director with studios. 2005's 'The Brother's Grimm' was his self-admitted attempt to get some clout/money back to make movies he wanted to make (ironically enough, it tanked in theaters), and 'Tideland', while a step back towards the weird, quirky, fantastical Gilliam of old, was flawed (and strange...even for him) in many ways.

You can imagine, then, how 'The Imaginarium of Dr. Parnassus' is a long time coming. Check out the trailer:



This looks a lot more like the Terry Gilliam who wrote and directed 'Time Bandits' and 'Brazil'--crazy characters, fantastic worlds, epic story-lines. Even if you're not a fan of his strange fantasies, the trailer promises a gorgeous film and an amazing cast. If you need convincing, here are five reasons to see this movie when it comes out on Christmas day:

1. Heath Ledger's last role: he died during the filming, and the movie almost went with him until others convinced Gilliam to finish it.

Which leads me to...

2. Colin Ferrel, Jude Law...AND Johnny Depp, filling in for Heath Ledger's role. As sketchy as this sounds, it also seems so perfectly Gilliam. And hey, they're all good actors!


3. Did I mention how beautiful it looks...

4. Pay your respects: Gilliam worked his ass off for this movie. Need evidence? Ever heard of a movie called the "The Man Who Killed Don Quixote"? Yeah, didn't happen. There's a famous documentary about the epic collapse of the making of that film. This time around, his lead actor died, the producer died, and Gilliam was nearly killed when he was hit by a car and broke his back during post-production. But THIS time around, Gilliam prevailed..."[I] didn't make this film. Forces from above and below made it. It made itself. I don't worry anymore. It's got its own relentless momentum. It just needed some human sacrifice."

And finally...

5. Tom Waits plays the Devil:

Need I say more?

2010: Year of the Documentary

OK, I suck at blogging, I know. Saturday would have marked a month without a single post. Well...at least I didn't get that far.

Annnnyway, so the end of 2009 has had me thinking a lot about all that progressed this year and what 2010 will bring. I'm pretty sure I made a bunch of New Years' resolutions at the beginning of 2009, and I'm pretty sure I failed miserably to uphold a majority of them. Thankfully, I can't remember what many of them were.

But hey! A new year is coming and that means a chance to start fresh--or, well...it provides a nice rounded point on the calendar where you can say, "Man, I fucked up a lot these last 365 days, but let me put all that shit behind me and plan for the next 365 days!" It's kind of like your elementary school days (or at least mine) when you would get super excited about the new school year because you get new awesome school supplies like 64-count boxes of Crayola crayons (WITH A PENCIL SHARPENER BUILT IN!)--only to realize school still sucks and even a sweet box of crayons doesn't make it fun...or something.

Either way, it's a pretty silly concept on the surface, but there's still something therapeutic about having a kind of hypothetical "reset" button.

So, I've put a lot of thought into what I want to accomplish and focus on in 2010, and I've decided to deem 2010 "The Year of the Documentary". I will thus dedicate 2010 to making the feature documentary I've been developing over the latter part of this year. This means sacrificing a lot of my pride and standards (such as my hatred for office life and the words "paying my dues"). Not easy for me by any stretch. But I'm very passionate about this project, and I need to make some hard changes to my current habits to facilitate the creation of the documentary and my production company. No more sitting on my ass steaming about the state of my student loans and complaining about finances, women or work.

2009 was a transition year. 2010 will be the most productive year of my life. How's that for a New Years' resolution?