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Top 100 movies of the Decade! 2000 – 2010 by Farooq
This list is a collection of Some great films..
I liked them you may or may not like them as much!
100. The Science of Sleep
2006, Michel Gondry.
Filled with conceptual innovation and strong character development, this is like an abstract map of love and dreams. Directed with flair and extremely well-acted.
99. Tsotsi
2005, Gavin Hood.
There are questionable decisions made by writer-director Gavin Hood, but the accomplishments here are for more prevalent than the flaws. It’s a coarse but visually beautiful film that potently illustrates a bad man turning good without ever feeling contrived. In some respects it is a typical redemption story, but the searing performances and professional execution deter the audience from feeling manipulated. One could argue that the character arc isn’t perfectly fleshed out, but by the end of the film I simply didn’t care. The impact of the conclusion is as much as I could ask for as a moviegoer.
98. Sunshine
2007, Danny Boyle.
Danny Boyle’s science fiction thriller breaks boundaries with its mindblowing scope and massive vision. Visually arresting, moody moving.
97. Children of Men
2006, Alfonso Cuarón.
This is an all-around impressive feat; tightly edited, shot with glorious vision and passionately directed. This is a joyously dark and intriguing science fiction thriller that has interesting ideas and presents them clearly.
96. Letters from Iwo Jima
2007, Clint Eastwood.
Eastwood’s companion piece to Flags of Our Fathers is a masterfully crafted piece of work. Bold, ambitious and potently effective. A great film.
95. Slumdog Millionaire
2008, Danny Boyle.
Danny Boyle’s crowd-pleasing gem is, like all of his work, a rousing experience that sparks the senses and involves the audience. A classic rags-to-riches story told in an unconventional fashion, it’s a stylishly executed piece that works beautifully on a multiplex screen.
94. Eastern Promises
2007, David Cronenberg.
The direction is fantastic and Steven Knight’s script is worthy of high critical acclaim. The performances are immensely impressive. Mortensen and Cassel find convincingly tragic sadness in the souls of their characters, bringing us a stunning, rare brand of acting.
93. Garden State
2004, Zach Braff.
A beautifully perceptive film filled with originality and passion – Braff’s talents are in full exposure here, and they’re impressive indeed. Outstanding soundtrack.
92. Into the Wild
2007, Sean Penn.
There is a great deal of poignancy in this story, and I think that’s what makes the film what it is more than anything. Sean Penn does a great job pacing the picture and illustrating it with majestic imagery, and his screenplay has very little to object to as well. It’s a tightly made film, with colorful supporting performances and an engaging pace. However, it’s the subject matter that makes it stand out, and I have to admit I was very emotionally moved by the conclusion.
91. Hard Candy
2005, David Slade.
This sadistic, daring mind-bender is successful due to strong performances and an intelligent approach to controversy. It kept me on the edge of my seat throughout, and it was one of those rare films to actually make me cringe. It’s a gorgeously shot piece, with an unusual amount of detail paid to stylistic choices. Terrific picture.
90. The Passion of the Christ
2004, Mel Gibson.
A stunning, emotionally stirring film directed with honesty and power. Extremely hard to watch, but pure at heart and gorgeously executed.
89. Munich
2005, Steven Spielberg.
Spielberg is a master. Munich is directed with the precision of a man who knows his craft like the back of his hand, and is willing to take risks when he puts that talent up on the screen. A fierce screenplay and remarkable cinematography add to the greatness of this film.
88. Cinderella Man
2005, Ron Howard.
Morally-driven filmmaking with a fantastic crowd-pleasing appeal. Russell Crowe delivers one of the most intimate, powerful performances of his career. Beautiful art direction and a wholesome screenplay.
87. Little Children
2006, Todd Field.
Field’s direction and writing are outstanding, and the entire cast seems to know exactly what he wants. The performances are unanimously remarkable. I’m particularly impressed with Patrick Wilson, who proved himself a talented and promising actor in the year 2006. One of the most incredible things about this picture is its combined visceral and thought-provoking effects. It had my mind working, even at the points where I was tearing up. This is a suburban tragedy in the same vein as the modern classic American Beauty.
86. The Life Aquatic with Steve Zissou
2004, Wes Anderson.
Wes Anderson is a sharp, promising director with impressively original sensibility. This film is painterly and charming, and it confirms Anderson’s place as one of my favorite directors. Bill Murray is magnificent, as usual, and the soundtrack is fantastic.
