Top 10 Films of 2010

Let me just go ahead and say that no, I have not seen all the "top" films from this year. I have done my best to see as many as I can, but there are some that probably deserve a spot on here that I just have not gotten around to (see below).


Overall, 2010 was a good year for film. Not a great year, there were no flat-out masterpieces (at least that I saw), but there were certainly a number of very good films that made their mark in cinema.


Here is the list that I came up with:



Notable Exceptions (have not seen them yet):


Scott Pilgrim vs. The World

The King’s Speech

The Kids Are All Right

Dogtooth

A Prophet

Exit Through the Gift Shop

Winter’s Bone

The Fighter
How to Train Your Dragon


2nd Tier (*** out of ****):

#15. The Other Guys - While featuring a ridiculously convoluted plot and some jokes that don't stick, this film succeeds in spoofing the buddy-cop movies with an undeniable skill. I have to admit I laughed a lot during this movie, especially the long, epic story like jokes by Ferrell's character, and the straight-faced, angry responses by Wahlberg's. While I still like Step Brothers and Anchorman more in terms of Adam McKay's previous directorial efforts (and thought Talladega Knights was simply "okay"), it's such a pleasure to FINALLY see Ferrell play a different character for once in these types of comedies. He's not narcissistic and over-the-top (a side which I do love but still, you can only recycle that so many times), but instead by-the-book and too honest. Also, how can I hate on a movie that ends with the classic Rage Against the Machine cover of Bob Dylan's "Maggie's Farm" blasting into the credits? While McKay will probably never produce any masterpieces of comedy, he continues to put out solid, lovable pieces of the genre.

#14. Kick-Ass - A funny, fresh film concerning a teenage loner (Aaron Johnson) who decides to try to become a superhero because, well, if Bruce Wayne could do it with no powers, he can too, right? What sounds like a somewhat lame premise is actually executed pretty well, as director Matthew Vaughn creates a very original film that somehow gets away with satirizing the superhero genre while in turn being one that fits into this respected category nicely. It is definitely controversial (and rightfully so, seeing how vulgar the Chloe Moretz character is), and it is really one of those movies you either like a lot or hate and wonder why people like it. Thanks in large part to the performances (Nicolas Cage is especially brilliant, Johnson gives a breakthrough turn, and Moretz is simply remarkable), as well as the well-captured action sequences, this film is solid entertainment.

#13. The Crazies - An atmospheric, well-shot horror/zombie flick detailing a small town sheriff (Timothy Olyphant), his wife (Radha Mitchell), and a group of other survivors who are trying to stay alive in the wake of an accidental governmental chemical spill that has infected the town's residents into mass murdering psychos. While it seems derivative at times (the zoom-out camera shots seem copied from Enemy of the State), the film gets a lot right. The acting is uniformly solid, the plotting is paced to near-perfection, and there are some unique scenes that stand-out and make this a fun and enjoyable ride. Although definitely flawed (some characters still make dumb decisions and the overall surveillance by the government seems fairly lazy), the setting, characters, and ridiculously ballsy grand finale carry this film, and make it worthwhile in the end.



#12. Unstoppable - A flawed if entertaining and well-acted thriller concerning a rookie engineer (Chris Pine) and a tired old veteran (Denzel Washington) who become the last hopes for stopping an unmanned train which is on course for causing havoc in a small Pennsylvanian town. While this film is mostly predictable and formulaic to a large extent, I have to admit I enjoyed it. Much of this has to go to the fact that Tony Scott's visual flairs and shaky camera work fit this film very well considering the story. Add in a savvy turn by Denzel and a very impressive one from the up and coming Pine, this film succeeds even though you sort of know where it is headed. Scott does a surprisingly good job detailing his characters and even making his film moving periodically, something I for one did not anticipate.



#11. Paranormal Activity 2 - Hand-held camera style sequel to smash hit now details the on-goings of the sister of the lead character in the first film's family, and how the very same demon that has haunted the two of them throughout their lives may be back for more. I loved the first movie a lot, so if you didn't like the first one that much there's a good chance you might despise this movie. I however, still liked this particular sequel. It has more prolonged shots of different views around the house where the story takes place, which in turn amps up the suspense to sometimes unbearable levels. Sure, it's a little thin in the character development department and you can see some stuff coming, but some scenes caused me to genuinely jump, and I absolutely loved the ending - which is something straight out of Hell.



#10. The Town - A somewhat formulaic although undeniably compelling picture concerning four bank-robbers in Boston (headed by Ben Affleck) who continue to do dangerous bank jobs despite being hunted by the FBI (led by Jon Hamm) within the city. This movie has a few problems, namely Blake Lively's character coming somewhat randomly into the picture as she pleases, as well as the fact that the whole reason Affleck chooses to get involved with Hall's character isn't as well-explained as it should be.



With that said, this movie features some of the more terrific chase and bank robbery scenes I can recall. It's uniformly superbly acted, with its director and lead star (Affleck) shining brightest among all. Jeremy Renner has to at least get nominated for Best Supporting Actor here as well. Affleck plays his cards right especially at the film's conclusion, when instead of choosing to get sappy and crowd-pleasing he elects for a realistic, fitting conclusion that could not have been better scripted really.



#9. The Ghost Writer - An intelligent, well-conceived political thriller concerning a writer (Ewan McGregor) who is assigned to tighten up and construct the memoirs of the former British Prime Minister (Pierce Brosnan). When the Prime Minister comes under fire after he is rumored to be tied to torturing of terrorists, the writer begins to stumble on to secrets that could have potentially led to his predecessor's death. While it has its share of flaws (including inexcusably horrendous editing at parts and a notable bad performance from Kim Cattrall), when the twists and turns start flying, one really sits back and admires director Roman Polanski's skill in constructing a film such as this.



It has some Hitchcock-ian elements thrown in for good measure which is a definite plus, as well as a fair share of shocks near its conclusion to help tie things together. While not Polanski's most accomplished work (I can't see anything toppling Chinatown), certainly a film that is worth seeing, be it the performances or how the story unfolds, either works.



#8. Cyrus - A mature, impressive feature from the Duplass brothers, who tell the story of a emotionally distressed man (John C. Reilly) who meets a great, attractive woman (Marisa Tomei - whose agelessness is baffling) at a party one night. However, once he finds out that his new girlfriend has a creepy, clingy son (Jonah Hill) who is still living with her, the relationship encounters some strain. This film's maturity and honesty is what makes it feel like a fresh of breath air, as it sacrifices some of the cliches of this kind of movie (choosing not to demonize one of the characters, instead showing each one of them as conflicted).



The acting is really remarkable, with Reilly showing that he can put a movie on his back, and Hill turns in his most nuanced, brilliant performance yet. While it has a few problems, notably the underdevelopment of Tomei's character, as well as her ability to completely overlook a creepy aspect of Reilly's character at one particular point, the movie works on many levels. The ending is also something sweet, and one that is impossible not to love. Definitely one of the stronger pictures so far this year, and one that handles its subject matter with meticulous care.



#7. Black Swan - A well-done, engaging depiction of the life of a ballerina (Natalie Portman) and the demanding role that drives her to insanity. While the ultimate "mind-boggler" title belongs to David Lynch (who depicts an actress's insanity to perfection in Mulholland Dr.), Aronofsky does a lot of things very well here. It is not the masterpiece many are claiming and it is not a "Top Five" movie, at least for me, but Natalie Portman absolutely deserves an Oscar for her shattering performance. She competently captures her character's weaknesses and paranoid tendencies.



The main problems the movie has is a weird subplot involving Winona Ryder that just flat-out does not work, as well as a forced lesbo sex scene that seems really out of place. There are better films out there concerning the affects the film/theater business has on an actress, but this is still a fine addition to the drama genre. It will undoubtedly be up for "Best Picture" and I will not be surprised if it wins it, but I still think that there are a handful of other candidates more deserving.



