BoD: Films [50-31]

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 start off with tiers five and four.

Fifth tier (no order):

“28 Days Later”: This one stands out as nothing less than a revolution in the zombie genre. From the utter silence of the opening segment in a seemingly abandoned London, to the surprising “bad guys” who have not among the infected, the film is surprising, beautifully shot, and 100% original.

“The Curious Case of Benjamin Button”: “Forrest Gump” comparisons be damned, this David Fincher film is beautifully shot and wonderfully acted by everyone in the cast. In a time when Oscar-baiting films tried to be “about something” and mainstream films felt devoid of heart and brains, this one was something of a throwback to the classic cinema of old.

“Persepolis”: Based on Marjane Satrapi’s autobiographical graphic novel of the same name, this animated film accomplished the daunting task of bringing the tension and pain of the Islamic revolution to outside audiences. Told largely from the point of view of Marjane as a confused child, “Persepolis” shows how the conflict helped to mold the life of one outspoken Iranian girl in ways both heartbreaking and humorous.

“In Bruges”: This film didn’t enough recognition, both because it was released in the dead time of January and because it’s, well, British. Great performances from everyone in the main cast (even Collin Farrell) and a cool, witty and dry humor make this a really underrated movie.

“Lost in Translation”: This muted indie movie might have been lost on some viewers, but the slow place and sparse plot coupled with some dry humor and deliberative choreography help get at the kind of haunting loneliness and doubt Sofia Coppola was trying to convey. And the fact that “Lost” stands as one of the decade’s most poignant love stories while showing barely a kiss between the romantic leads is another testament to the power of simplicity.

“Thank You for Smoking”: Jason Reitman’s adaptation of Christopher Buckley’s book is acute, witty and effective in getting the viewers to believe in Aaron Eckhart’s Nick Naylor – which is exactly what he wants us to do.

“Munich”: Part historical fact, part historical fiction, “Munich” shows the real-life retaliation attacks perpetrated by the Israeli government on a group of Palestinian militants responsible for murdering Israeli Olympians during the 1972 games. Perhaps more important, and controversial, is the tour the film takes of the assassins’ psyches, which shows how killing for a living affects a the mind, no matter how mechanized that killing is.

“Adaptation”: Charlie Kaufman and Spike Jonze are two of the great auteurs of the decade and their “Adaptation” transcends the bounds of fiction by challenging and tampering with reality itself. The duel performance by Nicolas Cage is just part of the driving force behind a movie that encourages the audience to have fun, be shocked and develop their own unique interpretation about whatever the hell just happened.

“Black Hawk Down”: “Down” depicts the Battle of Mogadishu in all its stunning failure. It’s gritty, raw, depressing and almost never uplifting, something  you would expect out of a movie based off of one of America’s worst military fuck ups. It also shows a smattering of Hollywood’s favorite heartthrobs and leading men, from Josh Hartnett and Orlando Bloom to Eric Bana and Ewan McGregor, at pivotal points in their careers.

“High Fidelity”: “Fidelity” is just about the smartest movie ever made about music and love. This is the movie that made Jack Black a star, and with him and John Cusack at the helm, it’s simply impossible to pick up on every pop culture reference Stephen Frears’s film has to offer. These people are smarter than us, but they are people we know, and we love them for it.

Fourth tier (no order):

“Eastern Promises”: David Cronenberg’s second pairing with Viggo Mortensen bears all the hallmarks of a gritty thriller. Mortensen’s performances is daring and powerful, as the film dives deep into the psychological drama of its characters very, very well.

“Gangs of New York”: Daniel-Day Lewis was born to star in period pieces, and director Martin Scorsese wisely played to his strengths by casting him as Bill “The Butcher” Cutting in Gangs of New York. This revealing tale of America’s violent history sees an all-star cast turning in Oscar-worthy performances from top to bottom, and single-handedly brought back the mustache for a few months in 2002.

“Last King of Scotland”: Idi Amin is one of the most enigmatic leaders in the African continent’s checkered history. His genocidal reign in Uganda during the 1970s left scars there that exist to this day. However, in conversation, he was a remarkably pleasant man. It’s not easy to play so bipolar a character, but Oscar winner Forest Whitaker does so with grace and turns in one of the finest performances of all time.

“Up”: More traditional than “WALL-E” but just as charming, this Pixar story about an old man and a chubby young boy realizing that the most important thing in life is living is also the first Pixar flick to make us cry on-cue.

“Casino Royale”: Rebooting a popular (though tired) franchise is always a risk, but Daniel Craig’s James Bond can be labeled nothing but a rousing success. Though it borrows a lot of elements from the “Bourne” series, any movie that can put us on the edge of our seats because of a poker game is a winner.

“Crash”: “This movie is one of the most culturally relevant films in the last 10 years. In it, we find a poetic melodrama to all that exists in this country. We find genuine performances from a wide array of actors that don’t stand out but blend in to their surroundings. We see the most shocking and touching depiction of modern day Los Angeles, and we see the tackling of cultural issues that are not just pervasive but limitless.

“Shaun of the Dead”: “Shaun” is quite simply the funniest British movie without “Monty Python” anywhere in its title. It’s hard to believe now, but in 2004, zombie movies were still somewhat less ubiquitous and far less tongue-in-cheek. This movie broke all the rules, showed that a concept so ridiculous deserves to be ridiculed and served as a springboard for Simon Pegg’s now-impressive film career.

“Little Miss Sunshine”: This flick speaks to the pageant skeptic who (hopefully) resides in all of us. Though the plot takes the common form of road trip beset by a host of problems, the quirky writing, top-notch acting and hilarious finale make the film one of the top comedies to come out of the last 10 years. Not to mention it introduced us to a more mature Abigail Breslin and set her up to have the long acting career she obviously deserves.

“The 40 Year Old Virgin”: Without this movie there would be no “Knocked Up” or “Superbad” or “Pineapple Express” or “Forgetting Sarah Marshall” or “I Love You, Man” or “Funny People.” Well, we’d probably be okay without “Funny People,” but it’s impossible to deny the sea change this movie made in comedy.

“Amelie”: This modern fairy tale about an adorably quirky but painfully shy waitress had just the right touch of magic, innocence and honesty to be both internationally popular and critically acclaimed. Audrey Tautou’s titular character – in addition to launching the actress’s career in the U.S. – charmed the film’s audiences just as easily as she charmed her sweet and eccentric love interest.