The Best Films of the Decade

‘City of God.’ Photo credit: Miramax/Buena Vista International

Guest Contributions by Brian Robinson

Brian: Anyone who knows me well knows that I am really not a nostalgic person. Every year, I abhor the lazy (we-are-really-on-vacation) magazine editions that recount the year. “Remember back in March with this happened?! Wasn’t that something!?” Um, no, and I don’t need you to remind me of it by printing a picture that you used back in March and calling that an issue. Ugh.

Unless you are talking about movies. Now, THIS is a list worth having! Why? Because with movies, unlike ‘moments’ (“Best Celebrity Meltdown”? Really?) you can always go back to watch movies, get a reputable list of them and make your own subjective decisions about how right or wrong the list may be. I really can’t tell you who is at the top of the decade’s top ten list of ‘Corporate Gaffes’, nor do I want to.

So, what follows is my thoughtful guess as to what the top FIVE best movies are of the decade. I can do ten of them, but really, why invite a fight?

Ian: As I’m sure is the same with Brian, these are not what I think are the most Important or Revolutionary (in terms of groundbreaking) films, but rather my favorites, for whatever reason.  Another decade, another list. Let’s do this.

Brian’s Top 5:

‘City of God‘ (2002)– this was one of those films that as I watched it I was both inside of the experience, wanting to get deeper into the world of it, and at the same time I wanted out. It was brutal, real, exhilarating, ugly and beautiful all at the same time. There is a scene in this movie that was so shocking to me (involving a child and a gun) that I turned to a stranger sitting next to me and actually made a comment as though we knew each other; she in turn said she needed a break and headed to the lobby. I wondered if she would come back, and the power of this movie wouldn’t allow her to leave: she came back almost immediately. (And, yes, she did sit down next to me, so I am sure it wasn’t me…)

Ian’s Response: This was a great movie, but pretty tough to watch. What stands out the most for me was the assured direction. Many compared the director to Scorsese and I don’t think that’s too far off.

‘Eternal Sunshine of the Spotless Mind’ (2004) — There had to be one Charlie Kaufman movie on this list for me, and it was a tight race with ‘Adaptation’ (2002). But I think this movie (directed by Michel Gondry) is just so much more universal while still having a distinctive and unique vision. The idea of being able to erase bad memories from our minds is so seductive but just so wrong. Our worst memories are also our most profound and are just as important as the good memories in making us who we are. Plus, with all the surreality, it maintained a romantic spirit all the way through. The decades best romance. And that’s including ‘The Notebook’!

Ian’s Response: What Brian said. ‘Eternal Sunshine…’ was about an inch away from stealing my fifth “best of” spot but was beat out by the film at the bottom of my list (how’s that for anticipation)? The story is one every screenwriter or aspiring screenwriter wishes he or she thought of (and had the talent to write). But that’s what separates Kaufman from the imitators. An absolutely amazing movie in every way.

‘No Country for Old Men’ (2007) — The Coen brothers movie that combines all of their trademark objective detachment, dark humor and technical brilliance with a meaningful, human story. While the film has all of the drama and plot you can want, the Cormac McCarthy story has such depth about who we are not just as humans, but as Americans and what that might mean. It really says something that the Coens were able to lift entire sections of dialogue from the book and make it sound like a movie and philosophy at the same time.

Ian’s Response: Half of a masterpiece, and that would be the first half. ‘No Country for Old Men’ loses its momentum somewhere in the middle and never recovers. The atmosphere and tension leave in a hurry. Perhaps the Coen Brothers had trouble reconciling the pages in a cinematic way. I really disliked how talky this movie becomes (good dialogue is a treat, and the Coens are masters of it but this felt like they were trying to preserve words that were better left to the book). Overall, ‘No Country for Old Men’ was a big disappointment for me, and one of the exhibits that I point at to show the Coen’s decline in recent years. Let the hate mail begin.

