Best Historical Film of the Decade

United 93 (2006)

While I am glad to be back at blogging, I have dreaded this entry. It’s not thrilling to think about, much less write about, the horror of September 11, 2001. I like most Americans remember exactly where I was when I was informed of both the first, and second, plane crash into the World Trade Center. (Dana Keck, the teacher beside me, came and whispered it to me as my students were taking a timed in-class essay. Needless to say my lesson plans changed dramatically).

The tag line of the film sums it up: September 11, 2001. Four planes were hijacked. Three of them reached their target. This is the story of the fourth.

The story of the fourth seems less like a movie and more like the tragic event that it was. While watching it, I was totally engrossed in the events. While I knew the outcome, it was hypnotically mesmerizing to watch. No big name actors were on the screen, and this worked in its favor. I truly felt as if I was watching the event in real time. The film shows American heroism at its best, and for that, it is worth watching.

The overall effectiveness of the film occurs due to the masterful direction of Paul Greengrass. While he is associated with his work as director of two of the three bourne films, this may well be his masterpiece (he wrote the screenplay as well).

This is a film I will not watch on a regular basis. It is the type of film I will watch with my son some day so he might understand “9/11”, but also to show him what it means to be a hero in the face of the most adverse conditions.

Best Guilty Pleasure Film of the Decade

Moulin Rouge! (2001)

Well, after the migraines, the swine flu, a stomach virus, and pneumonia, I am back to counting down The Forty Fabulous Films of the Decade. I dare say anyone has missed my blogging, but I have, and I guess that’s all that matters.

What better way to return than with my favorite guilty pleasure film of the decade. While Moulin Rouge! may not seem an obvious choice, it fits here for me because I am a tad embarrassed I enjoyed this film so much. In fact, I almost named it the best musical of the decade (needless to say I didn’t).

The film is set in Paris in1899 and it follows the life of Christian (McGregor), a Bohemian poet, who searches for true love. He finds love upon meeting Satine (Kidman), and the story moves rapidly, both visually and in song.

Baz Luhrmann created a film like no other in my opinion. I am amazed every time I view the film. Something new always seem to pop out, and it remains fresh upon repeat viewings. From the sets, to the costumes, to the cinematography, Luhrmann’s vision is dreamtastic.

I must also say I was particularly impressed with the vocals of both Kidman and McGregor. Both held their own, and I was skeptical when I saw the film in the theater. I particularly enjoyed Kidman’s performance. It was both comedic and dramatic without being over-the-top. The musical numbers tie the film together, and are quite entertaining. I even used a few songs when teaching a poetry unit back in the day (I also led a workshop for teachers on using such songs when teaching poetry … what was I thinking???)

As I look out at a beautiful, snowy back yard, I have to admit I am tempted to view this guilty pleasure right now. However, lunch is calling and soon the baby will awake from his afternoon slumber. Guess my guilty pleasure must wait…

The Best Foreign Language film of the Decade

Das Leben der Anderen (2006), Germany (aka The Lives of Others)

If there’s any film on this list that I don’t own, that I should, it’s this one. In fact, I’ll go ahead and say it here, this is one of the best films of the decade … period.

The film takes place in East Germany in the 1980s. Although the film is far from simple, I’ll keep the plot synopsis as simple as possible. Georg Dreyman, a successful playwright, and his long time companion Christa-Maria Sieland, a popular actress, are socialists who are esteemed among the party for their views and roles. However, at times they do not adhere to party lines. The Minister of Culture becomes intrigued with Christa-Maria, so he assigns secret service agent Hauptmann Gerd Wiesler to spy on the couple. What starts out as a simple assignment for Weisler turns into so much more as he becomes a distant observer in The Lives of Others.

First time director Florian Henckel von Donnersmarck's created a masterpiece. The storytelling is riveting, just as is the vision of the director. From the beginning of the film to the perfect final shot, there isn’t a note in the film that doesn’t ring true as we the viewer are drawn into the film just as Wiesler is drawn into the lives of Dreyman and Sieland.

Clearly this has been an overlooked film, which is a crime in and of itself. If you love cinema, do yourself a favor and see this film. You’ll be glad you did.

Best Fantasy Film of the Decade

The Curious Case of Benjamin Button (2008)

I’ll be honest. I felt this film was slighted last year. I was actually a little upset that it did not win Best Picture (no offense to Slumdog lovers out there). For me, this film was pure magic, which is why I chose to recognize it as Best Fantasy Film of the Decade.

