The new century has offered a new generation of young, exciting filmmakers and great, great films. News Hit writer Andrew Moraitis looks at the best films of the past decade, those that have entertained, moved and resonated with him over the last ten years.
100. Love Actually (2003, dir. Richard Curtis, UK)
99. Closer (2004, dir. Mike Nichols, USA)
98. Quills (2000, dir. Philip Kaufman, USA)
97. Jarhead (2005, dir. Sam Mendes, USA)
96. Letters from Iwo Jima (2006, dir. Clint Eastwood, USA)
95. The Orphanage (2007, dir. Juan Antonio Bayona, Spain)
94. Notes on a Scandal (2006, dir. Richard Eyre, UK)
93. Brothers (2005, dir. Susanne Bier, Denmark)
92. Ratatouille (2007, dir. Brad Bird, USA)
91. One Hour Photo (2002, dir. Mark Romanek, USA)
99. Closer (2004, dir. Mike Nichols, USA)
98. Quills (2000, dir. Philip Kaufman, USA)
97. Jarhead (2005, dir. Sam Mendes, USA)
96. Letters from Iwo Jima (2006, dir. Clint Eastwood, USA)
95. The Orphanage (2007, dir. Juan Antonio Bayona, Spain)
94. Notes on a Scandal (2006, dir. Richard Eyre, UK)
93. Brothers (2005, dir. Susanne Bier, Denmark)
92. Ratatouille (2007, dir. Brad Bird, USA)
91. One Hour Photo (2002, dir. Mark Romanek, USA)
90. Half Nelson (2006, dir. Ryan Fleck, USA)
89. Billy Elliot (2002, dir. Stephen Daldry, UK)
88. Enron: The Smartest Guys in the Room (2005, dir. Alex Gibney, USA)
87. Omagh (2004, dir. Pete Travis, Ireland)
86. Donnie Darko (2002, dir. Richard Kelly, USA)
85. The Constant Gardener (2005, dir. Fernando Meirelles, UK/USA)
84. Monster’s Ball (2002, dir. Mark Forster, USA)
83. Bowling for Columbine (2002, dir. Michael Moore, USA)
82. The Squid and the Whale (2005, dir. Noah Baumbach, USA)
81. Munich (2005, dir. Steven Spielberg, USA)
89. Billy Elliot (2002, dir. Stephen Daldry, UK)
88. Enron: The Smartest Guys in the Room (2005, dir. Alex Gibney, USA)
87. Omagh (2004, dir. Pete Travis, Ireland)
86. Donnie Darko (2002, dir. Richard Kelly, USA)
85. The Constant Gardener (2005, dir. Fernando Meirelles, UK/USA)
84. Monster’s Ball (2002, dir. Mark Forster, USA)
83. Bowling for Columbine (2002, dir. Michael Moore, USA)
82. The Squid and the Whale (2005, dir. Noah Baumbach, USA)
81. Munich (2005, dir. Steven Spielberg, USA)
80. Kenny (2006, dir. Clayton Jacobson, Australia)
79. Road to Perdition (2002, dir. Sam Mendes, USA)
78. AI: Artificial Intelligence (2001, dir. Steven Spielberg, USA)
77. Gladiator (2000, dir. Ridley Scott, USA)
76. Finding Nemo (2003, dir. Andrew Stanton, USA)
75. Funny People (2009, dir. Judd Apatow, USA)
74. Millions (2005, dir. Danny Boyle, UK)
73. Collateral (2004, dir. Michael Mann, USA)
72. Tyson (2008, dir. James Toback, USA)
71. The Good Shepherd (2006, dir. Robert DeNiro, USA)
79. Road to Perdition (2002, dir. Sam Mendes, USA)
78. AI: Artificial Intelligence (2001, dir. Steven Spielberg, USA)
77. Gladiator (2000, dir. Ridley Scott, USA)
76. Finding Nemo (2003, dir. Andrew Stanton, USA)
75. Funny People (2009, dir. Judd Apatow, USA)
74. Millions (2005, dir. Danny Boyle, UK)
73. Collateral (2004, dir. Michael Mann, USA)
72. Tyson (2008, dir. James Toback, USA)
71. The Good Shepherd (2006, dir. Robert DeNiro, USA)
70. The Incredibles (2004, dir. Brad Bird, USA)
69. About Schmidt (2002, dir. Alexander Payne, USA)
68. Look Both Ways (2005, dir. Sarah Watt, Australia)
67. Good Night, and Good Luck (2005, dir. George Clooney, USA)
