This poll, as stated above, covers all films from the years 2000 to 2011, as credited by IMDb.
Results:
49=
Lord of the Rings: The Two Towers (2002)
Directed by Peter Jackson
The Lord of the Rings: The Two Towers is a seamless continuation of Peter Jackson's epic fantasy based on the works of J.R.R. Tolkien. After the breaking of the Fellowship, Frodo (Elijah Wood) and Sam (Sean Astin) journey to Mordor to destroy the One Ring of Power with the creature Gollum as their guide. Meanwhile, Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) join in the defense of the people of Rohan, who are the first target in the eradication of the race of Men by the renegade wizard Saruman (Christopher Lee) and the dark lord Sauron. Fantastic creatures, astounding visual effects, and a climactic battle at the fortress of Helm's Deep make The Two Towers a worthy successor to The Fellowship of the Ring, grander in scale but retaining the story's emotional intimacy. These two films are perhaps the greatest fantasy films ever made, but they're merely a prelude to the cataclysmic events of The Return of the King. --David Horiuchi (amazon.com)
Trailer: http://www.youtube.com/watch?v=yBNSOdEjtZs
Votes: 3
Points: 14
Voters: martha (5), whodathunkit (4), Czechgirl (5),
49=
Kill Bill, Vol. 1 (2003)
Directed by Quentin Tarantino
Quentin Tarantino's Kill Bill, Vol. 1 is trash for connoisseurs. From his opening gambit (including a "Shaw-Scope" logo and gaudy '70s-vintage "Our Feature Presentation" title card) to his cliffhanger finale (a teasing lead-in to 2004's Vol. 2), Tarantino pays loving tribute to grindhouse cinema, specifically the Hong Kong action flicks and spaghetti Westerns that fill his fervent brain--and this frequently breathtaking movie--with enough cinematic references and cleverly pilfered soundtrack cues to send cinephiles running for their reference books. Everything old is new again in Tarantino's humor-laced vision: he steals from the best while injecting his own oft-copied, never-duplicated style into what is, quite simply, a revenge flick, beginning with the near-murder of the Bride (Uma Thurman), pregnant on her wedding day and left for dead by the Deadly Viper Assassination Squad (or DiVAS)--including Lucy Liu and the unseen David Carradine (as Bill)--who become targets for the Bride's lethal vengeance. Culminating in an ultraviolent, ultra-stylized tour-de-force showdown, Tarantino's fourth film is either brilliantly (and brutally) innovative or one of the most blatant acts of plagiarism ever conceived. Either way, it's hyperkinetic eye-candy from a passionate film-lover who clearly knows what he's doing. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=AjDKhqW5vGg
Votes: 3
Points: 14
Voters: kath(5), Goat Boy (4), Rank Bajin (5)
49=
Grizzly Man (2005)
Directed by Werner Herzog
Grizzly Man could easily have been sensational and exploitative, but in the hands of Werner Herzog, it becomes something extraordinary. Herzog was granted exclusive access to over 100 hours of video shot by amateur naturalist, wildlife advocate and troubled loner Timothy Treadwell, who spent 13 summers in Alaska's Katmai National Park, where he grew to know and love the grizzly bears that lived there. He was also killed by one of them, in October 2003, along with his girlfriend Amie Huguenard, and that seemingly inevitable fate informs every minute of Herzog's riveting combination of Treadwell's video with his own expert filmmaking and unique vision of nature and man. Whereas Treadwell was a naïve nature-lover and social outcast whose sanity was slowly slipping away, Herzog is a pragmatic mythologist who views nature primarily in terms of "chaos, hostility, and murder," and the disparity of their vision results in a magnetic attraction that makes the sum of Grizzly Man greater than its parts. We come to admire the dreamer, the idealist, the failed actor and recovered alcoholic man-child that was Treadwell, and we equally admire the seeker of truth and wisdom that is Herzog. They belong together, in some world beyond our world, where visionaries join forces to create life after death. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=gWycuaWJFCM
Votes: 3
Points: 14
Voters: T. Willy Rye (5), The RightGraduate Profile (4), Snarfyguy (5)
48
In the Loop (2009)
Directed by Armando Iannucci
It's the razor-sharp smash that critics are calling "brilliant" (San Francisco Chronicle), "blisteringly funny" (USA Today) and "One of the best films of the year... a little piece of heaven" (Chicago Tribune). Peter Capaldi stars as a foul-mouthed British government spokesman who must act quickly when a mid-level minister (Tom Hollander) tells an interviewer that U.S. war in the Middle East is unforeseeable . But when they are both summoned to Washington D.C., the hapless politico quickly becomes a pawn of bureaucrats, spin doctors and military advisors, including a hardnosed General (James Gandolfini, in a performance Rolling Stone hails as "slyly hilarious"). Gina McKee, Anna Chlumsky and Steve Coogan co-star in this hilarious satire from director/co-writer Armando Iannucci, the award-winning creator of the classic BBC sitcoms I'm Alan Partridge and The Thick of It. --DVD Description
Trailer: http://www.youtube.com/watch?v=dQrqMkCuHqA
Votes: 3
Points: 14.5
Voters: Lemon Yoghourt (5), Snarfyguy (5), Geezee (4.5)
45=
The Social Network (2010)
Directed by David Fincher
They all laughed at college nerd Mark Zuckerberg, whose idea for a social-networking site made him a billionaire. And they all laughed at the idea of a Facebook movie--except writer Aaron Sorkin and director David Fincher, merely two of the more extravagantly talented filmmakers around. Sorkin and Fincher's breathless picture, The Social Network, is a fast and witty creation myth about how Facebook grew from Zuckerberg's insecure geek-at-Harvard days into a phenomenon with 500 million users. Sorkin frames the movie around two lawsuits aimed at the lofty but brilliant Zuckerberg (deftly played by Adventureland's Jesse Eisenberg): a claim that he stole the idea from Ivy League classmates, and a suit by his original, now slighted, business partner (Andrew Garfield). The movie follows a familiar rise-and-fall pattern, with temptation in the form of a sunny California Beelzebub (an expert Justin Timberlake as former Napster founder Sean Parker) and an increasingly tangled legal mess. Emphasizing the legal morass gives Sorkin and Fincher a chance to explore how unsocial this social-networking business can be, although the irony seems a little facile. More damagingly, the film steers away from the prickly figure of Zuckerberg in the latter stages--and yet Zuckerberg presents the most intriguing personality in the movie, even if the movie takes pains to make us understand his shortcomings. Fincher's command of pacing and his eye for the clean spaces of Aughts-era America are bracing, and he can't resist the technical trickery involved in turning actor Armie Hammer into privileged Harvard twins (Hammer is letter-perfect). Even with its flaws, The Social Network is a galloping piece of entertainment, a smart ride with smart people… who sometimes do dumb things. --Robert Horton (Amazon.com)
Votes: 3
Points: 15
Voters: Owen (5), Lemon Yoghourt (5), Rank Bajin (5)
45=
El Secreto de sus Ojos [The Secret in Their Eyes] (2009)
Directed by Juan José Campanella
Recently retired criminal court investigator Benjamin (Ricardo Darin), decides to write a novel based on a twenty-five year old unresolved rape and murder case, which still haunts him. Sharing his plans with Irene (Soledad Villamil), the beautiful judge and former colleague he has secretly been in love with for years, Benjamin’s initial involvement with the case is shown through flashbacks, as he sets out to identify the murderer. But Benjamin’s search for the truth will put him at the center of a judicial nightmare, as the mystery of the heinous crime continues to unfold in the present, testing the limits of a man seeking justice and personal fulfillment at last. --DVD Description
Trailer: http://www.youtube.com/watch?v=0cNd1OIp808
Votes: 3
Points: 15
Voters: the masked man (3), Lemon Yoghourt (5), Rank Bajin (7),
45=
Batman Begins (2005)
Directed by Christopher Nolan
Batman Begins explores the origins of the Batman legend and the Dark Knight's emergence as a force for good in Gotham. In the wake of his parents' murder, disillusioned industrial heir Bruce Wayne (Christian Bale) travels the world seeking the means to fight injustice and turn fear against those who prey on the fearful. He returns to Gotham and unveils his alter-ego: Batman, a masked crusader who uses his strength, intellect and an array of high tech deceptions to fight the sinister forces that threaten the city.
