Note the asterisks next to some of the movie titles.
* - This movie contains levels of violence, language and dark thematic elements that may be too much for some adult viewers.
** - This movie contains extreme levels of violence, language and dark thematic elements and should be viewed cautiously.
The Fellowship of the Ring (2001)
The Fellowship of the Ring is not a perfect movie. It stumbles in a scene or two (mainly Galadriel's freak out after Frodo looks in the mirror), there are numerous technical goofs and some of the effects haven't aged well after twelve years. With all that said, I absolutely adore this movie. Just the sight of that poster gives me the warm n' fuzzies. This was the first "good movie" I really loved, and I must admit the nostalgia factor is through the roof on this one, but don't underestimate Fellowship's objective merits. The film possesses a kind of kinetic momentum and dynamism that I find less of in the other two Rings films (great as they are), and everything just sits so well, mainly because the film is perfectly cast and expertly paced. This top ten list easily changes two or three times a year, but I'm almost certain that Fellowship will never lose its slot.
Sunshine (2007) *
Sunshine simply exhibits everything that I appreciate in film. Gorgeous cinematography, deep thematic resonance, space, horror, elegant editing married with fantastic music, and Cillian Murphy. This is sci-fi done absolutely right in every regard. The effects are seamless, the themes are at once massively universal and intensely intimate, the scope is epic in every sense of the word and the whole film is simply beautiful, sometimes to a jaw-dropping extent. It's a shame that all the marketing material for this film presents it as something you would see next to The Core or Volcano in its plot and aesthetics, but make no mistake; Sunshine is first-rate, world class filmmaking that demands your appreciation.
No Country For Old Men (2007) **
Few films match the poise and confidence with which No Country For Old Men is mounted. It's a film that is so unshakably resolute in its story-telling and editing that it serves as a sort of master class in film structure, pacing and tone. The bleak yet surprisingly straight-forward story unfolds with unflinching realism that is justified by the themes this film sets out to convey. Violence, chaos, evil, foolishness, greed and selfishness are all plumbed to their depths, but there is a precious glimmering light at the end of it all, found in Cormac McCarthy's brilliant image of "carrying the fire" through a dark, viciously cold world.
2001: A Space Odyssey (1968)
If Sunshine is sci-fi done absolutely right, 2001: A Space Odyssey is certainly the film that set the standard where it remains to this day. This is one of those scary-perfect films where, when assessed on its own terms, there is hardly a perceivable flaw in sight. Everything in the art-direction, cinematography, special effects and editing is immaculate. With that said, one must possess two qualities to watch this film: patience, and a willingness to ponder what is transpiring on the screen. Sadly, these qualities are increasingly absent in audiences today, and it's a shame because one of the most spellbinding, richly layered and beautifully shot films ever made is lost on so many.
Gone Baby, Gone (2007) **
The central topic and thematic core of Gone Baby, Gone almost feels too simple. It's children; how we raise them, what we think of them and the value we place on them. The plot revolves around the kidnapping of a little girl and the treacherous road that is taken by a private detective to find her and get her back. This is a rough movie, and it displays the darkest recesses of human nature with gut-punching weight, but the questions it asks and the topics it brings to light are absolutely essential. The protagonist is forced to make a simple yet seemingly impossible decision at the film's climax that will confound most people, and the implications of his decision are well-worth delving into. No one was expecting to be blown away by Ben Affleck's directorial debut, but he completely side-stepped every doubt and preconceived notion to deliver a masterpiece.
Wall-E (2008)
Wall-E is summed up in one word for me: joy. As one can see from the surrounding titles on this list, I revel in dark, soul-searching themes and moody atmosphere, but Wall-E simply makes me smile, and it does this for so many reasons. The character of Wall-E himself is nothing short of a marvel of animation. Pixar took a box and a pair of binoculars and turned them into the most expressive, sympathetic, dare I say human character in their entire catalog, and they did it without dialogue. Thomas Newman's score is achingly beautiful and textured (as always), and the movie hits all the right comedic and dramatic notes. Things may get a little weird once the giant baby-people start zooming around in their hover chairs, but Wall-E remains to be an exemplary technical achievement, a touching love story, a solid sci-fi piece and a thoroughly engaging experience through its entire duration.
The Matrix (1999)
How many films are there that have shaped pop-culture and filmmaking to the extent that The Matrix has? It's easy to forget just how much this film completely revolutionized special effects, marketing, video games and multiple film genres, and showed how all of those elements could be synthesized into something so cohesive and flat-out cool. Even beyond those accomplishments, The Matrix is simply quality filmmaking. The most basic dialogue scenes exhibit the same rock-solid cinematic presentation as the most intricately choreographed action set-pieces, and the film is in no rush to send bullets flying. It has a wonderful, James Cameron-esque three-act structure where pockets of action and sci-fi wizardry sprout up intermittently for the first two thirds of the film, only to be followed by a third act that bursts with unrelenting kinetic energy all the way to the finish line.
The Thing (1982) *
I don't watch the films on this list very often, just like I don't listen to Kid A by Radiohead very often, because these are special experiences that I dare not over-saturate myself in. The Thing is sort of the anomaly here because I'm pretty sure I could watch this movie once a week and not grow too tired of it. There's something about The Thing that simply delights me, and it's really easy to appreciate The Thing on a "crazy 80's movie"level, but to simply end there would be a great disservice to the skill with which this film was made. The pacing and editing is fantastic, every shot is well-framed, and of course the legendary practical effects are still out-of-your-mind insane in their grotesque intricacy. In addition, the psychological horror of The Thing only grows richer under close scrutiny, which led me to actually love its ending when I previously hated it and thought it to be the film's weakest moment.
The Assassination of Jesse James by the Coward Robert Ford (2007) *
The Assassination of Jesse James is a slow movie. Of course the film's main event is no secret, being it's very title, but the build-up to that moment is a meticulous but fascinating look at idolatry, cowardice, friendship and betrayal. More than that, the descending action that takes place after the assassination is simply some of the most elegantly presented story-telling I have ever seen. A strong argument can be made that this is Brad Pitt's best performance. His portrayal of Jesse is as tragic as it is manic, showcasing a larger-than-life persona anchored by somber introspection, and his scenes with Casey Affleck are scene-chewing wonders on both ends. The Assassination of Jesse James also boasts one of the finest scores I have ever heard in film, which perfectly accentuates the almost mythic nature of the characters and subject matter.
Zodiac (2007) *
I certainly enjoyed Zodiac upon my first viewing about two years ago, but having just watched it again recently, I am convinced that it belongs on this list. Zodiac is an overwhelmingly un-film-able story. It spans two-plus decades and contains a dizzying number of details as it recaps the police investigation of the Zodiac serial killer, who's case file is still open to this day in multiple counties in southern California. While lesser directors would simply crumble under the enormity of the narrative, David Fincher crafts a film that, for all its nuances, is deceptively simple in its through-line of simply showing the grinding tedium of real police work. There are no chase scenes, shoot-outs or final show-downs. This is a movie about obsession and frustration, drawn out over maddening lengths of time, where a scene will take place five years after the one preceding it and they still haven't found the killer. Of course it's presented with all of the classic Fincher trademarks: razor-sharp editing, smart dialogue, impeccable cinematography, beautiful low-key lighting and unbeatable performances. See this movie.
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