66. The Bourne Ultimatum (2007, dir. Paul Greengrass, USA)
65. Far From Heaven (2002, dir. Todd Haynes, USA)
64. Casino Royale (2006, dir. Martin Campbell, UK/USA)
63. Wonder Boys (2000, dir. Curtis Hanson, USA)
62. Mystic River (2003, dir. Clint Eastwood, USA)
61. Rachel Getting Married (2008, dir. Jonathan Demme, USA)
69. About Schmidt (2002, dir. Alexander Payne, USA)
68. Look Both Ways (2005, dir. Sarah Watt, Australia)
67. Good Night, and Good Luck (2005, dir. George Clooney, USA)
66. The Bourne Ultimatum (2007, dir. Paul Greengrass, USA)
65. Far From Heaven (2002, dir. Todd Haynes, USA)
64. Casino Royale (2006, dir. Martin Campbell, UK/USA)
63. Wonder Boys (2000, dir. Curtis Hanson, USA)
62. Mystic River (2003, dir. Clint Eastwood, USA)
61. Rachel Getting Married (2008, dir. Jonathan Demme, USA)
60. Pride and Prejudice (2005, dir. Joe Wright, UK)
59. Almost Famous (2000, dir. Cameron Crowe, USA)
58. Minority Report (2002, dir. Steven Spielberg, USA)
57. (500) Days of Summer (2009, dir. Marc Webb, USA)
56. Master and Commander: The Far Side of the World (2003, dir. Peter Weir, UK/USA/Australia)
55. High Fidelity (2000, dir. Stephen Frears, UK)
54. Bright Star (2009, dir. Jane Campion, UK/Australia/France)
53. The Royal Tenanbaums (2002, dir. Wes Anderson, USA)
52. Toy Story 2 (2000, dir. John Lasseter, USA)
51. Frost/Nixon (2008, dir. Ron Howard, USA)
59. Almost Famous (2000, dir. Cameron Crowe, USA)
58. Minority Report (2002, dir. Steven Spielberg, USA)
57. (500) Days of Summer (2009, dir. Marc Webb, USA)
56. Master and Commander: The Far Side of the World (2003, dir. Peter Weir, UK/USA/Australia)
55. High Fidelity (2000, dir. Stephen Frears, UK)
54. Bright Star (2009, dir. Jane Campion, UK/Australia/France)
53. The Royal Tenanbaums (2002, dir. Wes Anderson, USA)
52. Toy Story 2 (2000, dir. John Lasseter, USA)
51. Frost/Nixon (2008, dir. Ron Howard, USA)
50. Lantana (2001, dir. Ray Lawrence, Australia)
49. WALL-E(2008, dir. Andrew Stanton, USA)
48. Gosford Park (2001, dir. Robert Altman, UK)
47. The Curious Case of Benjamin Button (2008, dir. David Fincher, USA)
46. Milk (2008, dir. Gus Van Sant, USA)
45. Avatar (2009, dir. James Cameron, USA)
44. Dogville (2003, dir. Lars Von Trier, Denmark)
43. Chopper(2000, dir. Andrew Dominik, Australia)
42. A Serious Man (2009, dir. Joel and Ethan Coen, USA)
41. The Aviator (2004, dir. Martin Scorsese, USA)
49. WALL-E(2008, dir. Andrew Stanton, USA)
48. Gosford Park (2001, dir. Robert Altman, UK)
47. The Curious Case of Benjamin Button (2008, dir. David Fincher, USA)
46. Milk (2008, dir. Gus Van Sant, USA)
45. Avatar (2009, dir. James Cameron, USA)
44. Dogville (2003, dir. Lars Von Trier, Denmark)
43. Chopper(2000, dir. Andrew Dominik, Australia)
42. A Serious Man (2009, dir. Joel and Ethan Coen, USA)
41. The Aviator (2004, dir. Martin Scorsese, USA)
40. In the Loop (2009, dir. Armando Iannucci, UK)
39. Inglourious Basterds (2009, dir. Quentin Tarantino, USA)
38. Mulholland Drive (2001, dir. David Lynch, USA)
37. Requiem for a Dream (2000, dir. Darren Aronofsky, USA)
36. Slumdog Millionaire (2008, dir. Danny Boyle, UK)
35. Let the Right One In (2008, dir. Tomas Alfredson, Sweden)
34. Control (2007, dir. Anton Corbijn, UK/USA)
33. Juno (2007, dir. Jason Reitman, USA)
32. You Can Count on Me (2000, dir. Kenneth Lonergan, USA)
31. Match Point (2005, dir. Woody Allen, UK/USA)
39. Inglourious Basterds (2009, dir. Quentin Tarantino, USA)
