Paul's Top 25 Movies of the Decade

 Alright, so just up front, this is a top 25 movies of the decade list from someone who is so completely unqualified to make a top 25 list, it's almost laughable. I haven't seen nearly enough movies from this decade to call this a legitimate list, but in truth, I don't much care because this was thoroughly enjoyable to make. And if I see a movie from this decade that I haven't previously seen, and I feel it deserves to be put on this list, on the list it will go. But until then, this is my definitive top 25. These movies are, plain and simple, movies that I love, and I can only hope these directors, writers, and actors go on to make many more movies that I love. 

In the paragraph that I wrote about each film, which doesn't do any of these much justice, I didn't so much try to persuade anyone into liking the movie, or going to see it if they already haven't, but basically just praised everything that was great about the movie. If you ever wonder why I didn't write so much about one particular film vs. another, it's probably due to the fact that some don't need much explanation as to why I loved it, and I felt it was best to leave it to the movie to explain its own greatness to the viewer. It was tough to cut some movies from this list, and I contemplated making the list longer, but Evan suggested 25, and that seemed like a pretty solid number. 

Anyways, that's pretty much all I have to say about the list. If you don't completely agree with the it, you have a terrible taste in movies and should never have another opinion about a film ever. Seriously though, feel free to bash me all you want about any choices you don't agree with. You probably won't convince me that I'm wrong, but I'll appreciate your feedback and respect your opinion. Also, one last thing, I have included a "Just Missed List" after the top 25. As you might be inclined to think, those movies just missed the top 25. So without further delay, here are my top 25 movies of the decade. Enjoy.

25. TRAFFIC (dir. Steven Soderbergh)

Making a movie regarding a topic that is widely considered controversial in the U.S. can be extremely risky. If you take any sort of side on the argument, you might lose half of the population's interest in seeing the film just because it might not agree with their point of view. Then again, even if you try not to take sides, there's always going to be those people who pick out the smallest of details in the film, and claim you're trying to sway the American people's opinion one way or the other. With Traffic, Steven Soderbergh expertly portrays the controversy over drugs in America, while avoiding taking sides in the argument by unbiasedly depicting the point of view from multiple angles. Although the movie is highly ambitious, with the help of a terrific, and rather large cast, it effectively documents the many problems involved with drugs in our country. Unlike other movies that try to make people think they're thinking deeply, without saying anything at all (cough, Crash, cough) it's obvious that Soderbergh realizes this is a fairly complicated issue that doesn't currently have a definite right or wrong answer. He's simply telling a story.

24. MAN ON WIRE (dir. James Marsh)

All documentaries need someone to interview, someone who was there to witness the documented event, someone to narrate what is going on. Luckily for Man On Wire, and for its audience, its main character, Philippe Petit, is so completely enthralled and excited about telling his story, that even without some of the amazing footage we see, it would be quite the documentary. But fortunately, they remembered to bring the camera when Petit, a Frenchman, decided he was going to walk across a high wire that stretched between the World Trade Center towers. And although the experience of just seeing him do it is truly breathtaking, the story of how they got to the top of the towers is just as captivating. It's difficult to imagine a true story more suspenseful than this (at times I found it hard to believe it was actually happening), and the moment Petit takes his first step onto the wire that suspends 1,365 feet in the air, words cannot describe the awe, admiration, and terror I felt. Any movie that I invest that much emotion into has to be great.

23. ADAPTATION (dir. Spike Jonze)

Alright, let's just get this out of the way right now, because I may or may not mention this again on this list: Charlie Kaufman is the most unique and intelligent screenwriter living today. And no other screenplay of his does a better job of displaying his creativity than Adaptation. Sometimes I wonder how a studio decided to make this movie, because a first glance at the premise of it might give one the impression that either Kaufman is just plain out of ideas, he procrastinated to a ridiculous extent, or he's completely full of himself. Well I'm not sure about the latter two, but it's certainly plausible that he was out of ideas for a while there, seeing as he was trying to adapt a novel to the screen. But I don't think any other writer in the business could have had the audacity to put the story of writing the movie, into the movie that was being written. And not just the writing carries this film, Jonze's own unique directing style is just as apparent as it was in Being John Malkovich, and the cast of this movie is about as talented as you can get, with Nicholas Cage giving one of his very best performances. It's almost like Kaufman is laughing at the audience, as if to say, "even when I have writers' block, I'm still the best writer around," and nobody could possibly deny it, because it couldn't be more true.

