Best Western of the Decade

The Proposition (2005)

Ah ... to behold Leone hold the camera on a beady eyew (with a Morricone composition being played in the background), the beautyof a John Wayne silhouette frozen against Ford’s sweeping landscapes, or the beady eye of an aged Eastwood, seeking vengeance with a six shooter. It’s fairly obvious I have a deep love for good westerns, unfortunately Hollywood doesn’t put out many these days, much less any of great quality. Yes there was Open Range and 3:10 to Yuma. Yes, some would even call Brokeback Mountain a western (although I wouldn’t). With so few choices, I can easily call The Proposition the best western of the decade, and I would go as far to say it is one of the best westerns of the modern era.

This film is not your typical western. It takes place in Australia (a deadly, even sinister setting) during the 19th century. The film is almost scary. John Hillcoat masterfully brings Nick Cave’s screenplay (supposedly based on true events) to life. I had never heard of either of these men prior to this film, but I respect both for their work, especially in an era that does not appreciate the western genre.

Charlie (an almost unrecognizable Guy Pearce) must hunt down and kill his brother Arthur within five days, or his younger brother will be hung at the gallows. In addition, he will receive a pardon for the “family crime” (raping a pregnant Mrs. Hopkins and then killing the entire family). In addition to Pearce, the film boasts stellar performances from Ray Winstone, Emily Watson, and John Hurt.

The film is harsh, violent, and unsettling at times (much more so than Unforgiven). It portrays a hell that exists between men (brothers at that) and between man and his environment. There are no cowboys with white hats battling cowboys in all black. What there is, though, is an engaging story, well directed, superbly acted, and utterly satisfying. In short, this is the new wetern, and a modern classic at that.

Honorable Mention ... Three Burials of Melquiades Estrada

Best War Film of the Decade

The Hurt Locker (2009)

This category may have been too easy to choose. Inglourious Basterds could have possibly been here if it had not previously made my list in another category. Black Hawk Down is another war film of this decade that I also both enjoyed and respected. However, this particular film stands alone as the best war film of the decade, hands down.

Kathryn Bigelow is my choice for the Best Director Oscar this year. She made a film, which I believe, is a masterpiece today, and will also be a masterpiece in the decades to come. While there have been a multitude of war films about the current war in the Middle East (Stop-Loss, Brothers, Jarhead, In the Valley of Elah etc.), none have achieved both the critical and commercial success of this film. In fact, several “A-List” critics have proclaimed this film not merely the best of the year, but one of the best of the decade. I couldn’t agree more.

The film itself deserves much more praise than I can bestow. It is harrowing in its vision, style, and filming. It emotionally tears at you, and physically has you on the edge of your seat. It is a rare accomplishment in filmmaking.

The actors in the film seem less like actors and more like soldiers, thus leading to the realistic, documentary feel of the film. Jeremy Renner may become a bankable Hollywood star due to his portrayal of the cocksure, Staff Sergeant William James. As a bomb disposal expert, he feels more confident, and at home disposing of bombs, than he does being an everyman on U.S. soil.

I believe Up in the Air and The Hurt Locker will most embody the past decade. While one discusses the current economic climate, its effect on the common American, and the advancement of technology in the work force, the other embodies a war that has no end in sight (my apologies to the film of the same name, which I also recommend) and its effects on the soldiers, both during their deployment and their time back home. Both display the isolation and frustration felt by many Americans today.

Here’s hoping this film wins several Oscars, and possibly a greater audience. It deserves both.

Best Vampire Film of the Decade

Låt den rätte komma in (2008) (Let the Right One In)

I am not a Twilight person. I won’t mock it. I just refuse to read the novels or see the dreadful films (most film critiques have been less than kind). Maybe I should give the novels a shot. I never thought I’d like True Blood, but it is fairly addictive, even though I feel guilty for watching it (much like a felt guilty looking at the SI swimsuit edition as a young boy). Regardless of my opinion of vampires, I whimped out and made this category because I felt the necessity to list this film as one of the forty most fabulous films of this decade. Needless to say, there wasn’t much competition in my eyes. (Best zombie picture would have been pretty difficult though).

