Top Twenty Films of the 2000s

25 March 2010

Eternal Sunshine of the Spotless Mind

I’ve been wanting to put together a best films of the 2000s list for a while now but felt it was appropriate to allow some distance before doing so (plus I’ve been a bit slack). I also wanted to catch up on many of the important films that I had missed over the past decade but I quickly came to my senses and realised that was an almost impossible task as the list of films that I must see is forever getting longer rather than shorter. After creating a short list of 100 possible films I was able to get down to a list of my personal favourite twenty films from the past decade.

My methodology was to simply list all the films that I’d given 5 or 4½ stars to and go from there. I tried not to pay too much attention to how I preferentially ordered films in my yearly best-of lists as my feelings about films do change upon reflection and repeat viewings. In the end the films that I included are the films that have long continued to linger in my mind, compelled me to watch them again or simply get me excited just by thinking about them.

Mulholland Dr.

Apart from one or two left-field selections I am aware that my list is hardly revolutionary but in the end I went with personal choices rather than attempt to make an all encompassing list of the most significant, important or influential films, which has been done very impressively elsewhere. So here are my top twenty films from the 2000s:

1. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
2. Mulholland Dr. (David Lynch, 2001)
3. Kill Bill: Vol. 1 (Quentin Tarantino, 2003)
4. Irréversible (Gaspar Noé, 2002)
5. The Proposition (John Hillcoat, 2005)
6. Dancer in the Dark (Lars von Trier, 2000)
7. Balibo (Robert Connolly, 2009)
8. Hero (Ying xiong, Zhang Yimou 2002)
9. Lost In Translation (Sophia Coppola, 2003)
10. There Will Be Blood (Paul Thomas Anderson, 2007)
11. No Country for Old Men (Ethan Coen and Joel Coen, 2007)

12. Russian Ark (Russkiy kovcheg, Aleksandr Sokurov, 2002)
13. Punch-Drunk Love (Paul Thomas Anderson, 2002)
14. Donnie Darko (Richard Kelly, 2001)
15. Eastern Promises (David Cronenberg, 2007)
16, Control (Anton Corbijn, 2007)
17. Conversations with Other Women (Hans Canosa, 2005)
18. Mysterious Skin (Gregg Araki, 2004)
19. Hunger (Steve McQueen, 2008)
20. Waltz with Bashir (Vals Im Bashir, Ari Folman, 2008)


Kill Bill: Vol. 1

Even though in 2004 I originally listed Irréversible above Eternal Sunshine of the Spotless Mind (Irréversible was released late in Australia) subsequent repeat viewings of Eternal Sunshine of the Spotless Mind established it for me as a masterpiece of modern cinema. It’s a film that I can engage with on a deeply emotional and critical level as well as being able to appreciate just how well crafted a film it is.  To an extent the same can be said of all films on this list.

Mulholland Dr, Kill Bill: Vol.1, No Country for Old Men and Eastern Promises aren’t the best films by their respective directors but nevertheless reflect the incredible ongoing contribution that those directors have made to modern cinema. Unexpectedly Paul Thomas Anderson is the only director to appear twice with Punch-Drunk Love that, along with Lost in Translation, Donnie Darko and Mysterious Skin, represents the remnants of the 1990s American indi at its best while There Will Be Blood reflects a bold throw back to the grand narratives of classical Hollywood cinema.

Irréversible

Australian cinema peaked twice in the 2000s with The Proposition representing the middle spike and Balibo representing the incredible spike right at the end of the decade. Dancer in the Dark is von Trier’s masterpiece, Hero was the pinnacle of the ‘art house martial arts’ films and Control is the best musical biopic ever made (although I will admit to my heavy bias due to my love of Joy Division). Finally, some of the most distinctive cinema from the 2000s are the films that successfully did something original and daring with film form and style and they are represented on this list with Irréversible, Russian Ark, Conversations with Other Women, Hunger and Waltz with Bashir.

