Daniel M's Top 50 Films of the 2010s

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Introduction


Inspired by the wonderful thread created by Holden Pike, I've decided to create a thread of my own to share my favourite films of the last decade. I'm going to list my top 50, because that's probably around the mark where I start listing films that I've enjoyed rather than stuff I've thought was great.

I'm probably going to spread my list over a few posts, but here's the first half of my list.

Honourable Mentions


All Is Lost (J.C. Chandor, 2013)
Bacurau (Kleber Mendonça Filho & Juliano Dornelles, 2019)
Blue Ruin (Jeremy Saulnier, 2013)
Enemy (Dennis Villenueve, 2013)
Hail, Caesar! (Coen Brothers, 2016)
It Follows (David Robert Mitchell, 2014)
Killer Joe (William Friedkin, 2011)
Le Havre (Aki Kaurismäki, 2011)
Logan (James Mangold, 2017)
Loveless (Andrey Zvyaginstev, 2017)
Moonrise Kingdom (Wes Anderson, 2012)
Nocturnal Animals (Tom Ford, 2016)
Okja (Bong Joon-ho, 2017)
Paddington (Paul King, 2014)
Prisoners (Dennis Villenueve, 2013)
The Dead Don’t Die (Jim Jarmusch, 2019)
The Homesman (Tommy Lee Jones, 2014)
The Irishman (Martin Scorsese, 2019)
The Witch (Robert Eggers, 2015)
Yourself and Yours (Hong Sang-soo, 2016)

The List...




50. Shoplifters (Hirokazu Kore-eda, 2018)

A film that starts off slowly and draws you into its engrossing world. Shoplifters carefully paints a vivid picture of a Japanese family through a series of close-ups and intimate mise-en-scene, taking a look at the human connections within family and consumption of humans within capitalism.

49. Under The Skin (Jonathan Glazer, 2013)

This fever dream of a film combines horror and sci-fi to beautiful effect, creating a tremendously atmospheric film through a number of stunning sequences, illuminated by Mica Levi's transcendental score.

48. Arrival (Dennis Villenueve, 2016)

A sci-fi film that like many of its predecessors succeeds in its examination of what it is to be human, using its unusual plot and external elements as a way to look inside ourselves and what it means to be alive.

47. Taxi (Jafar Panahi, 2015)

This cleverly constructed film uses its setup and its limitations to expose the many challenges faced by citizens in modern-day Iran, under its authoritarian and oppressive government.

46. Us (Jordan Peele, 2019)

A more ambitious follow-up to the also enjoyable Get Out, Us once again takes aim at American society and the barriers that we construct and face. Perhaps less focussed, but for me more effective in its horror.



45. Mission: Impossible - Rogue Nation (Christopher McQuarrie, 2015)

Perhaps a surprise inclusion, but I think it would be unfair not to give this film franchise some sort of representation given how much I've enjoyed the last three films. After chopping and changing directors in the third three films, Brad Bird's Ghost Nation set out a direction for the franchise's future which McQuarrie would perfect here. As far as modern-day action sequences go, you'll be hard-pressed to find a film with as many well-constructed ones as in this film.

44. Blade Runner 2049 (Dennis Villenueve, 2017)

A match made in heaven, I had little doubt that Villenueve would be the perfect man to tackle this sequel with the director so successfully exploring themes of humanity and communication in his previous films. Roger Deakin's cinematography gives us some absolutely stunning images to perfectly match the story. I must confess I'm a little worried he's not on board with Dune.

43. Nightcrawler (Dan Gilroy, 2014)

One of the most riveting films of the decade, Nightcrawler throws us into a world that's exhilarating and feels as dangerous as our protagonist's profession. Jake Gyllenhaal is truly transfixing in the lead role. Unfortunately if I was making a list of the worst films of the decade I would probably put Dan Gilroy's Velvet Buzzsaw near the top.

42. Bait (Mark Jenkin, 2019)

This timely British film was shot on 16mm film and hand-edited by Mark Jenkin, a director whose previous work had been a number of experimental shorts inspired by the likes of Derek Jarman and Andrew Kötting. Bait takes a look at the impact of capitalism on rural communities whose societies have sometimes struggle to deal with the ever-changing challenges of the economy. I was able to interview the film's director last year to talk about the film, which was an awesome experience for me. Please have a read if you want to find out more about the film.