Trailer: http://www.youtube.com/watch?v=vak9ZLfhGnQ
Votes: 3
Points: 15
Voters: beenieman (5), Lemon Yoghourt (5), W.G. Kaspar (5),
41=
Big Fish (2003)
Directed by Tim Burton
After a string of mediocre movies, director Tim Burton regains his footing as he shifts from macabre fairy tales to Southern tall tales. Big Fish twines in and out of the oversized stories of Edward Bloom, played as a young man by Ewan McGregor and as a dying father by Albert Finney. Edward's son Will (Billy Crudup) sits by his father's bedside but has little patience with the old man's fables, because he feels these stories have kept him from knowing who his father really is. Burton dives into Bloom's imagination with zest, sending the determined young man into haunted woods, an idealized Southern town, a traveling circus, and much more. The result is sweet but--thanks to the director's dark and clever sensibility--never saccharine. Also featuring Jessica Lange, Alison Lohman, Helena Bonham Carter, Danny DeVito, and Steve Buscemi. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=M3YVTgTl-F0
Votes: 3
Points: 16
Voters: kath (5), martha (5), all mimsy (6)
41=
Ratatouille (2007)
Directed by Brad Bird
From the creators of Cars and The Incredibles comes a break-through comedy with something for everyone. With delightful new characters, experience Paris from an all-new perspective. It's "terrific movie making" raves Leonard Maltin of Entertainment Tonight. In one of Paris' finest restaurants, Remy, a determined young rat, dreams of becoming a renowned French chef. Torn between his family's wishes and his true calling, Remy and his pal Linguini set in motion a hilarious chain of events that turns the City of Lights upside down. Ratatouille is a treat you'll want to enjoy again and again. --DVD Description
Trailer: http://www.youtube.com/watch?v=c3sBBRxDAqk
Votes: 3
Points: 16
Voters: The RightGraduate Profile (4), Snarfyguy (5), Goat Boy (7)
41=
A History of Violence (2005)
Directed by David Cronenberg
On the surface, David Cronenberg may seem an unlikely candidate to direct A History of Violence, but dig deeper and you'll see that he's the right man for the job. As an intellectual seeker of meaning and an avowed believer in Darwinian survival of the fittest, Cronenberg knows that the story of mild-mannered small-town diner proprietor Tom Stall (Viggo Mortensen) is in fact a multilayered examination of inbred human behavior, beginning when Tom's skillful killing of two would-be robbers draws unwanted attention to his idyllic family life in rural Indiana. He's got a loving wife (Maria Bello) and young daughter (Heidi Hayes) who are about to learn things about Tom they hadn't suspected, and a teenage son (Ashton Holmes) who has inherited his father's most prominent survival trait, manifesting itself in ways he never expected. By the time Tom has come into contact with a scarred villain (Ed Harris) and connections that lead him to a half-crazy kingpin (William Hurt, in a spectacular cameo), Cronenberg has plumbed the dark depths of human nature so skillfully that A History of Violence stands well above the graphic novel that inspired it (indeed, Cronenberg was unaware of the source material behind Josh Olson's chilling adaptation). With hard-hitting violence that's as sudden as it is graphically authentic, this is A History of Violence that's worthy of serious study and widespread acclaim. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=74FdnDxptH4
Votes: 3
Points: 16
Voters: kath (5), whodathunkit (6), The RightGraduate Profile (5)
41=
Caché [Hidden] (2005)
Directed by Michael Haneke
Hidden throughout Caché is the sense that you should be watching every moment in this film closely, just as the protagonists are themselves being watched by someone unknown. Georges and Anne Laurent’s (Daniel Auteuil and Juliette Binoche) enviable lives are terrorized by the sudden arrival on their doorstep of a videotaped recording of their Parisian townhouse. It’s nothing but a long, unedited shot of the façade of their house, but it’s disturbing nonetheless. Soon another arrives, this time of the farmhouse Georges grew up in, and then another of a car driving down a suburban street, and a walk down a hallway to a low-rent apartment. Again the videos are benign but unsettling. Then the mystery becomes more threatening when they receive gruesome postcards depicting child-like drawings of bloody, dead stick figures. Georges believes he knows who the culprit is, but for reasons all his own refuses to let his wife in on the secret. Clearly more is hidden here than just the identity of their stalker. In Caché, writer and director Michael Haneke skillfully, methodically pulls back multiple layers of deception, like new skin being pulled off an old wound. he masterfully fuses elements of his predecessors to create a film that is haunting and memorable. There is Bergman's fascination with the complexity of relationships, the suspense and lurking danger of Hitchcock, and the unique cinematic sensibility of Antonioni. In fact, the provocative final shot is practically a tribute to The Passenger--a lot of people will want to rewatch it many times to see what they can find in it (if, after watching it, you are still unsatisfied with the resolution, then watch the interview with Haneke in the DVD's special features for his insights). It's a film of great effect and intrigue. There are no easy resolutions, and the answers given in this mystery will only lead to more questions. --Daniel Vancini (Amazon.com)
Trailer: http://www.youtube.com/watch?v=lS4VVUYsK44
Votes: 3
Points: 16
Voters: GoogaMooga (5), Snarfyguy (5), TopCat G (6)
38=
Almost Famous (2000)
Directed by Cameron Crowe
Almost Famous is the movie Cameron Crowe has been waiting a lifetime to tell. The fictionalization of Crowe's days as a teenage reporter for Creem and Rolling Stone has all the well-written characters and wonderful "movie moments" that we expect from Crowe (Jerry Maguire), but the film has an intangible something extra--an insider's touch that will turn the film into the ode to '70s rock & roll for years to come. We are introduced to Crowe's alter ego, William Miller (Patrick Fugit), at home, where his progressive mom (Frances McDormand, just superb) has outlawed rock music and sister Anita (Zooey Deschanel) has slipped him LPs that will "set his mind free." Following the wisdom of Creem's disheveled editor, Lester Bangs (Philip Seymour Hoffman in an instant-classic performance), Miller gets on the inside with the up-and-coming band Stillwater (a fictionalized mixture of the Allman Brothers, Led Zeppelin, and others). A simple visit with the band turns into a three-week, life-altering odyssey into the heyday of American rock. Of the characters he meets on the road, the two most important are groupie extraordinaire Penny Lane (Kate Hudson in a star-making performance) and Stillwater's enigmatic lead guitarist (Billy Crudup), who keeps stringing Miller along for an interview. From the handwritten credits (done by Crowe) to the bittersweet finale, Crowe's comedic valentine is an indelible, heartbreaking romance of music, women, and the privilege of youth. --Doug Thomas (Amazon.com)
Trailer: http://www.youtube.com/watch?v=qk0XnyrENrE
Votes: 3
Points: 17
Voters: martha (5), Lemon Yoghourt (5), Goat Boy (7)
38=
Kiss Kiss Bang Bang (2005)
Directed by Shane Black
In LA, while escaping from the police after an unsuccessful robbery, the small time thief Harry Lockhart is accidentally submitted to an audition for a role of detective in a movie, and invited to a party. He meets a private eye Gay Perry, who suggests him to participate of an investigation to develop his character. He also meets the gorgeous aspirant actress Harmony Faith Lane, and finds that she was a friend of his childhood for whom he had a crush. Harry and Perry get involved in an intricate murder case with many leads. With the support of Harmony, they find the sordid truth of the case. -Claudio Carvalho (IMDb.com)
Trailer: http://www.youtube.com/watch?v=K1xsTRG-O04
Votes: 3
Points: 17
Voters: Owen (5), Lemon Yoghourt (5), Ghost of Harry Smith (7)
38=
Fa yeung nin wa [In the Mood for Love] (2000)
Directed by Kar-wai Wong
Winner of numerous awards including Best Actor at the 2000 Cannes Film Festival, In the Mood for Love confirmed that Hong Kong director Wong Kar-wai is a major figure in world cinema. As passionate as it is politely discreet, his film takes place in 1962 Hong Kong, where neighboring apartment dwellers Mr. Chow (Tony Leung) and Mrs. Chan (Maggie Cheung) discover that their oft-absent spouses are having an affair. This realization parallels their own mutual attraction, but fidelity and decency ensure that their intimate bond remains unspoken though deeply understood. With a stealthy, eavesdropping camera style and a screenplay created through spontaneous on-set inspiration, Wong Kar-wai crafts an intricate, finely tuned platonic romance, enhancing its ambience with a kaleidoscope of color (most notably in Cheung's dazzling wardrobe of cheongsam dresses) and careful attention to character detail. Deservedly placed on many critics' top 10 lists, this elegant film should not be missed. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=BHFklqbcBoM
Votes: 3
Points: 17
Voters: T. Willy Rye (5), Goat Boy (4), TopCat G (8)
37
Wall-E (2008)
Directed by Andrew Stanton