22. IN BRUGES (dir. Martin McDonagh)

I think the thing that elevates a lot of good movies to great movies is witty, smart, and most importantly, original dialogue. And In Bruges seems to overflow with it. The banter between the two main characters, perfectly cast as Colin Farrell and Brendan Gleeson, kept me thoroughly interested and delighted throughout their adventures, which range from being yelled at by an obese American family, to snorting cocaine with a midget and a couple prostitutes. But the dialogue isn't the only thing that makes this such an entertaining flick; the cinematography is another marvel. McDonagh, in an interview, stated that Farrell and Gleeson's characters were his two takes on the city of Bruges when he visited there. He found it both extremely boring, yet breathtakingly beautiful at the same time. The latter of his opinion is apparent in this film, and to no surprise, seeing as Bruges, just as it is portrayed in the movie, is packed with beautiful medieval buildings and statues. This was McDonagh's writing and directing debut in film (he wrote and directed for the stage previously), and I can't wait for his next project.

21. MINORITY REPORT (dir. Steven Spielberg)

A truly one-of-a-kind sci-fi thriller, Minority Report both wowed me with its fantastic, futuristic world, and its intelligent script and focus on its characters. Not since I saw Bladerunner have I been this impressed with a sci-fi movie's vision of what the future holds, including the ever-present flaws in government that people still have to deal with. Yeah, Tom Cruise is pretty much crazy now, but that doesn't stop him from being a great actor, and I really enjoyed his performance here. His character's dilemma very much invites the audience to think about free will vs. pre-determination, and it's all too enthralling to watch him figure out the mystery behind his crime. This film also has some great noir aspects to it, and despite the fact that Spielberg wraps it up with his typical make-everyone-happy ending, the world of corrupt technology and politics that we just witnessed is as dark as any great sci-fi noir.

20. THE DEPARTED (dir. Martin Scorsese)

 For two and a half hours, I was fully engaged in what was happening to the characters in this movie. There's not much more you can ask for in a film. This brilliant crime-thriller, (and I mean thriller) from the legendary Martin Scorsese, is up there with the best of his films, providing its audience with energy from start to finish. And yes, there have been a billion mob vs. police movies before this, let alone the number Scorsese has made, but this one stands out from the crowd with a huge help from its cast. There's an unlimited potential of praise for the actors, seeing as there lacks a major performance in this movie that isn't flawless or helmed by a major star, and they play off each other quite nicely. It's the range of emotion from Leonardo DiCaprio's character here that I loved most. Despite having numerous bona fide stars surrounding him, he has the standout performance, leading us to cheer for him throughout the whole story while he does a job that very, very few people would take.

19. THE PIANIST (dir. Roman Polanski)

Nowadays, in my very humble opinion, it is extremely difficult to make a holocaust film that people are genuinely interested in seeing. The holocaust is something that has been ingrained into every single person in our country, no matter where they live, as the perfect example of evil in the world. We all know the horrors and atrocities that came from the holocaust, and how horrible it all was because it's been shoved down our throats through countless mediums throughout our lives, including movies. So when another holocaust movie is made, it seems we should know exactly what to expect. This is not so with The Pianist. Polanski effectively combines elements of the increasing external atrocities of the war with the internal suffering and torture of Wladyslaw Szpilman, portrayed by Adrien Brody. Brody does such a phenomenal performance of a man who slowly loses everything, except for his talent and love for piano. And I love listening to piano music, (I used to play and still do occasionally) so it's easy to see why I could've watched the ending scene/credits of Szpilman playing piano well after it ended.

18. BRICK (dir. Rian Johnson)

It's a true testament to my love of noir films that I enjoyed this movie so much. It has all the essential elements of the noir genre, but unlike any noir film you could think of, it has a high school setting. There are quite a few things that seem over the top here, including the acting, but it's all done purposefully and, in the end, leads us to believe that the school's cliques are just as believable, and sometimes just as dangerous, as a mob in a gangster film. Joseph Gordon-Levitt shows that he is quite a talented young actor here, seemingly channeling the spirits of Jack Nicholson in Chinatown or even Humphrey Bogart in Casablanca, to give us that classic, rugged protagonist that a good noir film necesitates. And of course, there's the vintage twist at the end, expertly wrapping up a very enthralling and carefully crafted mystery. I guess you could call this my guilty pleasure of the list.

