Django Unchained Directed by Quentin Tarantino Released in 2012 Quentin
Tarantino has outdone himself once again, but Django Unchained, his
longest, bloodiest and angriest film yet, is not necessarily better off for it.
This cartoonish Spaghetti Western/Blaxploitation epic tackles the ignominy of
American slavery while retaining the wordy humor and gratuitous action typical
of the auteur’s work. It makes for an entertaining two hours and 45 minutes
that never bores, but Django’s identity crisis precludes it from
saying really anything about its sensitive subject matter.
From the opening credits, where Django (Jamie Foxx) and a gang of whip-scarred slaves shamble through the desert, the film insists on depicting slavery in
explicit and uncompromising detail. There are grainy 16mm close-ups of Django’s
wife, Broomhilda (Kerry Washington), wailing as an overseer relishes in maiming
her frail body with a whip. There are at least 100 historically accurate racial
epithets, used more often as shorthand than as heated insults. A central plot
point involves the fictional gladiator sport of “Mandingo fighting,” where two
slaves fight to the death with their bare hands. White owners lock a naked
slave inside a steel “hotbox” and feed another to rabid dogs. This is Tarantino’s
first film with scenes I found tough to watch.
It
is worth noting that the brutality above occurs mostly off-screen, while the abundant
shootouts focus on every spurt, mist and trickle of viscous blood, often in
slow-motion. Even in the underexposed first scene, when Dr. King Schultz
(Christoph Waltz) guns down Django’s owners in the dead of the night, Tarantino
and cinematographer Robert Richardson (Hugo, JFK) backlight
the murders to make the bloodshed startlingly visible yet comically abstract. A
shot of an overseer’s blood splattering over cotton buds is even quite pretty,
not to mention a shameless metaphor. There’s a clear divide between the
violence against slaves and everyone else — as a rule of thumb, the more blood
a character loses on screen, the less you should care about him or her.
It’s welcome, if not really brave or original, to elevate slaves above
their owners — this is a Blaxploitation pastiche, after all — but by
trivializing one current of violence and coarsening the other, Django props
up America’s darkest chapter of history as justification for an ultraviolent
and by-the-numbers revenge plot.
Tarantino
lays the groundwork for a mature meditation on violence, which most would agree
he’s about due for. Before saving Broomhilda from “Candyland,” a vast
plantation owned by Calvin Candie (Leonardo DiCaprio), Django and Schultz raise
money as morally questionable bounty hunters. Though the bounties always advise
“Wanted: Dead or Alive,” the two take no chances and only turn in corpses. The
sudden introduction to this practice makes for a bit of classic Tarantino
dialogue, as Schultz cites little-known laws to talk a lynch mob into paying
him $200. Later, there’s a haunting moment when Django snipes an outlaw from
atop a cliff-face and we see and hear a panicked little boy run to his dead
father’s side. But as the film jumps to the “rescue” second act and especially
the final “revenge” act, this ambiguity disappears and the sides revert to
unimaginative stereotypes. For all the sick fun Tarantino is having with us, it
is disappointing that the trade-off is of any meaningful insight into the
fertile, if problematic, backdrop of slavery.
Harsh
as I may sound, Django Unchained is indeed a lot of sick fun.
Waltz, DiCaprio and Samuel L. Jackson have jumped to the front of the Oscar
race thanks to Tarantino’s juicy lines and monologues. DiCaprio’s speech about
phrenology and the “subservience” of the “Negro brain” ranks up there with the
Superman suit soliloquy in Kill Bill, and Jackson as Calvin’s
parroting, conniving Uncle Tom inspires perhaps the film’s most grounded
discussion on race. There are peculiar yet wise casting choices, like Jonah
Hill as a bumbling white supremacist, Miami Vice’s Don Johnson as a
plantation owner and Dexter’s James Remar, who for some reason plays
two different characters. With his thirst for violence and limited
psychological insight into his character, Django is the weakest of the bunch,
with as much depth and charm as a generic video game anti-hero. His painfully
passive wife fares no better; Washington admitted to IndieWire how she “barely
survived” shooting the film, a believable toll considering every scene asks her
to scream, shudder and surrender all agency. Once the film hits its second or
third ending and the far more interesting characters have met their fate, the
film reminds you that it’s all a love story, after all. The romance is as
enchanting as … again, a video game comes to mind.
Django
Unchained is a hell
of a movie, for better or worse. As a long-time admirer of Tarantino’s oeuvre,
I am content that this film merely exists and further pleased that it’s a
seething and energetic marathon of cinema. But Tarantino’s maximalist approach
here reveals his weaknesses, as his dedication to being a bloody, composite
filmmaker flattens the nuances required for great filmmaking. Sure, there are
nuances and flourishes here and there — nothing screams “final cut privilege”
like multiple extreme close-ups of Schultz pouring Django his first beer. Yet
somewhere a broader artistic statement is lost, which is almost fatal for a
film with a subject that requires some tact. Whereas Inglourious
Basterds wisely shied away from the heavier horrors of the Holocaust
and instead stuck to full-out satire, Django Unchained accosts
slavery in all its squalor and offers no better endgame than a “kill them all”
revenge fantasy. It is awkward to come away from a film about slavery and think
how the director needs to grow up.
Inception: Directed by Christopher Nolan Released in 2010
Your day is going well. Shockingly great, even. That band you wanted to see, you know the one whose closest show was located three hours away, has just revealed a new date in the town adjacent to yours. Why anyone would play in Closter, New Jersey, is besides the point, because they also resurrected Jimi Hendrix from the dead and he will be jamming at this show as well! The opener is Radiohead. Winston Churchill and Marilyn Monroe have speaking engagements on top of that. Wait. You begin to question the origins of this situation. You do not remember necessarily how you were confronted with this joyous news, only that it seemingly came to be. The patterned, hardwood floor snaps to black nothingness. As your eyes fly open, only to find yourself lying on your disheveled bed with its tousled sheets, disappointment pours over you as you realize it was merely a dream, a fantastical figment of your subconscious. This was a pleasant dream, but there were undoubtedly some dark secrets hidden deep within. The line between reality and fantasy becomes increasingly blurred, leaving us wary of where, or who, we really are. Such is precisely the concept of Inception, Christopher Nolan's latest mindbending thriller with huge setpieces and an even larger imagination.