Pixar genius reigns in this funny romantic comedy, which stars a robot who says absolutely nothing for a full 25 minutes yet somehow completely transfixes and endears himself to the audience within the first few minutes of the film. As the last robot left on earth, Wall-E (voiced by Ben Burtt) is one small robot--with a big, big heart--who holds the future of earth and mankind squarely in the palm of his metal hand. He's outlasted all the "Waste Allocation Load Lifter Earth-Class" robots that were assigned some 700 years ago to clean up the environmental mess that man made of earth while man vacationed aboard the luxury spaceship Axiom. Wall-E has dutifully gone about his job compacting trash, the extreme solitude broken only by his pet cockroach, but he's developed some oddly human habits and ideas. When the Axiom sends its regularly scheduled robotic EVE probe (Elissa Knight) to earth, Wall-E is instantly smitten and proceeds to try to impress EVE with his collection of human memorabilia. EVE's directive compels her to bring Wall-E's newly collected plant sprout to the captain of the Axiom and Wall-E follows in hot pursuit. Suddenly, the human world is turned upside down and the Captain (Jeff Garlin) joins forces with Wall-E and a cast of other misfit robots to lead the now lethargic people back home to earth. Wall-E is a great family film with the most impressive aspect being the depth of emotion conveyed by a simple robot--a machine typically considered devoid of emotion, but made so absolutely touching by the magic of Pixar animation. Also well-worth admiring are the sweeping views from space, the creative yet disturbing vision of what strange luxuries a future space vacation might offer, and the innovative use of trash in a future cityscape. Underneath the slapstick comedy and touching love story is a poignant message about the folly of human greed and its potential effects on earth and the entire human race. --Tami Horiuchi (Amazon.com)
Trailer: http://www.youtube.com/watch?v=alIq_wG9FNk
Votes: 3
Points: 18
Voters: kath (5), whodathunkit (6), Geezee (7)
35=
Dodgeball: A True Underdog Story (2004)
Directed by Rawson Marshal Thurber
How's this for impressive trivia: Dodgeball faced off against The Terminal in opening-weekend competition, and 29-year-old writer-director Rawson Marshall Thurber aced Steven Spielberg by a score of $30 to $18.7 in box-office millions. That's no mean feat for a newcomer, but Thurber's lowbrow script and rapid-fire direction--along with a sublime cast of screen comedians--proved to be just what moviegoers were ravenous for: a consistently hilarious, patently formulaic romp in which the underdog owner of Average Joe's Gym (Vince Vaughn) faces foreclosure unless he can raise $50,000 in 30 days. The solution: A dodgeball tournament offering $50K to the winners, in which Vaughn and his nerdy clientele team up against the preening, abhorrently narcissistic owner (Ben Stiller) of Globo Gym, who's threatening a buy-out. That's it for story; any 5-year-old could follow it with brainpower to spare. But Thurber, Vaughn, Stiller, and their well-cast costars (including Stiller's off-screen wife, Christine Taylor) keep the big laughs coming for 96 nonsensical minutes. With spot-on cameos by champion bicyclist Lance Armstrong, David Hasselhoff, Hank Azaria, Chuck Norris, and William Shatner, and a crudely amusing coda for those who watch past the credits, Dodgeball is no masterpiece, but you can bet Spielberg was unexpectedly humbled by its popular appeal. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=vzBCBcLH_Lc
Votes: 3
Points: 19
Voters: all mimsy (6), Owen (5), Geezee (8)
35=
Snatch. (2000)
Directed by Guy Ritchie
When jewel thief, Franky Four Fingers (Benicio Del Toro), takes a slight detour to London on route to delivering a huge stolen diamond to his boss in New York, he unwittingly sets off an avalanche of sinister and comic events that wind their way through the rough and tumble worlds of bare-knuckle boxing, Irish gypsies, pawn shops, pig farming and... a stray dog. Snatch, Guy Ritchie's brilliant follow up to his critically acclaimed Lock, Stock And Two Smoking Barrels, exposes us to his hip and helter-skelter view of London's gangster underbelly. Ritchie's characteristic fast-paced and constantly twisting story features a madcap ensemble cast of larger-than-life characters, including Jason Statham, an unlicensed boxing promoter; Stephen Graham, his bumbling Sidekick; Alan Ford, the local underworld kingpin; Dennis Farina, Franky's no-nonsense boss; Vinnie Jones, a legendary thug; Rade Sherbedgia, a psycho double-crossing Russian; and Brad Pitt, in a hilarious turn as a fast-talking gypsy bare-knuckle boxer. --DVD Description
Trailer: http://www.youtube.com/watch?v=lUloT3Dh3-E
Votes: 3
Points: 19
Voters: beenieman (5), all mimsy (6), BlueMeanie (8)
34
Dead Man's Shoes (2004)
Directed by Shane Meadows
Richard returns home from military service to a small town in the Midlands. He has one thing on his mind: revenge. Payback for the local bullies who did some very bad things to his brother. At first his campaign employs guerrilla tactics, designed to frighten the men and put them ill at ease. But then he steps up his operation, and one by one these local tough guys are picked off by the terrifying angel of vengeance that Richard has become. --Mr_John_Barrymore (IMDb.com)
Trailer: http://www.youtube.com/watch?v=fFi6FrAV9SE
Votes: 3
Points: 20
Voters: whodathunkit (8), Lemon Yoghourt (5), Goat Boy (7)
32=
Monsters, Inc. (2001)
Directed by Pete Docter, David Silverman and Lee Unkrich
The folks at Pixar can do no wrong with Monsters, Inc., the studio's fourth feature film, which stretches the computer animation format in terms of both technical complexity and emotional impact. The giant, blue-furred James P. "Sulley" Sullivan (wonderfully voiced by John Goodman) is a scare-monster extraordinaire in the hidden world of Monstropolis, where the scaring of kids is an imperative in order to keep the entire city running. Beyond the competition to be the best at the business, Sullivan and his assistant, the one-eyed Mike Wazowski (Billy Crystal), discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed "Boo," who accidentally sneaks into the monster world with Sulley one night. Director Pete Doctor and codirectors David Silverman and Lee Unkrich follow the Pixar (Toy Story) blueprint with an imaginative scenario, fun characters, and ace comic timing. By the last heart-tugging shot, kids may never look at monsters the same, nor artists at what computer animation can do in the hands of magicians. --Doug Thomas (Amazon.com)
Trailer: http://www.youtube.com/watch?v=cvOQeozL4S0
Votes: 3
Points: 22
Voters: all mimsy (4), ghost of Harry Smith (3), The Red Heifer (15)
32=
Morvern Callar (2002)
Directed by Lynne Ramsay
Eerie, morbid, yet somehow life-affirming, Morvern Callar stars the superb Samantha Morton (Sweet and Lowdown, Minority Report) as the title character, a young Scottish woman whose boyfriend has just killed himself, leaving behind a cassette of assorted songs and an unpublished novel. Instead of reporting his death, Morvern puts her name on his novel before sending it off to a publisher, then uses the dead man's bank card to pay for a trip to Spain with her friend Lana (Kathleen McDermott), where she tries to lose herself in sensation and chaos. The events of Morvern Callar suggest a story, but director Lynn Ramsay (Ratcatcher) focuses on moments of ambiguity and ambivalence in between the dramatic action--and when Morvern does take decisive action, her choices are unnerving. The movie's striking images and rich use of color vividly capture a dislocated state of mind, when life has come unmoored from meaning. --Bret Fetzer (Amazon.com)
Clip: http://www.youtube.com/watch?v=osPyLuW_4zY
Votes: 3
Points: 22
Voters: the masked man (10), The RightGraduate Profile (7), Snarfyguy (5)
31
Elephant (2003)
Directed by Gus van Sant
Elephant, the elegant and unsettling movie from Gus Van Sant (My Own Private Idaho, Good Will Hunting), depicts students at a high school before and during a harrowing, Columbine-style shooting. The movie follows one young boy who takes over the wheel from his drunken dad while returning from lunch, then loops back in time and follows another student who crosses paths with the first, then loops back and follows another--all captured in long, unedited tracking shots that are serene and unhurried, even when two boys in camouflage gear, carrying heavy bags, arrive at the school and begin shooting. Elephant doesn't attempt to explain their behavior; it simply places the audience back in the brief yet interminable window of adolescence, when life is trivial and painfully important at the same time. Your reaction to Elephant will depend as much on your life experiences as anything in the movie itself. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=htlsOf3PnGY
Votes: 3
Points: 23
Voters: the masked man (10), The RightGraduate Profile (7), TopCat G (6)
30
The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003)
Directed by Errol Morris
Documentary about Robert McNamara, Secretary of Defense in the Kennedy and Johnson Administrations, who subsequently became president of the World Bank. The documentary combines an interview with Mr. McNamara discussing some of the tragedies and glories of the 20th Century, archival footage, documents, and an original score by Philip Glass. --Richard Latham (Amazon.com)
Trailer: http://www.youtube.com/watch?v=VgA98V1Ubk8
Votes: 4
Points: 18