I think most everyone knows the story, which is based on an F. Scott Fitgerald short story. Benjamin Button (Brad Pitt) is a man who ages is reverse. At birth he’s an old man and at his deathbed, well he’s a newborn baby. Reverse aging is not a topic I’ve seen addressed in literature or film very often, which is why I think it is such a fascinating, beautiful story.

It’s hard to believe that this film is directed by the same man (David Fincher) who directed Pitt in Fight Club. The two films are extremely different. However, both of these films do remind me of Fincher’s oft ignored Zodiac. Anyway, the direction is superb. The special effects are so subtle they don’t seem special, they seem rather realistic. The entire look of the film was magical, thanks in part to Fincher’s use of the Viper Thomson digital camera (just as he did in Zodiac).

If the film reminds you of Forrest Gump, there’s good reason. Both screenplays were written by Eric Roth. I’ll make no excuses for saying I believe this film is superior to Gump. While Gump is good, I never considered it great. Part of this may be due to the fact it was the Oscar darling, and I resent that it was (due to the fact it beat out Pulp Fiction). I don’t think I’ve ever forgiven Gump, or the Academy, for such injustice.

Pitt has never been better in my opinion (except maybe in Twelve Monkeys). Watching this film, you actually forget he is Brad Pitt, which, according to most women, is a difficult task. I was leery of Blanchett playing his love interest, Daisy, but I shouldn’t have been. The two have great chemistry.

While most reviews would make more mention of the special effects or the film-making process, I want to end on another note. I felt that New Orleans was an important character in this film. This was just the second movie filmed in New Orleans after Katrina, and I feel that the city was a vital character. While I have no documentation to support this, I think this may have been important to Pitt as a resident of New Orleans as well.

I’d like to end this entry by stating one of the film’s taglines: “Life isn’t measured in minutes, but in moments.” I hope I make the most of my moments, just as Benjamin Button did.

Best Family Film of the Decade

The Royal Tenenbaums (2001)

Let me preface this by saying that my definition of a family film probably does not equate to your definition of a family film. Most people think of a movie you watch on a Saturday night with the kids, passing around a big bowl of popcorn. This isn’t that type of film. For the purpose of my list, a family film is defined as a film about a family … and if you haven’t met the Tenenbaum family, get ready for a dysfunctional delight.

Wes Anderson co-wrote and directed this strangely hypnotic film. While it doesn’t necessarily live up to his masterpiece, Rushmore, it is his second best film, and it’s completely worthy to be on anyone’s decade’s best list.

The Tenenbaum family is a family of geniuses, but each has a burden they carry, thanks to their absentee (in more ways than one) father, Royal Tenenbaum (Gene Hackman). Mom (Angelica Huston) has held the family together, until Royal wants back in everyone’s lives. He concocts a story that he has cancer in order to reunite with his wife, his three children, and his grandchildren. The entire family come back to live under one roof and “the fun” begins.

Although I am not a fan of the Wilson brothers (Owen and Luke, that is) and Stiller, they are more than competent in their roles. I probably would have cast others in their roles, but who am I to criticize? Paltrow proves that with good material she can shine. Murray and Glover, along with Hackman and Huston, are a joy to watch.

In essence, all families are dysfunctional in their own way. After watching this film you might wish you could change your last name … to Tenenbaum.

Best Drama of the Decade

Up in the Air (2009)

Jason Reitman is a very talented director. If you haven’t seen Juno or Thank You for Smoking, you can rent, or buy, these now (and you won’t be disappointed). Here, Reitman has created (he both wrote and directed this film) what will probably become the quintessential film of this time in American history.

Ryan Bingham (George Clooney) has maybe the job with more job security than any other … he travels the country at the bequest of “chicken” corporations and fires their employees for them. Living out of a suitcase with the road (or the air) as his home, he takes no shame in crushing the lives of most everyone he meets. Unbeknownst to him, his job has caused him to be jaded to any emotion. His life is actually as empty as his apartment.

Things change, however, when his boss (Jason Bateman) grounds him. Technology is soon to replace him, thanks to wunderkid Natalie Keener (Anna Kendrick). She woos the company with her idea that she can save the company tons of money by firing people through video-conferencing. Bingham gets the task of taking Natalie on the road to experience the job firsthand. Along their journey, both change dramatically, and I don’t want to give away too much, but I’ll say I didn’t necessarily see where this film was going. In fact, I pride myself on knowing what happens next in films and here most every guess I had was incorrect.