17. THE DARK KNIGHT (dir. Christopher Nolan)

Not only did Heath Ledger reinvent one of the greatest comic book villains of all time, Nolan continued, and improved upon, his rejuvenation of one of the greatest comic book sagas of all time with The Dark Knight. Ledger's performance deserved all the hype it got and, let's be honest here, it overpowered any other performance in the movie to such a high degree, that when I saw the midnight showing, I could feel the audience, along with myself, holding our collective breaths for The Joker's next appearance. Regarding the movie as a whole, it's an entirely gripping adventure, and is vastly superior to any other comic book movie ever made. And I say that with some confidence, as I've seen my share of comic book movies, and this one seems so much more sophisticated and smart than any other one-lining, bumbling-villain, superhero story before it. Nolan continues his flawless streak of movies with The Dark Knight, and I wish him the best of luck on the next installment: it's going to be damn hard to top this one.

 16. THE LORD OF THE RINGS (dir. Peter Jackson)

Yes, I bundled the trilogy, which I really think is the right way to do it on any list. It just wouldn't make a whole lot of sense to me to have one of the movies be better than the rest, because none of them are complete without the two others. Moving on, The Lord of the Rings trilogy is nothing short of a fantasy masterpiece. It's difficult for me to even fathom a fantasy story that comes close to the incredible level of depth this tale has; I mean the trilogy does span about nine hours in length. But Jackson expertly handles the vast amount of material from the Tolkien books, filling each moment of the trilogy with something that keeps us thoroughly interested. The battle scenes are some of the most mesmerizing things to look at, with Jackson using a ridiculous amount of special effects that work out perfectly, keeping it hard to remind myself that it is just fantasy. Although a handful of fans have complained about the amount of material that was left out of the movies, I find it hard to believe that after watching even just one of these films, someone could find themselves saying, "I'm just not impressed: this is clearly lacking essential information from the book."

 

15. CACHE (dir. Michael Haneke)

This is one of those movies that wants you to REALLY pay attention, and it does it almost effortlessly. Michael Hanake creates a pure psychological thriller from start to finish with Cache, a film that completely engaged my mind. One of the things that makes this such a unique thriller is how long a lot of the shots in this movie were. When a conversation is going on, Haneke really lets the actors do their job, performing the whole scene with very few cuts, and this highlights the fact that silences in this movie are as important as anything. He doesn't use any flashy camera tricks or editing techniques in order to intrigue the viewer. Instead, he lets the dialogue or action that takes place (which is sometimes without camera movement or a cut for minutes at a time) captivate the audience and draw them in. The first time I watched this, I was both thoroughly engrossed throughout it, but completely confused by the ending. I had a hunch as to what the answer to the mystery of the film was, but nothing quite confirmed it. After my second viewing, I was pretty sure I had it all figured out, but there was still some doubt as to whether I had it right, leaving me craving a third viewing. And I love that about the movie too. Haneke makes his audience, just like his two main characters, feel like they have to be paying close attention at all times to the film. This is definitely a movie I can see moving up the list with more views.

14. CHOP SHOP (dir. Ramin Bahrani)

Including spectacular performances from a cast that does not contain one remotely recognizable name, this movie shows us that there are communities of people in our own country (in this movie, people living just outside of Queens) who live what is essentially the life of someone living in a third world country. The film doesn't try to put the viewer on a guilt trip; it never even comes close, and it doesn't put the blame on anyone or anything for these people's living situation. Instead, it just shows us what it's like to be one of these people, and it is both riveting and sad. Bahrani's movie feels very much like it should've come out of India or Ethiopia, but its set right in the heart of America. It also feels very much like a documentary at times. These characteristics were not a mistake: it creates a hard-hitting, very realistic drama.