1st Tier (***1/2 out of ****):



#6. Shutter Island - The first very good film of the new decade. Scorsese has done it yet again, taking aspects from horror films of Hitchcock and Kubrick (so many times I thought of The Shining while watching this film) and mixing it into one devilishly wicked and weird movie. It also helps when you have two of the best working actors today (Leonard DiCaprio and the heavily underrated and underused Sir Ben Kingsley) as your leads. This is not just a good film, it is a very good one. It is consistently interesting, thought-provoking, and ultimately soul-crushing considering the final twists that occur in the last twenty minutes or so. Do we need any more evidence to say that Martin Scorsese is without a doubt one of the best film directors ever (the last scene of this film is crucial to understanding it - I can't stress that enough)? Leo especially gives a fine performance, narrowly beating out his one in Blood Diamond - he's never been better.



#5. 127 Hours - One of the best films of the year so far, anchored entirely by an outstanding turn from James Franco, who is without question one of this generation's most promising young actors. The stylistic and trippy inserts director Danny Boyle includes sometimes hurt the movie, but other times they enhance it and make it much more involving (the amputation scene, in particular).



For the most part, this is excellent film-making, and the point it makes about the importance of human interaction and the fact that it was family that drove Aron Ralston's exit from that claustrophobic cave is what makes it all the more inspirational. James Franco should get nominated for this performance, and I will admit the ending got me a little teary-eyed. When comparing the film to say, Touching the Void, both do a phenomenal job drawing their audience into the story and characters, and offering a compelling conclusion - even if you already know what is going to happen.



#4. Toy Story 3 - A fitting, moving closing chapter in a celebrated animated series. The storyline is tightly paced and the movie's sense of humor is simply dazzling. One of the best films of the new decade so far, with rich voice-over work and an unexpectedly somber finale. Pixar is simply magnificent in the way they make you feel for all kinds of characters - they further extend their unparalleled streak of success with this utter triumph of a film.



#3. The Social Network - A superb, engrossing story concerning the founding of Facebook and how its creator was a unique, frustrated individual whose out-of-control ego helped establish one of the most important tools in today's society. The combination of David Fincher's feel for setting and characters combined with Aaron Sorkin's dark, sometimes funny script is simply golden. Eisenberg absolutely nails his character down - he really should get considered for a Best Actor nomination since he embodies Zuckerberg so well. Andrew Garfield and Justin Timberlake are also outstanding in supporting parts.



This isn't a perfect, four-star film like many critics nationwide are claiming (due to its second hour's inability to remain as completely hypnotizing as its first half), but it is definitely, without question one of the best films of the year, and also one of the more interesting revenge/betrayal stories seen as of late. The Rashomon-esque backdrop for this entire thing is also just a wonderful decision by Sorkin as well.



#2. Inception - A mind-blowing, revolutionary film concerning dreams and their dimensions, and how one man (DiCaprio) assembles a team together in order to plant an idea in an important businessman's mind (Cillian Murphy), so that he can be granted his wish to return to his home. This is a mostly astonishing picture, one that requires its audience to remain on the edge of their seats throughout its entirety. With so many thoughtless, hollow summer blockbusters coming out nowadays, it's a treat to finally see something of this complexity come out at this time of the year. Leo, as always, turns in a magnificent performance.



The only fault this film has is its lack of character development amongst the supporting parts, which I originally dismissed but now that I think of it - what do we know about Joseph Gordon-Levitt in the film despite him walking all over walls and Tom Hardy's smart-aleckness? Although it's easy to get lost in this adventure, director Nolan doesn't expect you to understand every key aspect of this film. Instead, just accept the fact that this is a complicated movie, but one whose story is handled with meticulous care. Without question a very good film, and one that is deserving of the massive amount of attention and cash-flow it has received.



#1. True Grit - A beautifully shot, very well plotted Western featuring Jeff Bridges at the top of his game as a beat-up old sharpshooter who is hired by a ambitious, vengeful 14 year old (Hailee Steinfield) who desires her father's killer be tracked and hung for his crime. While it is not the best remake of a Western in recent memory (3:10 to Yuma is a slightly better film), it is the best film of 2010 thanks to very strong performances (Matt Damon turns in yet another terrific one, and Steinfeld's is just downright incredible) and a story that is paced to perfection. It does not have the amount of characters or surprises that makes Unforgiven a masterpiece of the genre, but it is certainly a very well done film that deserves to be seen.

Top 100 List *Updated*

I've been away from this blog for too long. About eight months ago I posted my first edition of my "Top 100" Films. At the beginning of the year I named my Top 25 Movies of the last decade. Now I'm going to be updating my Top 100 List as it is today (August 6th, 2010). I have no doubt that this list will change, much like my Top 25 did and the November edition of my "Top 100" did.

Quite honestly, I do like to watch a lot of movies, but I also admit that I have a lot to see still. For this reason, this list will always be a work in progress. I don't ever imagine my list will stay the same for more than a month. I will always be seeing more content, and thus my opinions on what I valued before when I was younger will change. I've become more selective in what films I watch that I am now reaching back more for the classics - with the help of some friends of course.

Anyways, here is, well, I guess a 2/3 of the year update of my Top 100, I have tentatively planned on updating it at the beginning of January like I did this previous year. Hopefully I'll be putting more posts up in the mean time.

Honorable Mentions:


(1931) Frankenstein

(1939) Mr. Smith Goes to Washington

(1940) Pinocchio

(1960) Spartacus

(1963) The Birds

(1965) Goldfinger

(1966) The Good, the Bad, and the Ugly

(1966) Who’s Afraid of Virginia Woolf?

(1968) Night of the Living Dead

(1968) Planet of the Apes

(1970) Five Easy Pieces

(1971) McCabe and Mrs. Miller

(1974) Young Frankenstein

(1976) Rocky

(1978) Animal House

(1978) The Deer Hunter

(1979) Manhattan

(1980) Airplane

(1981) Chariots of Fire

(1984) This Is Spinal Tap

(1985) Back to the Future

(1985) Witness

(1986) Ferris Bueller’s Day Off

(1986) The Mosquito Coast

(1987) Planes, Trains, and Automobiles

(1987) The Untouchables

(1988) Grave of the Fireflies

(1988) Mississippi Burning

(1989) The Abyss

(1989) My Left Foot

(1991) Terminator 2: Judgment Day

(1992) Glengarry Glen Ross

(1992) Malcolm X

(1992) My Cousin Vinny

(1993) Clean, Shaven

(1993) In the Line of Fire

(1993) The Remains of the Day

(1993) Rudy

(1994) Ed Wood

(1994) Hoop Dreams

(1994) The Fugitive

(1994) Speed

(1994) True Lies

(1995) Apollo 13

(1995) Babe

(1995) Before Sunrise

(1995) Rob Roy

(1995) Toy Story

(1996) Courage Under Fire

(1996) Shine

(1997) Gattaca

(1997) Good Will Hunting

(1997) L.A. Confidential

(1997) The Sweet Hereafter

(1998) Happiness

(1998) Out of Sight

(1999) American Beauty

(1999) Being John Malkovich

(1999) Eyes Wide Shut

(1999) The Insider

(1999) Office Space

(2000) Almost Famous

(2000) Crouching Tiger, Hidden Dragon

(2000) O Brother, Where Art Thou?