38. Mulholland Drive (2001, dir. David Lynch, USA)
37. Requiem for a Dream (2000, dir. Darren Aronofsky, USA)
36. Slumdog Millionaire (2008, dir. Danny Boyle, UK)
35. Let the Right One In (2008, dir. Tomas Alfredson, Sweden)
34. Control (2007, dir. Anton Corbijn, UK/USA)
33. Juno (2007, dir. Jason Reitman, USA)
32. You Can Count on Me (2000, dir. Kenneth Lonergan, USA)
31. Match Point (2005, dir. Woody Allen, UK/USA)
30. Gone Baby Gone (2007, dir. Ben Affleck, USA)
29. Confessions of a Dangerous Mind (2002, dir. George Clooney, USA)
28. Million Dollar Baby (2004, dir. Clint Eastwood, USA)
27. Adaptation (2002, dir. Spike Jonze, USA)
26. Up (2009, dir. Peter Docter, USA)
25. 4 Months, 3 weeks and 2 Days (2007, dir. Cristian Mungiu, Romania)
24. The Dark Knight (2008, dir. Christopher Nolan, USA)
23. Capote (2005, dir. Bennet Miller, USA/Canada)
22. Memento (2000, dir. Christopher Nolan, USA)
21. In America (2003, dir. Jim Sheridan, USA)
29. Confessions of a Dangerous Mind (2002, dir. George Clooney, USA)
28. Million Dollar Baby (2004, dir. Clint Eastwood, USA)
27. Adaptation (2002, dir. Spike Jonze, USA)
26. Up (2009, dir. Peter Docter, USA)
25. 4 Months, 3 weeks and 2 Days (2007, dir. Cristian Mungiu, Romania)
24. The Dark Knight (2008, dir. Christopher Nolan, USA)
23. Capote (2005, dir. Bennet Miller, USA/Canada)
22. Memento (2000, dir. Christopher Nolan, USA)
21. In America (2003, dir. Jim Sheridan, USA)
20. Into the Wild (2007, dir. Sean Penn, USA)
19. Brokeback Mountain (2005, dir. Ang Lee, USA)
18. The Wrestler (2008, dir. Darren Aronofsky, USA)
17. Traffic (2000, dir. Steven Soderbergh, USA)
16. Zodiac (2007, dir. David Fincher, USA)
15. Children of Men (2006, dir. Alfonso Cuaron, UK/USA)
14. Michael Clayton (2007, dir. Tony Gilroy, USA)
13. No Country for Old Men (2007, dir. Joel and Ethan Coen, USA)
12. Elephant (2003, dir. Gus Van Sant, USA)
11. Pan’s Labyrinth (2006, dir. Guillermo Del Toro, USA/Spain/Mexico)
19. Brokeback Mountain (2005, dir. Ang Lee, USA)
18. The Wrestler (2008, dir. Darren Aronofsky, USA)
17. Traffic (2000, dir. Steven Soderbergh, USA)
16. Zodiac (2007, dir. David Fincher, USA)
15. Children of Men (2006, dir. Alfonso Cuaron, UK/USA)
14. Michael Clayton (2007, dir. Tony Gilroy, USA)
13. No Country for Old Men (2007, dir. Joel and Ethan Coen, USA)
12. Elephant (2003, dir. Gus Van Sant, USA)
11. Pan’s Labyrinth (2006, dir. Guillermo Del Toro, USA/Spain/Mexico)
The Top Ten Films of the Noughties
10. Eternal Sunshine of the Spotless Mind (2004, dir. Michel Gondry, USA)
Perhaps like no other film this decade, Michel Gondry’s Eternal Sunshine has a special ability to speak directly to the audience and to their own experiences. Of course, stars Jim Carrey and Kate Winslet have never been better as the central lovers and director Gondry is a brilliant visualist, but it is the work of screenwriter Charlie Kaufman that creates this intense connection between the characters and the audience, forcing viewers to reconsider their own actions and reflect upon their romantic history. Gondry, unlike seemingly 99% of Hollywood screenwriters, seems interested in life’s important issues- love, loss, regret, remorse, pain- and delving into these ideas with profundity and intelligence, creating stories that are not necessarily autobiographical, but which nonetheless register intensely with their tenderness and honesty.