13.  CAPTURING THE FRIEDMANS (dir. Andrew Jarecki)

What started out as a documentary about the life of children's birthday party entertainers, including the clown David Friedman, turned into a jarring, schocking, and ultimately sad portrait of a family being torn apart. Using actual home video footage captured by the Friedmans throughout Jesse and Arnold's trial, along with interviews with alleged victims, Jarecki created a documentary that very much stayed with me after my first viewing. The home video footage is what really makes this documentary stand out because the audience is getting the family's true feelings about the father's charges, and we see how it affects them as the trials are happening. At various points in the film, you feel an overwhelming disgust for the crimes that Jesse and Arnold were accused of, coupled with a sense of sorrow at how quickly the Friedman family collapses in on itself. And the movie could not have ended on a more dark and mysterious note: were they guilty?

12. PAN'S LABYRINTH (dir. Guillermo Del Toro)

Combining ultra-graphic violence, fantastic imagery, and a child's imagination, Pan's Labyrinth kept me so fully engulfed in it's tale, I didn't want it to end. Del Toro's vision for this movie is unparalleled, using endless amounts of special effects to create some of the most bizarre, extravagant, and eye-popping creatures ever put on film. Although this movie is about a young girl's imagination, it isn't intended for the younger audiences, not only containing incredibly realistic violence and gore, but some truly frightening creatures as well. Ivana Baquero's performance as Ofelia is simply magnificent, effectively reminding us of both the wonder and fear of childhood. The fantasy in Ofelia's imagination is made just as important to the audience as what is occurring in real life, and when they both intertwine, it makes the story that much more intriguing and delightful. 

 11. MULHOLLAND DR. (dir. David Lynch)

I am very, VERY rarely scared by a film. I may be sickened by a disgusting image or awestruck by a terrible act, but scarcely am I scared by anything in a film. This movie scared the shit out of me.  Every scene seems to have a climax, every character its own unnerving element, and every twist of the plot its own mind-bending madness. I was completely mesmerized by how well this film draws its viewers into its storyline and characters, while still keeping them very much in the dark as to what exactly is happening. The plot is confounding in nearly every way, and almost leaves it entirely up to the viewer to decide what actually occurs. But one thing is certain, David Lynch, without a doubt, shows just how genius he is with this brilliant piece of filmmaking.

10. LET THE RIGHT ONE IN (dir. Tomas Alfredson)

I recently saw this for the first time, and very recently saw it for the second and third, and I enjoyed it so much that this comes in as a very late, but very deserving entry into the list. Many people have said that this is one of, if not the best vampire movie ever made. Now I can't really vouch for that, knowing I've only seen a handful of vampire movies, but I can vouch for the fact that this a superbly chilling and touching tale. Let the Right One In is a highly original take on the vampire movie that doesn't try to completely reinvent the genre (it tackles vampire survival head on) but instead focuses on the characters. In this case, the characters are two twelve year-olds: a boy, Oskar, and a girl, Eli, who is a vampire. And although the story focuses on these two children, this a very much a film for adults, seeing as it contains some fairly graphic scenes, one unforgettable one that includes a head that has just been severed being thrown into a pool. But there was the chance to make this movie a gore-fest, and I really love that Alfredson doesn't try to shower the audience with non-stop brutal vampire killings, leaving some of the more gruesome action up to the audience's imagination. It seemed like this film so effortlessly drew me in, with an intelligent script, breathtaking cinematography, and truly great performances from some very young actors.

 

9. SYNECDOCHE, NEW YORK (dir. Charlie Kaufman)

The first time I saw this film, I thought that Charlie Kaufman, much like the main character in his movie, tried to do too much. Then, immediately after that, I thought, "well, that's the point, isn't it?" In Kaufman's directorial debut (I'm am very much looking forward to his next project)  Philip Seymour Hoffman plays a theater director who is mounting a new play. When he comes down with an illness that can never quite be explained, he decides he's going to make his final play, and he's going to make it his masterpiece. Thus begins a surreal journey that is an incredibly fascinating look into the mind of a visionary writer (referring to both Hoffman's character and Kaufman). There are so many profound ideas, questions, and thoughts about life poured into this movie, that even in my third viewing, it left me reeling. Kaufman's ambitions with this film are truly daunting, (I drew comparisons to Fellini's 8 1/2) but in the end, it pays huge dividends. In time and with more viewings, I can definitely see this movie moving up the list, and I think years from now it will, and should, be considered a masterpiece of sorts.