Voters: T. Willy Rye (5), The RightGraduate Profile (5), Snarfyguy (5), Rank Bajin (3)
27=
Der Untergang [Downfall] (2004)
Directed by Oliver Hirschbiegel
The riveting subject of Downfall is nothing less than the disintegration of Adolf Hitler in mind, body, and soul. A 2005 Academy Award nominee for best foreign language film, this German historical drama stars Bruno Ganz (Wings of Desire) as Hitler, whose psychic meltdown is depicted in sobering detail, suggesting a fallen, pathetic dictator on the verge on insanity, resorting to suicide (along with Eva Braun and Joseph and Magda Goebbels) as his Nazi empire burns amidst chaos in mid-1945. While staging most of the film in the claustrophobic bunker where Hitler spent his final days, director Oliver Hirschbiegel (Das Experiment) dares to show the gentler human side of der Fuehrer, as opposed to the pure embodiment of evil so familiar from many other Nazi-era dramas. This balanced portrayal does not inspire sympathy, however: We simply see the complexity of Hitler's character in the greater context of his inevitable downfall, and a more realistic (and therefore more horrifying) biographical portrait of madness on both epic and intimate scales. By ending with a chilling clip from the 2002 documentary Blind Spot: Hitler's Secretary, this unforgettable film gains another dimension of sobering authenticity. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=Bp1RXmM1-60
Votes: 4
Points: 19
Voters: whodathunkit (8), Ghost of Harry Smith (1), Goat Boy (3), Rank Bajin (7)
27=
Le fabuleux destin d'Amélie Poulain [Amélie]
Directed by Jean-Pierre Jeunet
Perhaps the most charming movie of all time, Amélie is certainly one of the top 10. The title character (the bashful and impish Audrey Tautou) is a single waitress who decides to help other lonely people fix their lives. Her widowed father yearns to travel but won't, so to inspire the old man she sends his garden gnome on a tour of the world; with whispered gossip, she brings together two cranky regulars at her café; she reverses the doorknobs and reprograms the speed dial of a grocer who's mean to his assistant. Gradually she realizes her own life needs fixing, and a chance meeting leads to her most elaborate stratagem of all. This is a deeply wonderful movie, an illuminating mix of magic and pragmatism. Fans of the director's previous films (Delicatessen, The City of Lost Children) will not be disappointed; newcomers will be delighted. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=JodKDrNgEVM
Votes: 4
Points: 19
Voters: kath (5), martha (5), all mimsy (4), W.G. Kaspar (5)
27=
Låt den rätte komma in [Let the Right One In] (2008)
Directed by Tomas Alfredson
The enduring popularity of the vampire myth rests, in part, on sexual magnetism. In Let the Right One In, Tomas Alfredson's carefully controlled, yet sympathetic take on John Ajvide Lindqvist's Swedish bestseller-turned-screenplay, the protagonists are pre-teens, unlike the fully-formed night crawlers of HBO’s True Blood or Catherine Hardwicke’s Twilight (both also based on popular novels). Instead, 12-year-old Oskar (future heartbreaker Kåre Hedebrant) and Eli (Lina Leandersson) enter into a deadly form of puppy love. The product of divorce, Oskar lives with his harried mother, while his new neighbor resides with a mystery man named Håkan (Per Ragnar), who takes care of her unique dietary needs. From the wintery moment in 1982 that the lonely, towheaded boy spots the strange, dark-haired girl skulking around their outer-Stockholm tenement, he senses a kindred spirit. They bond, innocently enough, over a Rubik's Cube, but little does Oskar realize that Eli has been 12 for a very long time. Meanwhile, at school, bullies torment the pale and morbid student mercilessly. Through his friendship with Eli, Oskar doesn't just learn how to defend himself, but to become a sort of predator himself, begging the question as to whether Eli really exists or whether she represents a manifestation of his pent-up anger and resentment. Naturally, the international success of Lindqvist's fifth feature, like Norway's chilling Insomnia before it, has inspired an American remake, which is sure to boast superior special effects, but can't possibly capture the delicate balance he strikes here between the tender and the terrible. --Kathleen C. Fennessy (Amazon.com)
Trailer: http://www.youtube.com/watch?v=sZJUgsZ56vQ
Votes: 4
Points: 19
Voters: algroth (1), martha (5), Ghost of Harry Smith (3), Goat Boy (10)
26
Good Bye Lenin! (2003)
Directed by Wolfgang Becker
Contemporary comedies rarely stretch themselves beyond a bickering romantic couple or a bickering couple and a bucket of bodily fluids, which makes the ambition and intelligence of Good bye, Lenin! not simply entertaining but downright refreshing. The movie starts in East Germany before the fall of communism; our hero, Alex (Daniel Bruhl), describes how his mother (Katrin Sass), a true believer in the communist cause, has a heart attack when she sees him being clubbed by police at a protest. She falls into a coma for eight months--during which the Berlin Wall comes down. When she awakens, her fragile health must avoid any shocks, so Alex creates an illusive reality around his bedridden mother to convince her that communism is still alive. Good bye, Lenin! delicately balances wry satire with its rich investment in the lives of Alex, his mother, and other characters around them. Funny, moving, and highly recommended. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=mIjSaHUKD5I
Votes: 4
Points: 20
Voters: whodathunkit (6), The RightGraduate Profile (4), Lemon Yoghourt (5), Geezee (5)
24=
The Royal Tenenbaums (2001)
Directed by Wes Anderson
In a fitting follow-up to Rushmore, writer-director Wes Anderson and cowriter-actor Owen Wilson have crafted another comedic masterwork that ripples with inventive, richly emotional substance. Because of the all-star cast, hilarious dialogue, and oddball characters existing in their own, wholly original universe, it's easy to miss the depth and complexity of Anderson's brand of comedy. Here, it revolves around Royal Tenenbaum (Gene Hackman), the errant patriarch of a dysfunctional family of geniuses, including precocious playwright Margot (Gwyneth Paltrow), boyish financier and grieving widower Chas (Ben Stiller), and has-been tennis pro Richie (Luke Wilson). All were raised with supportive detachment by mother Etheline (Anjelica Huston), and all ache profoundly for a togetherness they never really had. The Tenenbaums reconcile somehow, but only after Anderson and Wilson (who costars as a loopy literary celebrity) put them through a compassionate series of quirky confrontations and rekindled affections. Not for every taste, but this is brilliant work from any perspective. --Jeff Shannon (Amazon.com)
Votes: 4
Points: 21
Voters: martha (5), Lemon Yoghourt (5), W.G. Kaspar (5), Geezee (6)
24=
Best in Show (2000)
Directed by Christopher Guest
Christopher Guest, the man behind Waiting for Guffman, turns his comic eye on another little world that takes itself a bit too seriously: the world of competitive dog shows. Best in Show follows a clutch of dog owners as they prepare and preen their dogs to win a national competition. They include the yuppie pair (Parker Posey and Michael Hitchcock) who fear they've traumatized their Weimaraner by having sex in front of him; a suburban husband and wife (Eugene Levy and Catherine O'Hara) with a terrier and a long history of previous lovers on the wife's part; the Southern owner of a bloodhound (Guest himself) with aspirations as a ventriloquist; and many more. Following the same "mockumentary" format of Spinal Tap and Guffman, Best in Show takes in some of the dog show officials, the manager of a nearby hotel that allows dogs to stay there, and the commentators of the competition (a particularly knockout comic turn by Fred Willard as an oafish announcer). The movie manages to paint an affectionate portrait of its quirky characters without ever losing sight of the ridiculousness of their obsessive world. Almost all of the scenes were created through improvisation. While lacking the overall focus of a written script, Best in Show captures hilarious and absurd aspects of human behavior that could never be written down. The movie's success is a testament to both the talent of the actors and Guest's discerning eye. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=yeifMjqpsg0
Votes: 4
Points: 21
Voters: T. Willy Rye (5), whodathunkit (4), Owen (5), Rank Bajin (7)
23
High Fidelity (2000)
Directed by Stephen Frears
Transplanted from England to the not-so-mean streets of Chicago, the screen adaptation of Nick Hornby's cult-classic novel High Fidelity emerges unscathed from its Americanization, idiosyncrasies intact, thanks to John Cusack's inimitable charm and a nimble, nifty screenplay (cowritten by Cusack). Early-thirtysomething Rob Gordon (Cusack) is a slacker who owns a vintage record shop, a massive collection of LPs, and innumerable top-five lists in his head. At the opening of the film, Rob recounts directly to the audience his all-time top-five breakups--which doesn't include his recent falling out with his girlfriend Laura (Iben Hjejle), who has just moved out of their apartment. Thunderstruck and obsessed with Laura's desertion (but loath to admit it), Rob begins a quest to confront the women who instigated the aforementioned top-five breakups to find out just what he did wrong.