The film is set in Stockholm, and it follows the relationship of Oskar and Eli. Oskar is a twelve year old who is being bullied by classmates. He falls in love with Eli, who gives him strength and teaches him to fight back. The relationship becomes strained (or does it?) when Oskar realizes Eli’s secret, which probably isn’t much of a secret due to the fact this is a review of a vampire film.

This movie is great on many levels. It explores good and evil in a way that seems almost refreshing (but not in a “that blood sure quenched my thirst” kinda way). Good and evil seem to coincide with each other, even almost thrive upon the relationship betwixt the two. In addition, the film plays out as somewhat poetic, both visually and with the pacing of the film. Apparently this film is being remade for American audiences, and all I can say is that I believe this is a huge mistake. See it now on DVD, subtitles and all, before America ruins it.

Best Thriller of the Decade

History of Violence (2005)

So is there a difference between a good thriller and a good mystery (or drama for that matter)? Maybe not, but I decided to have both genres on my list. History of Violence could fall into several categories, but I think it fits nicely as the decade’s best thriller.

This is not a film for the squeamish or faint of heart. However, if you have the stomach for a film that truly portrays violence for what it is, where it comes from, and what it can manifest into, then this is the film for you.

I watched this film again just a few weeks ago and I was amazed at how much more I enjoyed it the second time around (sorry, but I am ending this sentence with a preposition). Clearly David Cronenberg is not a household name, nor a Hollywood A-list director, but here he proves he can make a film accessible for the masses (much like he did with his follow-up Eastern Promises, also starring Viggo Morttensen and also an excellent film).

The film’s protagonist is Tom Stall (possibly Mortensen's best role). He is a typical, mild-mannered restaurant owner is a small Mayberryesque town. He becomes a nightly news hero by stopping a robbery in his diner, and becomes somewhat of a town celebrity. However, things begin to slowly unravel in his family life as a result of his heroism. Violence, as the title suggest, ensues from this point on throughout the film. Needless to say this is a thriller, and I don’t want to spoil the film for you, because my bet is you haven’t seen it.

Mario Bello is excellent as Tom’s wife (very underrated actress in my opinion, again, I recommend The Cooler). William Hurt steals the film in its conclusion though. He is absolutely fantastic; earning a well deserved Oscar nomination as Best Supporting Actor, even though he clocks in less than ten minutes of screen time. For his performance alone, I can recommend this film.

Best Teen Film of the Decade

Juno (2007)

I included this category after discussing my list with my wife. She was of the opinion there could have been a category for Best Judd Apatow Film of the Decade. I chose to go in a slightly other direction, as you can plainly see. While this film may be for adults, I definitely would qualify it as a teen film at heart, even though it is rated R (much like The Breakfast Club).

Juno is the little film that could. It made stars of Ellen Page and Diablo Cody (screenwriter turned EW columnist) and made Jason Reitman a bankable Hollywood director. Unfortunately, as perfect as Michael Cera is in the film, it typecast him in such a way he has yet to do anything else that doesn’t remind you of his character in this film (or as George Michael Bluth in Arrested Devlopment, one of the greatest TV shows of the decade).

While there is quite a bit I could say about this film, what stands out isn’t the actual film itself, it’s that I have listed Jason Reitman’s last three films in my list of the decade’s best (Up in the Air and Thank You for Smoking). I never noticed I was such a fan. If someone asked me who my favorite directors are, I would name, without hesitation, Martin Scorsese. If I thought about the question (as I am doing now), I would probably also mention Frank Capra, John Ford, Steven Spielberg, Sidney Lumet, Oliver Stone, Francis Ford Coppola, and Quentin Tarantino.

Maybe I should give more love to Reitman, and if I were you and I hadn’t seen any of his films, I would say rent two for a double feature and then get to the theater to catch Up in the Air.