41. Boyhood (Richard Linklater, 2014)

A film whose popularity seems to have waned in recent years, Linklater's ambitious portrayal of one boy's adolescent journey is not without fault but there are enough magic moments captured to make this a must see film of the decade.



40. Holy Motors (Leos Carax, 2012)

It's been years since I last saw this film but its images linger long in my memory. Leos Carax's weird cinematic odyssey is truly bizarre but always compelling, capturing humanity underneath all its audaciousness.

39. Manchester by the Sea (Kenneth Lonergan, 2016)

A film that in many ways revels in its lifelessness, the surroundings of Casey Affleck are never flashy yet the film manages to create a palpable atmosphere that eventually unravels to devastating effect. Affleck's performance captures the complex myriad of emotions involved in grief and loss.

38. Snowpiercer (Bong Joon-ho, 2013)

Undoubtedly one of the century's finest directors, Bong Joon-ho's first film of the 2010s saw him try out his directorial talents in Hollywood for the first time. Snowpiercer's plot still doesn't quite make sense to me but it gets more and more fun on each viewing. Bong Joon-ho captures a number of exciting sequences with great aplomb, injecting his sense of humour where possible too. My favourite story surrounding the film is how Bong tricked Harvey Weinstein into including the memorable "fish scene".

37. The Wolf of Wall Street (Martin Scorsese, 2013)

Martin Scorsese brings his usual energy to this tale of opulence, bringing extravaganze and excitement to every scene. Terence Winter's screenplay is superb and for my money this is probably Scorsese's most laugh-out-loud comedic film.

36. The Grand Budapest Hotel (Wes Anderson, 2014)

Another one of the century's finest directors, Wes Anderson is yet to disappoint me. In many ways, this film feels like a magnum opus in many ways with each of Anderson's trademark elements mastered, with the casting of Ralph Fiennes in the lead role an inspired decision bringing the film together perfectly.



35. Phantom Thread (Paul Thomas Anderson, 2017)

Despite my love for Paul Thomas Anderson it took me a while to get around to his latest film and I wasn't completely enamoured when I did. Upon a repeat viewing, I've grown a lot fonder of this slow-burning engrossing film, handled delicately with a fine balance of the subtle with the extreme.

34. Araby (João Dumans & Affonso Uchoa, 2017)

This wonderful look into working-class life in Brazil. In many ways very reminiscent of Bresson in its use of light to create wonderful images, in its muted naturalistic performances, and its heightened use of diegetic sound.

33. Blackhat (Michael Mann, 2015)

One of the most stylish films of the decade, I'm a huge fan of Michael Mann's output this century and I think this underrated film is superb. Mann captures the modern images of his digital world with great skill to create a fantastic modern-day thriller. I'm not sure why this is so disliked by general audiences.

32. Killing Them Softly (Andrew Dominik, 2012)

A film that in many ways feels similar to Bait in its examination of the cultural impact of capitalism in society, but across the pond in the context of the American Dream. This deconstructed crime thriller pulls no punches in its cynical and depressing look at the world of crime its characters inhabit.

31. Gone Girl (David Fincher, 2014)

Whilst I am generally a fan of David Fincher, there are two particular things that I love about this film that make it standout as one of my favourites from the decade. The first is the darkly comedic script, which I find hilarious, thrilling and suspenseful in all the right places. The second is the tonal shift that comes at around the halfway point, switching perspective when it comes to the central characters. Rosamund Pike gives one of my favourite female performances of the decade, and Ben Affleck - who I am usually unsure of - is perfectly cast.



30. Passion (Brian De Palma, 2012)

De Palma at his best, showcasing his old-school cinematic techniques that make his films exciting, capturing violence and sex in a way that few other directors are capable of. Sometimes the acting can be over-the-top and the plot can be ridiculous, but quite frankly I couldn't care less... this is the type of pure cinematic indulgence that I could watch all day.

29. Inherent Vice (Paul Thomas Anderson, 2012)

Paul Thomas Anderson's stoner comedy of sorts seemed to disappoint a lot of people upon release and I seemed alone in my embrace of its whacky world. I remember rewatching it one night with one of my housemates at Uni and was slightly surprised by how much she laughed throughout and really enjoyed it.