Here are the remaining 80 films from my shortlist, ordered alphabetically:

4 Months, 3 Weeks & 2 Days (4 luni, 3 saptamâni si 2 zile, Cristian Mungiu, 2007)

24 Hour Party People (Michael Winterbottom, 2002)
28 Days Later… (Danny Boyle, 2002)
Amelie (Le fabuleux destin d’Amélie Poulain, Jean-Pierre Jeunet, 2001)
American Splendor (Shari Springer Berman and Robert Pulcini, 2003)
Antichrist (Lars von Trier, 2009)
Artificial Intelligence: AI (Steven Spielberg, 2001)
Atonement (Joe Wright, 2007)
Avatar (James Cameron, 2009)
Birth (Jonathan Glazer, 2004)
The Bourne Ultimatum (Paul Greengrass, 2007)
Bowling for Columbine (Michael Moore, 2002)
Bridge to Terabithia (Gabor Csupo, 2007)
Brokeback Mountain (Ang Lee, 2005)
Broken Flowers (Jim Jarmusch, 2005)
Café Lumière (Kôhî jikô, Hou Hsiao-hsien, 2003)
Capote (Bennett Miller, 2005)

Capturing The Friedmans (Andrew Jarecki 2003)
Children of Men (Alfonso Cuarón, 2006)
Closer (Mike Nichols, 2004)
Cloverfield (Matt Reeves, 2008)
Code Unknown (Code inconnu, Michael Haneke, 2000)
The Counterfeiters (Die Fälscher, Stefan Ruzowitzky, 2007)
The Cremaster Cycle (Matthew Barney 1995-2002)
Crouching Tiger, Hidden Dragon, (Wo hu cang long, Ang Lee, 2000)
Death Proof (Quentin Tarantino, 2007)
The Departed (Martin Scorsese, 2006)
Downfall (Der Untergang, Oliver Hirschbiegel, 2004)
Elephant (Gus Van Sant 2003)
Every Little Step (Adam Del Deo and James D. Stern, 2008)
Far From Heaven (Todd Haynes, 2002)
Flags of our Fathers (Clint Eastwood, 2006)
Forgiveness (Ian Gabriel, 2004)
Genova (Michael Winterbottom, 2008)
Glass: A Portrait of Philip in Twelve Parts (Scott Hicks, 2007)
Gonzo: The Life and Work of Dr. Hunter S. Thompson (Alex Gibney, 2008)
High Fidelity (Stephen Frears, 2000)
The Hours (Stephen Daldry, 2002)
I’m Not There (Todd Haynes, 2007)
The Imaginarium of Doctor Parnassus (Terry Gilliam, 2009)
In My Father’s Den (Brad McGann 2004)
INLAND EMPIRE (David Lynch, 2006)
Inside Man (Spike Lee, 2006)
The Jammed (Dee McLachlan, 2007)
Japanese Story (Sue Brooks, 2003)
Jindabyne (Ray Lawrence, 2006)
The Last King of Scotland (Kevin Macdonald, 2006)
Last Life in the Universe (Ruang rak noi nid mahasan, Pen-Ek Ratanaruang 2003)
Little Miss Sunshine (Jonathan Dayton and Valerie Faris, 2006)
The Lives of Others (Das Leben der Anderen, Florian Henckel von Donnersmarck, 2006)
The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001)
Love Exposure (Ai no mukidashi, Shion Sono, 2008)
Lust, Caution (Se, jie, Ang Lee, 2007)

Match Point (Woody Allen, 2005)
Memento (Christopher Nolan, 2000)
Men’s Group (Michael Joy, 2008)

Monster (Patty Jenkins 2003)
Mystic River (Clint Eastwood, 2003)
Nightwatching (Peter Greenaway, 2007)
Not Quite Hollywood (Mark Hartley, 2008)

OldBoy (Park Chan-wook, 2003)
Once (John Carney, 2006)
Ong-bak (Prachya Pinkaew, 2003)
Pan’s Labyrinth (El laberinto del fauno, Guillermo del Toro, 2006)
The Piano Teacher (La pianiste, Michael Haneke, 2001)
Rachel Getting Married (Jonathan Demme, 2008)
The Rules of Attraction (Roger Avary, 2002)
Samson and Delilah (Warwick Thornton, 2009)
Sideways (Alexander Payne, 2004)
Silmido (Kang Woo-suk 2003)
The Spanish Apartment (L’auberge espagnole, Cédric Klapisch, 2002)
Spider (David Cronenberg, 2002)
Spring, Summer, Autumn, Winter… and Spring (Bom yeoreum gaeul gyeoul geurigo bom, Kim Ki-duk 2003)
Sweeney Todd: The Demon Barber of Fleet Street (Tim Burton, 2007)
Sympathy For Mr. Vengeance (Boksuneun naui geot, Park Chan-wook, 2002)
The Tracker (Rolf de Heer, 2002)
Traffic (Steven Soderbergh, 2000)
Two Lovers (James Gray, 2008)
Up (Pete Docter, 2009)
WALL·E (Andrew Stanton, 2008)