Low on plot and high on self-discovery, High Fidelity takes a good 30 minutes or so to find its groove (not unlike Cusack's Grosse Pointe Blank), but once it does, it settles into it comfortably and builds a surprisingly touching momentum. Rob is basically a grown-up version of Cusack's character in Say Anything (who was told "Don't be a guy--be a man!"), and if you like Cusack's brand of smart-alecky romanticism, you'll automatically be won over (if you can handle Cusack's almost-nonstop talking to the camera). Still, it's hard not to be moved by Rob's plight. At the beginning of the film he and his coworkers at the record store (played hilariously by Jack Black and Todd Louiso) seem like overgrown boys in their secret clubhouse; by the end, they've grown up considerably, with a clear-eyed view of life. Ably directed by Stephen Frears (Dangerous Liaisons), High Fidelity features a notable supporting cast of the women in Rob's life, including the striking, Danish-born Hjejle, Lisa Bonet as a sultry singer-songwriter, and the triumphant triumvirate of Lili Taylor, Joelle Carter, and Catherine Zeta-Jones as Rob's ex-girlfriends. With brief cameos by Tim Robbins as Laura's new, New Age boyfriend and Bruce Springsteen as himself. --Mark Englehart (Amazon.com)
Trailer: http://www.youtube.com/watch?v=q8DIm_47xPU
Votes: 4
Points: 26
Voters: T. Willy Rye (5), Owen (5), The Red Heifer (10), BlueMeanie (6)
22
Sen to Chihiro no kamikakushi [Spirited Away] (2001)
Directed by Hayao Miyazaki
The highest grossing film in Japanese box-office history (more than $234 million), Hayao Miyazaki's Spirited Away is a dazzling film that reasserts the power of drawn animation to create fantasy worlds. Like Dorothy in The Wizard of Oz and Lewis Carroll's Alice, Chihiro plunges into an alternate reality. On the way to their new home, the petulant adolescent and her parents find what they think is a deserted amusement park. Her parents stuff themselves until they turn into pigs, and Chihiro discovers they're trapped in a resort for traditional Japanese gods and spirits. An oddly familiar boy named Haku instructs Chihiro to request a job from Yubaba, the greedy witch who rules the spa. As she works, Chihiro's untapped qualities keep her from being corrupted by the greed that pervades Yubaba's mini-empire. In a series of fantastic adventures, she purges a river god suffering from human pollution, rescues the mysterious No-Face, and befriends Yubaba's kindly twin, Zeniba. The resolve, bravery, and love Chihiro discovers within herself enable her to aid Haku and save her parents. The result is a moving and magical journey, told with consummate skill by one of the masters of contemporary animation. --Charles Solomon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=h2BM6ACeiVs
Votes: 5
Points: 18
Voters: algroth (2), kath (5), martha (5), Snarfyguy (5), Goat Boy (1)
21
Casino Royale (2006)
Directed by Martin Campbell
The most successful invigoration of a cinematic franchise since Batman Begins, Casino Royale offers a new Bond identity. Based on the Ian Fleming novel that introduced Agent 007 into a Cold War world, Casino Royale is the most brutal and viscerally exciting James Bond film since Sean Connery left Her Majesty's Secret Service. Meet the new Bond; not the same as the old Bond. Daniel Craig gives a galvanizing performance as the freshly minted double-0 agent. Suave, yes, but also a "blunt instrument," reckless, and possessed with an ego that compromises his judgment during his first mission to root out the mastermind behind an operation that funds international terrorists. In classic Bond film tradition, his global itinerary takes him to far-flung locales, including Uganda, Madagascar, the Bahamas (that's more like it), and Montenegro, where he is pitted against his nemesis in a poker game, with hundreds of millions in the pot. The stakes get even higher when Bond lets down his "armor" and falls in love with Vesper (Eva Green), the ravishing banker's representative fronting him the money.
For longtime fans of the franchise, Casino Royale offers some retro kicks. Bond wins his iconic Astin-Martin at the gaming table, and when a bartender asks if he wants his martini "shaken or stirred," he disdainfully replies, "Do I look like I give a damn?" There's no Moneypenny or "Q," but Dame Judi Dench is back as the exasperated M, who one senses, admires Bond's "bloody cheek." A Bond film is only as good as its villain, and Mads Mikkelsen as Le Chiffre, who weeps blood, is a sinister dandy. From its punishing violence and virtuoso action sequences to its romance, Casino Royale is a Bond film that, in the words of one character, makes you feel it, particularly during an excruciating torture sequence. Double-0s, Bond observes early on, "have a short life expectancy." But with Craig, there is new life in the old franchise yet, as well as genuine anticipation for the next one when, at last, the signature James Bond theme kicks in following the best last line ever in any Bond film. To quote Goldie Hawn in Private Benjamin, now I know what I've been faking all these years. --Donald Liebenson (Amazon.com)
Trailer: http://www.youtube.com/watch?v=fl5WHj0bZ2Q
Votes: 5
Points: 21
Voters: GoogaMooga (5), Lemon Yoghourt (5), Snarfyguy (5), Goat Boy (1), Czechgirl (5)
20
Up (2009)
Directed by Pete Docter and Bob Peterson
At a time when too many animated films consist of anthropomorphized animals cracking sitcom one-liners and flatulence jokes, the warmth, originality, humor, and unflagging imagination of Up feel as welcome as rain in a desert. Carl Fredericksen (voice by Ed Asner) ranks among the most unlikely heroes in recent animation history. A 78- year-old curmudgeon, he enjoyed his modest life as a balloon seller because he shared it with his adventurous wife Ellie (Ellie Docter). But she died, leaving him with memories and the awareness that they never made their dream journey to Paradise Falls in South America. When well-meaning officials consign Carl to Shady Oaks Retirement Home, he rigs thousands of helium balloons to his house and floats to South America. The journey's scarcely begun when he discovers a stowaway: Russell (Jordan Nagai), a chubby, maladroit Wilderness Explorer Scout who's out to earn his Elderly Assistance Badge. In the tropical jungle, Carl and Russell find more than they bargained for: Charles Muntz (Christopher Plummer), a crazed explorer whose newsreels once inspired Carl and Ellie; Kevin, an exotic bird with a weakness for chocolate; and Dug (Bob Peterson), an endearingly dim golden retriever fitted with a voice box. More importantly, the travelers discover they need each other: Russell needs a (grand)father figure; Carl needs someone to enliven his life without Ellie. Together, they learn that sharing ice-cream cones and counting the passing cars can be more meaningful than feats of daring-do and distant horizons. Pete Docter (Monsters, Inc.) and Bob Peterson direct the film with consummate skill and taste, allowing the poignant moments to unfold without dialogue to Michael Giacchnio's vibrant score. Building on their work in The Incredibles and Ratatouille, the Pixar crew offers nuanced animation of the stylized characters. Even by Pixar's elevated standards, Up is an exceptional film that will appeal of audiences of all ages. --Charles Solomon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=xxMcViTf7KU
Votes: 5
Points: 22
Voters: all mimsy (5), whodathunkit (5), Owen (5), The RightGraduate Profile (5), The Red Heifer (2)
17=
The Departed (2006)
Directed by Martin Scorsese
Martin Scorsese makes a welcome return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller Infernal Affairs, the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, The Departed is also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that The Departed is a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costello's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by Kingdom of Heaven screenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.
