Ten Films For The 2000's

I am terribly late in joining this party, but in case anyone is still drunkenly sleeping on a couch somewhere I will stop by nonetheless. As I find it a bit too challenging to pin down the best films of the foregone decade, I will settle for ten of my personal favourites in a roughly chronological order.

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Unbreakable [Directed by M Night Shyamalan, 2000]
M Night Shyamalan’s fall out of fashion probably was the decade’s most spectacular and no doubt the reception of this film spelt upcoming trouble. Quite unfairly though, I think. To me Unbreakable is a strikingly original film that manages to treat its subject matter in such a preposterously solemn manner you do imagine a tongue in someone’s cheek somewhere. Carefully composed shots and simple but effective use of colours brings comic books sensibilities to the screen without resorting to mimicry. And as slow, silent and subdued as the film may be there are also weird moments of comedy, like a relentlessly stone-faced Samuel L. Jackson’s visit to the comic book store. But by and large, I suppose Shyamalan did pave the way for many brooding, moping superheroes to follow in the decade. All in all a slyly unfolding little story and a very peculiar, highly intriguing film that does not quite beg for the attention I think it deserves.

O Brother, Where Art Thou? [Directed by Joel Coen, 2000]
It certainly was another characteristically rocky decade for the Coen Brothers, with films ranging from rather forgettable pastiches like The Man Who Wasn’t There to the highly acclaimed No Country For Old Men. For me though, I am still a Dapper Dan Man all the way. While not going for cinematic greatness, O Brother, Where Art Thou? quite probably remains my favourite Feel-good movie of the decade. The film has rather understandably but still a bit regrettably been overshadowed by its admittedly stellar soundtrack. But it is a simple, nice little tale of Good and Evil and assorted shades of grey in between; goofy, touching and uplifting at the same time. There is also plenty of stunning, dusty cinematography, memorable dialogue, inspired silly slapstick and some mighty fine acting. While I don’t want Fop, Goddamn it, this film sure is bona fide in my book and quite a comfortable pick for this list.

Lost in Translation [Directed by Sofia Coppola, 2003]
To me Sofia Coppola may well the director with the strongest track record of the past decade (the release date of The Virgin Suicides narrowly disqualifies it from this list) and it is easy to see why this film brought her to prominence. Lost in Translation is a remarkably accessible film as it also is quite elusive in an aloof, sleepless and elliptical way. While it certainly is lovably playful and tender there is rather a nasty streak too, as anything or anyone outside the main characters’ bubble tends to be somewhat coldly depicted in a slightly condescending if not downright caustic manner. Mind you, Baden-Powell would hardly be proud of Bill Murray and Scarlett Johansson’s characters either and it would be hard to see the film working without their frank, well-rounded portrayals. I say Lost in Translation is one of the decade’s finest cinematic hours: wonderful to look at, to listen to and to have lurking about in your mind after that final, curious farewell.

Janghwa, Hongryeon [English title A Tale of Two Sisters, Directed by Ji-woon Kim, 2003]
The wave of Asian Horror films early in the decade wore out its welcome quite quickly, and I do not think generic American remakes were solely to blame. But while many of the genre’s titles seem rather bland in hindsight, this Korean film has lost little of its impact on me. Admittedly, in the movie theatre I found parts of the film quite unbearably intense and repeated viewings is a bit kinder on the nerves. On the other hand, the film – basically telling the story of a troubled family reconvening in a seemingly haunted house – is so multilayered and nuanced it tends to grip me just as firm on every return. And apart from some seriously startling scares and an unrelentingly uneasy air, the film is also – a bit surprisingly – wretchedly sad as the chilling revelations at the end possibly remains its most disturbing parts altogether. While I am not sure this film really should be classified as Horror, if it should it certainly is my favourite Horror film of the decade.

Big Fish [Directed by Tim Burton, 2003]
Father-son dramas can be profound as well as banal, and while Big Fish hardly falls in the former category I still think it strikes a nice balance. The film finds a place for Burton’s trademark sense of the colourfully grotesque as well as some genuinely touching downcast soberness, and – in some wonderful scenes – brings them together. It has been noted that the rambling Southern Gothic vignettes may make it all too easy to sympathize with Will Bloom’s frustration with his father, but the sadness of the estrangement between the two and the inevitable need for some sort of resolution rings equally true. The reassuring, festive finale depicting Edward Bloom’s final bows moves me like little else in Burton’s oeuvre. Big Fish seems to be quite a divisive film and certainly has its share of clichés, but visual fireworks aside I think the tender, understated bathtub scene with Albert Finney and Jessica Lange alone is enough to wash misgivings away.

The Assassination of Jesse James by the Coward Robert Ford [Directed by Andrew Dominik, 2007]
After his abandoned work on One-Eyed Jacks, Stanley Kubrick never turned his attention to the Old West again. If he had, one could imagine the results might not have been too dissimilar to this film, as many of its aspects are reminiscent of his work aesthetically and thematically. Mind you, Andrew Dominik’s neglected film does not need to resort to namedropping to validate itself. The melancholic story is underlined by wonderfully austere cinematography and a stark, evocative score as it slowly follows the dwindling cast. There is a permeating, foreboding sense of claustrophobia even in the desolate, wide-open plains as time is running out for James’ gang, but also glimmers of hope to make one last, improbable bid for freedom. Casey Affleck stands out in a great cast as the story’s starstruck, petty, frustrated and increasingly desperate protagonist. Not a particularly heartening film, but to me nonetheless one of the decade’s most rewarding.