(2000) Sexy Beast

(2000) Traffic

(2000) Toy Story 2

(2001) A Beautiful Mind

(2001) In the Bedroom

(2002) The Bourne Identity

(2002) Far From Heaven

(2002) Signs

(2002) 28 Days Later

(2003) House of Sand and Fog

(2003) Touching the Void

(2004) Before Sunset

(2004) Crash

(2004) The Incredibles

(2004) Mean Creek

(2004) Spider-Man 2

(2005) Batman Begins

(2005) Hard Candy

(2005) King Kong

(2005) Sin City

(2005) V for Vendetta

(2006) Casino Royale

(2006) In the Shadow of the Moon

(2006) Little Miss Sunshine

(2006) The Proposition

(2007) Funny Games

(2007) The Lookout

(2007) The Mist

(2007) Sunshine

(2007) Zodiac

(2007) 3:10 To Yuma

(2008) The Class

(2008) Frost/Nixon

(2008) The Visitor

(2008) Wall-E

(2008) The Wrestler

(2009) Anvil! The Story of Anvil

(2009) Avatar

(2009) The Hurt Locker

(2009) Moon

(2009) A Serious Man

(2010) Shutter Island

(2010) Toy Story 3

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Top 100:

#100. (2003) Lost in Translation - A beautiful, subtle journey detailing two lonely people's lives and the chance meeting they encounter with one another in Japan. Richly detailed in culture, this is a moving film that shows two Americans mumbling their way through a city they first both hate, but come to love just for the sake of being with each other. Murray shows a different, lighter side that we haven't seen from him before, and Johansson is just as stunning as a distressed woman looking for companionship once her husband proves to be a consistent no-show in her life. This is a very touching film, with a quiet score to complement the two wonderfully restrained performances by Murray and Johannson. The ending is heartbreaking especially, I don't think it will ever leave me. Not everyone's cup of tea to be sure, but definitely a work of art.

#99. (2009) Inglourious Basterds – First off let me say that I believe that Quentin Tarantino is a top five, maybe even top three director in the film industry. His love for the history of film is evident in his own movies, seen in both Kill Bill films especially. He has created a fare share of masterpieces, from the ultimate gang film Reservoir Dogs to the beautiful mess Pulp Fiction, Tarantino has usually hit the ball out of the park with his films (the exceptions being Kill Bill Vol. 1 and Death Proof, certainly not bad films, but both very flawed). In this film he takes on history and turns it upside down. During the reign of Hitler, a group of specially trained soldiers called the Inglourious Basterds were sent in for one purpose only, their leader (Brad Pitt) says: “Killin’ Nazis”. They go about their way killing and collecting Nazi scalps, with the ultimate goal of getting close to Hitler so that they can devise an assassination plot. Meanwhile, a cunning Nazi colonel (Christoph Waltz) is busy disposing of Jews, one of which (Melanie Laurent) escapes his grasp narrowly and becomes hell-bent on getting back at the Nazi party. When the theater she is now working at becomes the favorite to house hundreds of Nazis, including Hitler himself, she starts to create a plan of mass destruction, and this is when the Basterds come in to play. The film is divided into three main stories, with the Basterds killing, the colonel hunting, and the theater owner planning. Although there are some things that keep this from being perfect (mostly due to Eli Roth’s horrendous performance as the most infamous of the Basterds, “The Jew Hunter”), Tarantino is a master of telling stories and inserting extremely clever conversations about nothing and turning them into riveting and suspenseful scenes that usually erupt into flames by the end. Christoph Waltz gives one of the best performances seen in the last decade, he is utterly brilliant. His ability to go from charming, to hilarious, to mean, to violent, to scared is simply incredible. The acting all-around is strong (with exception to Roth) and the history re-writing slam-bang finale is only something the mind of Tarantino could create. Here’s hoping that Tarantino starts pondering whether to create a sequel to this huge hit (maybe taking place in the Korean War with a much older Pitt?), I for one would welcome it with open arms.

#98. (2003) Dogville - A simple story concerning a beautiful young woman (Nicole Kidman) on the run from gangsters, and how the town that provides her safe haven exploits her mentally and physically in various ways. An incredibly unique, bravely shot, powerfully acted piece of art that deserves to be seen. While I don't necessarily agree with everything director Lars von Trier tries to prove, I respect the balls he had putting this thing on-screen. I especially admire the end of the film, which is extremely unsettling but surprisingly fitting. Nicole Kidman's mesmerizing performance goes yards here - her character is a one of a kind.

#97. (1997) In the Company of Men - An absorbing film concerning two yuppies who decide to "play a game" on an innocent woman, both pretending to fall for her, just to see what she feels once they pull the rug out from under her. They decide to do this just because they've been dealt so many vicious blows by the female sex before in their lives, and they want revenge. This movie does a great job establishing a dark sense of humor, led by two completely different characters that are cruel and uncaring (except for the grand finale). A large part of this film’s nastiness is definitely due to the dominant, confident lead performance from the much underrated Aaron Eckhart. It's certainly not for everyone, since it is probably the best example of the "anti-romantic/comedy", but once it turns ice cold, you can't help but be in awe of it.

#96. (1987) Raising Arizona - A hilarious comedy featuring two great performances from Nicolas Cage and Holly Hunter as a white trash couple who can’t conceive, and as a result elect to steal a baby from the mayor of Arizona after his wife has quintuplets. Cage really brings a lot to his character, and what entails after the kidnapping of the couple's "child" is one of the more hilarious chase scenes in film. This movie is not as good as the darkly comical Fargo, but it's up there, the Coens are masters of film-making, whatever the genre. This is one of the funniest films I’ve seen in my lifetime, and it never grows tiring with each viewing.

#95. (2005) The Descent - Horror movies are a hard thing to watch these days. In this past decade, “torture-porn” films have taken off. Evidently some people derive pleasure from seeing people tortured by psycho killers who get a high out of what they’re doing (thank you sequels to Saw for ruining an original, creative movie and turning it into a full-blown gore-fest series that has inspired other morally bankrupt films). It’s nice that movies like The Descent come out every few years, a film that leaves both out of the equation and instead focuses on group dynamics and how to scare you the right way. I recently upgraded this to the best horror film of the decade, beating out the likes of the first Saw ever so narrowly. To put it simply, this film is a near-masterpiece that I didn’t see coming. It accomplishes that claustrophobic feeling so many directors and writers crave for but rarely achieve this well. The plot is pretty simple, it concerns six women who, after one of them is involved in a horrible accident, elect a year later to go exploring in some caves located in the Appalachian Mountains. As they start to get into trouble exploring these “undiscovered” caves, they also realize that they might not be alone, and whatever it is they fear is after them might not even be human. What sounds like a disastrous monster movie actually plays out to be a fascinating and suspenseful exercise in human emotions as well as survival instincts, and tensions start to mount as things go awry. The midway point features a tone change so violent, yet so perfect considering where these girls are, it’ll keep you gripped all the way to its shocking conclusion. Although it’s gory, bloody, and disgusting at times – this is everything a horror film should be. Enough character development to make you sympathize for the characters, a look into how sturdy relationships become once trouble arises, and a rough, hard-hitting last 1/3 that doesn’t give you any room to breathe or any hope that any of these girls will make it out alive. Although there are some problems I had with how the plot unfolds near the end, this is undeniably the best horror film made in the last ten years, and its epic score featured near the end should especially blow you away.

#94. (1960) Psycho - A classic horror movie whose bravery, tenacity, and haunting music score set the table for many of the horror pictures that followed it. While it is admittedly imperfect (not really a whole lot of detail as to why Leigh's character decided to run away, and the ending monologue is a bit preachy), this film features a simply outstanding, unbelievably creepy performance from Anthony Perkins as Norman Bates. Hitchcock is smart for not overpopulating his story and centralizing it on a few characters we end up sympathizing with. It’s definitely one of the better horror movies in film, and one that deserves to be seen by anyone who loves the "classics".