It is not easy to condense Inception's storyline to a mere few paragraphs, as well as leaving out any spoilers, so it is best just to provide the bare synopsis. Dom Cobb (Leonardo DiCaprio) is a master at a very specialized form of espionage: entering the subconscious of those his employer specifies, and then stealing critical, secret thoughts. Cobb is estranged from his children and his mysterious wife, Mal, whose fate is left in the balance until the end of the film. He is given a chance to reunite with his children if he accepts the job the wealthy Japanese magnate Saito (Ken Watanabe) offers him. Fittingly, the task is near-impossible. Known as "inception," it is the process of implementing new thoughts into a person's subconscious, as to make it seem that the subject thought of them himself. The subject is Robert Fischer Jr., played by Cillian Murphy, who is the son of an ill energy tycoon and Saito's main competitor. The job, and its rewards, seem straightforward enough for everyone to agree. Obviously, as in any dream, nothing every works that easily.
The film opens with a spectacular action sequence, which this film is full of, as Cobb and his partner, Arthur, a suave Joseph Gordon-Levitt, invade the mind of Saito in order to extract an important piece of data. The "rules" of subconscious engagement start to materialize. For instance, the sleeping Cobb is kicked into a bathtub, while the Cobb in the dream is surrounded by a world that suddenly fills with water. The opening hour or so focuses on exposition, which may seem to be a slogging introduction to some, but I equated it to a tutorial for a video game. Before you can master an action game, you must learn the basics. Same goes with this original, very different take on the human dreamscape. The film introduces the rules of this unique form of combat, such the need for an architect, or someone who builds a complex dreamworld in order for the subject to have difficulty realizing that this world is a foreign creation. Other neat ideas include the fact that the "dream invaders," let us call them, experience pain inflicted in the dream upon their true, grounded self, though a death will simply wake them up (the exceptions to this rule prove interesting). The different levels of a dream (yes, they dream within dreams, and continually stack them), are given different standards by which time is measured, though pounding music with a defined cadence will apparently resonate equally. A recurring motif that plays a critical role in the movie is the totems that these agents use to ensure them that they are back in the real world. Arthur has a red die, while Cobb has a silver spinning top. This mechanic is an original way to explain the realities, or lack thereof, of the dreamworld.
It is not often for a movie to have such an intriguing premise, yet deliver on nearly all counts. Inception does this, and, while it is not completely flawless, it is the most refreshing, intelligent sci-fi film since Eternal Sunshine of the Spotless Mind. I found myself grinning and shaking my head in disbelief when plot strands would tie together so well, or just at the genius behind many of the mechanics. The interesting thing is, this film spells out so many rules and details about the laws the world occupies that it makes the viewer believe they conquered all the small storytelling nuances. Of course, by the ending (and what an ending it is), as one analyzes the bigger picture, many questions are left unanswered. Some are left up to your own interpretation, while the established fiction can answer the rest. Naturally, the whole process of subconscious extraction is never fully explained, which is perfectly fine. A suitcase filled with cryptic lights and circular dials holds a number of tubes that, presumably, are inserted intravenously into each dreamer, who then are left unconscious and free to bob around without much resistance. Explaining the science behind the whole process is about as necessary as revealing the true nature of the Force in Star Wars (and don't you dare bring up midi-chlorians).
A number of different influences run throughout this film. An obvious pick is The Matrix, where the worlds are built upon unreal creations of people's minds as well. A liberal use of slow motion is shared between the two films, though it is integral to the storytelling of Inception in a sense. There is also, somewhat shockingly, an "Architect" in both, though the roles are reversed. The Architect in The Matrix seemingly knows all the answers, while Ariadne (Ellen Page), the architect in Inception, is the audience surrogate, new to the practices of these agents and as initially bewildered as the viewer to the process. The heist and spy nature of the film can be traced to Ocean's Eleven or James Bond (the ski sequence is an obvious throwback to Spy Who Loved Me), both involving a wide range of diverse, wisecracking characters. Traces of Blade Runner can be felt, as the uncertain nature of certain characters hangs in the balance. And of course, Christopher Nolan's greatest film (which may still hold the title, though only time will tell), Memento, is the lifeblood for the script itself. It is worth noting that Memento, which chronicles its events backwards, is dwarfed in complexity by this film and its limitless intricacies.
In the same way as The Matrix, this film is paving new ground in its special effects. Every visual trick is incredible, such as when Paris folds in on itself and Cobb and Ariadne nonchalantly walk vertically, upside-down, and every which way on the circuitous grid. However, Nolan does not garner all the respect just for the computer wizardry he accomplishes but for his steadfast commitment to live-action effects, with limited digital tampering. A freight train storming through the city streets is something that could only occur in a dream, yet the scene was actually filmed on a expansive stage, not on high-processing computers. The most stunning feat is the zero-gravity hotel scene, in which Arthur fights and flies through long, spinning corridors. This is not the first time that actors have ran, or danced, on spinning setpieces; Fred Astaire dazzled audiences in 1951 with his Royal Weddingceiling dance. However, nothing of this scale has been done before, and the added fact that the actors are floating the rest of the time is simply stunning. I should give a shoutout to the sound design as well, which, like any Nolan film, is impeccable. Notice the crisp "clank" sound when the taxi runs over an assault rifle on the ground, or the cacophonous shattering of glass. Hans Zimmer's pounding score is sometimes overwhelming, but it fits the epic feel with heavy brass and bass. In the end though, it is the visual feats of wonder that resonate. Neo's first bullet time scene, or Terminator 2's mix of computer and physical effects were revolutionary for their time, and this is the modern equivalent.
No amount of special effects can counter a bad script (ask a bare, DVD version of Avatar) or flat acting, but Inception encounters no such problems. The screenplay, penned by a likely exhausted Christopher Nolan, is imaginative and rife with emotional conflict. That's not to say that it is without fault (a few events at the end could qualify as deus ex machina), but few screenplays have dared to venture in such risky, complex territory as this one, while simultaneously aiming for huge audiences. While it is the mind of Fischer that the specialists invade, the story ultimately belongs to Cobb. DiCaprio impresses once again with a demanding role that calls for action hero antics on top of perpetual psychological dilemma. His character is deeply flawed, as his relationship with his wife can attest. The memories he holds of his wife are of questionable authenticity, and once the answers are provided by the conclusion, the ending proves even deeper than initially expected. Many parallels can be drawn between the mind-centric roles of this film and Shutter Island, another Leo DiCaprio vehicle, but it is safe to say that he has been in two of the best films of the year and supports them with ease.