I will tell you that is this film is cinema bliss. From the screenplay, to the acting (both professional actors and everyman actors … apparently the film used actual employees who were let go from their jobs), to the direction, there isn’t a false note. The subplot with Clooney’s family is spot-on, and was a welcome surprise. Vera Farmiga more than holds her own with Clooney, and the two have superb chemistry (even more than Clooney and Lopez in out of Sight, which many call one of the sexiest films ever made). Many reviews compare their story to romantic comedies of the past, and I can see the comparison, but theirs is a much more modern, and welcome, take.

I don’t want to spoil anything for those hoping to catch this film prior to the Oscars. In fact, I highly suggest you do see it if you want a leg up on your Oscar pool. I expect multiple nominations for this film.

The Best Documentary of the Decade

Capturing the Friedmans (2003)

WOW! Who knew this might be the most difficult category for me to choose. In the last ten years I have become fascinated with documentaries. My wife and I are total nerds because we love watching them and discuss them often more than any other type of film we view. Even though she may not be please with my pick, I am, and this is MY blog. (I should mention I also considered the following; Food, Inc., Spellbound, The Fog of War, Born into Brothels, Taxi to the Dark Side, No End in Sight, and Bowling for Columbine.)

So, why should you watch this film? Because you’ve never seen anything like it. It’s a fascinating study of a dysfunctional (and maybe even criminal) family from the 1980’s. This is reality TV at its finest (or worst, depending on your taste in reality TV, which by the way, I abhor).

The film “takes place” in 1987 in Long Island. The Friedmans are your typical middle-class family: Dad (Arnold, a high school teacher), Mom (Elaine … a little naïve in my opinion), and sons (David, Jessie, and Seth). Well, typical family in the sense it’s relatively normal for Dad and Jessie to be arrested on charges of rape, sodomy, and molestation. Allegedly these events took place in the basement of the family home where Arnold taught computer classes (WOW! Check out those old PCs). However, there was no physical evidence, and even though they allegedly had sex hundreds of times with minors, none of the boy students complained, called in sick to skip classes, or failed to not sign up for the next course.

The evidence is extremely ambiguous and Jarecki (the director) allows for the viewer to decide guilt or evidence. The story is extremely well told, and the family footage (from their personal home recordings) is extremely relevant, and creepy, at the same time.

Arnold received a life sentence and Jessie served 13 years on an 18 year old sentence, so they were proven guilty … but are they? The truth is they could have been completely guilty, somewhat guilty, or innocent of all charges. What do you believe … oh, you haven’t seen the film … well get back to me when you have …

Best Disaster Film of the Decade

Children of Men (2006)

Originally this film had the honor of being my Best SciFi film of the decade. However, I decided it could fall into this category after I saw this category on Rotten Tomatoes (which left me room to add another great film in the SciFi category). In fact, there aren’t many other films that could even be considered for this category in my opinion (I hope Roland Emmerich doesn’t read this, ok, I hope he does).

I felt this film was an instant classic from the moment I saw it. I saw it again over the Christmas holidays. My initial reaction was true (as are most of my gut instincts), this film is a classic.

The plot: It’s 2027 and the youngest person in the world has just died … at age 18. Yes, not only has no child been born in almost twenty years, but no woman has even gotten knocked-up (Apatow Reference!). Seriously though … humanity is on the verge of extinction, and migrants from Africa and Eastern Europe are hoping to penetrate a dystopian London society where violence abounds. Our protagonist, Theo Faron, a jaded activist turned bureaucrat, becomes the sole guardian of Kee, who is carrying not only a child, but possibly the future of mankind. Their struggle to protect Kee takes several twists and turns, and in the process introduce the viewer to several delectable performances (most notably Michael Caine) and one unsuspecting tragedy.

While the plot is genius in and of itself, there are several other highlights I cannot help but mentioning.

The cinematography is superb. Oscar nominated, it should have won. It has the hand held approach but it is perfect in this film. This may be the best cinematography of the decade.

The film has several incredible tracking shots in it. Many claim that Welles’ Touch of Evil set the bar for the greatest single track shot in film (it’s the opening sequence of the film and is 3 minutes and 20 seconds), but Cuaron’s car chase sequence (clocking in at 4 minutes and 8 seconds) meets all expectations.