I’m Not There [Directed by Todd Haynes, 2007]
Admittedly, I’m Not There could be described as headstrong rather than imaginative and has proven to be potentially trying even to Bob Dylan enthusiasts. Personally though, I was happy to see Haynes avoiding the trappings of the formulistic biopic, as the film-within-the-film Grain of Sand hints at how dreadful things might have been. Rather, I enjoy the brilliant music (the originals as well as some exquisite interpretations), a peculiar narrative touch, vivid imagery and the striking stylistic exercises of the different segments. Not unlike Dylan’s work, I find I’m Not There to be an elusive, colourful, tender, prophetic, wistful, biting, mischievous, hopeful, worn, defiant and, say lustful piece. In the end it all does not quite add up of course, and I think the film is all the better for it. Quite appropriately I saw several people walk out during screenings. Whether someone might have been muttering "Judas" underneath his breath, who is to tell?

Låt den rätte komma in [English title Let The Right One In, Directed by Tomas Alfredson, 2008]
Probably the most obscure choice for this list, I still easily find it one of the most haunting titles of the decade. Set in a bleak, icy suburb of the capital of Sweden in the early 80’s it is a fine study of loneliness, bullying, dreary childhoods, prepubescent love, lust for revenge and, as it happens, vampires. And yet, no one would be likely to mistake this film for Twilight. The film is as unglamorous as unsentimental and despite occasional bloodsheds, it is the unassuming social commentary that is most likely to leave you feeling uneasy. In a way, the story is most poignantly reflected in its ragged, sympathetic and ill-fated supporting characters. It is not all gloom, though. The film is whacky good fun at times and there is even a happy ending, though after rather a macabre, twisted and disturbing fashion. Personally I would see no reason to wait for the reportedly "very accessible" remake coming later this year.

Inglourious Basterds [Directed by Quentin Tarantino, 2009]
Good fun as they were, Quentin Tarantino seemed to be painting himself into a corner with the Kill Bill films and the complacent Death Proof did little to suggest otherwise. In retrospect, the timing was ideal for Tarantino to pull a Killer rabbit out of his hat. While largely sticking to his guns, he seems to have learned some new tricks and maybe a thing or two about when to show off and when to shoot straight. The film is delightfully irreverent, stylish and occasionally brutal but also supremely confident with its tension-building dialogues and cunningly unfolding storyline. For all its goofiness, it is also a rather morally ambiguous. Waltz and Laurent are quite brilliant as are the visuals, particularly during the horrific, eerie Revenge of the Giant Face. While unlikely to achieve anything approaching the iconic status of Reservoir Dogs or Pulp Fiction, Inglourious Basterds does make me think that Tarantino’s best work just might lie ahead after all.

The Imaginarium of Doctor Parnassus [Directed by Terry Gilliam, 2009]
This film is not likely to ever shake off the spectre of its production history, which seems uncannily fitting as the long, sticky tentacles of the past is one of its recurring themes. Furthermore, many of the good doctor’s trials and tribulations mirror Gilliam’s own in a self-deprecating manner. Still, this may be the quintessential Terry Gilliam film. The wondrous imaginary worlds hark back to his earliest work with Monty Python, the set designs are stunning and the film is side-splittingly hilarious at times. But for all whimsies there are also thick streaks of deceit, distrust, paranoia and betrayal, and the convoluted story takes some dark turns that not even the Devil seems too happy about. While no small amount of smoke and mirrors are present, I think the film makes for a very rich, rewarding if slightly unfathomable cinematic experience, bringing hope of a springtime for Gilliam. Happy endings are not guaranteed, though.

Come to think of it, the last decade does not strike me as a particularly strong one cinematically speaking, as I can think of a handful of films from 1999 alone that would have been very strong contenders had they been made a year or so later.

That said, I suspect apologies to Marie Antoinette, This is England, Finding Neverland, Cidade de Deus, The Last King of Scotland, There Will be Blood, Das weiße Band, The Royal Tenenbaums, the twice snubbed David Fincher (for Zodiac as well as The Curious Case of Benjamin Button), Sin City, Ocean’s 11, Eureka, In the Loop (quite possibly the funniest film of the decade in competition with for example von Trier’s Direktøren for det hele), No Country for Old Men, Public Enemies, Eternal Sunshine of the Spotless Mind, Frost/Nixon, Der Untergang and quite possibly quite a few others are in order for failing to find them a place on the list. No hard feelings, I hope.

Oh, and:

Club Dread This wont be on anyone else's list, but I guess it came along at the right time/age for me. A nuanced, affectionate slasher parody that's also a very funny and quirky crude comedy, with a "scream" of a finale

While it indeed did not find a place on my list, I am happy to see Club Dread getting some recognition. Certainly one of the best Slasher spoofs, for what it’s worth.

#91 Vauxhall

#92 Otis Fairplay

#93 Gabe Vieira