#93. (1989) Do the Right Thing - A roaring, original, and ultimately unforgettable look at a tight-knit community in New York City and how the racial tensions between all those that reside there explode on a hot summer day. It is widely held that this is Spike Lee's masterpiece (although I still think "The 25th Hour" is his best film), and it's easy to see why due to the film's strong performances (especially Aiello and Turturro) and Lee's keen eye for New York City. This is definitely an important movie and one that is bursting with creative flashes at every turn. While there are some scenes in the film that don't need to be included and the Mookie character becomes somewhat annoying from time to time, this is still a film that needs to be seen. The last thirty minutes of the movie are some of the best captured in cinema. I'm sure I'll go back to this film in a few years and start to get goose bumps when Sal decides to re-open the store just for a minute.

#92. (1972) Deliverance - A purebred classic thriller that introduces disturbing but realistic themes to cinema, in which four friends venture out into the wilderness of Georgia in hope of an exhilarating canoe trip, only to have it become their worst nightmare. The performances are all outstanding, and it’s easy to see why Burt Reynolds became a huge star. What happens halfway through is one of the more disturbing acts I've seen in a movie. The two villains that appear are two of the most menacing and terrifying in all the movies I've seen. Although I had some problems with the overall plot, I was able to excuse them to a large degree due to the fact that the overall movie-watching experience was enthralling and hugely entertaining.

#91. (2007) Gone Baby Gone

#90. (1999) Best in Show - A flat-out funny mocumentary of the people involved in dog shows, and how competitive they are against one another. One of the most original comedies ever constructed, with hilarious, side-splitting performances from the whole cast and masterful direction from Christopher Guest. Without a doubt one of my favorite comedies, and one that should be viewed more than once - it's a blast.

#89. (1987) Rain Man

#88. (1991) JFK - Fearless, extremely dedicated look on the assassination of John Kennedy and whether it was a government conspiracy. Even if you think the plot is preposterous when you first here of it, you can't helped but get sucked in the way this movie is done. Costner's awesome performance as a man searching for the truth is one that is extremely arresting, not to mention the various cases and counterarguments the movie makes that (whether fact or not) prove to be extremely riveting. The flashback style of color to black-and-white is a touch of genius as far as director Stone is concerned, as this is a near flawless piece with a lot of good actors playing very convincing roles (why did Jay O. Sanders' career never take off?) One of the best crime dramas I can remember in a while, joining the ranks of movies like "The Departed" and "The Dark Knight".

#87. (2000) Memento - Christopher Nolan has had quite a decade. Directing a perfect film in The Dark Knight, great films like this one, Batman Begins, and Insomnia, and a solid one in The Prestige – you could make a case that he was the best director of these past ten years. In this film, he creates something so original, unique, and ultimately very re-watchable. The story sounds rather formulaic and recycled, as it concerns a man (Guy Pearce) trying to find the man who killed his wife. What Nolan does differently is he tells the story backwards, and his lead character has short-term memory loss and tattoos clues on his body in order to help himself out in tracking down his wife’s killer. Assisting him is a somewhat shady character named Teddy (Joe Pantoliano), whose real intentions are unknown. It takes guts to do a film like this, where you demand the audience’s patience when you keep rewinding and showing the same scenes over and over again, luckily with Memento there’s a huge payoff, and some. Guy Pearce, one of the most underused actors arguably out there right now, turns in a great performance as the lead character, who’s constantly confused but always trying to figure everything out – even if he’ll just forget it in a short period anyway. While there are at times Memento pushed my patience a little too far in it’s rewinding of scenes, for the most part this movie is an absolute breath of fresh air. Never has a film been done like this, and I’d personally love to see more directors try this technique (the only other film that comes to mind is Vantage Point, which didn’t do a good job catching the audience’s attention right away and thus suffered heavily and became something completely mediocre), since it definitely requires a lot of skill, which Nolan has plenty of. All in all, Memento is a sensational film that is completely original as well as an extremely memorable viewing experience, and one that doesn’t grow tiring in repeated viewings as well, since this is a film that you will always catch something you didn’t catch the first, second, or third times around.

#86. (1959) Some Like It Hot

#85. (2006) United 93

#84. (1982) Gandhi

#83. (1971) The French Connection

#82. (1980) Raging Bull - An uncompromising look on one of the greatest middleweight boxers in the 40's and 50's, and how his life was torn apart by his own paranoia, insecurity, and anger. This is the "anti-Rocky" movie, with a dominant lead performance from Robert De Niro. His performance is so good you forget he's Robert De Niro after a while, as he fully embodies Jake La Motta. The movie is paced to perfection by director Scorsese, with a chunk of screen time being allowed to show how powerful La Motta was in the ring, as well as how powerful he wanted to be off it. One of the better bio-pics put on screen

#81. (1957) Twelve Angry Men

#80. (2004) The Passion of the Christ - Who would’ve thought Mel Gibson would be one of the best directors of this past decade? Nailing two films perfectly and reminding everyone once again that although he might be crazy, he still knows how to make great films. As expected with this film, it’s a completely polarizing one. Some claim that it’s totally Anti-Semitic and propaganda, while the other side (mostly Catholics and Christians) claim it’s a brave, uncompromising, emotional look on the last days of Jesus Christ. I’m in the latter, since I myself am a Christian, and have been forced to see many films before about the life of Jesus. So there you have it, I was biased before I saw the film, and I’m biased as I defend it now as one of the defining and important films of the 2000’s. Whether you agree with Gibson’s religious views or not, this is a devastating film. It’s a movie that is full of blood and scenes of intense torture, and one that is not easily digested. While other films about the life of Jesus have sugarcoated and censored some of the horrific acts the Son of God had to go through in his last day on Earth, Gibson holds nothing back. By the time He’s carrying His cross, you’re wondering how He’s even still alive. Jim Caviezel gives a career-defining (and possibly career-ending) performance as Jesus, as Caviezel himself was struck by lightning three times while up on the cross before they started filming those scenes. It’s definitely one of the most important religious films ever done, and one that serves as the ultimate look at what the Son of God had to suffer through in order to die for our sins.

#79. (2006) The Lives of Others - A masterfully constructed, expertly acted, and completely enamoring story of a Stasi officer in East-Germany before the fall of the Berlin Wall and how he puts his career on the line for an up-and-coming artist who is suspected of dealing with the West. Not for all tastes, but if you're an art-house film fan, this is definitely for you. Ulrich Muhe (who died shortly after this movie was made) gives what is required of him, which is a subtle but gripping performance. Not many actors can go two and a half hours and say so little but still have your attention throughout (Richard Jenkins' performance in "The Visitor" comes to mind), but Muhe's character is completely convincing. It’s one of the best films of 2006 without question (although admittedly I still think The Departed and Children of Men are slightly better films), and one that should definitely be seen.

#78. (1957) The Bridge on the River Kwai

#77. (1989) Field of Dreams

#76. (2000) Requiem for a Dream - Drug use is an almost an overused and tired theme in movies nowadays. We get it, drugs do bad things to people, relationships, you name it – they suck. Not many drug movies are like this one though, not many movies attempt to actually make their audience feel that they’re as high as the characters while watching the story unfold. Wonder-kid Darren Aronofsky (whose first feature Pi was incredibly offbeat, and whose latest feature The Wrestler was a near-masterpiece) directed this enthralling motion-picture that centers around four characters and their addictions to drugs, whether it be pharmaceutical (seen in the Ellen Burstyn character) or illegal narcotics (the underappreciated Jared Leto and the surprisingly versatile Marlon Wayans). While it is a very hard viewing and certainly not fun or entertaining at any stretches (unless you count the monster refrigerator scenes), it is an eye-opening, sickening, and overall memorable experience. The distressing soundtrack is amplified to an almost overbearing tone as these four characters finally start to see their lives unravel. This movie is a ravaging beast, stomping out any potential hope or salvation the characters as well as the viewers have when the story starts to spiral out of control. The performances all-around are, as expected, outstanding, especially Ellyn Burstyn, a veteran actress whose tortured turn as a claustrophobic, game-show watching addict is just as harrowing as her son who is addicted to hardcore drugs that is ruining the relationship he has with his girlfriend (the always reliable Jennifer Connelly). Definitely not a film for everyone, but undoubtedly an experience that won’t be forgotten easily – this is definitely one of the most harrowing drug movies ever made.