Such convenient coincidences might sink a lesser film, but The Departed is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energized by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. The Departed also makes clever and plot-dependent use of cell-phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), The Departed may not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=iQpb1LoeVUc
Votes: 5
Points: 23
Voters: GoogaMooga (5), T. Willy Rye (5), whodathunkit (5), Ghost of Harry Smith (3), Czechgirl (5)
17=
Amores Perros (2001)
Directed by Alejandro González Iñárritu
Amores Perros roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose--from our loves to our family, our innocence, or even our lives. These interwoven tales--about a young man in love with his brother's pregnant wife, a perfume spokeswoman and her married lover, and a scruffy vagrant who sidelines as a paid killer--are united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from Amores Perros is a uniquely conceptual portrait of people whom we come to know through their relationship with dogs. The film is simultaneously bleak, cynical, insightful, and compassionate, with layers of meaning that are sure to reward multiple viewings. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=A5HTBYR7m0o
Votes: 5
Points: 23
Voters: the masked man (1), The RightGraduate Profile (6), Goat Boy (4), Rank Bajin (7), TopCat G (5)
17=
Un prophète [A Prophet] (2009)
Directed by Jacques Audiard
In his labyrinthine portrait of a convict turned kingpin, Jacques Audiard (A Self Made Hero) combines the grittiness of HBO's Oz with the shifting loyalties of a Leone western. After assaulting a cop, Malik (riveting newcomer Tahar Rahim) earns a six-year prison bid. Though illiterate, the 19-year-old speaks French and Arabic. Instead of congregating with the Muslim inmates, he keeps to himself, providing a perfect target for Mob boss César (Niels Arestrup of Audiard's The Beat That My Heart Skipped), who makes him a Godfather-like offer he can't refuse: kill Reyeb (Hichem Yacoubi), an Arab set to testify against the Corsicans, or meet his maker. Malik decides he would prefer to live (in a surrealistic touch, Reyeb's ghost will haunt him for the rest of the film). In return, Luciani offers him protection but stops short of treating him like an equal. When Malik isn't serving coffee and making deliveries, he studies French and Corsu. With what he learns from the mobsters, he befriends two other loners, Ryad (Adel Bencherif) and Jordi the Gypsy (Reda Kateb), and starts a drug-smuggling operation. The years pass, and Malik takes advantage of his parole leaves to work both sides of the fence, and when the authorities transfer César's crew to a different facility, the balance of power shifts from the aging master to the model student. At 149 minutes, A Prophet feels more like a miniseries than a movie, but there are no dead spots, no wasted moments, resulting in Audiard's most fully realized vision to date. --Kathleen C. Fennessy (Amazon.com)
Trailer: http://www.youtube.com/watch?v=yxbOnIbQfYc
Votes: 5
Points: 23
Voters: algroth (5), Owen (5), Lemon Yoghourt (5), Snarfyguy (5), Rank Bajin (3)
16
Zodiac (2007)
Directed by David Fincher
Closer in spirit to a police procedural than a gory serial-killer flick, David Fincher's Zodiac provides a sleek, armrest-gripping re-invention of the crime film. It surveys the investigation of the Zodiac killings that terrorized the San Francisco Bay area in the late -60-early -70s; Zodiac not only killed people, but cultivated a Jack the Ripper aura by sending icky letters to the newspapers and daring readers to solve coded messages. But the film's focus isn't on the killer. We follow the reporters and detectives whose lives are taken over by the case, notably an addictive crime writer (a sartorially splendid Robert Downey Jr.), an awkward editorial cartoonist (Jake Gyllenhaal), and a hard-working cop (Mark Ruffalo). Fincher and his brilliant cinematographer Harris Savides are deft at capturing the period feel of the city, without laying on the seventies kitsch, and James Vanderbilt's script doles out its big moments to major and minor characters alike. Fincher's confidence is infectious; the movie glides through its myriad details with such dexterity that even the blind alleys and red herrings seem essential. The well-chosen cast includes unexpected people popping up all over: Anthony Edwards as a lunch-bucket homicide cop; Charles Fleischer as a mysterious suspect; Elias Koteas and Donal Logue as small-town policemen whose districts are hit by Zodiac; Chloe Sevigny as Gyllenhaal's sweet-natured wife; Brian Cox as the media-friendly lawyer Melvin Belli, so famous he once appeared on Star Trek; and the mighty John Carroll Lynch, as a supremely creepy suspect. The film is based on non-fiction books by Robert Graysmith (he's portrayed by Gyllenhaal), although Fincher and co. did extensive research on their own. The result is a propulsive whodunit without (thus far) an ending, but the uncertainty makes the film even more intriguing. --Robert Horton (Amazon.com)
Trailer: http://www.youtube.com/watch?v=bEvnwKFUnI0
Votes: 5
Points: 25
Voters: Owen (5), Lemon Yoghourt (5), Ghost of Harry Smith (7), Goat Boy (3), TopCat G (5)
14=
Sexy Beast (2000)
Directed by Jonathan Glazer
A retired British gangster (Ray Winstone) is trying to keep out of a London heist, despite the efforts of Don Logan (Ben Kingsley), a goateed, shaved-headed pit bull of a gangster in this raw, startling film that grabs your attention and never lets go. Gary "Gal" Dove lounges at his villa on Costa del Sol, with not a care in the world, until his Mediterranean paradise is interrupted by Logan, just arrived to recruit Gal for a London heist led by mob boss Teddy Bass (Ian McShane). Gal refuses the job; Logan won't hear it. He's human nitroglycerine, ready to explode at the slightest provocation, spewing Cockney profanities like armor-piercing bullets. Sexy Beast presents him as hilarious and horrifying, a soloist whose instrument is pure, bilious rage.
Kingsley's volatile performance--the polar opposite of his Oscar-winning role in Gandhi--expands the actor's range into startlingly unexpected territory. It's the white-hot center of Sexy Beast, but the feature debut of director Jonathan Glazer (after acclaimed TV commercials and music videos) is equally noteworthy for the performance of the lesser-known Winstone, and also for Glazer's brass-knuckle approach to what is, essentially, a conventional gangland thriller. Glazer's instincts aren't always sound (dream sequences involving a hideous man-rabbit prove a bit too peculiar), but with pugilistic rhythm and a humorous knack for combining well-chosen songs and a rough, kinetic visual style, Sexy Beast is a wild ride. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=-8n2jeAXBP0
Votes: 5
Points: 28
Voters: The RightGraduate Profile (4), Snarfyguy (5), BlueMeanie (8), Rank Bajin (7), TopCat G (4)
14=
Children of Men (2006)
Directed by Alfonso Cuarón
Presenting a bleak, harrowing, and yet ultimately hopeful vision of humankind's not-too-distant future, Children of Men is a riveting cautionary tale of potential things to come. Set in the crisis-ravaged future of 2027, and based on the atypical 1993 novel by British mystery writer P.D. James, the anxiety-inducing, action-packed story is set in a dystopian England where humanity has become infertile (the last baby was born in 2009), immigration is a crime, refugees (or "fugees") are caged like animals, and the world has been torn apart by nuclear fallout, rampant terrorism, and political rebellion. In this seemingly hopeless landscape of hardscrabble survival, a jaded bureaucrat named Theo (Clive Owen) is drawn into a desperate struggle to deliver Kee (Clare-Hope Ashitey), the world's only pregnant woman, to a secret group called the Human Project that hopes to discover a cure for global infertility. As they carefully navigate between the battling forces of military police and a pro-immigration insurgency, Theo, Kee, and their secretive allies endure a death-defying ordeal of urban warfare, and director Alfonso Cuaron (with cinematographer Emmanuel Lubezki) capture the action with you-are-there intensity. There's just enough humor to balance the film's darker content (much of it coming from Michael Caine, as Theo's aging hippie cohort), and although Children of Men glosses over many of the specifics about its sociopolitical worst-case scenario (which includes Julianne Moore in a brief but pivotal role), it's still an immensely satisfying, pulse-pounding vision of a future that represents a frightening extrapolation of early 21st-century history. --Jeff Shannon (Amazon.com)
Votes: 5
Points: 28
Voters: algroth (7), kath (5), martha (5), The RightGraduate Profile (6), W.G. Kaspar (5)
13
Oldeuboy [Oldboy] (2003)
Directed by Chan-Wook Park
In the realm of revenge thrillers, you'd be hard pressed to find more ultra-violent vengeance and psycho thrills than in the creepy story of Oldboy. This Korean import made a pop splash at the Cannes Film Festival and during its limited theatrical run thanks to the imprimatur of Quentin Tarantino, who raved about it and its visionary director, Chan-wook Park, to anyone who would listen. It's easy to see why QT fell in love with the grindhouse attitude, fast-paced action, violent imagery, and icy-black humor, but it's a disservice to think of Oldboy as another Tarantino homage or knockoff. The darkly existential undercurrent in the themes that Oldboy traces over its life-long narrative arc is much more complex and deeply disturbing than anything of its kind. The movie's tagline is, "15 years of imprisonment... 5 days of vengeance." The imprisonee is Oh Dae-Su, an ordinary Joe who is snatched off a Seoul street corner and locked away in a dank, windowless fleabag hotel room for the aforementioned 15 years. Just as abruptly he is released, and thus the five days begin. Why did this happen to Oh Dae-Su? Ah, but that would be telling, and in fact we don't know ourselves until the final wrenching scenes.