8. DONNIE DARKO (dir. Richard Kelly)

Right off the bat, it's the director's cut of this movie that I'm putting on this list. The theatrical version is still great, but the director's cut, in my opinion, is much better. It includes excerpts from Grandma Death/Roberta Sparrow's book throughout the movie, which lends much more clarity to the ending, and adds to the overall mysteriousness of the plot. That being said, I love this movie. Surprisingly, one of the great things about this movie is its comedy. The Darko's dinner conversation is fantastic, and Donnie's ultra-christian teacher can be really funny too. This movie also contains some very earnest drama, effectively capturing what it feels like to be in high school and how kids experience it. But mostly, this film is suspenseful. As Donnie's situation grows worse and worse throughout the movie, Kelly draws us more and more into his brilliantly imaginative tale. And if you can figure out what actually happens, the ending is phenomenal.

7. LOST IN TRANSLATION (dir. Sofia Coppola)

Almost nothing happens in this movie. Two people become friends during a short stay in a hotel in Tokyo. And that's pretty much it. But after watching the movie, you feel so strongly connected to these two characters, it feels like a lot more than just that. And this is one of those movies that feels so very real when you're watching it. The two characters don't meet for the first time and immediately hit if off; it's a little awkward the first few instances they see each other, just like in any budding relationship. But then they go out on the town for a night, and it becomes apparent that these two people couldn't have met at a more perfect time. They connect through each others' hardships, and realize that the other is going through all too similar problems with marriage, and life. And let's not forget that Bill Murray show's us he hasn't lost any of his humor.

6. AMELIE (dir. Jean-Pierre Jeunet)

 Amelie is one of those movies that you just can't help but smile at the entire time you're watching. The movie is so visually vibrant, colorful, and exploding with personality, that it's a lot to take in at first. But on the other hand, the story is so delightfully simple, that you immediately become wrapped up in Amelie's world, and truly care for her character. Audrey Tatou is just fantastic in this movie, as she can be fabulously charming at one moment, and terribly sad the next, all the while staying unbearably adorable. I also loved the creativity used in this movie regarding cinematography, specifically lighting and camera work. I found myself thinking, "how the hell did they do this?" or simply "this looks amazing" throughout much of the film. This movie is funny, smart, and wildly charming, which leads it to be one of those movies that, if I were to discover someone who didn't like it (which I still have yet to find), I would be shocked. It's a movie you just can't help but like. And I happen to love it.

5. INGLOURIOUS BASTERDS (dir. Quentin Tarantino)

I'll admit it upfront, I'm a Tarantino fanboy. There's not one major piece of work that's come from him that I haven't really liked, if not loved. But how can you blame me? Tarantino is the film-lover's director; he makes films because he in so in love with films himself. And this incredibly inventive, fun, and fantastical movie constantly displays that love, and marks another notch in Quentin Tarantino's belt of great movies. Tarantino really, truly made a film that does what any great film, first and foremost, is supposed to do: entertain. There was comedy, romance, suspense, intriguing dialogue, quirky characters, beautiful women, and of course, graphic violence. And as with all Tarantino films, we get the sense that he himself had a great deal of fun making this World War II fantasy come to life. Christoph Waltz, a virtual unknown in the United States before this movie, gives a brilliant performance, stealing each of his scenes with his maniacally evil, multilingual character, Col. Hans Landa. Years from now when people look back at Tarantino's career, this film will surely be remembered as one of his best.

4. MEMENTO (dir. Christoper Nolan)

I can't say this enough, so I'll say it again: more than any other genre, I unquestionably love noir movies. And this is right up there with the best of them. Bewildering his audience with a narrative that is about as out of sequence as you can get, Christopher Nolan puts the viewer in the shoes of Leonard Shelby, portrayed by Guy Pearce, a man with a very unique version of short-term memory loss. With this clever narrative technique, Nolan forces the viewer to feel for Shelby's situation and how difficult it is for him to trust anyone. And the beginning sequence of Shelby firing a bullet in a man's head, played in reverse, is such a clever and visually-arresting way to begin the movie, immediately introducing the audience to the movie's jumbled narrative. And you couldn't ask for a better ending, with Leonard accepting the fact that he may never feel that his wife's death has been avenged, but he'll never stop trying. Memento shatters any previous notion we had about how a story is told, and because of this it demands and deserves multiple viewings.