‘The Departed’ (2006) — While this is not the accomplishment of Scorsese’s ‘Raging Bull’, considered by many to be the best film of the 1980s, it’s still a fantastic movie. It clicks in every way: great performances, use of music, sharp editing, engrossing writing and vivid photography. To see Scorsese make his ‘Warners gangster picture’ was such a pleasure for me that I ended up seeing the movie two days in a row when it was released. And the second time was nearly as thrilling as the first for me. That’s rare.

Ian’s Response: One of those movies that you will stay to finish whenever it’s on TV (assuming that’s a pay channel, because I’d hate to see what the network censors do to the wonderful dialogue here). Endlessly watchable and an example of the finest directing, acting and especially editing. Initially, I disliked the way things ended up in the story but after watching it again and talking to Brian (who is far more knowledgeable about Scorsese than I am) I’ve grown to appreciate it. I loved DiCaprio, Damon, Baldwin, and hey Mark Wahlberg was even great in it. Nicholson shouldn’t have hammed it up, but the movie is too good to be really hurt by him.

‘The Dark Knight’ (2008) — When a buddy’s girlfriend commented that this movie was ‘about nothing’, I almost fell out of my chair. This movie takes a well-worn, iconic character and creates a story for our times. All great movies comment on the times its made in (even if it’s about another time) and this movie had something to say about where we are as a country in this ‘post 9-11′ world. It comments on who we are as a people when we are really put against the wall by our enemies. Do we stick to our principles or do we abandon them to do what’s ‘necessary’? How do we face an enemy who has no limits and still keep our soul? All this and amazing action scenes. Wow.

Ian’s Response: Those who know me know that I am a huge Batman fan, and Chris Nolan gave fans and filmgoers something massive to marvel at here. This feels like about 2 1/2 movies crammed into one, and it all works somehow. While I love and admire The Dark Knight for what Nolan did for comic books and popcorn entertainment (respected them and their potential), I have issues with the last 40 or so minutes of this movie. Two-face’s jump to a villain feels rushed and the character misses one of his best qualities from the comics which is being a conflicted killer, Joker’s conclusion isn’t very satisfying (clearly because Nolan wanted to bring Ledger back in 3, but still), Batman’s voice becomes a rasp-a-thon, and the Nolan Brothers tend to overwrite their themes in the dialogue instead of showing the audience so the final scene, for me, is clunky and gabby. But still, this is The Dark Knight, and my love for it (and Ledger’s performance) vastly outweighs those few criticisms. Can’t wait for the next one…

(Brian’s honorable mention: ‘The Incredibles’ (2004) — a subversive, smart and entertaining film. That its animated is beside the point, this movie has real, recognizable people in it.)

(article continues below photo with Ian’s Top 5)

‘Reprise.’ Photo Credit: Spelling/Maverick Films

Ian’s Top 5:

‘Reprise’ (2006)–One of those rare movies that you are in awe of as you’re watching it. Also one of those rare movies that you find yourself identifying with at every turn, and in the case of ‘Reprise’ a cast of characters that reminded me of myself and some friends at various points in the last decade. This story about identity, boys becoming men, “friendly competition,” writing, relationships and romance is originally told and completely captivating. It’s also profound. I watched this wondering how anybody could sit down and write it out of thin air. Completely brilliant.

Brian’s Response: Definitely one of the best films of the decade as well as one of the most impressive films you will ever see in any genre or language. Though I enjoyed it, my guess is that it really speaks to Ian given his age and talents as a writer. While I think most men do go through this sort of experience in life, my recollection of that time is a little more distant and probably not as immediately accessible as it is for Ian. But, no argument on including it in this list in the least.