#75. (1976) All the President's Men - A fantastic and riveting look into the Watergate Scandal and how it was broken by two fearless, brave journalists (Robert Redford and Dustin Hoffman) who knew they were on the verge of breaking something big. The performances are all outstanding, and this movie does an incredible job showing every facet of the journalism business and how meetings and papers are orchestrated. If you're interested in how newspapers work or how reporters are when they find a story they're passionate about, look no further than this fine film.

#74. (2008) Slumdog Millionaire

#73. (2006) The Departed - It’s widely acknowledged that Martin Scorsese is one of the best directors in the last thirty-some years. With classics such as Raging Bull and Goodfellas and other highly celebrated films like Taxi Driver (which I find to be highly overrated), Scorsese is known to be the master of telling stories concerning tough guys who aren’t the best of people. This movie concerns a young man (Matt Damon) who grew up under the watch of a notorious gangster (Jack Nicholson, who didn’t even get a nomination for this performance – a travesty), and how he molded the young boy to become an inside man for his group - as a member of the police. Meanwhile, the police, intensely focused on bringing this mob man down, decide to send a man of their own (Leonardo DiCaprio) in to try to gain inside information. With a cast that includes DiCaprio, Nicholson, Damon as the leads, and Mark Wahlberg, Alec Baldwin, and Martin Sheen in supporting roles, you expect greatness. Scorsese doesn’t disappoint. This is one of the best crime thrillers released in the last ten years, with enthralling performances from its cast that keep you on edge for the entire viewing. The last fifteen minutes of the movie should blow you mind (for one of the characters, this unfortunately happens – literally), with twists and turns that occur even after the main plot is all but over. Scorsese constructs each character aptly, from the damaged DiCaprio, to the bullying Wahlberg, and even Nicholson’s number two guy (an exceptional Ray Winstone). This movie is no walk in the park; it’s brutal, mean, and bloody all the way through. With a film directed by Scorsese though, one should expect nothing less.

#72. (2000) Cast Away

#71. (1975) One Flew Over the Cuckoo's Nest - The ultimate film concerning psych wards and the affect one individual can have on a group of people that believe in him. Jack Nicholson is absolutely terrific in a role that requires him to stand above his peers, something Nicholson has never had trouble with throughout his storied career. This film is all-around perfect, from its dead-on casting, to its intense middle section, and its tragic finale. Brad Dourif is another stand-out here as a very, very troubled inmate. The reason to see this movie is for Nicholson's incredible turn, what his character is able to accomplish, if you will, is something else.

#70. (1999) The Sixth Sense

#69. (2006) Children of Men

#68. (1999) Magnolia – A story dealing with ten people living in the San Fernando Valley and how their lives intersect in sometimes ugly ways. This is an extremely well-acted ensemble piece by ten actors in a story drenched in sadness and regret. Leading the way is Tom Cruise as a charismatic self-help maniac - this is his best performance. Although the story is incredibly depressing, the parallels these characters share with one another is a work of art, thanks to director Paul Thomas Anderson’s brilliant plotting. The last twenty minutes are not meant to be taken literally, but figuratively, and you certainly can't say when you think of the movie, that the word "predictable" comes to mind. All in all, this is a fascinating character study, with a Biblical-like finale to boot.

#67. (1974) Chinatown

#66. (2004) Downfall - An incredible achievement in film-making. A relentlessly bleak, intensely gripping, powerfully discouraging movie in which the diseased mind of Hitler, as well as the people he infects with his hate and false sense of pride, is dissected expertly. It takes a strong, courageous actor to play Adolf Hitler, and Swiss actor Bruno Ganz (who really deserved an Oscar for this incredible portrayal) is that actor - he is simply phenomenal. The first hour and a half builds up to a dramatic, inevitable moment. This moment is punctuated coldly and robotically, and it's just amazing to see how Hitler's supporters literally followed him to the grave, even when it made next to no sense. The last hour is powerful stuff, I won't even begin to describe it, but it's a depressing and hard-hitting one that slams into its audience with resolute force. To put it simply, this is a film I will never forget, and one that should be viewed by anyone that is interested in Hitler or world history.

#65. (1973) The Exorcist

#64. (1949) The Third Man

#63. (2006) Apocalypto – This is a pulse-pounding thriller that is one of the more underrated works of the decade. Just because Mel Gibson might be a hypocritical, nervous-talking, anti-Semitic person doesn't mean he can't make a great movie. This is just an outstanding piece from top to bottom, Rudy Youngblood's performance really carries this epic about a character caught in between an important transition in world history, and how the battle for his life results under enormously unfair and violent circumstances. Arguably one of the better thrillers this past decade, with a surprise ending that will catch you completely off guard.

#62. (1995) Se7en

#61. (1983) A Christmas Story

#60. (1984) The Terminator

#59. (1939) The Wizard of Oz

#58. (1967) Bonnie and Clyde – Without question one of the best gangster films of all-time, hands down. This film's influence on the gangster genre is unmatched, and a certain Quentin Tarantino found his niche for film-making after seeing this masterstroke. What this movie offers is three career-making performances from Warren Beatty (offering a very different, sexually conflicted anti-hero), Faye Dunaway (a smoking hot blond who is easily frustrated), and Gene Hackman (a very different role, largely comedic as a joking redneck), as well as a potently violent ending that is permanently etched into my mind for eternity. A Gene Wilder cameo is never a bad thing, either.

#57. (1994) Forrest Gump

#56. (1986) Platoon - One of the most harrowing and memorable war films ever made. This film belongs in the ranks of the greats like "Saving Private Ryan" and "Apocalypse Now". It features two incredible performances (from the scar-faced Tom Berenger and the wily Willem Dafoe), a haunting score, disturbing scenes, and an unforgettable ending. The iconic shot from the movie is definitely the highlight, as Stone punctuates this pose (man on his knees with his arms raised and head tilted back) with hair-raising music when one of the characters is unfairly slain. For a film with so many characters, it runs the risk of overpopulation, but gives us enough reason to care for each of them and their situations (the last scene is especially memorable, closed out with excellent narration), this doesn't happen often. Say what you want about Oliver Stone and his take on certain things - this is a masterstroke.

#55. (1946) It's a Wonderful Life

#54. (1995) Dead Man Walking - One of the best films of the 90's, with heartbreaking performances from both Susan Sarandon and Sean Penn, coupled with a story that feels so incredibly real thanks to its careful plotting and fabulous execution. Director Robbins also shows his skill for combining the past and present to perfection, and he slams you with an ending that should really tear you up. Sean Penn, as I've said before, is one of the best actors working in Hollywood today (extremist left-wing favoritism politics aside). He's utterly remarkable here, as well as Sarandon, who arguably gives the best performance in the film as a conflicted nun who doesn't want to be "taking sides", rather sympathizing with everybody involved in this heinous act - sadly she discovers that just isn't possible. An emotionally trying movie, due to Robbins' ability to humanize his "monstrous" character, as well as being able to correctly examine the other side's pain as well.