Best Super Hero Film of the Decade

The Dark Knight (2008)

For me, picking this category was not difficult whatsoever. Although I am not a comic book guy, I do enjoy a good superhero film, and this film exceeded any bar that had previously been set for this genre. (I must admit I also thoroughly enjoyed Batman Begins, Iron Man, and The Incredibles, yet I loathed the Spiderman franchise and the new Superman was average at best).

Since this film is the third highest grossing domestic film of all time (cashing in more than 500 million), there probably aren’t many of you reading this whom have not yet seen the film. Likewise, I cannot add much to any review that hasn’t been written, either in print or on-line.

I would like to reiterate two points: Heath Ledger’s performance as the Joker is both brilliant and unsettling, and the film truly deserved to be nominated for Best Picture. In addition to the Best Picture snub, Christopher Nolan was also deserving of a Best Director nod. I will say the one thing I did enjoy that is oft overlooked, is the look of this film.

If this franchise continues, I will be curious to see if any upcoming Batman film could top The Dark Knight.

Best Sports Film of the Decade

Sugar (2009)

If you know me, you know that I love film, and I love sports (particularly baseball and football). Therefore you should know how difficult a category this was for me to choose just one film. My wife and I saw this recently on DVD, and it jumped to the top of my list (prior to this I was considering The Wrestler). If you’ve seen this film, you may think I was biased because of the Kansas City affiliation, but that isn’t the case. This film is great on multiple levels.

The writer/director team of Anna Boden and Ryan Fleck hit another homerun with this film. Previously the two collaborated on Half Nelson (amazing film!), and I cannot wait for their next film. I wish their efforts were recognized on a widespread spectrum, but unfortunately they have yet to connect with a mainstream audience.

This film is about much more than baseball. In fact, it could have been my social issue pick of the decade as well. The film also addresses PEDs (performance enhancing drugs for those non-sports fans), illegal immigration, and racism, and it does so effectively, almost seamlessly.

The story is a simple one at its core. Miguel “Sugar” Santos is a Dominican pitcher who is recruited to play in Major League Baseball’s minor league system. The film follows the highs and lows of his brief, yet riveting, career. Although fictional, this film feels as if it was written from different accounts of true Dominican baseball players (currently more than 25% of MLB players were born in Latin America). As you watch Sugar’s journey, you root for him, even though at times you wonder what is truly best for him.

I definitely plan to see this film again, and I would suggest it to sports fans and non-sports fans alike. (Note to potential viewer: there are subtitles.) If anyone reads this, and has seen this film, I would love to hear your comments.

Best Social Issue Film of the Decade

Milk (2008)

This choice may hit on the nerves of many of my followers (wait, there are only three of you, and to be honest I am not sure how many of you actually read these entries). The only reason I expect any type of backlash is because this movie is about a homosexual politician (the first elected homosexual). There are many who simply don’t want to watch a movie about this topic. I’ll admit that although I was somewhat bothered by parts of Brokeback Mountain, this film didn’t give me the heebee-jeebees.

I believe Sean Penn may be one of the greatest actors of his generation, and more often than not, I usually like his performance, regardless of the overall quality of the film (my favorite performances are Carlito’s Way, Dead Man Walking, 21 Grams, The Assassination of Richard Nixon, Mystic River, and Milk). Here he wins his second Oscar for his (apparently) true to life portrayal of the late Harvey Milk. I feel sorry for those who can’t seem to brace themselves for watching a film on this topic, for Penn is excellent in the role.

Although i am a Penn fan, I am not a Gus Van Sant fan of any sort (although I did Like Good Will Hunting). However, here I felt he told a compelling story (Oscar winner for Best Original Screenplay, Dustin Black ), and he made the film much more mainstream than usual (similar to GWH). At over two hours the film moved briskly, covering several year’s in Milk’s life. Van Sant was honored with a nomination for Best Director, as he deserved.