The rest of the cast is varied but no less impressive. The youthful Joseph Gordon-Levitt, who balanced elation and melancholy perfectly in (500) Days of Summer, is an ideal partner to DiCaprio. He plays the sane(r) man to Cobb's rapidly spiraling mind, and this is the first blockbuster for the young man that will surely launch a career of many more successful films. He exchanges entertaining banter with Eames, played by Tom Hardy, the typical British bloke. The two provide most of the comic relief in the film, which is not terribly often, but humorous when it appears. Ellen Page, who narrowly missed an Oscar for Juno, excels in her role that begins in perplexed naivety to end as the only one besides his wife to truly understand Cobb's psyche. Her genius draws her to Cobb's attention through Miles, played by Michael Caine, who stops by for only five minutes total. He apparently is one of the main minds behind this "subconscious security" process, so when he sits behind a desk in a 19th century lecture ampitheater, it does not really meld with his character's reputation. Still, there is no harm in Michael Caine, and I would have welcomed more screentime. Avatar's Dileep Rao is the chemist behind the operation, supplying the sedatives for the subjects. It is strange, however, that these complex chemicals are simply stored in some dusty old store, which seems a bit off the mark. Nonetheless, Cillian Murphy plays his extremely critical role with an apt blend of wealthy elitism and frightened disorientation. A larger Tom Berenger, somewhat similar in complexion to Mickey Rourke nowadays, is the righthand man to the Fischer family, and proves to be a key point in successful inception. A scene when Eames, who is a "forger," alters his appearance to become a physical manifestation of Berenger's character is clever as the sparse editing makes the effect seem lifelike.
Letters From Iwo Jima's Ken Watanabe, one of the greatest English-speaking Japanese actors in Hollywood, is excellent as the wealthy, occasionally quite humorous catalyst to the whole operation. He not only assigns the operation but proves to be a vital figure in the mental unraveling of Cobb. The chief figure in Cobb's life, however, is undoubtedly his wife, Mal, played by the beautiful Marion Cotillard. Her performance is never consistent because Cobb's projection of her constantly vacillates to fit his mental state. Cotillard, who won an Oscar for La Vie en Rose two years ago, nails the emotional nuances of this complex role no matter the situation. She can be frightening, romantic, philosophical, or just smooth like the best Bond girls. Cotillard has not had a bad role in her career, and the transition to blockbuster films has not mitigated her talent at all. If anything, she is getting better with each new movie.
As much as I would like to call Inception perfect and close shop with that, it is not. No film is really, but there are a few qualms I should note. Mulholland Drive this is not, and while that will please most viewers who do not want to be savagely assaulted by perverse images and jagged storylines, it is almost too straightforward for a dream world. Dream logic is, well, devoid of any real logic, so the ease at which the agents move around the world and control themselves does not really align itself with the true science of dreams. The one problem that was notably apparent, however, was the bland nature of the dream worlds. As my opening paragraph attests to, dreams are supposed to be discordant, senseless and fantastical scenes that center around an impossible notion or ideal setting. Instead, the settings of these dreams are just city streets, hotels, and snowy fortresses without any conflict. The straightforward nature of these dreams is the only way a mainstream audience would be able to digest them, and there is already enough abstract content to deal with, so I understand where Nolan is coming from with these alterations. These minuscule flaws have little to no impact on the final product, but I feel obliged to express my thoughts.
Inception is a rare beast. The visual effects are astonishing and unlike anything you have ever seen before. Better yet, its wholly original and brilliant story qualifies every action scene as intrinsic to the progression of the plot, and not merely pedestrian eye fodder. Christopher Nolan may be the greatest filmmaker of the new millennium, as he combines the old, traditional ways of making classic films - huge soundstages, stuntmen, and, most important, a limitless imagination - with the technology of today, and, never leaning too heavily on either, crafts a product that is irresistible to every form of audience. In Inception, your dreams are never safe. But this film proves that the Hollywood dream is alive and strong.
For five decades now, Martin Scorsese has directed some of the finest films of all time. Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Casino, and The Departed are his most notable accomplishments, and his influence has affected filmmaking worldwide. Now, in 2010, Scorsese has released his latest triumph, but any evidence of his signature style is nearly stripped. Shutter Island is a psychological thriller in the vain of The Shining or Memento and even has traces of One Flew Over The Cuckoo's Nest and Mulholland Drive. The result is a captivating film that will not appeal to the universal audiences Scorsese usually receives but stands as one of his most unique and ambitious accomplishments yet.
Based off the novel of the same name by Dennis Lehane (who has had a lucky streak in Hollywood with this, Gone Baby Gone and Mystic River all getting the silver screen treatment), Shutter Island follows a winding narrative structure that does not resolve until the eye-opening conclusion. The beginning synopsis is not that complicated, however: Teddy Daniels (DiCaprio) is a federal marshal joined by his new partner Chuck (Mark Ruffalo) to investigate the disappearance of an inmate at the ominous Shutter Island, a house for the "criminally insane." Located 11 miles into the Boston harbor, the island is overseen by Dr. Cawley, a composed yet freaky Ben Kingsley. He believes that the patients can be cured through attention and a healthy environment rather than heavy doses of drugs. However, Teddy sees through the smokescreen and suspects something else is up. A doctor with possible ties to the Nazis, played by Max von Sydow of The Exorcist fame, and a downright creepy warden, given that aura by Ted "Buffalo Bill" Levine, set Teddy off to uncover the truth. Telling much more about the story would venture into spoiler territory but, rest assured, this is a film you will want to see twice.
