My Favourite Movies of the Decade

40. A.I. Artificial Intelligence

Steven Spielberg paid touching tribute to the late Stanley Kubrick in this sci-fi tale of a robot boy who embarks on a journey in hopes of becoming a real boy. The plot can be boiled down to a futuristic version of Pinocchio, but in Spielberg's capable hands, the story soars to new and unexpected heights. Apparently, Kubrick always wanted to make this movie, but he never got around to it prior to his death in 1999. When he passed away, Spielberg took over the project and approached the story with a vision that he had adopted during multiple conversations with Kubrick. We will never know exactly what Kubrick's A.I. would have looked like, but Spielberg does a fantastic job of making this story sparkle with flavourful heart. Haley Joel Osment is great in the lead role of robot David and Jude Law turns in a playful performance as David's robot companion. A strangely eerie epilogue sequence threatens to derail the movie, but its inclusion merely adds to the mysterious pleasures of this ambitious effort.

 

39. Black Hawk Down

I remain mostly disappointed with Ridley Scott's directorial output for the past decade, but this brawny war movie is the one major exception. Chronicling actual events in war-torn Somalia, Scott's meaty epic is about what happens when a pair of Black Hawk helicopters are shot down in the city, leaving a group of American soldiers in desperate need of some help. The movie unfolds in harrowing fashion, as a new group of soldiers lead a rescue team and find themselves under heavy attack. The movie is essentially one gargantuan action sequence that places us in the soldiers' boots and makes us feel the fear of being trapped in a nightmare punctuated with gunfire and explosions. The camera snakes through alleys and peers around corners, always reinforcing the notion that life-threatening danger exists in every area of the city. Black Hawk Down is a gripping portrait of survival and the cost of making it out alive.

 

38. Rachel Getting Married

I was a fan of Anne Hathaway before she played drug-addicted, attention-starved Kym in Jonathon Demme's whirlwind weekend drama Rachel Getting Married, but I still had no idea that she could deliver a performance of such emotional magnitude. I always saw her as a charming actress with a unique screen presence and a talent for comedy, but nothing could prepare me for her brilliant turn as a damaged young woman coming home for her sister's wedding. Demme immerses us in the details of this family by letting the camera capture a wide variety of tender and touching moments that occur in anticipation of the impending nuptials. Jenny Lumet's script is a work of genius, a free-flowing exploration of expertly etched characters and dramatically defined situations. Hathaway receives excellent supporting work from Rosemarie Dewitt, Bill Irwin, and the luminous Debra Winger.

 

 

37. Bowling for Columbine

Michael Moore brought documentaries to the masses during this past decade, proving that his brand of humorous and dramatically energized social commentary can attract a large audience. I like all four of Moore's theatrically-released movies of the decade, even if Fahrenheit 9/11 struggles to be much more than a Bush-bashing joke. It's still a very entertaining Bush-bashing joke and Moore's opinion is one I am always happy to listen to. But for me, Moore made the best movie of his career in 2002 when he unleashed Bowling for Columbine on the world. Taking aim at American gun rights and pondering the effects of violence in the country (with a specific focus on the Columbine High School shooting), Moore lets his passion and anger simmer in arresting fashion. His greatest talent lies in his ability to effortlessly switch gears between comedy and tragedy and he uses that ability to great effect in this moving documentary.

 

36. Moulin Rouge!

Baz Luhrmann gave the movie musical a spastic shot in the arm with this energetic tale of love and loss told against the exquisite backdrop of a fantastical Paris. Nicole Kidman is brilliant as Satine, a burlesque performer at the Moulin Rouge nightclub who falls for a hopelessly romantic writer played by Ewan McGregor. Richard Roxburgh shows up as a jealous Duke, who feels that his wealth will be enough to claim Satine's heart. The stage is set for a grandiose romantic triangle and the exciting chemistry between Kidman and McGregor makes it easy to root for the heroes. Luhrmann's extreme directorial style is fun and exciting, but he wisely keeps the emotional strength of the love story always in the foreground, ensuring that the movie's big themes are never devoured by his over-the-top approach to visual storytelling.

