BoD: Film [30-11]

Despite the excessive sequels, remakes, reboots and re-imaginings that we were given this decade, the aughts have brought us many more good things in film. From amazing individual performances to sweeping, epic storytelling, film soared to new highs in the ’00s. After much deliberation, here are the top 50 films of the decade (well, 55 if you count all the films in the two full trilogies and one two-parter we included). Like our TV and music lists, only the top 10 are in order.

Let's continue with tiers three and two.

Third tier (no order):

“Gladiator”: Ridley Scott’s historical epic is powerful, violent and ultimately heart-breaking – but just so damn entertaining. Joaquin Phoenix’s and Russell Crowe’s face-offs are full of gravitas and machismo, which is a shame since they’re both fat, crazy guys with beards now.

“Brokeback Mountain”: Another in Ang Lee’s arsenal of masterpieces, “Brokeback Mountain” makes the list for bringing an honest, nuanced look at gay relationships out of the closet and into middle-American theaters. Great acting in two tough roles from Jake Gyllenhaal and Heath Ledger, who were just starting the “serious actor” phase of their careers at that point, also catapults this film the realm of classics.

“United 93”: The most significant moment in all of recent American history was the 9/11 attack, and Paul Greengrass puts us in the midst of the tragedy with “United 93.” With no recognizable actors and one of the leads essentially recreating this day, the film is the most authentic representation of reality. The resulting suspense from the real time circumstances, casual dialogue and Greengrass’ masterful use of the queasy cam is astounding.

The Bourne Trilogy: Matt Damon’s Jason Bourne is the only action hero of the aughts thanks to this smart, fast-moving, no-frills trilogy that made the shaky cam so damn popular. Damon plays the inner conflict with a steely unease that is really underrated amid all the car chases.

“A Beautiful Mind”: Besides giving us a sometimes-heartbreaking, sometimes-inspiring and sometimes-terrifying look into the mind of real-life schizophrenic mathematician John Nash, “A Beautiful Mind” also offers us a glimpse of macho man Russell Crowe showing off his solid acting chops in a more nuanced and subdued role.

“Kill Bill”: In referencing Chinese martial arts, samurai swordplay, yakuza intrigue, spaghetti westerns and all manner of exploitation genres over its nearly four-hour running time, the two-part film amazingly covered more cinematic ground than any of Quentin Tarantino’s movies before or since. Also amazing: It never once slowed down the action or devolved into inane dialogue like so many long films do, and every scene dripped with style — and blood.

“Requiem for a Dream”: Watching Darren Aronofsky’s aptly titled film about drug addiction is like watching a train wreck in slow motion, unflinchingly focusing on the anguished faces of its passengers as they delude themselves about the tragedy to come- and propel themselves toward it. The film’s mesmerizing and surreal cinematography communicates the sensation that the characters’ nightmares are ever encroaching on their waking lives, until, ultimately, there is nothing left but nightmare.

“Slumdog Millionaire”: The most recent Best Picture winner is simply a great movie experience. From the charm of the kids to the music to the beautiful locations in India, “Slumdog” provokes an exhilaration that more films need.

“Let the Right One In”: In an entertainment climate that’s super-saturated with tired rehashings of the vampire-human relationship, this darkly contemplative Swedish gem pushes the boundaries of the horror-romance genre, and not simply by getting out of the male vampire-human female rut. With gorgeous and haunting cinematography as the backdrop, the filmmakers delve into the horrors and pleasures of adolescence with unparalleled finesse.

“Crouching Tiger, Hidden Dragon”: Ang Lee’s kung-fu-infused romantic drama soars to the realm of the sublime and never comes back down. The subtle and self-restrained relationship between its two romantic leads is just as graceful as the exquisitely choreographed rooftop fight sequences. A visually stunning examination of honor and passion, it engages its audience all the way to the bittersweet end.

Second tier (no order):

“No Country For Old Men”: The Coen Brothers’ versatility is by far their greatest strength. No two of their movies are quite alike, and No Country for Old Men is by far the most dark and brooding piece they’ve ever directed. No single actor domineers the film, either, and Javier Bardem, Josh Brolin and Tommy Lee Jones all have revelatory performances and tremendously well-written dialogue as only the Coens can write.

“The Departed”: Thanks to powerhouse performances from Matt Damon, Leo and even Marky Mark, Martin Scorsese was able to get his freaking Oscar for this one. Consistently tense throughout, “Departed” has an explosive ending that never lets up until the final second.

“The Wrestler”: Darren Aronofsky’s true work of art is not the drug-loathing “Requiem for a Dream” but the equally painful story of Randy “the Ram” Robinson. The wonderful comeback of Mickey Rourke attaches a touching human face to this tragic-yet-winning story. “The Wrestler” is “Rocky” for the 21st century, only the ’70s classic did not put staples on the hero’s face, have the sensual performance of Marisa Tomei or the soulful acoustics of Bruce Springsteen.

“Spirited Away”: Hayao Miyazaki’s “Away” is enchanting, dazzling and always fascinating. As Peter Travers said in his review, “
Think you’re too hip for Japanese anime about a lost ten-year-old girl whose parents turn into snorting pigs? Get over it.

“Juno”: Jason Reitman’s “Juno” is the most charming and easily accessible film of the decade. The Diablo Cody screenplay is not just intelligent; it’s inspired. So what if people don’t actually talk like Juno Macguff? The dialogue and the whole feel of the film is a symbol for everything the modern teen and youth generation stands for, and Ellen Page and Michael Cera handle the material like stars.

“Memento”: Christopher Nolan’s breakthrough film still holds up today as a confusing, daring cinematic experience thanks to both the screenplay by his brother Jonathan and the powerhouse performance from Guy Pearce. It was groundbreaking in 2000, and it’s a classic 10 years later.

“Spider-Man 2”: Before “Dark Knight,” there was “Spidey 2.” This stellar movie works so well because the villain, Doc Ock, is so human and relatable and because Tobey Maguire makes the best Peter Parker that we could ever wish for.

“Anchorman: The Legend of Ron Burgundy”: Outrageous in every sense of the word, “Anchorman” features Will Ferrell’s best comedic performance, before his one character (smug, unaware alpha-male) became annoying in other films. Powered by fantastic supporting players that are now household names themselves (Steve Carell, Paul Rudd) and still-quotable dialogue, this is the best mainstream comedy of the aughts.  

“Children of Men”: Alfonso Cuaron’s gritty, dirty and yet still kind of stylish sci-fi drama features a compelling story, solid performances and that forever-memorable extended action sequence shot. That scene is so epic.

“Chicago”: One of the best musical-to-movie transitions, and not at all underrated for this, winning best picture Oscar for that year. “Chicago”’s film style allowed the central themes of fantasy present themselves in a clear, beautifully fluid way. This film turned me, and many others, into life-long musical lovers.