‘Grizzly Man’ (2005)– I have a special and growing interest in documentaries, and this is probably the best one I’ve ever seen. It’s a movie about Timothy Treadwell’s life with the bears in Alaska, and his death from the same source. Werner Herzog’s direction is flawless and his narration essential. What surprises here is that this is no eulogy. Herzog shows Treadwell’s own footage and lets it speak for itself (which it does loudly). About that narration: it is honest and Herzog’s conclusions are often unkind. Unfortunately, they are likely correct. Treadwell was a troubled human being who sought refuge in the wrong things and was eventually undone by them. This is a movie about ego becoming hubris and hubris becoming madness. It plays like a Biblical parable; that it’s true is the most sad and unsettling part.

Brian’s Response: This is one of the best documentaries ever made, and part of that is because Herzog breaks the rule (artifice?) of a documentarian’s objectivity. Its obvious that some of what Treadwell did is offensive to him, and he wants the audience to know it. Its an added element that usually is denied of documentaries but we can’t ignore exists in most of them; the mere act of editing takes it out of the arena of pure objectivity.

‘The Lives of Others’ (2007)– I have seen some great foreign films but I don’t find the time to see as many as I’d like to.  ’The Lives of Others’ has got to be my favorite one.  It tells the story of a few artistic Germans trying to live while under the surveillance of the Stasi in the 1980s.  The themes in ‘Others’ happen to be things I deeply care about. Horrible oppression doesn’t have to appear as brute viciousness, it can also be a process that is polished and polite (as the Stasi were). But the film also serves as a reminder that hardened hearts can find redemption, and that hope persists in bleak and muted times. That a movie is this involving, and true, and unabashedly hopeful- takes guts (and great storytelling).

Brian’s Response: This is one of those movies for me that I agree is a fine movie, but I can’t say its remained in my memory over the years. I did enjoy it when I saw it and found it harrowing in parts, but I think the most haunting part of it that really isn’t part of what is on the screen is that the star, Ulrich Muhe, actually was born into the East German hell we see on screen. He died in 2007 and it seems like the film is the eulogy he would have written for himself.

‘Sideways’ (2004)– It’s a classic in my book. These kinds of buddy road trip movies are about as uncommon as CGI in a summer blockbuster, but ‘Sideways’ is something unique thanks to the amazing writing of director Alexander Payne (Election) and Jim Taylor based on Rex Pickett’s novel. Giamatti and the rest of the cast are all pitch-perfect. Like some of our worst times in life, this adventure is pathetic, and embarrassing, and vivid, and memorable, but also filled with moments of sweetness and genuine connection.  It’s hilarious, as you already know.

Brian’s Response: As well written as this movie is, the thing that I most recall is the brilliant performance of Paul Giamatti. While the ensemble was terrific, Giamatti was the center of it all (he’s in every scene, I think) and solidified how much of a talent he really is. He will be remembered as one of those Spencer Tracey type actors who does it all and does it all WELL.

‘Before the Devil Knows You’re Dead’ (2007)–This spot almost went to ‘Eternal Sunshine’ but I’m giving it to ‘Before the Devil Knows You’re Dead’ instead. This was one that critics loved but few people saw. Please make sure you do. Not only is the filmmaking miraculous (direction, musical score, story, acting (including what I think is Philip Seymour Hoffman’s best performance, and probably Ethan Hawke and Marisa Tomei’s too), you feel the weight of these character’s decisions, and you understand the consequences that are coming while still having no idea where the story is headed.  That really doesn’t happen anymore in cinema. How Sydney Lumet directed this well in his 80s is absolutely beyond me, because ’Devil’ feels both classic and completely fresh. I couldn’t direct like this in my dreams. ‘Devil’ has energy and weight to spare.

Brian’s Response: This is a movie that still doesn’t get the respect or notoriety that deserves to this day. It will be looked back on as a classic in the future, I think. The story, script, acting and directing are all solid, real and immediate and that’s the kind of movie that never dies. I think most moviegoers totally slept on this one, and it will be a great surprise for many who discover it years from now.

(Ian’s honorable mentions:  The King of Kong, Eternal Sunshine, The Incredibles, High Fidelity)

How about you (reading this)? What were the best films you saw in the past decade and why?