In addition to Penn’s performance, there were several stand-out performances from his supporting cast. Josh Brolin plays Dan White, Milk’s nemesis. He does a remarkable job providing depth, compassion, and humanity to White, who truly is despicable. James Franco turns in the best performance of his career and Emile Hirsch shows his talent yet again (check him out in Penn’s Into the Wild).

As I stated earlier, I know this film isn’t for everyone, but it definitely is worth watching.

Best Sci-Fi Film of the Decade

Minority Report (2002)

There is no doubt in my mind I will get lambasted for this pick, probably more than any other on my list. This is in part due to the fact that Sci-Fi fans (or geeks) are very passionate about their favorite films, and the genre itself. While some might choose Avatar, Star Trek, or even Wall-E, I think Minority Report is a cut above the rest.

Spielberg made three great sci-fi films this decade: Minority Report, A.I., and War of the Worlds (ironically Tom Cruise was in two of the three). While each film is good, Minority Report is superior, and I must say it’s not due to anything Spielberg directly did. Simply put, it is a great story.

Based on the short story by Phillip K. Dick (his “Do Androids Dream of Electric Sheep?” was the basis for the greatest sci-fi film of the 1980’s, Blade Runner), it is truly a nightmare worth watching. In short, it is 2054 and pre-crime division is able to catch criminals before they commit a crime. Everything seems to be working without a hitch until one of pre-crime’s own (Cruise) is targeted for a murder he has yet to commit. Actually you can get this much information watching the first ten minutes of the film. The true pleasure is watching the remaining two hours unfold. While the acting is better than average (Cruise is solid, Farrell is watchable, Samantha Morton and Max von Sydow are great), the visual look of the film, along with the compelling story, make this film a remarkable piece of cinema. The cinematography is superb, and I love the overall look of the film with its muted blue tones. The special effects are incredible to say the least.

Even if you are not a fan of sci-fi films, I find it hard to believe you wouldn’t enjoy, or even appreciate, a film of this caliber.

Best Satirical Film of the Decade

Thank You for Smoking (2005)

This film is probably one of the least viewed films on my list, and that is a travesty. Besides Election (and possibly Wag the Dog), it is probably the best satirical film of the last twenty years. Jason Reitman’s creation is nothing short of spectacular.

The story follows Nick Naylor (Aaron Eckhart in a breakthrough performance), a spokesman and lobbyist for the Academy of Tobacco Studies. He is extremely talented and is able to defend the tobacco industry regardless of what claim against tobacco is thrown at him. The story also focuses on his relationship with his son (who lives with his mother), who accompanies his father on a business trip, hoping to get to know his dad. Things go amuck when a former lover, and reporter, discloses information shared while the two were in bed together.

If you ever want to see a great double feature, let me suggest viewing this after The Insider. The two films are both on a similar topic, and although they are told in different styles, they are both excellent. (Plus you get to see Russell Crowe’s performance in The Insider which truly deserved the Oscar, as opposed for the make-up Oscar he won for Gladiator).

Best Romantic Film of the Decade

Lost in Translation (2003)

I love, love, love this movie. There was no doubt this film would make my list as one of the forty best of the past decade. The question was simply where would I place it? I chose this category because I truly feel, at heart, this is a romantic film. For those of you who question whether or not this should be qualified as a romance, I ask you to view the film again and then write back to me telling me why it’s not.

There isn’t much I can say about this film that hasn’t been said before. Yes, Bill Murray is beyond phenomenal. Yes, ScarJo holds her own with Murray, and her performance is as beautiful as she is. Yes, Sofia Coppola makes up for her dreary performance in Godfather III by writing, and directing, such a great picture (she won a Best Original Screenplay Oscar).

The story is fairly simple. Bob Harris (Murray), a famous American actor, is in Japan shooting Japanese whiskey commercials. Charlotte (Johansson), a newlywed, is in Japan with her photographer husband. The two are both searching for something, and inadvertently find each other.