 

 

35. Russian Ark

Russian filmmaker Alexander Sokurov tackled one of the decade's most fascinating cinematic experiments with this lavish tour of the famous Hermitage museum in Saint Petersburg. The entire movie (all ninety-six minutes of it) is presented in one long, unbroken Steadicam shot that represents the point of view of the movie's unnamed, unseen protagonist. Guided by Sergei Dreiden's passionate character known only as "the European", we wander through the expansive hallways and rooms of the Hermitage while important moments in Russian history are re-enacted before our eyes. Is this a trip to the afterlife or just a very detailed dream? Sokurov leaves the interpretation of the events up to the viewer and lets the stunning visual effect of this uniquely spectacular movie work its magic.

 

 

34. Yi Yi

A beautiful, lyrical portrait of a Taiwanese family in a period of growth and change. Doubling as writer and director, Edward Yang injects a beautifully accessible tone into his movie, locating relatable experiences in every corner of the narrative. Yi Yi covers so many areas of life, from childhood wonder to adolescent heartbreak to imminent death, that it is nearly exhausting in its emotional reach. The massive cast is wonderful, as Yang wrestles extremely believable performances from his actors, who hail from several different generations. The story may seem simple on the surface, but the complexities of the relationships and the shared experiences are so vast that the movie becomes intelligently convoluted without ever relying on tricky plot twists. This is a story of family and all of the smiles and frowns that accompany such a complicated unit.

 

 

33. Far from Heaven

1950s melodrama is made new again in Todd Hayne's extravagant ode to the movies of Douglas Sirk. Starring Julianne Moore as a housewife developing a romantic interest in her African American gardener (Dennis Haysbert) and Dennis Quaid as her successful husband struggling to hide his homosexual desires, Far From Heaven is a portrait of 1950s American suburbia in a state of decay. As husband and wife pull away from each other, they find themselves in a place of frightening isolation, because their passionate desires are frowned upon by society. Moore, Haysbert, and Quaid are incredible in their roles, as is Patricia Clarkson, who plays a close friend of Moore's Cathy Whitaker. Haynes directs each scene with the intention of creating something original, while always evoking memories of Sirk's specific style. The colour palette is vibrant and everything from the opening credits to Elmer Bernstein's gorgeous score feels lovingly lifted from another time.

 

 

32. Where the Wild Things Are

Maurice Sendak's classic children's book about a boy named Max who escapes to a fantastical land ruled by giant creatures receives the best cinematic treatment I could have hoped for. Director Spike Jonze decided to shoot the Wild Things sequences on location in forests and deserts, as opposed to building a series of sets that could perfectly match the visual style in Sendak's book. Considering the lack of success Ron Howard had with the visually accurate, but disturbingly soulless sets featured in his adaptation of Dr. Suess' classic How the Grinch Stole Christmas, Jonze's decision to root the world of fantasy in something recognizably earthy registers as a stroke of genius. Jonze also opted to bring the Wild Things to life using large costumes and advanced puppetry courtesy of Jim Henson's Creature Shop, instead of turning to digital effects to create CGI versions of the beasties. But Jonze's greatest decision is in the casting of Max Records, who plays protagonist Max with all of the wonder, frustration, imagination, excitement, joy and pain that the role requires. Records is amazing in the movie, as if he were born to play this character. He makes Max's journey an emotionally fulfilling one every step of the way.

 

31. Monsters, Inc.

The lone Pixar movie on my list. One of the most dominant forces in cinema for the last fifteen years, Pixar churned out hit after hit during this past decade. Most of them were rather wonderful and the animation was always unbelievably accomplished, but in the end, only one Pixar movie rises to the top of the heap for me. Monsters, Inc. is Pixar's fourth feature and it remains my favourite by a considerable margin. Equally hilarious and heartfelt, this animated adventure exists in a world where monsters that hide under children's beds and in their closets are very real. But instead of being despicably evil creatures, these monsters are a mostly friendly bunch who view scaring kids as their job. A gigantic corporation employs the various monsters to keep childhood fears of the dark in check. The basic conceit is fun and imaginative on its own, but Monsters, Inc. locates its big, beating heart when protagonist Sully, a big, furry blue beast, accidentally lets a little girl named Boo enter the monster world. Forced to hide her in order to keep his job and ensure her safety, Sully develops a sweetly loving relationship with the adorable toddler. Director Pete Docter keeps the movie rolling along at an exciting pace and the movie is filled with some great jokes, but it is the touching look at the power of friendship that makes this my favourite Pixar masterpiece.