Set in 1954, the film quickly becomes a psychological-centered tale once Teddy's mind serves as the stage for much of the action. Teddy is prone to migraines and sea-sickness, and usually recalls his experience as a concentration camp liberator in World War II when he is impaired by these ailments. Disturbing flashbacks of heaps of dead bodies, as well as fresh Nazi corpses, haunt his memories. The increasingly hostile weather on the island serves as a huge obstacle on top of this and the gap between reality and imagination unpredictably widens. The scene atop the cliff is particularly memorable for both serving as a branch in the story as well as a showcase for neat film techniques. Freeze frame images and brisk editing give these scenes a nightmarish quality, a technique more akin to Stanley Kubrick than anything Scorsese has done yet. Even if you are familiar with Scorsese's work, his name will probably not come to mind if you view this film without any knowledge of the forces behind it.
Nonetheless, the directing is the force behind perhaps the legendary director's most distinctive work yet. While not a horror film in the sense of Kubrick's Shining, the unnerving atmosphere and grim images certainly cast a tense aura over the entire story. Marty, to my surprise and petty disappointment, does not include any long, tracking shots a la Goodfellas, a technique that was popularized in Kubrick's aforementioned film 30 years ago. He showed his unparalleled mastery at this form in the classic mobster film, and considering those shots naturally draw suspense, an incorporation of the tracking shot into Shutter Island could have been both a nostalgic homage but, more importantly, the making of a classic thriller scene. Alas, this qualm is very minimal as it only applies to idiosyncratic movie buffs like myself, and the directing overall is stellar. Scorsese has always been able to delve deep into the soul of his characters, forming a personal connection between the viewer and the protagonist. He uses this to his advantage here, but also relies on the provocation of the senses to connect to the viewer. Some excellent sound design accompanies the most harrowing scenes, and, to contrast, beautiful picks by Gustav Mahler and Lou Harrison plant the film in its time during the seemingly "normal" sections. The haunting main theme by Polish composer Krzysztof Penderecki, who, ironically, composed the iconic soundtrack for The Shining, guarantees that the final scene will stick in your head for some time.
The acting is excellent overall, though Leo's performance is getting the most attention. In the beginning he speaks in his imperfect Boston accent, but thankfully his dialect does not remain the focus; his true acting ability does instead. I cannot think of any role that was more complex or nuanced than this one, even including The Aviator, and it may be safe to say that this is his finest achievement yet. He grows convincingly frustrated at the stalemate of an investigation he is presented with, and conveys true loss when needed. Leo is almost never off the screen and, even those who usually dislike his work, will find his presence welcome. Meanwhile, Ben Kingsley does what he does best and chews up the scenery. However, this time around it is more urbane than some of his recent work and he is a menacing delight to behold. One line he speaks (and you will know what is upon hearing it) shocks you like cold water but, you have to admit, you love it. John Carroll Lynch, the lovable husband in Fargo but also the suspected serial killer in Zodiac, is the Deputy Warden and convincing as an arrogant authority figure who does not need much more than his word to get work done. He finds himself, funnily enough, in the middle of those two memorable roles, for this film here. Watchmen's Rorschach, Jackie Earle Haley, shows his intimidating mug for a tense scene that starts shining a light on the whole story. Finally, Michelle Williams, the talented young actress, plays Teddy's wife in many of the flashbacks and hallucinations. She is excellent as the diaphanous figure of a spouse, especially once the difference between those two types of scenes becomes muddled. All the performances together are superb, though Leo's will be the only one that will be particularly remembered.
If there was one problem I had with Shutter Island more than anything, however, it was its marketing campaign. Simply put, the trailers give away a little too much, as the conflict is not established until a considerable amount of time in. This is not the filmmaker's fault, and the delayed release schedule is most likely to blame. The marketing team had to saturate the public with an amount of revealing promos to draw attention, after all. Nevertheless, this con is separate from the film's quality itself. Shutter Island is, like its setting, insular in Scorsese's catalog. He has not done a thriller of this type or caliber before, and, while it still is a strange offering from the master of high-class, yet accessible films, it is a first-rate offering. The story takes you on a ride that dives, loops and corkscrews until the final scene. Your heart races and you need to catch your breath. But, like any great roller coaster, you cannot wait to get on it again.
The last 10 years have been dizzying, shocking, tragic, uplifting, tiresome and, overall, fast. Technology advanced at a rapid speed and keeping up with the latest gadget or website was always a trial. Our country fared an interesting fate these years as well. Nonetheless, while it is debatable whether or not America's politics or economy made any significant strides between 2000-2009, it is a fact that this decade was phenomenal for cinema. Special effects were elevated to new heights and many new faces arrived who are now household names. It is terribly difficult trying to condense the brilliance of some of the movies of the last 10 years into one article but I will try.
The following list contains what I considered to be the best movies of the decade. This list is going to be varied and representative of different genres but, of course, quality is the main factor. Perhaps on top of that is whether or not it left a lasting emotional impression on me, a true benchmark of a film's value. Innovation is another point of consideration for all of the movies chosen and their influence since. Without further ado, this is my list for the Best Films of the 2000s.
1.There Will Be Blood (2007) - It is certainly a tough call, but no film this decade blew me away as much as Paul Thomas Anderson's There Will Be Blood. It is a true masterpiece but executed in such a way that final impressions may range from utter awe to confused perplexity. Nonetheless, there is no debating that this is something special. It is the tale of an oil man, Daniel Plainview, who, with his adopted son, accumulates wealth and property but loses his mind in the process. Daniel Day-Lewis gives the best performance of the decade with every movement: his somber tone, painful facial expressions, drawn-out cadence, and even his stilted posture. The result is magnetic, aided by a haunting score from Radiohead's Jonny Greenwood and beautiful, stark cinematography. Watch the American Dream go sour in the finest movie of the last 10 years.
2.Eternal Sunshine of the Spotless Mind (2004) - A truly unique fusion of romantic comedy and science fiction, Eternal Sunshine stands by itself as a extremely innovative film as well as a masterfully executed one. A couple (Jim Carrey and Kate Winslet) have a rough, emotional breakup and decide to erase the relationship from their memory through a new form of technology. While undergoing the procedure, Jim Carrey's character starts to have doubts as he sees their happiest moments. The grade A script by Charlie Kaufman and Michael Gondry (also the director) is full of twists and touching moments that progress in a flawless manner with no boring lulls. Jim Carrey shocks with an incredible performance, subduing his crazy man persona in favor of a humorous, but sentimentally centered, character. Tom Wilkinson, Kirsten Dunst, Elijah Wood and Mark Ruffalo round out the stellar cast that brings this one-of-a-kind tale alive. There has never been another movie like Eternal Sunshine and, for that reason, it takes top marks.