In my opinion, what makes this film great is that it subtly allows the audience to be drawn into the lives of these two characters. You feel what these characters feel, and yet you realize if you were in either of their shoes you have no idea what you would do. You also know what each character is saying, even though at times they don’t say a word (although I still would like to know what Murray whispers into Johansson’s ear during the film’s conclusion). There is no CGI, no dramatic action sequences. It is simply a story about two individuals, away from home, alone, trying to find someone, or something, to ground them.

The tagline reads “Everyone wants to be found.” If you haven’t found this film, you should.

Best Remake of the Past Decade

Casino Royale (2006)

If I wouldn’t have picked The Departed already, it would have landed here. However, I am pretty stoked to include this film in my list of The Forty Fabulous Films of the Decade.

This is actually the third adaptation of Ian Fleming’s novel of the same name. It originally aired as a television episode in 1954 and it was made into a satirical film in 1967. Although I haven’t seen either of the previous films, I truly enjoyed this one, although I must admit I am not a James Bond aficionado. In fact, I hate to say it but I’ve never seen a Connery Bond film.

There were many Bonds geeks who were outraged when Daniel Craig was cast as the new James Bond. After seeing the film, I can’t help but think they worried for nothing. Craig pretty much nailed this role. He is charming, brooding, witty, and just the right mix of bad-ass and sexy (according to my wife).

I guess I should mention something of the plot. The story takes place early in 007’s career. In fact, he is earning his “license to kill” in this film. Bond’s mission in this film is to keep Le Chiffre, a banker for the world’s most dangerous terrorist organization, from winning an extremely high-stakes poker tournament. Sounds easy enough, but the film is almost two and a half hours and it seems like a mere hour. Naturally there is a love interest, and this sets up the sequel, Quantam of Solace (which may be the worst titled film of the decade).

While many may think Star Trek is the obvious choice for this category, I’ll admit I have never seen any Star Trek movie. So there you have it, even if you don’t like it.

Best Period Piece Film of the Decade

Gosford Park (2001)

Much like musicals, I am not a fan of the period piece (in any media). I simply tolerated Scorsese’s Age of Innocence and I am Scorsese geek. I have trudged through Pride and Prejudice the novel and the film (but I am currently reading the zombie version of the book and find it fairly entertaining). Furthermore, I am not a huge fan of Robert Altman (although I did like The Player and I think The Gingerbread Man is the best film adaptation of a Grisham novel). However, I truly enjoyed this film, and have enjoyed it even more on repeat viewings.

The film is set at a country house in England in 1932. It is a multiple story lined film that follows the lives of the rich (upstairs guests) and the servants (who live downstairs). The film won a much deserved Oscar for the screenplay, and it was nominated for another six Oscars, including Best Picture and Best Director.

Altman assembled a pantheon of acting geniuses: Maggie Smith, Kristen Scott Thomas, Ryan Phillipe (maybe his best work ever, which isn’t saying much), Clive Owen, and Helen Mirren.

As with Once, I feel I can recommend this to anyone who likes film, even if they normally prefer it with a dash of car crashes, wizardry, or steamy love scenes. I can definitely say I’ll watch this film again.

Best Nerd Film of the Decade

The King of Kong: A Fistful of Quarters (2007)

I am not a nerd. Repeat. I am not a nerd. (There, my affirmation at least made me feel less nerdy.)

I am not a fan of The Revenge of the Nerds franchise. However, I really felt this film was one of the forty best of the past decade, so I made up this genre to include this film. (I did almost slate this as the best sports film of the decade but I couldn’t bring myself to calling gaming a sport.)

This documentary is thrillingly hilarious. Even though you know it’s a documentary, you almost think it’s a faux documentary, because there is no way this story, or these characters, could actually be true.

This story follows two men who vie to break Billy Mitchell’s Donkey Kong record (set in the 1980s). Steve Wiebe is “the good guy” trying to break the record. Unemployed as a science teacher (how can a science teacher be unemployed, I don’t know), he becomes addicted to the game from his childhood. His nemesis is Billy Mitchell, a hot sauce entrepreneur (I swear you can’t make this stuff up). Both claim to own the new record, and dispute each other’s claim. The showdown to see who is champion … well, let’s just say you have to see for yourself, whether you are a nerd or not.