Oldboy breaks into a classic three-act saga, the first of which details the hallucinatory period of imprisonment in which Oh Dae-Su wades from mild insanity to outright psychosis in the hands of unseen yet attentive captors. Act 2 is the revenge, when an entirely different tone takes over and Oh Dae-Su moves with single-minded purpose and clarity. It's this section that has gained the most notoriety, primarily for the claw-hammer dentistry scene, the one-man-army tracking shot, and the wriggling octopus that Oh Dae-Su consumes in a sushi bar (he's been dead so long he simply needs life back inside him in any way possible). In act 3, answers finally start to emerge and the sinister atmosphere grows even more profound--not without a healthy dose of extra bloodletting, of course. Oldboy is an undeniably poetic masterpiece of tension, fury, and dynamic craft. Ultimately, its epic cycle of tragedy is of the sort that mankind has been inflicting upon itself for all time. Some of the images may be gruesome, but all converge into a kind of beauty. It's in the telling of this lurid tale that these details become one and the memories of pain ultimately heal. --Ted Fry (Amazon.com)
Trailer: http://www.youtube.com/watch?v=1Gex2NXTuL4
Votes: 5
Points: 29.5
Voters: the masked man (7), The RightGraduate Profile (6), Snarfyguy (5), Goat Boy (10), Geezee (1.5)
12
Sideways (2004)
Directed by Alexander Payne
With Sideways, Paul Giamatti (American Splendor, Storytelling) has become an unlikely but engaging romantic lead. Struggling novelist and wine connoisseur Miles (Giamatti) takes his best friend Jack (Thomas Haden Church, Wings) on a wine-tasting tour of California vineyards for a kind of extended bachelor party. Almost immediately, Jack's insatiable need to sow some wild oats before his marriage leads them in into double-dates with a rambunctious wine pourer (Sandra Oh, Under the Tuscan Sun) and a recently divorce waitress (Virginia Madsen, The Hot Spot)--and Miles discovers a little hope that he hasn't let himself feel in a long time. Sideways is a modest but finely tuned film; with gentle compassion, it explores the failures, struggles, and lowered expectations of mid-life. Giamatti makes regret and self-loathing sympathetic, almost sweet. From the director of Election[i] and [i]About Schmidt. --Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=YS9ocP6FNvM
Votes: 5
Points: 30
Voters: T. Willy Rye (5), whodathunkit (5), Goat Boy (7), Rank Bajin (7), TopCat G (6)
11
O Brother, Where Art Thou? (2000)
Directed by Joel and Ethan Coen
Only Joel and Ethan Coen, the fraternal director and producer team behind art-house hits such as The Big Lebowski and Fargo and masters of quirky and ultra-stylish genre subversion, would dare nick the plot line of Homer's Odyssey for a comic picaresque saga about three cons on the run in 1930s Mississippi. Our wandering hero in this case is one Ulysses Everett McGill, a slick-tongued wise guy with a thing about hair pomade (George Clooney, blithely sending up his own dapper image) who talks his chain-gang buddies (Coen-movie regular John Turturro and newcomer Tim Blake Nelson) into lighting out after some buried loot he claims to know of. En route they come up against a prophetic blind man on a railroad truck, a burly, one-eyed baddie (the ever-magnificent John Goodman), a trio of sexy singing ladies, a blues guitarist who's sold his soul to the devil, a brace of crooked politicos on the stump, a manic-depressive bank robber, and--well, you get the idea. Into this, their most relaxed film yet, the Coens have tossed a beguiling ragbag of inconsequential situations, a wealth of looping, left-field dialogue, and a whole stash of gags both verbal and visual. O Brother (the title's lifted from Preston Sturges's classic 1941 comedy Sullivan's Travels) is furthermore graced with glowing, burnished photography from Roger Deakins and a masterly soundtrack from T-Bone Burnett that pays loving homage to American '30s folk styles--blues, gospel, bluegrass, jazz, and more. And just to prove that the brothers haven't lost their knack for bad-taste humor, we get a Ku Klux Klan rally choreographed like a cross between a Nuremberg rally and a Busby Berkeley musical. --Philip Kemp (Amazon.com)
Trailer: http://www.youtube.com/watch?v=n9UlbxlM5nE
Votes: 6
Points: 22.25
Voters: kath (5), martha (5), all mimsy (6), whodathunkit (2), The Red Heifer (2), Geezee (2.25)
10
El Laberinto del Fauno [Pan's Labyrinth] (2006)
Directed by Guillermo del Toro
I hate Pan's Labyrinth. I can't think of any other film I dislike so much: one of the most manipulative, cynical and hamfisted things I've had the mispleasure to watch. It's stealing and simplifying of Spirit of the Beehive's ideas, its one-dimensional characters, its misleading, horribly simplified (again) approach to the Spanish Civil War and its hole-riddled, look-at-the-pretty-pictures-and-cute-kid-so-you-don't-realise-how-thin-this-shit-is juvenilia just made me really angry.
I guess I wouldn't mind so much were it not for the fact that other people bang on about how wonderful it is all the time! --penk
Trailer: http://www.youtube.com/watch?v=RbffV5LZfZI
Votes: 6
Points: 29
Voters: kath (5), T. Willy Rye (5), whodathunkit (6), W.G. Kaspar (5), Rank Bajin (3), TopCat G (5)
9
Lost in Translation (2003)
Directed by Sofia Coppola
Like a good dream, Sofia Coppola's Lost in Translation envelops you with an aura of fantastic light, moody sound, head-turning love, and a feeling of déjà vu, even though you've probably never been to this neon-fused version of Tokyo. Certainly Bob Harris has not. The 50-ish actor has signed on for big money shooting whiskey ads instead of doing something good for his career or his long-distance family. Jetlagged, helplessly lost with his Japanese-speaking director, and out of sync with the metropolis, Harris (Bill Murray, never better) befriends the married but lovelorn 25-year-old Charlotte (played with heaps of poise by 18-year-old Scarlett Johansson). Even before her photographer husband all but abandons her, she is adrift like Harris but in a total entrapment of youth. How Charlotte and Bill discover they are soul mates will be cherished for years to come. Written and directed by Coppola (The Virgin Suicides), the film is far more atmospheric than plot-driven: we whiz through Tokyo parties, karaoke bars, and odd nightlife, always ending up in the impossibly posh hotel where the two are staying. The wisps of bittersweet loneliness of Bill and Charlotte are handled smartly and romantically, but unlike modern studio films, this isn't a May-November fling film. Surely and steadily, the film ends on a much-talked-about grace note, which may burn some, yet awards film lovers who "always had Paris" with another cinematic destination of the heart. --Doug Thomas (amazon.com)
Trailer: http://www.youtube.com/watch?v=sU0oZsqeG_s
Votes: 6
Points: 37.5
Voters: GoogaMooga (5), matha (5), Owen (5), Snarfyguy (5), The Red Heifer (10), Geezee (7.5)
7=
In Bruges (2008)
Directed by Martin McDonagh
The considerable pleasures of In Bruges begin with its title, which suggests a glumly self-important art film but actually fits a rattling-good tale of two Irish gangsters "keepin' a low profile" after a murder gone messily wrong. Bruges, the best-preserved medieval town in Belgium, is where the bearlike veteran Ken (Brendan Gleeson) and newbie triggerman Ray (Colin Farrell) have been ordered by their London boss to hole up for two weeks. As the sly narrative unfolds like a paper flower in water, "in Bruges" also becomes a state of mind, a suspended moment amid centuries-old towers and bridges and canals when even thuggish lives might experience a change in direction. And throughout, the viewer has ample opportunity to consider whose pronunciation of "Bruges" is more endearing, Gleeson's or Farrell's. The movie marks the feature writing-directing debut of playwright Martin McDonagh, whose droll meditation on sudden mortality, Six Shooter, copped the 2005 Oscar for best live-action short. Although McDonagh clearly relishes the musicality of his boyos' brogue and has written them plenty of entertaining dialogue, In Bruges is no stageplay disguised as a film. The script is deceptively casual, allowing for digressions on the newly united and briskly thriving Europe, and annexing passers-by as characters who have a way of circling back into the story with unanticipatable consequences. That includes a film crew--shooting a movie featuring, to Ray's fascination, "a midget" (Jordan Prentice)--and a fetching blond production assistant (Clémence Poésy) whose job description keeps evolving. There's one other key figure: Harry, the Cockney gang boss whose omnipotence remains unquestioned as long as he remains offscreen, back in England, as if floating in an early Harold Pinter play. Harry has reasons inextricably tender and perverse for selecting Bruges as his hirelings' destination, and eventually he emerges from the aether to express them--first as a garrulous telephone voice and then in the volatile form of Ralph Fiennes. By that point the charmed moment of suspension, already shaken by several irruptions of violence, is pretty well doomed. But In Bruges continues to surprise and satisfy right up to the end. --Richard T. Jameson (Amazon.com)
Trailer: http://www.youtube.com/watch?v=p-gG2qo_l_A
Votes: 7
Points: 36
Voters: martha (5), Owen (5), The Ghost of Harry Smith (7), W.G. Kaspar (5), Rank Bajin (7), TopCat G (2), Czechgirl (5)
7=
Memento (2000)
Directed by Christopher Nolan