Theo never uses, or handles, a gun, although they are readily available. Why? This is unlikely for a movie protagonist who must stop at nothing to provide safety to the world's only pregnant woman. This is an underlying theme that many have not commented on, but one that I find strikingly poignant.

Cuaron’s London is entirely beautiful in its dystopian state. The future never looked bleaker, nor as relevant. It has all of the truth of Ridley Scott’s “Chinatown” in Blade Runner without the neon and Eastern influence.

The blood spotting that occurs on the camera lens during the film’s finale is a testament to the nature and vision of this film. Too many directors or producers would choose to reshoot the scene or remove the blood during the editing process. Here, not only is it not a distraction, but an enhancement of the film. It draws the audience in even further than imaginable.

The film has too many references to modern society to count. Multiple essays could be written about this, from immigration to medicinal drug use to euthanasia.

I could start a blog to simply write about this film, it is simply that good. I hope in this entry I did the film justice and just possibly persuaded just one person to view this film.

The Best Detective Film of the Decade

Mystic River (2003)

There are some movies that inspire me to go back and read the novel the screenplay was adapted from. There are even fewer films that I see in the theatre twice. For this film I did both of these.

Mystic River is not necessarily a “fun” movie to watch, but it is great storytelling, and it has both great directing and great acting.

The director is Mr. Hollywood himself, Clint Eastwood. As a director (and as an actor as well), I either love Eastwood films or loathe them. I loved Unforgiven, Gran Torino, Play Misty for Me, and A Perfect World (a very underrated film). I loathed Million Dollar Baby and Midnight in the Garden of Good and Evil (which is a shame because I adore the novel). Needless to say I thought he did justice to Denis Lehane’s gripping novel.

The story follows the lives and the relationships of three men Jimmy (Sean Penn, Oscar), Dave (Tim Robbins, Oscar), and Sean (Kevin Bacon). A tragic event occurred in their childhood when Dave is kidnapped and sexually assaulted. In the present day, each has taken a different path in life, but their lives interact when Jimmy’s daughter is found murdered in their Boston neighborhood. The rest … well you should watch the film, or read the book. I recommend both.

The supporting cast is also stellar: Laurence Fishburn, Marcia Gay Harden, and Laura Linney. However, when Penn and Robbins are on the screen they steal the stage. Penn, as noted earlier, won his first Oscar (I thought he should have won prior to this for Dead Man Walking, which happened to star Robbins’ wife Susan Sarandon who did win an Oscar) and cemented his status as one of the greatest actors of his generation. Robbins role doesn’t have the “Oscar moment” as Penn does (when he sees his murdered daughter);however, his performance is brilliant nonetheless.

This isn’t a movie to watch when you’re feeling down, but if you want to see some fine acting from some of the most talented actors working today (directed by a legend no less), slide this into the DVD player and enjoy.

The Best Date Movie of the Decade

Eternal Sunshine of the Spotless Mind (2004)

Ok,ok … I’ll admit this is the closest genre to chick-flick that I have. I was going to actually have a Best Chick-Flick of the decade (sorry Ms. MeanFace) but I took a verbal beating from my wife who claimed I was being sexist, which is totally preposterous. Does she not realize I am the Title IX Supervisor at work, which covers approximately 16,000+ people? Anyway, I talked her into letting me have this category instead. Guess I don’t even have total control of my blog (but I do have my remote control, unless LP takes it with a laughing grin … hehe).

I’ll admit this is an odd choice for this genre. It definitely is not a movie for the masses and seems a little like a critic’s pick. I could have chosen Love, Actually (which would have been my best Holiday Film of the decade if I had kept that category in), About a Boy, Mr. and Mrs. Smith (talk about equal opportunity eye candy), The Notebook, or even Wall-E. But I didn’t. I chose this darkly, romantic tale from the warped mind of Charlie Kaufman.

This is a great line, and in summary, defines this movie: “You can erase someone from your mind; getting them out of your heart is another story.” If that’s not date-worthy, what is?

The film is non-linear, and it works, in fact it’s a necessity to the story-telling process (much like Pulp Fiction , but unlike 21 Grams). The story is simple, yet complicated. Carrey’s character learns his “ex” (Winslett) has erased their memories together so she can move on with her life. He in turn decides to do the same but has second thoughts, albeit while unconscious. Therefore, much of the film takes place in his mind. It truly is a beautiful story if you can get past the complicated storytelling.