#53. (1995) Leaving Las Vegas – This is an emotionally crippling story about an unapologetic alcoholic (Nicolas Cage) who makes friends with a suffering prostitute (Elisabeth Shue) in the streets of Las Vegas one night. What starts out as a random acquaintance turns into a rare and offbeat relationship – and it never feels fake or hollow for a second. A devastating, emotional, original love story which focuses on two very distraught and socially unaccepted individuals, who accept each other for who they are and live with one another's decisions. With all the formulaic, happy-feeling love stories we get nowadays, it's a pleasure to finally see a film like this, one that is so brutally honest as to what love is. Not for everyone, the content is rough and the way the two lead characters lead their lives isn't fun to watch, but this is a harrowing depiction of alcoholism, prostitution, and how these lifestyles lead to nothing but pain and agony. One of the better films of the 90's, with two outstanding lead performances (Nicolas Cage is simply incredible, and Elisabeth Shue embodies her character fully) that anchor this heart-wrenching love story.

#52. (1954) Rear Window

#51. (1992) Unforgiven - The greatest Western movie ever made. This is Eastwood at his brilliant, gritty best, with breathtaking scenery combined with flat out awesome acting. Clint hadn't established himself as a masterful director yet, but this film proved that his acting chops were also equivalent to his directorial scope. In addition to the fine acting, this movie contains steady plotting, fleshed-out characters, as well as a heavy dose of darkness. This is just a phenomenal classic.

#50. (1988) Die Hard

#49. (2000) Gladiator - Let it be known, Ridley Scott is one of my favorite directors (although Kingdom of Heaven was a misfire, American Gangster, Body of Lies, Alien, Matchstick Men, and the pre-mentioned Black Hawk Down are all excellent films). Most people I know have seen this epic film, concerning Maximus, a former general of the Roman army (Russell Crowe) who is betrayed by his own country after a jealous prince (Joaquin Phoenix) murders his father, the King (Richard Harris) who has decided that Maximus will be the next King after he passes on. Once the prince becomes King, and Maximus fails to acknowledge him as his liege, he is ordered to be executed, only to escape and eventually captured again, where he is sold into the gladiator business. A somewhat complicated timeline, but Scott does a great job making us feel for Maximus, especially in a gripping scene where he discovers his son’s and wife’s dead bodies, slayed by the Roman Army as ordered by the new King. This is a blood-soaked movie that features some memorable fight scenes between Maximus and his fellow gladiators, and the CGI incredibly re-creates the legendary Coliseum. For Crowe, this would be his career-defining performance, a man so full of hate and vengeful spite for the King that he no longer really feels anything anymore. Phoenix’s performance is also impressive, as he wonderfully colors a very pathetic character who is as bad a ruler as he was a son to his father. There is also a nicely integrated love-triangle between the King, Maximus, and the King’s sister (Connie Nielson), which sounds ridiculous, but it works surprisingly well. This is an overall glorious film, featuring phenomenal acting and some fabulous cinematography, and an appropriate ending that is heart-wrenching in one way, but truly satisfying in another as well.

#48. (1990) Dances With Wolves

#47. (1999) The Matrix

#46. (1975) Monty Python and the Holy Grail

#45. (2008) The Dark Knight - I had a feeling that after I saw Christopher Nolan take over the helms of the Batman series and direct the invigorating film Batman Begins that we would be in store for something special in his sophomore effort. I wasn’t disappointed. The Dark Knight might be the most iconic film from this decade, and certainly deserves a spot on this list. Maybe it’s due in large part to the death of Heath Ledger, which added an extra edge of somberness to this already dark story. Perhaps it’s because Nolan just knows the Batman story better than the jokesters who made the childish and forgettable Batman films from the 90’s. Instead of being goofy and silly, Nolan is strictly business when it comes to chronicling how Batman came to be. The plot of this movie revolves around the sinister Joker (Ledger), who is hell-bent on exposing Batman, as well as playing games with the citizens of Gotham City. This couldn’t be coming at a worse time however, as Harvey Dent (Aaron Eckhart) is extremely focused on eradicating the reputation Gotham City has for corruption and violence. Meanwhile, Batman (Christian Bale) is just doing his thing. Heath Ledger steals the show here, as he creates a character so entirely vicious, cruel, and dare I say – funny, that he is by far one of the most recognizable villains in film history. This is a special film, the best superhero movie ever made, and the 2000’s have certainly been the era of superhero movies. This is Nolan’s masterpiece, his Empire Strikes Back, if you will, this film is perfect in every way possible, from both a narrative and character development approach, it will definitely stay in your mind.

#44. (2003) City of God

#43. (1993) In the Name of the Father - An emotional triumph. A searing, gripping fact-based story concerning a man wrongly accused of an IRA bombing, and how the police brutally exploit a new law in their favor, getting this innocent individual to confess to a crime he didn't commit, as well as associating his family in the whole mess. One of the best stories about corruption and human emotion I've ever seen. It never hurts when you have two of the best actors out there, that being the great Daniel Day-Lewis and the criminally underrated Pete Postlethewaite, playing the lead roles. It's a lengthy movie, but it's worth it, especially with its tear-jerking, incredibly captured finale which is irrefutably stirring.

#42. (1999) The War Zone - A grim, intense depiction of incest and an overall unforgettable film which details a loving family of five and how three of them (all except the newborn baby and mother) quietly battle a troubling secret that threatens to rip them asunder. This film is paced to perfection, expertly acted, and masterfully concluded by director Tim Roth (a fantastic actor in his own right as well), and leaves absolutely nothing out. The atmosphere is appropriately dark, complementing the gray and rainy setting of the story. Falls under "not a film for everyone" territory, it's definitely an emotionally draining experience that covers an issue only lightly touched on in cinema before. Kudos to Roth for bringing an uncompromisingly brutal and bleak topic like this to the screen - it's the stroke of a brave and genius film-maker.

#41. (1950) Rashomon

#40. (2001) Mulholland Dr. - If you’ve ever seen a David Lynch movie, you know at least one thing - it’s just plain weird. Lynch has a knack for inserting a creepy, yet stylishly creative surreal-like nature to his films, whether it be the over-rated Blue Velvet (which is widely considered his best film – it isn’t), the hit 90’s TV show Twin Peaks (a truly weird viewing experience), or the decent but forgettable Lost Highway. To me, Mulholland Dr. is his masterpiece. The story concerns an ambitious young actress (Naomi Watts) who comes to California in hopes of fulfilling her acting aspirations. However, the home her aunt has loaned to her for the time being is currently being occupied by a car accident victim (Laura Harring), who stumbled in after suffering a nasty bump on the head and as a result, can’t remember who she is or how she got there. There are a few interpretations to what this entire movie means, but this is just the basic plotline. As this film goes along, it just gets more weird, more unsettling, and, by the time you’ve finished it, you’ll be asking yourself, “What in the world did I just watch?” (Here’s a hint, approach this movie as if you were watching a really strange dream unfold, and it might make some sense…maybe). This is a special kind of movie, definitely not for all tastes, but one that really pulls the rug out from you during the last twenty minutes or so. During this time, Naomi Watts was just another unknown actress, like her character in this film, and this proved to be her breakout performance, creating a character that is both energetic and sympathetic – at least that’s how she’d like to think herself as being, in the movie. The rest of the movie is full of mostly unknowns, but from a collective acting standpoint, it’s well-executed. The real treat is watching this crazy, nightmarish story unfold, and how each character shows their real self once the truth slowly starts to come out. Be prepared to get blown away by this film.

#39. (1996) Fargo

#38. (1975) Jaws

#37. (1981) Raiders of the Lost Ark

#36. (2002) The 25th Hour - A film where Spike Lee presents New York City as a rough and brutal place that you don't want to be associated with, especially if you’re a pretty boy drug dealer like the main character in this story.