Best Neo-Noir of the Decade

Far From Heaven (2002)

So what is neo-noir you say? Well, according to the popular, yet sometimes inaccurate Wikipedia it is defined as: “a style often seen in modern motion picturesand other forms that prominently utilizes elements of film noir, but with updated themes, content, style, visual elements or media that were absent in films noir of the 1940s and 1950s.”

The obvious choice for this genre is Far From Heaven. Todd Haynes (writer and director) may have peaked too early in his young film career when he created this modern masterpiece. This film should remain prevalent for decades to come, for many reasons, most notably the writing, the cinematography, art direction, and the acting.

The 1950s have made somewhat of a “dark” comeback as of late (see Mad Men if you haven’t). The stories told recently of this decade don’t show the Norman Rockwellian USA that your parents speak so fondly of. In Haynes film, he explores the codes/mores/values of the 1950s that rarely are seen. While the majority of middle class America strived to be “normal”, Haynes shows what happens to a “typical” family when the blinds are closed and the door is locked, and he does so with stylistic grace. The film is absolutely beautiful to look at.

The film revolves around the Whitaker family. Cathy is the suburban wife (Julianne Moore, never better, or more radiant) who is unsatisfied (with just cause). Her husband is played by Dennis Quaid, who turns in one of the most gut-wrenching, restrained performances of his career. Personally, I never would have seen him in this role, yet he is picture perfect. Dennis Haysbert rounds out the cast as their gardener. I do not understand why he is not cast more in film (enough insurance commercials already). You’d think after his performance here he would be on many A-list directors’ short list.

Needless to say, I am not going to reveal any spoilers for those of you who haven’t seen this film. Just see it.

Best Nazi Film of the Decade

Inglourious Basterds (2009)

I’ll admit … I made up this category just to include this film in my list. I picked this film up after Christmas on Blu-Ray after returning a gift I received from my wife that didn’t work. I was skeptical of flat out purchasing it prior to seeing it, but as a Tarantino fan I was fairly confident it would be good. Little did I know it would be great, which is why I made up this cute little category (I must admit, it’s not my favorite Nazi movie of all time, as that would be Raiders of the Lost Ark, or wait, maybe The Blues Brothers…no gotta stick with Raiders).

As you’d expect, this film is classic Tarantino. In fact, it may be his best work since Pulp Fiction (although Jackie Brown sure was good). The dialogue is crisp, the cinematography exquisite, the acting superb (it deserved the SAG for Best Ensemble Cast in a Motion Picture), and the violence, well, it’s Tarantinoesque (which isn’t nearly as violent as you’d think … I may write about his specifically in another blog entry).

The story is fictitious, to say the least, but it’s as entertaining as any yarn you’ll see. In classic Tarantino fashion, there are three storylines that overlap in an unconventional timeline. The script is delicious. I can’t wait to see this film again to simply savor the dialogue.

As mentioned, there are three storylines.

The first follows Col. Hans Landa, the “Jew Hunter”, portrayed with gusto and flair by Christoph Waltz (he deserves every award he’s received, and I am hoping he brings home an Oscar). His job is simple, to hunt and destroy every Jew he can find. As despicable as he is, you almost find yourself rooting for him.

The second story follows the Inglourious Basterds themselves, led by Brad Pitt as Lt. Aldo Raine. His band of misfits has only one goal, kill and scalp as many “Nazees” as possible. In fact, Raine commissions each of his men to bring him 100 Nazi scalps (this must come as a result from Raine’s Indian ancestry). At times Pitt’s dialect was annoying, but he played the part with just the right comedic edge.

The third story, and possibly the most interesting, follows the life of Shosanna, a Jewish escapee who runs a cinema in Paris. While her story is unique to the film, what I enjoyed most was how Tarantino treats both film and the cinema of this era. It was, to a degree, rather educational.

