10. Wet Hot American Summer (David Wain, 2001)
David Wain’s first feature, is, at first glance, a normal comedy. But on second (and third, fourth, and fifth), it’s actually the best comedy of the decade and up there on the all-time list. Wall-to-wall wackyness is all there is to be found, with new jokes and gags to be discovered on every viewing. Unlike many many other comedies, there’s no relationship B-story drama or anything else getting in the way of the funny. There’s also not much motivation behind the jokes other than they’re funny. What this movie did for me on a personal level was negate everything I learned in film school (everything in movies has meaning), and inspire me to make movies in the same vain. This concept, only-there-for-funny, unfortunately went over the heads of my film professors.
9. The Incredibles (Brad Bird, 2004)
While it was hard to pick just one Pixar movie to include on the list, for me it was pretty obvious it had to be The Incredibles. Brad Bird’s first directorial effort at the studio is a fantastic representative for what Pixar consistently turns out: beautiful films with interesting characters and a captivating story. The family of superheros all with powers representative of their personalities are a blast to watch. And even the normal characters are unique and intriguing; namely scene-stealer Edna Mode and jealous villain Syndrome (certainly one of the decade’s better bad guys). Studios like Pixar are the reason I forced myself to limit the animated movies on the list, there’s just too many good ones to choose from.
8. Mysterious Skin (Gregg Araki, 2005)
Gregg Araki’s adaptation of Scott Heim’s novel about two boys who have different memories of an experience they shared during childhood is haunting, unforgettable, and vastly overlooked. The story is a bit of a downer but is well worth it. Araki’s script flows very well and his direction is solid, I can’t think of anyone else who could make this (or who would be brave enough to). But what shines here are the performances. Mary Lynn Rajskub, who is normally a comedian or Jack Bauer’s tech girl, is exactly the opposite as a woman obsessed with the idea she’s been abducted by aliens. She befriends one of the two boys, played more than convincingly by Brady Corbet, who looks like he belongs on the Disney Channel, but acts beyond his years. But the brightest of the bright lights is Joseph Gordon-Levitt, who gives perhaps the decade’s best performance here as Neil, the boy who can’t forget what happened to he and Corbet’s character. He is one of the most criminally underrated actors of all time, but thankfully his star seems to be rising.
7. High Fidelity (Stephen Frears, 2000)
This decade has seen a few music-motivated movies, both biopic and otherwise. But the one that best represents the people it is about is Stephen Frears’ High Fidelity. The story of a man’s past breakups is perfectly intertwined with his current breakup, and guided by his autobiographical record collection. John Cusak plays the main character quite well; Frears made a good choice, I don’t think many other actors could have effectively talked to the camera for most of the movie without being annoying. Jack Black broke out with this movie in a very funny yet sincere supporting performance. Too bad it’s still his best movie. And as is required with music-based movies, the soundtrack is varied and different, and fits fantastically with the movie.
6. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)
Another very overlooked movie, Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford (which, by the way, is the best title of the decade) was delayed multiple times before finally being released in November 2007. The wait was worth it. The story of Jesse James’ last few months and his friendship (if you could call it that) with Robert Ford, is expertly told and beautifully shot. This is perhaps the best-looking movie of the past 10 years cinematography-wise. Brad Pitt proved why he’s one of the biggest stars in the world, giving a phenomenal lead performance. But Casey Affleck out-shined him and everyone else that year as Robert Ford, the young man infatuated with this almost super-human figure who turned out to be a terrifying person. More a homoerotic story of Stockholm Syndrome than a western, Jesse James succeeded on every level showing these two historical figures in a new light.
5. Planet Earth (Alastair Fothergill, 2006)
This is my middle finger to the system. I said I wanted uniqueness and this is how I’m getting it. I was thinking I had to include a documentary, and since nature docs are more pure than Micheal Moore’s films or Inconvenient Truth, I had to select the ultimate nature doc. Now by pure I mean, they aren’t infuriating or depressing like a lot of other documentaries, or nearly as biased, if at all. Planet Earth tells a myriad of stories while also deftly reminding us that earth is awesome and we should stop killing it. Al Gore didn’t do it like this. It’s also the most technically complicated documentary ever made, shooting everywhere from the depths of the Pacific to the Himalayas to caves in New Mexico never seen by the outside world. Nature documentaries from now on won’t be able to avoid comparison to this milestone.
4. Brokeback Mountain (Ang Lee, 2005)
When talking of life-changing event movies, it’s impossible for me not to mention Ang Lee’s stunning masterpiece. Not only is it one of the most gorgeous, poignant, and touching films ever made, it changed my life forever. It is in a discussion about the film that I first came out of the closet, and while it’s not particularly a big deal, it still kinda is. But more on the film. There’s really not much I could say that would be something new. The cinematography is amazing, the music is haunting, the characters are thought-provoking and their story heartbreaking. The performances given by Jake Gyllenhaal and Heath Ledger are two of the best ever given (especially Ledger’s), this decade or otherwise. How Ang Lee got those out of them while barely speaking English says a lot for both the actors and director.
3. Avatar (James Cameron, 2009)
Too soon? Nope. I’ve been paying attention to its development for far too long to say too soon. When it comes to techno-movies Avatar is the new king. And will likely retain that crown for quite some time. When it comes to affecting experiences while watching movies, especially in theaters, personally, Avatar is the tops. Combine the two and you have #3 of the decade. An eye-popping experience and door-opening technological marvel, Avatar changed the way I look at movies. Watching trailers for next year’s crop gives the reaction: “So what? You’re not Avatar.” An evolutionary breakthrough most people can’t understand, Avatar also paves the way for any number of new stories to be told, in a format quickly taking over the industry. At this point I sound like a slavering fanboy, but it should be obvious to anyone paying attention to the film world that 3D is the future of the industry, and James Cameron’s performance capture system will be the standard from now on. Beyond that, it’s also one of the most amazing experiences I’ve ever had in a movie theater. I was so attached to the story and characters it had me bawling at parts, and I very rarely shed even one tear at movies. What’s amazing is it only took one film to cause this, it wasn’t a franchise I had invested my life in. But I’m certainly invested in the franchise now.
2. Spirited Away (Hayao Miyazaki, 2001/2)
To say anything more than “the best film of all time” would be pointless. Spirited Away continues to be the most impressive achievement I have ever lay my eyes on. It’s a wonder to behold.
1. The Lord of the Rings Trilogy (Peter Jackson, 2001/2/3)
When I mentioned the “franchise I had invested my life in”, this is what I was talking about. From late 8th grade to well after senior year, Lord of the Rings utterly consumed my life. It had a profound impact on what I wanted to do and where I wanted to be. Some things change, but I wouldn’t live where I do now if these didn’t exist. They’ve also given me some of the best theater experiences I’ve ever had. It didn’t make me cry like Avatar, but 2003’s Trilogy Tuesday back-to-back-to-back screening special for Return of the King’s release was an exhilarating day that one can only have around a great deal of true fans. Peter Jackon’s epic was also a technological jump, shooting all three at once to save money and time, while simultaneously pushing the limits of special effects and creating a global cultural phenomenon that still resonates 6 years after the last films’ release.
No comments:
Post a Comment