Synopsis: Leonard is an insurance investigator whose memory has been damaged following a head injury he sustained after intervening on his wife's murder. His quality of life has been severely hampered after this event, and he can now only live a comprehendable life by tattooing notes on himself and taking pictures of things with a Polaroid camera. The movie is told in forward flashes of events that are to come that compensate for his unreliable memory, during which he has liaisons with various complex characters. Leonard badly wants revenge for his wife's murder, but, as numerous characters explain, there may be little point if he won't remember it in order to provide closure for him. The movie veers between these future occurrences and a telephone conversation Leonard is having in his motel room in which he compares his current state to that of a client whose claim he once dealt with. --T. Graham (Imdb.com)
Trailer: http://www.youtube.com/watch?v=0vS0E9bBSL0
Votes: 7
Points: 36
Voters: T. Willy Rye (5), the masked man (7), Lemon Yoghourt (5), Snarfyguy (5), Ghost of Harry Smith (4), W.G. Kaspar (5), Czechgirl (5)
6
Donnie Darko (2001)
Directed by Richard Kelly
This unclassifiable but stunningly original film obliterates the walls between teen comedy, science fiction, family drama, horror, and cultural satire--and remains wildly entertaining throughout. Jake Gyllenhaal (October Sky) stars as Donnie, a borderline-schizophrenic adolescent for whom there is no difference between the signs and wonders of reality (a plane crash that devastates his house) and hallucination (a man-sized, reptilian rabbit who talks to him). Obsessed with the science of time travel and acutely aware of the world around him, Donnie is isolated by his powers of analysis and the apocalyptic visions that no one else seems to share. The debut feature of writer-director Richard Kelly, Donnie Darko is a shattering, hypnotic work that sets its own terms and gambles--rightfully so, as it turns out--that a viewer will stay aboard for the full ride. --Tom Keogh (Amazon.com)
Trailer: http://www.youtube.com/watch?v=qdKbNuhXWvQ
Votes: 8
Points: 36
Voters: kath (5), martha (5), whodathunkit (8), The RightGraduate Profile (2), Ghost of Harry Smith (4), The Red Heifer (3), TopCat G (4), Czechgirl (5)
5
Cidade de Deus [City of God] (2002)
Directed by Fernando Meirelles
Synopsis: Like cinematic dynamite, City of God lights a fuse under its squalid Brazilian ghetto, and we're a captive audience to its violent explosion. The titular favela is home to a seething army of impoverished children who grow, over the film's ambitious 20-year timeframe, into cutthroat killers, drug lords, and feral survivors. In the vortex of this maelstrom is L'il Z (Leandro Firmino da Hora--like most of the cast, a nonprofessional actor), self-appointed king of the dealers, determined to eliminate all competition at the expense of his corrupted soul. With enough visual vitality and provocative substance to spark heated debate (and box-office gold) in Brazil, codirectors Fernando Meirelles and Kátia Lund tackle their subject head on, creating a portrait of youthful anarchy so appalling--and so authentically immediate--that City of God prompted reforms in socioeconomic policy. It's a bracing feat of stylistic audacity, borrowing from a dozen other films to form its own unique identity. You'll flinch, but you can't look away. --Jeff Shannon (Amazon.com)
Trailer: http://www.youtube.com/watch?v=ni5WHNyKnoY
Votes: 8
Points: 37
Voters: kath (5), The RightGraduate Profile (5), Lemon Yoghourt (5), Ghost of Harry Smith (1), W.G. Kaspar (5), Rank Bajin (7), TopCat G (8), Geezee (1)
4
Mulholland Dr. (2001)
Directed by David Lynch
Synopsis: Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say David Lynch, in Mulholland Drive, indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams," Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. Identities exchange, amnesia proliferates, and nightmare visions are induced, but not before we've become enthralled by the film's two main characters: the dazed and sullen femme fatale, Rita (Laura Elena Harring), and the pert blonde just-arrived from Ontario (played exquisitely by Naomi Watts) who decides to help Rita regain her memory. Triggered by a rapturous Spanish-language version of Roy Orbison's "Crying," Lynch's best film since Blue Velvet splits glowingly into two equally compelling parts. --Fionn Meade (Amazon.com)
Trailer: http://www.youtube.com/watch?v=IXCAH8eprZA
Votes: 8
Points: 67
Voters: the masked man (10), The RightGraduate Profile (12), Lemon Yoghourt (5), Snarfyguy (5), Ghost of Harry Smith (4), Goat Boy (10), BlueMeanie (8), Geezee (13)
3
Eternal Sunshine of the Spotless Mind (2004)
Directed by Michel Gondry
Synopsis: Screenwriters rarely develop a distinctive voice that can be recognized from movie to movie, but the ornate imagination of Charlie Kaufman (Being John Malkovich, Adaptation) has made him a unique and much-needed cinematic presence. In Eternal Sunshine of the Spotless Mind, a guy decides to have the memories of his ex-girlfriend erased after she's had him erased from her own memory--but midway through the procedure, he changes his mind and struggles to hang on to their experiences together. In other hands, the premise of memory-erasing would become a trashy science-fiction thriller; Kaufman, along with director Michel Gondry, spins this idea into a funny, sad, structurally complex, and simply enthralling love story that juggles morality, identity, and heartbreak with confident skill.--Bret Fetzer (Amazon.com)
Trailer: http://www.youtube.com/watch?v=0KkpnrymyAw
Votes: 12
Points: 65.5
Voters: Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) – 12 votes – 65.5 points – (kath (5), T. Willy Rye (5), the masked man (4), whodathunkit (8), Owen (5), The RightGraduate Profile (5), Lemon Yoghourt (5), Ghost of Harry Smith (4), Goat Boy (4), The Red Heifer (10), W.G. Kaspar (5), Geezee (5.5)
2
No Country for Old Men (2007)
Directed by Joel and Ethan Coen
Synopsis: The Coen brothers make their finest thriller since Fargo with a restrained adaptation of Cormac McCarthy's novel. Not that there aren't moments of intense violence, but No Country for Old Men is their quietest, most existential film yet. In this modern-day Western, Llewelyn Moss (Josh Brolin) is a Vietnam vet who could use a break. One morning while hunting antelope, he spies several trucks surrounded by dead bodies (both human and canine). In examining the site, he finds a case filled with $2 million. Moss takes it with him, tells his wife (Kelly Macdonald) he's going away for awhile, and hits the road until he can determine his next move. On the way from El Paso to Mexico, he discovers he's being followed by ex-special ops agent Chigurh (an eerily calm Javier Bardem). Chigurh's weapon of choice is a cattle gun, and he uses it on everyone who gets in his way--or loses a coin toss (as far as he's concerned, bad luck is grounds for death). Just as Sheriff Bell (Tommy Lee Jones), a World War II vet, is on Moss's trail, Chigurh's former colleague, Wells (Woody Harrelson), is on his. For most of the movie, Moss remains one step ahead of his nemesis. Both men are clever and resourceful--except Moss has a conscience, Chigurh does not (he is, as McCarthy puts it, "a prophet of destruction"). At times, the film plays like an old horror movie, with Chigurh as its lumbering Frankenstein monster. Like the taciturn terminator, No Country for Old Men doesn't move quickly, but the tension never dissipates. This minimalist masterwork represents Joel and Ethan Coen and their entire cast, particularly Brolin and Jones, at the peak of their powers. --Kathleen C. Fennessy (Amazon.com)
Trailer: http://www.youtube.com/watch?v=pGenWRb2hZo
Votes: 12
Points: 66
Voters: kath (5), martha (5), beenieman (5), T. Willy Rye (5), Owen (5), The RightGraduate Profile (6), Lemon Yoghourt (5), Goat Boy (10), The Red Heifer (5), W.G. Kaspar (5), Rank Bajin (5), Czechgirl (5)
1
Das Leben der Anderen [The Lives of Others] (2006)
Directed by Florian Henckel von Donnersmarck
Synopsis: Nominated for a Best Foreign Language Film Oscar, this is a first-rate thriller that, like Bertolucci's The Conformist and Coppola's The Conversation, opts for character development over car chases. The place is East Berlin, the year is 1984, and it all begins with a simple surveillance assignment: Capt. Gerd Wiesler (Ulrich Mühe in a restrained, yet deeply felt performance), a Stasi officer and a specialist in this kind of thing, has been assigned to keep an eye on Georg Dreyman (Sebastian Koch, Black Book), a respected playwright, and his actress girlfriend, Christa-Maria Sieland (Martina Gedeck, Mostly Martha). Though Dreyman is known to associate with the occasional dissident, like blacklisted director Albert Jerska (Volkmar Kleinert), his record is spotless. Everything changes when Wiesler discovers that Minister Hempf (Thomas Thieme) has an ulterior motive in spying on this seemingly upright citizen. In other words, it's personal, and Wiesler's sympathies shift from the government to its people--or at least to this one particular person. That would be risky enough, but then Wiesler uses his privileged position to affect a change in Dreyman's life. The God-like move he makes may be minor and untraceable, but it will have major consequences for all concerned, including Wiesler himself. Writer/director Florian Henckel von Donnersmarck starts with a simple premise that becomes more complicated and emotionally involving as his assured debut unfolds. Though three epilogues is, arguably, two too many, The Lives of Others is always elegant, never confusing. It's class with feeling. --Kathleen C. Fennessy (Amazon.com)
Trailer: http://www.youtube.com/watch?v=FppW5ml4vdw
Votes: 14
Points: 83.5
Voters: GoogaMooga (5), martha (5), T. Willy Rye (5), the masked man (3), whodathunkit (8), The RightGraduate Profile (7), Lemon Yoghourt (5), Ghost of Harry Smith (1), Goat Boy (10), W.G. Kaspar (5), Rank Bajin (7), TopCat G (8), Geezee (9.5), Czechgirl (5)