28. Django Unchained (Quentin Tarantino, 2012)

It's a testament to my admiration towards Tarantino that I would put this film closer to the bottom than the top of a list of his films ranked, and that I still think it's one of the best films of the decade. It contains everything I love about the director and is flat-out entertaining for its entire runtime, perhaps something I had been previously a little harsh on until a recent rewatch. Fox and Waltz are great, but I think it's Di Caprio and Jackson as the villains that steal the show.

27. Inside Llewyn Davis (Coen Brothers, 2013)

A bittersweet film that like other Coen outings follows a "loser" in Llewyn Davis, a disillusioned folk singer who unintentionally embarks on a personal odyssey. The film its both beautiful and melancholic, both frustrating and hilarious, somehow finding that balance between perpetual pessimism and naive optimism for something better.

26. The Master (Paul Thomas Anderson, 2012)

A riveting film that blew me away upon my initial viewings, The Master is superbly crafted and contains a few of my favourite performances in any film. Another powerfully moving look into the journey of a man lost, about the changing American landscape and the desire to be loved and achieve purpose. Desperately in need of a rewatch, it could have ranked higher.

To be continued...
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Miss Vicky's Loyal and Willing Slave
Seen 15 of that 25. Got to say there are a handful I absolutely hated lol but not gonna bring negativity by crapping on them. Favourite from that batch is definitely the terrific Nightcrawler. And yes I was surprised by your inclusion of Mission Impossible Rogue Nation, pleasantly so though. And I agree about how the series has evolved and improved as its gone along. For me its replaced the Bond films as the go-to for fun, gadget-packed action thrills



Seen 15 of that 25. Got to say there are a handful I absolutely hated lol but not gonna bring negativity by crapping on them. Favourite from that batch is definitely the terrific Nightcrawler. And yes I was surprised by your inclusion of Mission Impossible Rogue Nation, pleasantly so though. And I agree about how the series has evolved and improved as its gone along. For me its replaced the Bond films as the go-to for fun, gadget-packed action thrills
Thanks JayDee

To be honest I'm expecting the next 25 to be more polarising if you thought this set was bad I remember Nightcrawler at the cinema when it came out, I was at Uni and went with one of my housemates not knowing much about it at all, so it was great to actually be surprised by a film.

Definitely agree on Mission Impossible, I really really enjoyed the last three films and think there is a lot to admire about them. I've definitely enjoyed them more than the last couple of Bond films. Me and my brother binge-watched all six of them last year, I enjoyed the first, hated the second, felt indifferent about the third then Brad Bird took them up a notch for me. I've really come to appreciate Tom Cruise as an actor too, in comparison to Daniel Craig he looks like he's having a lot of fun and really giving it all to the role.



Thursday Next's Avatar
I never could get the hang of Thursdays.
Interesting list so far. I've seen 13 of these, with my favourites being Shoplifters, Gone Girl and Phantom Thread. Under the Skin is definitely a must-see; I am still haunted by the scene on the beach with the child.



Excellent first half. Including your honorable mentions there are 10 I haven't seen...I think.

Shoplifters, Inside Llewyn Davis, and The Master are in my top ten of the decade. Phantom Thread just missed top ten. Really love Nightcrawler too.
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Letterboxd



Just the 9 seen, but some great ones in there. I still haven't gotten round to seeing Inherent Vice, surprising I know considering my love for PTA, I saw half of it a few years ago and had to turn it off for some reason I can't remember now, still haven't gone back to it. Having finally gotten round to Phantom Thread recently (which is fantastic) I may rectify that soon.

Absolutely love The Master, Inside Llewyn Davis (probably #1 of the decade for me), Wolf of Wall Street, Django Unchained, Boyhood too.



Just the 9 seen, but some great ones in there. I still haven't gotten round to seeing Inherent Vice, surprising I know considering my love for PTA, I saw half of it a few years ago and had to turn it off for some reason I can't remember now, still haven't gone back to it. Having finally gotten round to Phantom Thread recently (which is fantastic) I may rectify that soon.

Absolutely love The Master, Inside Llewyn Davis (probably #1 of the decade for me), Wolf of Wall Street, Django Unchained, Boyhood too.
What are doing with your life over there, I thought we were PTA buddies. Inherent Vice is my least favorite PTA, so naturally I have watched it 4 times. Force feeding that bad boy.