3.The Departed (2006) - Martin Scorsese is still king. Taxi Driver was one of the defining films of the 70s, Raging Bull of the 80s, Goodfellas of the 90s, and, now, The Departed for the 2000s. The rough, gritty style of Marty reaches Boston in this violent, hilarious, and tragic film. A cast of heavyweights featuring Leo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin and, the one significant female role, Vera Farmiga all combine their talents. The result is not a convoluted mess, like what could have been, but a modern crime classic. Watch Jack as he nonchalantly pulls a dismembered hand out of a plastic bag to joke about the poor soul's demise, all the while eating lobster and quoting John Lennon. Nicholson is a mad man in top form (which he usually is) but the movie also succeeds because all the stars around him are so bright. Scorsese has been strong for four decades now and there is no doubt he will last five or maybe six.
4.Up (2009) - Up is Pixar's best film yet, but the reason it stands so, uh, high on this list is because Pixar delivered hit after hit this decade. Finding Nemo, Monsters Inc., The Incredibles, Ratatouille, the brilliant Wall-E, Cars...actually forget that last one. Nonetheless, they were the most consistent production company in the business and every film of theirs deserves a top slot here. However, Up was their most-balanced film yet, executed in a way that both adults and children loved. The humor is sharp throughout, with two lovable animals in tow, both featuring hilarious introductions. The real reason why Up holds top honors however is for its perfect introduction. We watch as a couple fall in love, marry, go through life, and ultimately face the worse in less than 5 minutes and without any dialogue. It is the closest any scene this decade came to perfection and is guaranteed to reduce anyone to a sobbing mess, or at least a sniffling one.
5.Inglourious Basterds (2009) - My personal favorite on this list, Inglourious Basterds is Quentin Tarantino at his most excessive and self-indulgent. Sure, dialogue scenes could have been 3 minutes each but he makes them 25 minutes. Thankfully, it pays off because these scenes of increasingly hostile badinage are so intricately detailed; Tarantino is in control of his own script and can draw suspense from the mere scooping of cream for a strudel. The story itself is about a band of Jewish soldiers who go to World War II era France to do one thing only: kill Nazis. Brad Pitt leads the squad that also has such standouts as Til Schweiger as Hugo Stiglitz and Omar Doom as, well, Private Omar, whose nearly silent-movie demeanor is offset by a few winning lines. Shoshanna (Melanie Laurent) and Bridget von Hammersmark (Diane Kruger) are the strong-willed females who have their own plans of taking down the Nazis, leading of which is Colonel Hans Landa, played by Christoph Waltz. In one of the most stunning performances this decade, Waltz spans four different languages while remaining sinister, yet truly unknown in his motives, throughout. As he exclaims "Thats'a BINGO!!," you wonder if his or your sanity went away first.
6.Memento (2000) - This was the film that launched Christopher Nolan into the public conscience before The Dark Knight. While obviously not as commercially successful, Memento features mind-bending, non-linear plot progression that goes backwards; B to A instead of A to B. You know what happens but...at the same time, you do not. It is best leaving the film to speak for itself as it contains such a tight, well-written script that keeps you gripped from beginning to end. Guy Pearce stars as an ordinary man who has a severe memory loss issue, leaving him to trust people based off of photographs and notes he takes. Carrie-Anne Moss and Joe Pantoliano are his friends who guide him along, and their motives stay cloudy until the very end. The defining thriller of the decade.
7.No Country For Old Men (2007) - The Coen Brothers created a sinister masterpiece based off the work of Pulitzer Prize-winning author Cormac McCarthy. With shocking violence and an ultimately pessimistic message, this is not the ideal family movie night fare. However, for those willing to go forward, they will find one of the most well-crafted films of the decade, featuring a haunting performance by Javier Bardem. As he saunters from one motel room to another, silenced shotgun in one hand and cattle gun in the other, with an expression of true sociopathic madness, the hostility is palpable.
8.City of God (2003) - Paying homage to classics like The Godfather, Goodfellas, and Shawshank Redemption while inspiring Slumdog Millionaire in the process, City of God draws influences from the best but creates its own unique and totally unforgettable experience. Set in 1960s-70s Rio de Janiero and entirely in Portuguese, the film is about one boy (Rocket) and his life in the hoodlum underworld of Rio. The primary business is drugs and it gets paid out in blood, lots of it. The violence is shocking in this film; the body count by the end must have far surpassed the 200s. Nonetheless, the film is kinetic and, strangely, upbeat. While the very memorable villain Zed resembles a Goodfellas-esque Joe Pesci, the protagonist uses his photographic skill to win his way over with the gangs and ultimately take them down in the end. City of God sticks with you and shows you that films can really engrain themselves into your conscience.
9.Pan's Labyrinth (2006) - Films have always been respected enough to be labeled "art," but Jimmy Fallon's Taxi will make you sometimes doubt this notion. Once in a great while, however, a film of such true artistic beauty will come by and stun you. For this decade, that position belongs to Pan's Labyrinth, directed by Guillermo del Toro. The art design is captivating, as is the story of a girl in fascist Spain who is transported to a magical world to escape the troubles of the real world while encountering new ones all the same. She encounters savage monsters, giant toads and other frightening, or just strange, creatures along the way. Violence is prevalent throughout, so an "adult fairytale" is a proper term to label this one. However, it successfully combines its bloody brutality and childlike sense of wonder to create something thoroughly excellent.
10.Mulholland Drive (2001) - Condensing the insanity that is Mulholland Drive to a mere paragraph is impossible. I do not think that it can even be summed up in 10 pages. Nonetheless, David Lynch's hypnotic nightmare centers around two gorgeous women (Naomi Watts and Laura Harring) as a whirlwind of events encircle around them. Watts, with this as her breakout role, stuns with her character, who starts as a cheery, naive actress and progresses to something totally different by the end. Haunting settings, an erotic but passionate relationship and monsters all make their way into this film, and you are left more bewildered by the end than the beginning. It speaks for the quality of the structure and narrative when I say that this film could have been made in any year over the last three to four decades, eschewing special effects for a dreamlike approach to cinematography. David Lynch is America's modern surrealist: pay attention to this nearly extinct breed.