Monty (Norton) is a character we both sympathize and get disgusted with. We hate how his nice apartment, sizzling hot car, and smoking hot girlfriend (Dawson) were virtually bought by, as his best friend Frank (Pepper) calls it, "off the misery of other people". However, we love Monty because of his compassion towards an abused dog he named Doyle, and understand his constant internal beating of himself for making the mistake of shopping drugs to school children. His best friends are complete opposites. Frank is a playboy Wall Street broker who looks at everything from a real-world perspective. Jakob (Hoffman) is a kinder, socially inept English teacher who is burdened by his attraction to one of his students (Paquin). How these three became such good friends isn't totally explored, mainly assumed that through their roots of growing up in New York City that the three bonded closely.

The entire film focuses on Monty's last day in New York City. He takes Doyle for a walk in the morning, visits his old high school, reflects on how his life got so screwed up, and spends the night trying to forget about what he's going to face in the morning -- 7 years in prison. His girlfriend Natruelle and Jakob completely care and feel sorry for Monty, because they know he's a good guy, demonstrated in the first scene of the movie, when he rescues Doyle from certain death. His father (a terrific Cox) blames his alcoholism for Monty's downward spiral, regrettably saying, "if I hadn't started drinking after your mother passed away, none of this would've happened". The characters all face internal battles, some fighting themselves, others battling tempting desires.

This is a remarkable picture. Edward Norton is superb, as he fully demonstrates why he is arguably one of the top ten actors in Hollywood today. Hoffman rips off a totally believable nerdy performance, while Pepper's cocky persona is a scene-stealer at times. Rosario Dawson is virtually flawless in whatever movie you put her in - she's golden. The story sucks you in with deep character development, and then wallops you with a punch to the throat with its ending. It’s not an easy, fun experience by any means, but it is definitely one that makes you contemplate at its original conclusion. Lee has been known to spice things up with his film making, and at times that is seen, however, he plays it straightforward when he needs to at the precise time.

There's many reasons to watch The 25th Hour, pick or choose, and it’s a film will definitely stay with me for a long time

#35. (2001) Black Hawk Down

#34. (1998) The Truman Show

#33. (1995) Braveheart

#32. (2003) Big Fish - When I was growing up, I wasn’t a Tim Burton fan. His style just wasn’t to my liking, extremely dark stories with weird characters that just never grew on me. Nowadays, I’m a big fan of his. This film is a huge reason why. When a successful young man (Billy Crudup) with a child on the way discovers that his father (Albert Finney) doesn’t have too much longer to live, he decides to pay him a visit, even though he can’t stand his father’s “childish” stories which exaggerate elements of his life into one big fairytale. Most of the film concerns his father’s “life”, and the big fairy tale stories that the father still loves telling even when he’s on his deathbed. This film is like the classic The Wizard of Oz in so many ways, and somehow, it outdoes it from an imagination standpoint. This film is rich with extremely weird, funny, and sometimes depressed individuals who have, in one way or another, been touched by the life of the lead character – Edward Bloom. The younger version of Bloom, played by Ewan McGregor, is full of life and vigor that he’s almost impossible not to like. This is McGregor at his best, his performance really carries this movie. Both Billy Crudup and Albert Finney are also admirable, each knowing their relationship is strained and they are very different people, but in the end, they discover that doesn’t matter. The highlight of the movie is when Crudup starts making up his own preposterous story to his dad, it’s an immensely touching scene (nearly tear-jerking) as well as a cleverly put-together and somber but still humorous one. This is a perfect blown-up fairly tale story that only a twisted mind like Tim Burton could put on the screen. To put it simply, this is an underrated masterpiece, a family friendly film that is incredibly creative but also shows it has something to say about relationships, especially with family members who we might not get along with.

#31. (1989) Glory

#30. (1954) The Seven Samurai

#29. (2009) District 9 – An original sci-fi story concerning alien colonization on earth and how humanity has exploited and weakened their race, after initially welcoming them with open arms. When they start becoming heavily abused by the citizens of Johannesburg, South Africa, the government elects to move them to a new, safer location – but not without painful results for a nerdy, incompetent lead agent on the case. Quite simply, this is a masterpiece and a brilliant work of art that deserves to be seen. The story is always interesting, including a lovable nerdy lead character that, like the story, undergoes an insane transformation about halfway through. This change in plot will undoubtedly piss some people off, but to me this was a brilliant idea. The infusion of the media coverage was another outstanding addition, director Neill Blomkamp does an amazing job capturing the realism of an otherwise extremely unrealistic story. The ending packs an incredible punch, from both an action and emotional standpoint. This is the best movie of 2009, without question, and one of the best movies of the decade that I've seen.

#28. (2002) Mystic River

#27. (1941) Citizen Kane

#26. (1998) Saving Private Ryan

#25. (1991) The Silence of the Lambs - A perfect thriller. Usually it's hard to give films like this a perfect rating, but this one deserved it. The meetings between Foster and Hopkins are fantastic, the film's knack to produce not one, but two memorable villains (Hopkins creates arguably the best villain in film history, but Ted Levine is also extremely powerful and monstrous as well), and the last 40 minutes or so will have you on the edge of your seat. It's disgusting, disturbing, and hard to watch at times, but ultimately it's unforgettable.

#24. (1942) Casablanca

#23. (1931) City Lights

#22. (1987) The Princess Bride

#21. (1995) The Usual Suspects - A fascinating and original crime story concerning some "usual suspects" who come together as one to wreck havoc once one of them (Stephen Baldwin) motivates the others to become an unstoppable, uncontrollable force to be reckoned with in the sleazy, dirty crime world. This is the best acted B-grade actor film without question, everybody involved gives outstanding, unforgettable performances (especially Gabriel Byrne, Pete Postlethwaite, and Kevin Spacey). The ending is the biggest "wow" moment arguably in cinematic history, with twists and turns in the story that will leave you floored at its bravery in pursuing such a finale.

#20. (1979) Alien

#19. (1995) Heat

#18. (1994) Pulp Fiction

#17. (1986) Aliens

#16. (1980) The Shining - This is without a doubt my number one favorite horror movie. Full of imagination, haunting images, scary characters, a piercing soundtrack, great acting, suspense, weird settings, strange dialogue, insanity, and an unsolved ending, this is a masterpiece. Jack Nicholson is a real piece of work here, he's scary good, with Shelley Duvall (probably the most unattractive lead actress you'll ever find) proving to be solid as the emotionally traumatized wife. Great story, only Stanley Kubrick could've made this so special.

#15. (1990) Goodfellas - A penetrating and eye-opening look into the world of organized crime, and how gangsters and mobsters always start off hot, but their lives soon start to unravel once they get complacent and sloppy in their "work". This film somehow challenges "The Godfather" (both parts) for the best mobster movie of all-time, which I didn't think was possible. The characters are well colored, the narration is spot-on, and the plot is structured and executed to perfection by Martin Scorsese. Ray Liotta and Joe Pesci have never been better. While it's definitely not a very fun movie to watch at times, you can't help but admire it from a storytelling perspective. To put it in few words, this is one of the best movies ever made. Period.