Welcome to the human race...
24/25 so far (not seen Araby, but the Bresson comparison intrigues me). A few titles I'm meh on but otherwise a rather respectable selection (and even most of those meh titles are ones I've been meaning to revisit anyway, especially Blackhat).
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Iro's Top 100 Movies v3.0



What are doing with your life over there, I thought we were PTA buddies. Inherent Vice is my least favorite PTA, so naturally I have watched it 4 times. Force feeding that bad boy.
God knows, I deserve the shame. Maybe it'll give me the kick up butt to finally finish it...



The List...




25. Meek's Cutoff (Kelly Reichardt, 2010)

Kelly Reichardt beautifully captures the American West with restraint and care, two traits you would not always associate with the genre. Her images are contemplative, and instead of getting heroes, we have attention paid to those characters on the periphery. The perfect poetic ending encapsulates the film's ability to examine the relationships between people, the geographical and the psychological.

24. The Souvenir (Joanna Hogg, 2019)

The story is told with great care and has a tenderness to it that makes every scene feel handcrafted and lived, these are the emotional memories of two complex human beings that have had a deep impact on each other. There is a softness and maturity in the way the film is stitched together, combining photographs and music to create a piece of work that is deeply moving. The two central performances bring great depth to their characters and ensure that the film is emotionally devastating in some of its finest moments.

23. Everybody Wants Some!! (Richard Linklater, 2016)

The funniest film of the decade, I could spend hours and hours with this set of Richard Linklater characters. The screenplay is lighthearted and fun, there's a great soundtrack and it's portrayal of youth is handled with great affection. In between Linklater's more "serious" works this one seems to have fallen through the gaps.

22. Wajib (Annemarie Jacir, 2017)

A complex portrayal of family relationships and society in Nazareth. The beauty of this film is that the plot is fairly simple but is used as a device where the story is conveyed through the use of images, dialogue, and performances. Each scene adds a new layer to the film, building a rich detail-filled portrayal of the family. The film takes a balanced approach to tackle the varying opposing forces such as conservatism versus liberalism, traditions versus progressive values, and so on. Very humorous too and I was not surprised to see that the two main characters are real-life father and son, there's great chemistry with the cast throughout.

21. Nebraska (Alexander Payne, 2013)

This was the first Alexander Payne film that I have seen and I have yet to find one better. The screenplay is brilliant and is brought to life by the actors involved. My friend in Uni asked me to go to this cinema to see this with them, and I can remember it being quite an emotional experience. It's a film that encapsulates a lot about life, it's funny, cynical and satirical, and very very sad.



20. The Deep Blue Sea (Terence Davies, 2011)

From its opening sequences, the film introduces itself as being bold and intimate, rich in detail to elevate its emotional power. Shot exquisitely, with rich blues and browns, two magnificent performances ensure this romantic drama is absolutely devastating in execution. We live in a world where we are constantly forced to make difficult decisions, with consequences forever felt. A cruel, honest view of reality. There are some sequences that I would say easily rank amongst the greatest I have ever seen.

19. The Handmaiden (Park Chan-wook, 2016)

The perfect match between style and content, Park Chan-wook applies his stylish sadistic sensibilities to this fantastically entertaining tale filled with twists-and-turns. The revelations were genuinely shocking and exciting to me, and although some sequences are ridiculous I found myself swept away by it all. His best film for my money and I had no idea until recently that the author of the novel this was based on, grew up where I'm from.

18. The Lost City of Z (James Gray, 2016)

The plot shares a lot of similarities with films like Aguirre, the Wrath of God and Apocalypse Now as we follow a man and his obsessions, his quest to find something greater than himself. This film is just as beautiful, I absolutely love how Jams Gray captures the actors in relation to the spaces they inhabit.

17. The Tree of Life (Terrence Malick, 2011)

Last year I had had a mini Malick spree where I revisited a couple of his films and watched a new one too. On viewing this again I was completely engulfed by the beauty of his images, a work of a genius whose images can evoke in me reflective thoughts like no other. I'm not a religious man myself, but not other films make me think about the nature of reality and being, about the purpose and wonder of life more than this one.