11.The Diving Bell and The Butterfly (2007) - Directed by Julian Schnabel, Diving Bell is a film that explores the limitless expanses of the human mind. After suffering a stroke that reduces his whole body to an immobile state with the exception of one eye, Jean-Dominique Bauby narrates from inside his head, seeing the events unfold around him but unable to react. Based off a true story and a book of the same name, the film shows the true value of imagination and how it can transport you to faraway places, even when you are unable to merely move a finger. Bauby composed an entire autobiography by blinking at certain times, and Schnabel combines his natural artistic talent with amazing cinematography to create a movie that makes you value how impressive the brain we waste every day on YouTube cat videos and Jersey Shore really is.
12.The Dark Knight (2008) - Now this is strange....this is a movie that most people reading this may actually have seen!! What the hell is a movie that made over a billion dollars doing here? Well, The Dark Knight is the product of uncontained ambition, lots of money and an unfortunate, premature death. Heath Ledger's Joker gained popularity because he died before the movie was released but his performance is incredible, death notwithstanding. He showed us a maniacal Joker who does not cower over the abyss but instead laughs as he jumps down, feet first. A strong supporting cast and a new mature tone give this film a strong artistic value, a nice trait when it can also reel in the big bucks.
13.Big Fish (2003) - One of the most underrated films of the entire decade, Big Fish is Tim Burton's best film to date, one that utilizes his visionary mind and eliminates the pretentiousness. What is left is a fascinating fairytale full of intriguing characters, comical situations and heartrending conflicts. Ed Bloom (Albert Finney) is a father who has constantly told tall tales throughout his life, leaving his son William (Billy Crudup) unaware of what is true and what is false. As Edward slowly dies, a series of flashbacks, some exaggerated yet many true, is shown with Ewan McGregor as the younger Ed. These scenes are all visualized with such an esoteric beauty that only Tim Burton can realize, one that elevates this film from mere fairytale to a fantasy that is as inspiring as The Wizard of Oz upon first, and repeated, viewings.
14.Into The Wild (2007) - 2007 was a year of standouts, but Into The Wild combined stellar filmmaking with a freewheeling, entertaining value that others that year lacked. Emile Hirsch plays the infamous Christopher McCandless, an intelligent yet adventurous young man who abandoned his education, hiked into uninhabited Alaskan territory and never returned. Sean Penn reveals that he is a very adept director, on top of his other skills, and gives the film a very soulful air. Hal Holbrook commits a heartrending performance as an old man who finds Chris on the road and believes he is the piece that has been missing from his life for so long. We know now that Chris' actions were careless but we cannot help but root for him as he has the guts to do something we never would do.
15.Kill Bill Volumes 1&2 (2003-04) - While all part of one, cohesive narrative, the two Kill Bill films are surprisingly different from each other. The first is one of the best action films of the decade with buckets of blood and a stylized feel that incorporates black and white as well as incredibly violent anime. It establishes an interesting story of "The Bride," played with burning hatred by Uma Thurman, a reformed assassin who decides to settle down with a family, only to be nearly killed by her former employer, Bill. Vowing revenge on all of those who wronged her (including Lucy Liu and Michael Madsen), The Bride makes the first a bloody ride that also has one of the better endings in recent memory. The second goes for a slower paced, methodical approach that is more reminiscent of Basterds but very satisfying. Bill, David Carradine's last great role, is given the spotlight at the end for some of Tarantino's best writing yet. It all wraps up in a way that most sequels would envy. Think of it as The Godfather I and II; the first establishes the fiction while the sequel fleshes it out. In its own insane way, the quality is top-tier throughout as well.
16.Mystic River (2003) - In the black and white genres of ancient times, there were Comedies and Tragedies. Mystic River defines "Tragedy" to the utmost extent, more than basically any movie this decade. Its tone starts somber and only gets darker, as one kid in a Boston group of friends gets abducted and molested by creeps early in his life. This individual is Dave, whose later life remains scarred from this incident and whose mind becomes senile. Jimmy, in an acting tour de force by Sean Penn, is an ex-convict who is in the middle of a violent conflict that his other childhood friend, Sean (Kevin Bacon), now a cop, investigates. Tim Robbins as Dave is haunting: his tragic disposition makes him so vulnerable and occasionally frightening that his Oscar for this part seems like an understatement. The same goes to Penn, whose incredibly nuanced and emotional performance reaches deep into a desperate soul. Marcia Gay Harden is also fantastic as Dave's wife; she is so fragile and diaphanous that a wind could seemingly blow her away. This film is a downer and a true tragedy, but as an exhibition of acting as well as Clint Eastwood's talent behind the camera, Mystic River is worth diving in.
17.Lord of The Rings (2001-03) - A lock on any "Best Of" list, Lord of The Rings, as a trilogy, is not a personal favorite of mine but there is no denying the amazing craftsmanship and respect to the source material. Peter Jackson created the only true epic of the decade, with the final chapter tying up the loose ends nicely while sweeping the Oscars in the process.
18.Hot Fuzz (2007) - Does this film deserve to be in the Top 20? Possibly not but for me, no other film has stood up to as many repeated viewings as Hot Fuzz. A star London cop, Nicholas Angel (Simon Pegg) is transferred to a small English village because he is making the city cops look bad. A series of gruesome murders, with seemingly innocent victims, gets Angel on the prowl. A supporting cast including Nick Frost, Timothy Dalton and Jim Broadbent give this film a distinctly English bent that blends well with fast editing, excessive yet cheesy violence and energized action. Some hate it, some love it. For me, this was one of the most memorable films of the decade.