In addition to what I have mentioned, I have to also express my love of Tarantino’s homage to Leone’s spaghetti westerns of the late 1960s. I recognized this immediately and I felt it added to the film.

Needless to say, if you like Tarantino, you’ll love this movie, it’s not for the squeamish. Me, I’m glad I own it on Blu-Ray. I’m sure I’ll view it often.

Best Mystery Film of the Decade

Michael Clayton (2007)

Now that I am on my 25th film from my Forty Fabulous Films of the Decade, I have come to the (not-so) subtle revelation that I may have a man-crush on George Clooney. This is the fourth film he has starred in a film on my list. I feel kinda creepy actually. Shouldn’t I have Scarlett Johansen populating this list instead (talk about sexy!). Anyway … back to the matter at hand.

Michael Clayton is INCREDIBLE! I absolutely love this film. Last week when I was recovering from pneumonia, I watched this again (thanks to the Target cheap DVD bin, which normally has junk in it). This film is even better on subsequent viewings.

Since this is a mystery, I don’t want to reveal any spoilers for those of you who haven’t seen this (and if you haven’t, what are you waiting for?). In summary, the film follows Michael Clayton (hence the movie title), a middle-aged ex-lawyer who now works as “the fixer’ for a powerful law firm in New York. In addition to being dissatisfied with his job, he also suffers from personal issues (gambling addiction, failed business ventures, messy family life, etc.). While bailing out his friend, and lawyer genius, Arthur Edens (Tom Wilkinson in another stellar performance), Michael realizes that Arthur is not as insane as he appears. In fact, he may be the sanest character in the film. To discuss much more would be unethical at this point, and the last thing I want is Michael Clayton coming after me.

I would like to end by saying that the last line, and the final minutes of the film (via credits rolling) are pitch perfect. “Give me $50 worth … just drive.”

Best Musical of the Decade

Once (2006)

I’ll admit it. I am not a fan of musicals. I hated Chicago. Furthermore, I can’t believe it won a Best Picture Oscar. However, I do have quite a bit of fondness for this little movie. In fact, I would also recommend it as a great Valentines Day rental for you and your honey. It’s both a great musical, and a great date film … and as I said, I am not fond of musicals (so guys, I think you can handle this one).

The plot is rather simplistic, yet elegant in its own way. Our protagonist (an unnamed musician) repairs vacuum cleaners with his dad by day, but at night his passion comes to life as he sings and plays music on the streets of Dublin. He meets a girl (an unnamed Czech) who plays the piano whenever she can get a break from caring for her mom and daughter. Needless to say, guy meets girl and the rest is history … or is it? During the course of several days, the two musicians reveal their budding love for each other through song. I won’t reveal any spoilers, but as you can guess, this isn’t your conventional love story.

The songs in the film are magnificent. I bought the soundtrack and recommend it as well. I was equally excited when the two actors received an Oscar for Best Song (they wrote several of the songs in the film).

If you haven’t seen this, see it at least “Once” in your lifetime, you should.

Best Mind-Blowing-Experience Film of the Decade

Memento (2000)

So you ask what type of category is this anyway? It’s the category for the film that you constantly are asking yourself “What in the hell am I actually watching, and why don’t I quit watching it?” There wasn’t much debate on what film to place here (although Adaptation was close). Memento is unlike anything you have ever seen, or may ever see.

In a nutshell, this is the story of Leonard (masterfully played by Guy Pearce), a man who suffers from short-term memory loss. He uses notes, tattoos, and a Polaroid camera to search for the man he believes murdered his wife. While the story is interesting in and of itself, the storytelling is what is mesmerizing/confusing/mind-blowing. Christopher Nolan burst onto the Hollywood scene with his directorial touch in this film (he’d later go on to direct the revitalized Batman franchise and the excellent Insomnia and The Prestige). The film has as many turns as a goat’s path, and although you have no clue where it’s going, if you’re like me, you love to keep guessing.

While this film will be mimicked for years to come, it will never be replicated.