I honestly can’t believe I am recommending a Jim Carrey film to be honest with you. He truly gets on my nerves. Here, though, he is pretty good, and his supporting cast is superb … I already mentioned Winslett, but it also boasts the underrated Tom Wilkinson, the dependable Mark Ruffalo, and the semi talented (in the right role) Elijah wood and Kirsten Dunst.

This Valentines Day I suggest you go out on a limb and check this out … I think I might, if I can talk my wife into it (wait … I do still have control of the remote, don’t I???).

The Best Crime Film of the Decade is Cidade de Deus (2002) (aka City of God)

Cidade de Deus (2002) (aka City of God)

Best Crime film

I promise I am not whimping out, but this is the next Netflix movie in my queue and I really want to watch it again before writing my review. I know it deserves this designation, but I want to do it justice. More people should see this film. In fact, I am rewatching it so my wife can see if it makes her best of the decade list. It will … trust me.

Review will come later …

Best Creepy Film of the Decade

El orfanato (2008) (aka The Orphanage)

I start getting excited every fall as Halloween approaches. Fall is my favorite season. Football is in full swing. The weather is cool. The leaves turn beautiful shades of orange, crimson, and yellow. And, most importantly, it’s the appropriate time to curl up on the couch with the one you love, in a pitch black house, and watch a scary movie.

There have been few great scary movies in my opinion. Halloween. The Exorcist. They qualify. Some movies, however, are just flat out creepy. Rosemary’s Baby and The Silence of the Lambs would fit into this category. If these films are up your alley, check out The Orphanage. It creeped me out, which is why it earned the moniker of the Creepiest Film of the Decade.

First, you need to know this is a Spanish film. Well, those of you who know Spanish realize that from the true title of the film. So if you hate reading subtitles, skip this flick. However, if you can read and watch with ease, and you don’t mind a little Edgar Alan Poeish storytelling, Netflix this now (or, if you’re like me, wait until October and watch it for a Fall Fright).

The film is pretty simple in its premise. Laura and her husband move back to her childhood home to open up the home as an orphanage for children with handicapping conditions. After arriving, her son starts communicating with an imaginary friend, Tomas. Laura and her husband cough this up to kids being kids, and they steadfastly work on improving their new home. Soon, house rumblings and a freaky old woman show up, and the creepiness begins. If I said anymore I might ruin this film … so I’ll shut up.

The acting is first rate, the direction suspenseful and moody. I will say this is not a Saw rip-off, or a retread of Hollywood horror crap. It’s moody, tense, and not gory. What it is, is creepy, and that’s always good for getting the one you love to cuddle up closer and closer as the film progresses.

Best Children's Book Adapted into a Film

I realize this may be a risky pick, or you simply think I’m lazy, or even stupid, but I really enjoyed this film. I’ll go ahead and say, on the record, that Harry Potter and the Prisoner of Azkaban almost took the prize for this genre, but I really believe this film deserves this honor. There may not be another film that captures the highs, and lows, of being a young boy better than this film.

Filming a children’s book can be risky business. From what I’ve heard, no one has successfully transformed a Dr. Seuss book into an acceptable film. No, I haven’t mustered the patience, or courage, to watch Jim Carrey or Mike Myers channel a Seussian character. In this film, however, Spike Jonze and Dave Eggers (I really would like to read more of Eggers work) screenplay channels both the magic, and horror, of Maurice Sendak’s Caldecott Award Winner. This book amazed me as a child (according to my memories and the recollections of my mother, a reading specialist), and the film lived up to the bar I set for it.

Jonze deserves a Best Director nomination in my opinion. This film is magical, horrifying, loving, angry, and funny. Not a small feat, and I believe a feat that deserves such an honor. I am tired of hearing parents bash this film as not appropriate for kids. HELLO!?!?! Did you read the book? It’s about a hyper, belligerent, even violent, young boy who, after getting in trouble for disrespecting his mom, “disappears” into his imaginary world where wild monsters roam free. What did you expect, a cartoon fish, a talking genie, meatballs falling from the sky? This film is more in line with other great children’s films (and stories) that are also dark … and frightening. I watched the Wizard of Oz for the Wicked Witch and those terrifying monkeys, whom, to this day, still freak me out. Guess what I remember about Bambi (well, besides Thumper) … Bambi’s mom getting killed! Old Yeller and Where the Red Fern Grows weren’t sad at all … they were utterly gut-wrenchingly painful. Star Wars wasn’t all roses either. I cried in Empire when Han was frozen and then, GASP!, Vader told Luke he was his father. That’s uplifting, finding out your dad not only has respiratory problems and is half machine but is the Dark Lord of the Sith. Ok, ok, I startled to ramble. My point is that GREAT kids movies, or stories, aren’t all rainbows, ponies, and chocolate sprinkles. These films are about loving, and losing those you love.