19.In Bruges (2008) - In Bruges was a breath of fresh air. The characters, writing, setting, humor...it all was original in its own strange way and created a film that was funny throughout, immensely quotable and also full of shocking violence. Colin Farrell and Brendan Gleeson are two hitmen ordered to lay low in the quaint village of Bruges, Belgium. The personalities of the two greatly differ, as Gleeson greatly appreciates culture while Farrell sees the old city as a bunch of boring buildings. A bloody conflict ends up with their boss (a profane and hilarious Ralph Fiennes) assigning them an order that will compromise the other; the story from there winds and turns but ends up with a biting, satisfying conclusion. The script is top-notch and hilarious, as is the acting. This Irish film takes jabs at Americans, racism, midgets, and everything, large and small, in between. Have fun.
20.Million Dollar Baby (2004) - I saw this in the theater when I was only 11 and its harsh and very sentimental theme should have been a detractor. However, this was my real segue to dramatic cinema, and for that reason it is personal to me. The tale of the determined boxer, played with such battered tenacity by Hilary Swank, is directed with grace by the veteran Clint Eastwood. Morgan Freeman delivers in possibly his best performance to date, and this drama knocks you out on the mat.
21.Adaptation. (2002) - Believe it or not, there was a time when Nicolas Cage was not only a good actor, but an excellent one. Adaptation. (though he was apparently brilliantly nutty in the recent Bad Lieutenant) is the last known document of this. Cage plays the screenwriter for the film, Charlie Kaufman, and his "twin brother" Donald. This complex comedy goes through the strains of screenwriting and far, far beyond. Meryl Streep is a successful author who is struggling to find what she really wants in life, and then she sees Chris Cooper as the man who already knows what it is. Cooper, who won an Oscar for this performance, delivers another amazing performance as a nearly toothless orchid hunter in Florida who has a love for Streep's character. Kaufman gets in the middle of this all and the situation turns ugly. This self-deprecating satire on love and Hollywood is mad as hell and revels in it.
22.Harry Potter and the Prisoner of Azkaban (2004) - The best Harry Potter film, but also a great film in its own right, Prisoner of Azkaban sees a switch in directors (Alfonso Cuaron) and mood, swapping the elementary school antics and looks for a matured, darker setting. The children all excel in their roles, but it is Gary Oldman as Sirius Black and the consistently perfect Alan Rickman as Severus Snape who make this film more than another teenage supernatural tale but an acting powerhouse. The technically impressive and equally funny opening sequence of Aunt Marge rapidly expanding still amuses, and, as a piece of cinema itself, I am shocked by how great this film really is.
23.District 9 (2009) - Fresh, intelligent and badass, District 9 is the decade's premier sci-fi film. The budget was surprisingly low ($30 million) and no big names were attached to this besides Peter Jackson for producing, so its success and overall quality was shocking, to say the least. Drawing influence from The Fly and South African history, D9 creates its own realistic take on an alien invasion, but this time, the aliens want to leave. Sharlto Copley stars as the tool turned hero who turns in a unexpectedly great, raw performance as one man against the whole human world. The cinematography, blending a documentary style with impressive special effects, and moving, human story combine for this close-to-perfect film.
24.The Darjeeling Limited (2007) - Wes Anderson delivered a few winners this decade: The Life Aquatic was flawed but quirky, while The Royal Tenenbaums had an all-star cast and a great black comedy vibe. Fantastic Mr. Fox was perhaps his best yet, but The Darjeeling Limited holds a place in my heart. Either the older celluloid feel or exotic setting did it for me, but this spiritual journey through India had an essence no others did. Owen Wilson, Adrien Brody and Jason Schwartzman are three estranged brothers who want to reunite by going on an impromptu train ride through India. Pepper spray, snakes, and sweet lime juice all appear for comical sequences but the human, family connection this film makes is why I found it so real.
25.Spirited Away (2001) - Visually stunning and intimately scary, Spirited Away is Hayao Miyazaki's magnum opus. This animated feature is about a girl who loses her way to find herself in a surreal world of beasts and magic. The sense of mystery throughout the whole setting and the lack of any parents made this a riveting film to watch when I was less than 10 years old, but it is easy to appreciate the brilliance now. The animation is beautiful: creature designs are unlike anything ever seen and this shows that Pixar's 3D is not the only route for spellbinding animation.
26.Letters From Iwo Jima (2006) - While the seminal Hurt Locker deserves props too, Letters was the finest war film of the decade. Clint Eastwood created the problematic but inspiring Flags Of Our Fathers in tandem with it, but Letters really is the superior movie. It shows the story of Iwo Jima from the Japanese point of view, all in the native language and coated in a grimy, grey filter. The superb Ken Watanabe plays General Kuribayashi, the fearless leader who accepted surrender as a fate worse than death. His performance shows a sense of courage unseen in most American protagonists, and you actually sympathize with the enemy by the end, even if it was our GIs who claimed victory.
27.Gladiator (2000) - It is hard to believe Gladiator was released in the last decade, but it won its handful of awards for a reason. Ridley Scott directs and Russell Crowe stars in this years-spanning Odyssey of betrayal, exile and revenge. The beautiful cinematography, chilling performance of Commodus by Joaquin Phoenix, and brutal action all make for an inspiring Roman epic.
28.Slumdog Millionaire (2008) - The world loved this Best Picture winner set in India for good reason. No other film of 2008 felt more vibrant or awe-inspiring than Danny Boyle's masterwork. Slumdog is the tale of three kids growing up in the slums of India and how far one will go to impress his true love. Sure, some of it seems cheesy on paper but when the young actors show their skill and the simply amazing cinematography from Anthony Dod Mantle manifests in city-wide chase scenes, there is no denying the mesmerizing lure Slumdog pulses through its veins.
29.Avatar (2009) - Now the highest grossing film of all time in a matter of weeks, Avatar is not only a technical marvel but also a spellbinding experience. From start to finish, you remain glued to your seat, unable to move as the world of Pandora comes alive in front of your eyes. The lush flora and fauna are a sight to behold, but the real draw comes from the shockingly detailed native species, the Na'vi. Created using state of the art technology, the Na'vi are James Cameron's brainchild that he has tried to put onto the screen since childhood. While the story sometimes becomes encumbered with its noble yet heavy green message and there are more than a few plot holes, there are more than enough reasons to enjoy this mesmerizing blockbuster. Considering this film has already surpassed $2 billion in earnings and has reignited the entire moviegoing business, the draw is certainly apparent.