16. Almayer's Folly (Chantal Akerman, 2011)

The first and only Chantal Akerman film I have seen, I had no idea what to expect going in and was immediately hooked from the opening "Sway" sequence. An adaptation of a Joseph Conrad novel, the plot was of little importance to me and I can purely remember being transfixed by the images and in awe of the control Akerman exerts over the film. It's slow, meditative cinema, brilliantly beautiful and tranquil.



15. A Separation (Asghar Farhadi, 2011)

Another film like Taxi and Wajib where the director uses the visual tools at their disposal to build up a rich and complex story, but it's the screenplay and the two lead actors that really astound here. Frighteningly realistic and incredibly moving.

14. Only Lovers Left Alive (Jim Jarmusch, 2013)

Jim Jarmusch subverts the usual vampire film tropes, instead using the genre to give us two unusual characters and to explore his usual interests such as love and loss as well as showcasing his appreciation for all things culture. Another film that's slow and meditative, when I think of the film it makes me think of getting high, lying back on the sofa, and listening some old music. It's a film that's hip and cool, but also sensual and full of meaning. That's a sadness that lurks over the film when it comes to the question of immortality as the film takes aim at human society and what it means to be alive.

13. Before Midnight (Richard Linklater, 2013)

When I first watched this film I thought it was very good but deep down I think I was a little bit hurt by what I had seen. Having loved the first two films so much (especially Before Sunrise) I think that 18-year-old me wasn't ready for the next more emotionally mature and complex stage in the trilogy. I rewatched the whole trilogy a couple of years ago with my brother and now think that there's not much separating each film. Midnight is at times more challenging, but it now felt more authentic and realistic to me. I absolutely adore Linklater's writing and how he captures realistic human emotions.

12. Ad Astra (James Gray, 2019)

Much like The Lost City of Z this film tackles the inner psyche of human beings who are consumed by the desire to find something greater than the reality we have at the moment, the search for morality and meaning beyond man, whilst ignoring the very real human relationships available to us. Gray once again beautifully creates environments filled with space to create the perfect landscape for his characters to face their challenges. The film looks inwards at what it means to be human despite the awe and unknowingness of our surroundings.

11. Goodbye to Language (Jean-Luc Godard, 2014)

It is absolutely incredible to me how at such an old age Godard continues to experiment and be so fresh and playful in his work. Not content with his own output or the state of cinema in general, he continues to search for answers, to look for solutions, and to push the boundaries of what impossible. In this film, he experiments with new 3D technology to cover the familiar ground of the power of cinema in relation to communication. He might think cinema is dying, but his latest films have shown he still has the power to create art like no other. Some might find his images frustrating and incomprehensible but I find them refreshing and able to articulate thoughts and obsessions in beautifully moving ways.

To be continued...



Being that you're a fan of Goodbye to Language, have you seen Film Socialisme, and how'd you feel about that. It kind of put me off following him much further into his old age if that's what he was going to pull out. Not that I hated FS, I was more annoyingly fascinated by it. But I didn't find it very promising for what would come next.



Being that you're a fan of Goodbye to Language, have you seen Film Socialisme, and how'd you feel about that. It kind of put me off following him much further into his old age if that's what he was going to pull out. Not that I hated FS, I was more annoyingly fascinated by it. But I didn't find it very promising for what would come next.
Haven't seen that one, sorry. Even though I'm a huge Godard fan and I've seen a lot of his films I still have some noticeable gaps.

I know a lot of people, including some Godard fans, had a very negative reaction to Film Socialisme. What I would say about Goodbye to Language is that it's got a pretty brisk running time and I don't see it as particularly confrontational or challenging, to me it seems fresh and playful in its experimentation. I would say give it a go and see what you think.

Godard's follow-up The Image Book is going to show up on my list and is available on MUBI to watch too. For me, that is better than GTL and I'd rank it as one of my favourite Godard films, period. It's also a fairly brisk 85 minutes but feels more ambitious, reflective and political than GTL.

But yeah, hard for me to say without seeing Film Socialisme but I'd be tempted to say give it a go.



Haven't seen that one, sorry. Even though I'm a huge Godard fan and I've seen a lot of his films I still have some noticeable gaps.