Best Literary Adaptation of the Decade

O’ Brother Where Art Thou? (2000)

Homer’s Odyssey has been retold countless times. Luckily for us, the greatest adaptation to hit the big screen occurred thanks to the Coen brothers. (Small shout-out to Matt Groening for the Simpson’s version of The Odyssey - - the greatest adaptation to hit the small screen). The Coens wrote and directed this highly enjoyable film, which I believe was just as good as Fargo and The Big Lebowski (they made these three films back-to-back - to back … what a trifecta!).

Everyone knows the story of The Odyssey (or at least you should … it is required reading in just about every ninth grade English class in America). This version takes place in the deep south during the 1930s. Three escaped convicts (led by Clooney’s masterful portrayal of Everett Ulysses McGill) search for hidden treasures while running from a myriad of characters (a Cyclops, Sirens, a wannabe governor and his opponent, the KKK, a blind prophet, and George “BabyFace’ Nelson himself).

While the movie may belong to Clooney, who proves here that he is more than just a pretty face, the soundtrack is superb. I am not a big fan of country/bluegrass music but I was hooked after seeing the film and I immediately bought the soundtrack. T-Bone Burnett’s collaborative producing effort is perfect for this film. Who doesn’t smile when they hear The Soggy Bottom Boys cover of Dick Burnett’s classic “Man of Constant Sorrow” … I certainly do.

Although this film may not help your ninth grade niece ace a quiz, it sure is more entertaining than trying to read Homer’s epic (unless of course we are speaking of Homer Simpson!).

Best Independent Film of the Decade

Before the Devil Knows You’re Dead (2007)

My wife and I were talking the other day about which actor may have had the best decade. One of the contenders was Phillip Seymour Hoffman. He shined in several films this decade (Almost Famous, Punch Drunk Love, Owning Mahoney, The Savages … just to name a few), winning a well deserved Oscar for his role in Capote. I’ll take his role in this film over any previously mentioned. He, and the rest of the cast (Hawke, Tomei, Finney) shine under the brilliant direction of Sidney Lumet, who at 83 made his greatest film since The Verdict (a must see for Newman’s spectacular performance as a down-on-his luck, alcoholic lawyer seeking redemption).

Here we have family dysfunction at its finest. Two brothers (Hoffman and Hawke) organize what they envision as a simple robbery … of their parents’ jewelry store. Needless to say the heist goes terribly wrong, and what ensues is a set of tragic events that build to a shattering climax.

This film didn’t receive the commercial appeal it deserved (hence the best independent film of the decade). I can’t praise this film enough. Hoffman is at the top of his game, and even Hawke turns in a memorable performance. Tomei is smashing in her few scenes (and a bit nude for those wondering). However, as I mentioned earlier, this film is Lumet’s throughout. I’d recommend you view this and Dog Day Afternoon for a Lumet heist double-header. The two compliment each other well.

PS Love the movie poster!

Best Horror Film of the Decade

The Descent (2005)

It may not be Halloween, but it’s never too early to watch a good horror film. While the decade seemed to steer more towards torture-porn (Saw, Hostel, etc.), I was pleasantly surprised to find this gem of a film.

This film has primarily an all female cast. Being a horror film, you’d quite possibly expect it to be a “T-n-A” extravaganza. Luckily, it’s not. It is a sit on the edge of your seat, scream out loud, horror film.

The story follows six friends, who reunite one year after one of them loses her family to a tragic accident. The friends decide to go spelunking, and all is well until the cave opening collapses. Their friendship is put to the test as they try to escape. With limited supplies, hunger, and fear consuming them, they realize they haven’t seen anything yet (literally). Fear truly strikes, however, as they begin to battle a savage breed of cave dwelling demons. The images are unsettling, and some scenes are so claustrophobic you’ll be pressing pause to either turn on the lights or even step outside.

For horror fans, this is a true must-see. For those cinemaphiles who prefer lots of gratuitous sex and nudity or macabre violence, skip it. You aren’t mature enough (or brave enough) for the likes of this film.