Speaking of Oscar nominations, I see no reason Keener (Max’s mom) and even Max Records shouldn’t be in consideration for the golden statue. Keener is excellent in a minimal role, and Max, well, his parents named him appropriately. He’s perfect here.

My only concern is the casting of James Gandolfini as Carol. I kept having images of Tony Soprano as Carol, and those two characters are complete opposites. At times it just didn’t jive for me.

If you have an open mind and aren’t afraid to go out on a limb, check this film out if you haven’t. You’ll be glad you did ... I think.

Honorable Mention – The Prisoner of Azkaban (again, not a light kids movie)

Best Black-n-White Film of the Decade

Good Night, and Good Luck! (2005)

I know, I know … since when is a black/white film a genre. Well quit complaining and get ready to enjoy a GREAT film, if you haven’t already. I really wanted to choose this as one of my films so I made up this category. (Plus, how many film titles end with an !). There were other black and white films of the past decade, so don’t think this is the only one (again, I would recommend Persepolis).

Before I go on about how much I like this film, I must admit I have always been fascinated somewhat by McCarthyism (Hence my love of The Crucible). In this short (a whopping 93 minutes) film, one sees Clooney at his finest, as director, writer, and actor (look out Orson!). I have no idea what it was like to have lived in the 50s, but I can assure you I’m glad I didn’t after seeing this film (and after viewing Mad Men and Far From Heaven … thanks wonderful wife … I hope you don’t mind the plagiarism). Back to Clooney … he’s pure genius here, I enjoyed this more than Citizen Kane (does that make me a terrible film critic wannabe, or just a crappy blogger who likes parentheses?). From the excessive smoking to the black and white film stock to precisely every 23 minutes (the standard running time of TV shows from the 1950s) the film being punctuated by a jazz song performed by Diane Reeves (thanks IMDb!), I loved it all.

The story is pretty simple. CBS journalist Edward R. Murrow and Fred Friendly, his producer, take McCarthy head-on and challenge him for what he truly was, a fear monger. Standing by their convictions in the face of personal tribulations, they helped take down McCarthy. The rest is in the details.

To end, in the words of Murrow himself ... Good Night, and Good luck…

Best Biography Film of The Decade

The Pianist (2002)

What do you think of when you think of The Pianist. The Holocaust? No! Most everyone thinks of Best Actor winner Adrien Brody locking lips with the goddess Haley Berry after his upset win. While that is a moment most men would die for, it’s not what you should think of. You should think of possibly the greatest film depicting the Holocaust ever made (sorry Spielberg!).

Polanski, legal troubles aside, is a great director. Remember Chinatown, Rosemary’s Baby, and Frantic (ok…Frantic may be a stretch)? Here he directs from the heart, and it shows.

Brody’s depiction of Wladyslaw Szpilman is the story of survival. Szpillman was a Polish Jew who was one of the world’s greatest piano players. The film shows him moving from the celebrated piano concerts in Europe to the Jewish Ghetto of Warsaw. The venues may change, but his ability to survive, and piano playing, does not.

Music was his passion. Survival was his masterpiece. (Film’s tagline).

Seeing this, if you haven’t, should be your purpose. It is truly a great film.

Best - Best Picture Winner of the Decade

The Departed (2006)

OK ... I'll admit it, I'm a Scorsese fanatic. I love his movies, his scripts, even his cameos. Therefore, read this with that in mind. Also, if you are offended by profanity and violence ... skip this film.

The Departed could have fallen under several categories, but I chose to name it The Best-Best Picture of the decade because several of the other Best Picture winners were, well, not best pictures in my opinion. In fact, none of the other Best Picture winners are in my list at all. No Country for Old Men should probably be on my list, but I chose to highlight another film by the Coens (anyone care to guess?).

Back to The Departed. Is it Scorsese’s best movie? Not at all. I would rank Goodfellas, Taxi Driver, and Raging Bull as his trinity. However, The Departed is still a great film. If he had made it before Goodfellas, it may have made it into his top three films of all time.