85. Don’s Plum
2001, R.D. Robb
Coarse, uncompromising character piece filled with quirks and moody undertones. Basically, we watch a group of miserable young adults discuss everything ranging from sex to suicide – they fight, they gripe, they laugh and they talk to themselves in a grimy bathroom mirror. It’s about the triviality and meaningless complexity of a night out between wealthy American friends. There are some unpleasant, off-putting scenes in this film that have contributed largely to its negative reception. I can see why it’s such a strongly disliked movie, but I get something out of it and I really admire the performances (particularly from the brilliant Leonardo DiCaprio).
84. Anything Else
2003, Woody Allen.
The way Woody Allen’s current work is so frequently shunned by audiences and film critics is shameful. He is a relevant, extremely skilled filmmaker, and this piece of work fits nicely into his brilliant career. It’s a beautifully photographed piece – Allen’s only movie to be filmed using an anamorphic ratio aside from Manhattan. Jason Biggs is charming in the lead, and he shares fantastic screen chemistry with Woody Allen. Christina Ricci is top-notch as a confused, neurotic character, and all the supporting roles are filled nicely as well. Everything I want from a romantic comedy, and so much more. Anything Else is great.
83. Lars and the Real Girl
2007, Craig Gillespie.
Gosling delivers one of the strongest, bravest and most unforgettable performances of the decade in this beautifully funny and tragic little gem. The screenplay’s structure and balance are extremely impressive, and it’s an expertly directed piece as well.
82. Chinese Coffee
2000, Al Pacino.
Al Pacino isn’t a director, and he doesn’t propose to be, but this is a terrific little film and I’m very glad that I got the opportunity to see it. The acting is great, and the source play is beautifully written. There’s a sense of personal connection, both with the writer and the actors, and the result is a thoroughly convincing character study.
81. Broken Flowers
2005, Jim Jarmusch.
Bill Murray delivers a restrained, highly convincing performance that is impressively reminiscent of Lost in Translation. Moody and subtle, with a delightfully original screenplay and a style it can truly call its own.
80. Margot at the Wedding
2007, Noah Baumbach.
Noah Baumbach is a truly great writer – he replaces forced quirkiness with the weirdness of human truth and brings about stories that are equally comic and tragic. This is an absolutely beautiful film filled with memorable performances and deep ideas. Baumbach openly welcomes comparison to Woody Allen, but his work is harder and less philosophically oriented.
79. Michael Clayton
2007, Tony Gilroy.
This film succeeds because of ingeniously developed tension, gripping subject matter and a balance of focus both on character and plot. George Clooney is excellent in a role that seems like he was born to play, and Tilda Swinton is equally good in a fantastic supporting role. Strongly directed, written and acted. Just a very well-constructed film all around.
78. Syriana
2005, Stephen Gaghan.
Stephen Gaghan’s masterful study of power, corruption and the tangled web that money weaves is as gripping as it is brilliant. Employing the use of an intensely convincing ensemble, Syriana pulls us into a complex story that illustrates the potentially irreversible problems facing our generation. Rather than fixating on singular issues or on connecting stories, this film instead brings a prominent theme to each segment that leaves a resonant impact once it has finished. This is a grim, chilling film that has deeply disturbing undertones. Serious, intelligent filmmaking.
77. Where the Wild Things Are
2009, Spike Jonze.
People can say what they want to about this film, but I don’t think anyone has ever made anything quite like it. Spike Jonze has crafted a brave, ambitious, flawed piece of a rare variety. This is a big-budget project that feels both personal and pure. Instead of focusing only on the pleasantry of nostalgia, Jonze uses the wild things to represent all the aspects of the young protagonist’s psyche and life. In doing so, he captures a lot of the pain and loneliness that we tend to forget about, and rarely associate with childhood. It’s a moody film whose emotional texture won’t work for a lot of people, but I admired its aims and it worked for me. I saw a lot of myself in the hero of the story, and it took me back to a place I haven’t thought about in a long time. Visually brilliant and inventive, of course, this is something that needs to be seen on the big screen. People who say it’s too dark for children are misled… this is more challenging and beautifully made than 90% of mainstream family movies.
76. Mulholland Drive
2001, David Lynch.
Wow. A beautiful, haunting thriller bursting with atmosphere and style. Much more romantic than Blue Velvet, this one also has more emotional roots underneath its maniacal weirdness. David Lynch is a masterful film stylist and a fiercely original cinema voice.
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