[EDIT 8/1/11 and 2/10/11: Since creating this top twenty and shortlist I have seen several films that in retrospect I would have included. Rather than re-editing the lists and running the risk of endless tweaking, I’ll simply list those new films here:

Enter The Void (Gaspar Noé, 2009)
I Love You Phillip Morris (Glenn Ficarra and John Reque, 2009)
The Secret in Their Eyes (El secreto de sus ojos, Juan José Campanella, 2009)
Son of Babylon (Mohamed Al Daradji, 2009)
Still Walking (Aruitemo aruitemo, Hirokazu Koreeda, 2008)

Enter the Void would have probably made the top twenty.]

© Thomas Caldwell, 2010

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Film review – The Road (2009)

27 January 2010

The Man (Viggo Mortensen) and The Boy (Kodi Smit-McPhee)

After the success of Joel and Ethan Coen’s adaptation of Cormac McCarthy’s No Country For Old Men, the next novel by McCarthy that was the obvious one to adapt for the screen was his Pulitzer Price-winning novel The Road. When it was announced that Australian director John Hillcoat was going to direct there was a sense of relief. Hillcoat’s previous film, his 2005 Australian Western masterpiece The Proposition, articulated the sort of violent existentialism and bleak landscapes that are to be found in McCarthy’s story about an unnamed man and his son trying to survive in a post-apocalyptic world. Also, Hillcoat’s début feature film, the 1988 futuristic prison drama Ghosts… of the Civil Dead, contains a similar fragmented narrative to The Road where a sense of relentless monotony is punctuated with extreme, but fleeting, incidents.

The trust placed in Hillcoat to adapt The Road has paid off and the result is one of cinema’s most faithful adaptations. Hillcoat has embellished some aspects of the novel and condensed others for the purpose of making the text more cinematic but it would be very difficult to question any of his decisions as by doing so he has successfully ensured that The Road functions as a film in its own right.

As the unnamed father in the film, Viggo Mortensen delivers an astonishing performance as a man who is essentially trying to survive while still doing the right thing. The parental bond that Mortensen establishes on screen with the 13-year-old actor Kodi Smit-McPhee playing his son is extremely powerful and this bond gives the film the small bursts of humanity that radiate out through the bleakness. Smit-McPhee is astonishing and demonstrates a disciplined approach to portraying complex emotions on-screen that is far beyond his years. Together the pair ‘carry the fire’ through a wilderness populated by murderers, rapists and cannibals.

Visually The Road is a relentless palate of greys and browns making the eye initially struggle to adjust to its lack of colour and light. This of course is part of what makes the film such a beautiful expression of McCarthy’s prose and Hillcoat wisely uses a low-key combination of location footage and CGIs to create a sad industrial wasteland that is more reminiscent of Tarkovsky’s Stalker than Mad Max.

The one main sticking point many may have with Hillcoat’s The Road is the ending, which, although it stays faithful to the novel, on the surface may appear compromised. It is nevertheless a fitting conclusion that actually remains completely true to the core ideas expressed throughout the rest of the film and upon extended reflection it becomes clear that it is the only ending that is possible. Anything else would have upset the delicate balance of ideas and meaning that make The Road resonate so profoundly.

© Thomas Caldwell, 2010

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Top Ten Films of 2005

1 January 2006

Contribution to the 2005 World Poll

Although I confess that for a part of 2005 I gave up on going to the cinema and shut myself in with Alfred Hitchcock DVDs, this year did see the release of some great films and was probably the best year for Australian cinema since 1994.

My top ten films that received a first-run theatrical release in Melbourne, Australia, in 2005 (in preferred order) are:

1. The Proposition (John Hillcoat, 2005)
2. Mysterious Skin (Gregg Araki, 2004)
3. Birth (Jonathan Glazer, 2004)
4. Broken Flowers (Jim Jarmusch, 2005)
5. OldBoy (Park Chan-wook, 2003)
6. Downfall (Oliver Hirschbiegel, 2004)
7. Ong-bak (Prachya Pinkaew, 2003)
8. Sideways (Alexander Payne, 2004)
9. Closer (Mike Nichols, 2004)
10. Look Both Ways (Sarah Watt, 2005)

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