The Departed is a remake of a Hong Kong film entitled 'WuJianDao', and I have to say I have not seen the original. What I can say is that Scorsese assembles a cast of acting behemoths. Think about it, Matt Damon, Leo Dicaprio, Jack Nicholson, Mark Whalberg, Martin Sheen, and Alec Baldwin. It’s as good a male cast since Glengarry Glen Ross, maybe better. (And both these movies have who in them … that’s right Baldwin. Very underrated actor … check out The Cooler, one movie I wish I could have fit into my Top 40). All actors hold their own with each other, which elevates the acting to heights rarely seen. It was simply a joy to watch the actors delve into their roles.

Enough about the men…For my wife’s sake, I should mention that Vera Farmiga is one lucky actress. We watched The Departed again last week, and saw Up in the Air days later. She believes any woman who got to make out with Leo, Matt, and George had possibly the greatest decade ever!!!

I also would like to give Scorsese a shout out for treating Boston as a character in the film, just as he did with NY in films such a Taxi Driver and Mean Streets.

The plot … well, there’s no way to summarize it, just rent The Departed, or better yet, buy a copy. You won’t regret it. (Unless profanity or violence offend you, in that case, sorry to have wasted your time).

Best Animated Film of the Decade

Up (2009)

I must admit that as a new parent (I have a precious 16 month old son) I haven’t seen as many animated films as some of my friends. I am sure that in the next ten years I’ll see more than I care to count. If all animated films had the story, wit, and animation as Up, I wouldn’t complain.

This decade Pixar redefined the animated film. No offense to Disney but I’d take a Pixar pick any day over a new Disney film. In my humble opinion, Up is Pixar at the top of their game (no, the pun wasn’t intended).

SQUIRREL!!!

Ed Asner plays the grandfather many of us have, or have had. Beneath a crusty cloaked exterior is the most gentle, loving curmudgeon. The montage depicting his marriage is one of the sweetest, most romantic depictions of a marriage I have ever seen on screen. Even though a word wasn’t spoken, true love and adoration never looked more genuine.

SQUIRREL!!!

The greatest supporting character is Dug. SQUIRREL!!! Dug, as man’s best friend, is both comic and developed as any canine any recent film memory. Be honest, who would you rather spend a Saturday afternoon SQUIRREL!!! with, Dug or Sam (from I am Legend)?

Sorry WALL-E, I’ll take the high road (or sky), and fly upwards…

HONORABLE MENTION PICK – Persopelis. Better than Sin City, WALL-E, and The Incredibles!

Best Action Film of the Decade

The Bourne Identity (2002)

Director Doug Liman may have burst onto the scene with Swingers and Go, but he hit his stride with The Bourne Identity. He singlehandedly saved the spy genre, and revved it up a notch (literally - - remember the mini cooper car chase scene – simply magnificent).

If it weren’t for Daniel Craig’s portrayal of Bond this decade, Matt Damon would be the only secret agent worth watching. In the Bourne Trilogy, Damon hasn’t earned the respect he deserves. Much like Harrison Ford’s Indiana Jones (or better yet, Dr. Richard Kimble), Damon should have received an Oscar nomination for one of the Bourne films. He’s that good as Jason Bourne. There is as much depth in his performance as there is testosterone.

The supporting cast may well be as great an ensemble that’s ever been seen on screen in an action film: Chris Cooper (excellent), Brian Cox (stellar), Julia Stiles, Clive Owen, and Walton Goggins (incredible in The Shield -TV show- … one of my top ten TV shows of the decade).
This film will not merely be one of the greatest action films of the decade, but of this century … ok, maybe I am a little too excited about my list, or my first movie blog entry.

Introductions

So, I've started a blog. Call me a copycat, my wife started one yesterday. So shoot me.

I at least have a theme for the next 20 days, the question is, can I keep up. I mean, how can I guarantee two entries a day for twenty days. Wait ... i haven't told you what i'm blogging ...?

Back up, well actually, scroll down...









I have compiled a list of the Forty Fabulous Films of the past decade. I will unveil two films a day as we approach the Oscar telecast. On Oscar day I'll narrow the list to ten and publish my top ten films of the decade (along with the top films of 2009). Each film is one that I would recommend (to the appropriate viewer) and highly enjoyed. It may have moved me, brought me to tears, made me laugh, or made me think. The films will be the best of a genre. Some genres everyone will recognize, some my doppelganger created. Either way, I hope you enjoy, and I look forward to your feedback, both as a film critic and a writer. Enjoy, and let the debating begin!