9. Lord of the Rings (2001-2003, dir. Peter Jackson, USA/New Zealand)
It is easy to underestimate the overwhelming, astonishing creative success of Jackson’s achievement. Yes, The Return of the King features one too many endings, but one only has to see New Line’s failed effort to bring another fantasy trilogy, Philip Pullman’s His Dark Materials series, to the screen to understand the grand, amazing and engrossing nature of Jackson’s films. The three films could have been a major folly on the part of New Line and Jackson, yet the films’ ability to portray J.R.R. Tolkien’s amazing, astonishing fantasy world and characters in a way that is instantly accessible to modern audiences. Like James Cameron’s Avatar and Christopher Nolan’s The Dark Knight¸ the films are so much more than an innovative technical achievement: the stories are very powerful and its characters and their struggles resonate very deeply, epitomised by the series’ dark, tragic soul in the haunting, deeply human creation of Gollum.
8. The Assassination of Jesse James (2007, dir. Andrew Dominik, USA)
The greatest Western since Clint Eastwood’s Unforgiven, Dominik built upon the fiery creativity and originality of his fine Aussie crime film Chopper with this poetic, masterly exploration of loss, grief, yearning and fame. Featuring the haunting work of Pitt and the extraordinary Casey Affleck, the amazing imagery of Roger Deakins and a beautiful score by Nick Cave and Warren Ellis, The Assassination of Jesse James is not simply an nostalgic elegy for a more simple America (like the work of Sam Peckinpah), an arty, mood Western (like Jim Jarmuch’s Dead Man) or even an exciting action picture (although it does feature scenes of extraordinary tension). Rather, Dominik’s film is an engrossing, thoroughly intelligent meditation of need and desire that, like Ang Lee’s similarly excellent Brokeback Mountain, resonates in any age.
7. Capturing the Friedmans (2003, dir. Andrew Jarecki, USA)
Jarecki’s 2003 documentaries is one of the most unsettling, frank and disturbing portrayals of the American family in memory. Delving into unnerving themes such as paedophilia, child molestation and sexual abuse of minors, Capturing the Friedmans documents the lives and tensions of a family undergoing charges of molestation with an uncommon honesty and bluntness, delving into the Friedman’s lives at the most extreme moment in their existence. I may have been disgusted by some of the people and repulsed by their alleged indiscretions, yet the filmmaker’s compassion and intelligence creates for a very powerful and engrossing experience: in this case, a true and haunting American tragedy.
6. The Departed (2006, dir. Martin Scorsese, USA)
Returning Scorsese to the crime drama for the first time since Casino, The Departed is one of the flat-out entertaining films of the decade. Screenwriter William Monahan deftly navigates the compelling, rich themes of the Hong Kong original Infernal Affairs with tremendous skill. Scorsese has great fun with this enthralling, exciting material and, with the help of a dynamite screenplay and outstanding cast, has fashioned a classic, easily the greatest American crime film of the decade. The never-better DiCaprio is riveting as the tough, but vulnerable hero whilst Damon is superb as the cynical villain and both are supported by a fantastic cast, including Nicholson, Winstone, Farmiga and, especially, Wahlberg’s career-best turn.