30.Anchorman: The Legend of Ron Burgundy (2004) - No film this decade was as straight-up hilarious or more quotable than Anchorman. Will Ferrell and the gang (with the classic Brick character performed by Steve Carrell) embody the 70s virtues of alcohol, sexism and indecency to a tee. It is San Diego in the Me Decade, and an attractive, strong-willed female reporter is set to overthrow the current establishment. The chaos that reigns, especially during the totally random but memorable fight scene, define this comedy that will make you love lamp by the end.
31.Children of Men (2006) - I could say how I felt this film rushed through a few of its plot lines or was unremittingly depressing, but that was probably the point. This frantic tale of one man's quest to save the first newborn baby on Earth in 18 years finds its strengths in the immense talents of its director, Alfonso Cuaron, and cinematographer, Emmanuel Lubezski. A few scenes are shot in one take, lasting up to 10 minutes. The action is visceral and the viewer becomes one with the events unfolding. This film has its flaws but is so memorable for those killer moments.
32.Up In The Air (2009) - Jason Reitman crafted a superb script with Up In The Air, leaving you wondering why he just did not write the screenplay for the painfully sassy Juno. His film is crafted with finesse from a young filmmaker, and the performances shine. George Clooney becomes one of the most relatable protagonists in recent memory as the suave but commitment-phobic Ryan Bingham, and Vera Farmiga and Anna Kendrick excel in the two, different female roles they play in his life. The writing and acting are top-notch, and the best part is that they form into one comical yet tragic whole.
33.Casino Royale (2006) - The James Bond series was in need of a serious reboot and Casino Royale delivered. Daniel Craig is a surprisingly able Bond, caring less about how his martini is served and more on the mission at hand. His recklessness and close encounters with the several Bond girls still makes for great entertainment, and this time it is directed with action movie flair by Martin Campbell. Craig's resilience in the squeamish torture scene alone make this possibly the funniest yet most disturbing Bond film yet.
34.Downfall (2003) - Those funny YouTube clips showing Hitler getting angry that his Xbox Live was banned actually derive from excellent source material. Emotionally intense and uncompromising, Downfall is the document of Adolf Hitler's final days at his bunker in Berlin. Bruno Ganz becomes absorbed in the main role like only a few actors can: he creates a human (not sympathetic) version of the leader of the Third Reich that goes beyond emulation and into art. His emotions sway from reserved compassion to violent outbursts of anger, and details like the twitching of his left hand as he walks suggest his mental state was rapidly deteriorating. The hidebound ethics and horrible actions the Goebbels family committed, as well as the general theme of suicide, make this film a tough one to watch but a fascinating look into the greatest symbol of evil known in modern history.
35.Superbad (2007) - Before the Apatow train became so exhausted of relevance, there was 2007. Knocked Up is a personal favorite of mine (Paul Rudd as Robert DeNiro is classic), but Superbad was more of a comedic Odyssey, with two high school kids looking to get laid by their crushes through the only means possible: alcohol!! Michael Cera and Jonah Hill's performances remind of a simpler time when their presence was not only tolerable but a pleasure. McLovin is still an immortal comedy figure however: the fake ID scene, his "Aladdin" vest and his ultimate score make him a youth icon for our times. The funky soundtrack sets the vibe for a film that is still a riot today.
36.United 93 (2006) - Any media interpretations of the attacks on 9/11 are still considered taboo, and with good reason, but United 93 went beyond the despicable exploitation that was expected and emerged as a harrowing tale of American heroism. Paul Greengrass, seen below in the Bourne films as well, cast unknown actors to star as the passengers of United Airlines Flight 93, the flight destined for the White House before the passengers bonded together to revolt. The claustrophobic intensity is palpable as the tubular coffin the passengers were aboard careens towards certain doom, with tense cinematography by Barry Ackroyd. This tragic tale ends up being one of the most inspiring films I have ever seen, as a group of unknown, diverse bystanders decide to take action and overthrow the terrorists on board. The heartbreaking final scene leaves you paralyzed, leaving you angry, bereaved but astonished. Forget James Bond or Harry Potter: these were the decade's heroes.
37.Sin City (2005) - This decade saw the largest influx of comic-based movies ever, but none where as faithful or uniquely stylized as Sin City. With three separate stories that have surprisingly little to do with each other, the movie features a sexy cast with the likes of Jessica Alba, Rosario Dawson and the late Brittany Murphy, as well as Clive Owen, Bruce Willis and, in arresting performance, Mickey Rourke. The film is brutal, with inordinate amounts of violence even by graphic novel standards, but the black and white (with special red bursts) style does not ever let you look away.
38.The Bourne Ultimatum (2007) - The stellar Bourne series improved with every outing, which naturally makes the last one the best. With some amazing technical work in sound and editing, Ultimatum is given a sharp, kinetic edge that thrusts Matt Damon's Jason Bourne into the action for a final, explosive round. Hand-to-hand fight scenes are captured by Paul Greengrass in a brutal, efficient manner unrivaled by almost everything else. A tight, suspenseful plot of corruption and murder propels this action fest forward and, thankfully for us, it never looks back.
39.A History of Violence (2005) - If one word can define this film, it is "gritty." The violence is uncompromising, and the entire story, as suggested by the excellent title, is centered around bloodshed. Viggo Mortensen is a small town man who is accused of having a violent past by Philadelphia mobsters; he finds these accusations out of line but the core of his character slowly reveals layer after layer as the movie progresses. Ed Harris and William Hurt turn in excellent performances, and the action stuns.
40.Synecdoche, New York (2007) - The last item on this list is one that I will take a long time to fully conquer. Written and directed by the legendary Charlie Kaufman (this is his third item on this list) and starring Philip Seymour Hoffman, Synecdoche, New York is a tale of life and almost every element it encompasses. Love, hate, life, death, obsession, divorce, growth, atrophy...it is all here. The film defies the term "bizarre" as Hoffman's character, Caden, a theater director, creates the most ambitious production in the city by turning a whole warehouse into a duplicate of the city. This project lasts for decades, and Caden's true nature, such as his sanity, health and even gender, comes into question. Go read any of Roger Ebert's multiple articles to try to digest the film that makes Mulholland Drive's story arc look as complicated as a Will Ferrell movie.