#14. (1999) Fight Club

#13. (2007) Superbad - Many will probably be surprised I rank this film this high. For the decade? Really?! What can I say? This is one hysterical, brutally honest, surprisingly realistic movie that has a sick, twisted, perverted sense of humor and self-centered characters that you, almost inexplicably, come to care for by the end of the film. It’s no secret that Judd Apatow is a master of comedy. He has completely revived and restructured what a great comedy is about. Even the idiots of stupidland show sides of sweetness and sympathy that ring true, and as a result, they win you over to their side, no matter how wrong, vulgar, lazy, or socially unacceptable they may be. That is a very difficult task to accomplish, but Apatow has shown his skill of conquering this difficult task time and time again. The basic plotline of Superbad is that two best friends, approaching the end of their high school career, hear about a party happening at one of the hot girls (Emma Stone) in their class’s house. One of them (Jonah Hill, in a spasmodic, out of control, utterly hilarious performance), desperate to get with her, convinces his awkward and shy best friend (Michael Cera, perfectly cast) to help him with this mission. They decide that the “one friend in a group of friends that nobody likes” as Dane Cook once said, Fogel (Christopher Mintz-Plasse) is their man for getting a fake ID and thus, getting alcohol so that they can provide the goods for the party. I won’t reveal much more of the plotline, even though I’m convinced most everybody in my age group has seen this, but just know that, in addition to Mintz-Plasse, two brain-dead cops (Seth Rogen and Bill Hader) absolutely steal the show. To put it simply, this is my favorite comedy. No, it’s not for everyone, it’s not supposed to be for everyone. But when this movie was released, I was about to enter my senior year of high school. To me, this movie couldn’t have been released at a more perfect time. The dialogue, while extremely vulgar, as expected, is incredibly brilliant, and the performances are outstanding all-around. This is one movie that I will want to see over and over again, and I’m pretty sure I’ve seen it at least 10-12 times already. I’m still not tired of it.

#12. (1981) The Elephant Man - One of the saddest, heart-wrenching, and moving films I've ever sat through. Kudos to director David Lynch for electing for a black and white scope, and for humanizing a physical monster into a sweet, simple, ordinary man whose emotions and passions were as normal as anybody else's. I will admit I teared up at numerous times throughout the film, its power is irrefutable, and Lynch's simultaneous exalting and damning of humanity is truly something to behold. John Hurt gives one of the most compelling and tear-jerking turns ever captured in cinema, and Hopkins is a fine fit for the role of a caring doctor. It's a bleak picture, but one that teaches a valuable lesson in terms of differences in all of us and how no one is above anyone - we all deserve to be treated fairly and with respect, no matter what physical or emotional shortcomings we as individuals possess.

#11. (2010) Inception - A mind-blowing, revolutionary film concerning dreams and their dimensions, and how one man (DiCaprio) assembles a team together in order to plant an idea in an important businessman's mind (Cillian Murphy), so that he can be granted his wish to return to his home. This is an astonishing picture, one that requires its audience to remain on the edge of their seats throughout its entirety. With so many thoughtless, hollow summer blockbusters coming out nowadays, it's a treat to finally see something of this complexity come out at this time of the year. Leo, as always, turns in a magnificent performance, with his supporting cast doing a fine job at their respected parts. Although it’s easy to get lost in this adventure, director Nolan doesn't expect you to understand every key aspect of his masterpiece. Instead, just accept the fact that this is a complicated movie, but one whose story is handled with meticulous care by the hands of a master at the height of his power. This is one of the best movies constructed, and one who dares to be intelligent as well as fun to watch.

#10. (1992) Reservoir Dogs

#9. (1998) American History X - One of the most powerful films I've ever seen, with an incredible lead performance from Edward Norton. The overall message of the movie is extremely important - that even the most heinous and hateful of people can change, as seen by the slow-burn approach of Norton's friendship with a black man in prison. The ending always gets me, it's a heart-wrenching finale that is hard to watch but extremely appropriate

#8. (1992) The Last of the Mohicans

#7. (1977, 1980, 1983) The Star Wars Trilogy

#6. (1979) Apocalypse Now - The best war film of all time. No questions, hands down one of the most hypnotic movie-watching experiences I've ever had. Brilliantly casted (Brando's performance is simply magnificent), incredibly filmed scenes (the helicopter attack piece is just breathtaking), and one of the most haunting, disturbing endings captured in cinema. This movie does a simply phenomenal job in exploring the depths of the dark human soul, by implementing a dark, bleak story amongst the scrumptious backdrop of Vietnam and Cambodia. While the length of this picture could be demanding, if it has the same mesmerizing effect that it had on me - it shouldn't be hard to see the utter brilliance Coppola puts on screen.

#5. (1972, 1974) The Godfather (I and II)

#4. (1993) Schindler's List - One of, if not the most, powerful and heart-wrenching movies I've ever seen. Definitely a top film for me, an emotionally ravaging tale of survival amongst the most hellish of circumstances, and how a member of the Nazi party refused to treat Jews like the "rats" they were perceived to be by the corrupt German army, and instead offered them a safe place to work, as well as hope for a future that at the time looked ever so bleak. The change that Neeson's character undergoes is remarkable, but never for a second unconvincing. Fiennes treading between his true feelings and what he's ordered to feel is something that is fascinating as well, you really believe that his inner-feelings are that what he is a part of is disgusting and damning, but, unlike Neeson's character, he doesn't possess the inner-strength to go an unprecedented change. Anyone who has ever learned about the Holocaust or has read in textbooks about the horrid events these people were subjected to, you haven't seen or read anything until you have seen this film.

#3. (2001-2003) The Lord of the Rings Trilogy

#2. (1968) 2001: A Space Odyssey - Without a doubt one of the best films ever made and the best sci-fi journey ever captured in cinema. This is an intense, never uninteresting film concerning the dawn of mankind, the future, and the mysterious nature of what lies beyond our universe. This movie cemented my belief that Stanley Kubrick was the best director ever, and with this film he revolutionized how special effects were done (nobody in the 1960's had ever seen a film quite like this). This movie contains one of the best characters in movie history as well, that being the monotone, dangerous HAL 9000 robot, the commander of the ship which is venturing to the planet Jupiter (and maybe farther). This movie is just flawless, with an ambiguous, haunting last twenty minutes that will make you feel as confused as the lead character in the film. This is a film I could watch one hundred times through and never get bored.

#1. (2007) Into the Wild - This is my all-time favorite film. It took four viewings of this movie for me to finally say, without question, that this is the one movie that I would want to watch over and over again if I only had one movie in the world to watch. I don’t know where to even begin with this film. The plot, based on a true story, is about the life of Christopher McCandless, a young man who rebelled against the norms of society and instead chose to pursue the ultimate adventure – a cross-country trip in which Alaska was his ultimate destination. Along the way, he meets some incredible people, including a loving, hippie couple (played beautifully by the very likable Catherine Keener and first-time actor Brian Dierker), a partying redneck farmer (played to perfection by a subdued Vince Vaughn), a lonely old man (played by Hal Holbrook, who gives the best supporting performance I’ve ever seen in a film - he will bring you to tears), and an attractive young musician (Kristen Stewart, before her Twilight fame). It’s ironic that this film is directed by Sean Penn, who has not been shy in his personal life blasting America and its many faults. Here, he shows everything that is beautiful about this country, the majestic mountains, the peaceful fields, and the haunting, chilling, beauty of Alaska in particular. The characters are rich and detailed expertly, Penn makes you care for each character McCandless runs into. I can’t say enough about the lead performance by Emile Hirsch. He embodies Chris. There’s not one moment in the film where you say “hey it’s Emile Hirsch”, you truly believe that he IS Christopher McCandless, and that you are with Chris as he encounters massive obstacles, including his final one – Alaska. Eddie Vedder’s soundtrack is also quiet, but unmistakably powerful. As already said, I can’t say enough about this movie. Yes, it’s long, yes, it’s very artsy and expects its viewer to have a love for settings and a story driven by character development. In every aspect however, this is a perfect movie, my favorite movie, and without question, the best film of this decade.

Decades Breakdown:

10’s: 1

00’s: 28

90’s: 29

80’s: 15

70’s: 12

60’s: 3

50’s: 6

40’s: 4

30’s: 2