5. The Diving Bell and the Butterfly (2007, dir. Julian Schnabel, France)
At age 42, Elle magazine editor Jean-Dominique Bauby (Mathieu Amalric) suffered a stroke that left him entirely physically paralysed with the exception of his left eye. An often-selfish man (he left his wife and kids for another woman), Bauby remains so even after his affliction and, rejecting easy sentimentality and pat, third-act resolutions at every turn, Schnabel’s fiercely intelligent film uses Schindler’s List photographer Janusz Kamiski’s beautiful, lyrical camerawork to beautifully express Bauby’s perspective, encapsulating his anger and bitterness as well as his honesty and ultimate openness to the world. A deeply moving exploration of the human soul, the spellbinding and utterly engrossing The Diving Bell and the Butterfly is a genuinely illuminating and amazing experience.
4. United 93 (2006, dir. Paul Greengrass, USA)
Great films, truly great films, are founded on tremendous creative and commercial risk on the part of the filmmakers and there was no film as artistically risky as Greengrass’ 2006 docudrama. Filmed between the mega-successful The Bourne Supremacy and The Bourne Ultimatum (and after Greengrass’ failed attempt to bring Alan Moore’s Watchmen series to the screen), Greengrass quietly dismissed accusations of political insensitivity with United 93, a film of extraordinary power and compassion. Bravely tackling modern political issues with the strength and vigour as the subtext-laden Bourne films, Greengrass does justice to the brave men and women of 93. Tense, powerful, confrontational and searingly honest, United 93, and especially its ending, stayed with me for days, months and even years and left me thinking about my own values and ultimate place in the world.
3. There Will Be Blood (2007, dir. Paul Thomas Anderson, USA)
Audacious, ambitious and deeply unsettling, on the one hand Anderson’s interior epic recalls the grand, powerful Hollywood storytelling epics of the past like Giant. On the other hand, the film creates a deeply original, disarmingly intimate depiction of American industry, emerging as a Citizen Kane for the 20th Century. Vividly detailing the rise, rise and ultimate psychological downfall of a great, yet cruel man, There Will Be Blood is a fully-realised, frightening study of capitalism, fervour and madness, centring on Daniel Day-Lewis’ unflinchingly intense performance, Robert Elswit’s unforgettable photography and one of cinema’s most daring, bold endings in cinematic memory.
2. Atonement (2007, dir. Joe Wright, UK)
Delicately adapted by Christopher Hampton and directed to perfection by Joe Wright, Atonement is a beautiful, intelligent and piercingly honest account of Ian McEwan’s bestselling novel. For all the multifaceted characterisations, shifting viewpoints and time jumps of McEwan’s novel and Hampton’s fine screenplay, Wright finds a sense of lyricism and poetry in cinematographer Seamus McGarvey’s wonderful, amazing imagery: the longing glances of young lovers, a mother lovingly tending to her solider son’s feet and, especially, the virtuoso, stunning five-minute tracking shot of the horror’s of Dunkirk. An old-fashioned love story, an unflinching portrayal of war and even a supernatural thriller with a heartrending twist, Atonement is one of Britain’s great pictures.
1. The Lives of Others (2006, dir. Florian Henckel von Donnersmarck, Germany)
There were a number of filmmakers (like Joe Wright, Charlie Kaufman, Paul T. Anderson, Guillermo Del Toro, Alfonso Cuarón and David Fincher) who established themselves as important, significant storytellers during the past decade, yet it was the feature debut from a little-known German director which emerged as cinema’s great achievement over the past 10 years. The Lives of Others is an intricate, layered depiction of modern European history and an intelligent, cerebral celebration of the power of art, but it is mostly a deeply emotion study of the power of emotional and spiritual bonds of love and brotherhood. Deeply moving, intellectually stimulating and completely fascinating, von Donnersmarck’s remarkable, great German work celebrates the power of art to change lives, overthrow injustice and upturn prejudice with all of the texture of a John Le Carre spy story and the humanity of Spielberg’s masterwork, Schindler’s List.
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