3. ETERNAL SUNSHINE OF THE SPOTLESS MIND (dir. Michel Gondry)

This, simply put, is the most original love story ever told. Once again, Charlie Kaufman is an incredibly gifted and unique writer, and he is at the top of his game here. Combining the elements of science fiction and romance into one mind-boggling story, Kaufman and Gondry steer clear of the typical hollywood romance. And that's a good thing, if you weren't sure. We see Joel (Jim Carrey) and Clementine's (Kate Winslet) relationship at its worst moments almost as much as we see it at its best, and that's also what helps bring so much uniqueness to this movie: its realism. And it's also the reason why I love Charlie Kaufman's writing so much, because he doesn't bullshit his audience with flawless characters or dialogue that would only occur in a perfect world. You really feel that Joel and Clementine's relationship would be entirely plausible in real life. It's a little bit ridiculous that this is the third film on the list that Kaufman wrote, but what can I say? The man is a genius.

2. THERE WILL BE BLOOD (dir. Paul Thomas Anderson)

One of the most mesmerizing and visually-striking movies I have ever seen, Paul Thomas Anderson's best work to date also contains the best acting performance on this list. No one, and I mean NO ONE, other than Daniel Day-Lewis could have pulled this role off. Day-Lewis' facial expressions alone could have told us how completely and insanely driven his character, Daniel Plainview, is, and how he will stop at nothing to be successful, and then some. There is so much malice, so much hate, and so much greed poured into this character, that you can't help but be entranced by him, and want to see what his next move will be. And with Paul Dano's character, Eli Sunday, you can't really root for one of the main character's in this movie. You simply watch in awe as both Plainview and Sunday battle each other's ambitions, culminating in the jaw-dropping ending which left me completely stunned. Anderson is my current favorite director, in part because he creates stories that are both rich in character and compelling in narrative, and these elements of his film-making are as evident as ever here. I have no doubt in my mind that this movie will widely be considered a masterpiece years from now, and this is one of the few movies from this decade that undeniably earn that title.

1. NO COUNTRY FOR OLD MEN (dir. Joel and Ethan Coen)

 Well, here it is, my number one movie of the decade. Honestly, it was an incredibly close call between this and There Will Be Blood, but I'm giving the edge to the Coens. There's so much to say about this absolutely flawless picture. The one thing I love most about the movie is the unrelenting  tension it creates and forces its audience to feel. This is due to the eerie quietness that many of the scenes contain, which the Coen brothers perfectly handle, never ending a scene too early or letting one drag on for more than it needs to. The tension is also driven by Javier Bardem, who portrays one of the most terrifying villains of the decade and even of cinema history, Anton Chigurh. I love his character so much, not just because of the obvious reason that he is completely insane, but in part because, with his voice, his mannerisms, and even his style of clothing, he is so different from all the other characters in the movie, which all add up to the effect of his truly frightening character. Then there's the seemingly ageless Tommy Lee Jones, whose voice, while not quite as chilling as Bardem's, is equally mesmerizing (just listen to his monologues at the beginning and end). It's as if his character has experienced nearly everything a police sheriff could possibly go through in his line of work, and yet he still hasn't seen anything remotely like Chigurh, and he can't quite figure him out because of it. And last but certainly not least, there's Josh Brolin portraying Llewelyn Moss. His character, while quiet and calm throughout the movie, is fervently trying to outrun Chigurh, and there are countless scenes involving Moss and Chigurh in which I found myself holding my breath throughout. Joel and Ethan Coen won the Academy Award for Best Director for this movie and I couldn't have been happier. Although I love Paul Thomas Anderson beyond all reason, for me, the Coen brothers' get the number one spot on my list by creating their best movie far and away, and that's saying a whole lot. And the ending to this movie is absolute perfection, by far my favorite on this list.

The Just Missed List (maybe in particular order, maybe not):

The Hurt Locker

21 Grams

Kill Bill Vol. 1 & 2

The Royal Tenenbaums

Brokeback Mountain

High Fidelity

The Bourne Trilogy

City of God

Requiem For a Dream

The Wrestler

Thirst

The Diving Bell and the Butterfly

Ratatouille

Garden State

Antichrist

Forgetting Sarah Marshall

Punch-Drunk Love

Juno

A Serious Man

Little Miss Sunshine

Rachel Getting Married

The Prestige

Chicago

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