I know a lot of people, including some Godard fans, had a very negative reaction to Film Socialisme. What I would say about Goodbye to Language is that it's got a pretty brisk running time so and I don't see it as particularly confrontational or challenging, to be it seems fresh and playful in its experimentation. I would say give it a go and see what you think.

Godard's follow-up The Image Book is going to show up on my list and is available on MUBI to watch too. For me, that is better than GTL and I'd rank it as one of my favourite Godard films, period. It's also a fairly brisk 85 minutes but feels more ambitious, reflective and political than GTL.

But yeah, hard for me to say without seeing Film Socialisme but I'd be tempted to say give it a go.

I'd like to believe he's still relevant, so I'll definitely give it a go at some point. But he's kind of a difficult guy to get on board with ever since....1971?



I'd like to believe he's still relevant, so I'll definitely give it a go at some point. But he's kind of a difficult guy to get on board with ever since....1971?
I think I've seen almost all his Sixties films, but after that my viewings are a lot more scattered, and I don't recall ever sitting down and having a bit of a watching spree as I did with his debut decade. In some ways, I think this is because I know his works often act as commentaries and are filled with references to plenty of other works, be it from films or other mediums so I feel like I still have a lot to learn before I tackle them... if that makes sense.

That being said, without trying to sound pretentious, even when I find things incomprehensible from him they're still often fascinating and I can't say I've really had a negative reaction so far. I guess like reading a written essay, I may pause one of his films then go and do some reading on something I've just seen/heard, or seeing a clip from something might make me want to go back and revisit something else, or pick up a book. Watching his films to me feels like an ongoing challenging experience, and I still have lots left to tackle which excites me rather than feeling daunting. Always a good feeling.



I think I've seen almost all his Sixties films, but after that my viewings are a lot more scattered, and I don't recall ever sitting down and having a bit of a watching spree as I did with his debut decade. In some ways, I think this is because I know his works often act as commentaries and are filled with references to plenty of other works, be it from films or other mediums so I feel like I still have a lot to learn before I tackle them... if that makes sense.

That being said, without trying to sound pretentious, even when I find things incomprehensible from him they're still often fascinating and I can't say I've really had a negative reaction so far. I guess like reading a written essay, I may pause one of his films then go and do some reading on something I've just seen/heard, or seeing a clip from something might make me want to go back and revisit something else, or pick up a book. Watching his films to me feels like an ongoing challenging experience, and I still have lots left to tackle which excites me rather than feeling daunting. Always a good feeling.

I've seen almost all of his sixties run, and like close to everything. Certainly didn't regret watching any of it.


After that, I can't say I've actually liked anything. My viewing is very scattered, but Hail Mary is probably as close to something I like after his heyday as it comes. Detective was....alright...I'm not even sure. My copy of Histoires de Cinema for some reason stopped playing about twenty minutes into my watch of it, but I was completely baffled by it. And I ****ing hate Tout Va Bien.



I think that's it that I know of. Besides the already mentioned Film Socialisme



I've seen almost all of his sixties run, and like close to everything. Certainly didn't regret watching any of it.

After that, I can't say I've actually liked anything. My viewing is very scattered, but Hail Mary is probably as close to something I like after his heyday as it comes. Detective was....alright...I'm not even sure. My copy of Histoires de Cinema for some reason stopped playing about twenty minutes into my watch of it, but I was completely baffled by it. And I ****ing hate Tout Va Bien.

I think that's it that I know of. Besides the already mentioned Film Socialisme
I've seen quite a bit of Histoires du Cinema, I used to have all the parts saved on my old computer. But I stopped watching it because I felt like I was still very early in my film-watching days so wanted to see more before I tackled it properly. Oh, Woe Is Me I thought was great. Passion and King Lear are probably the two I want to see the most post-60s.



Miss Vicky's Loyal and Willing Slave
Thanks JayDee

To be honest I'm expecting the next 25 to be more polarising if you thought this set was bad

Me and my brother binge-watched all six of them last year, I enjoyed the first, hated the second, felt indifferent about the third then Brad Bird took them up a notch for me.
Yeah to be honest it was a bit more mainstream than I was expecting And you kept to your word about the next group

And I pretty much agree on the Mission Impossible films. First is enjoyable and now in quite a retro way. Second one is awful, even if I have a weird nostalgia for it due to it being the first DVD I ever owned.