Decade's Top 100 Films: 2000-2009

This list is a collection of my personal favorite films of this decade, ranked strictly on a subjective basis. If one of your favorite contemporary films isn't on this list, there are two possible explanations:

1. I haven't seen the movie yet.
2. I've seen the movie, but I don't like it enough to include it on the list (which doesn't necessarily mean I DISlike it).

Don't take the order too seriously. I am a big fan of everything here. So counting down from 100 to 1, here we go...



100. The Science of Sleep
2006, Michel Gondry.

Filled with conceptual innovation and strong character development, this is like an abstract map of love and dreams. Directed with flair and extremely well-acted.

99. Tsotsi
2005, Gavin Hood.

There are questionable decisions made by writer-director Gavin Hood, but the accomplishments here are for more prevalent than the flaws. It's a coarse but visually beautiful film that potently illustrates a bad man turning good without ever feeling contrived. In some respects it is a typical redemption story, but the searing performances and professional execution deter the audience from feeling manipulated. One could argue that the character arc isn't perfectly fleshed out, but by the end of the film I simply didn't care. The impact of the conclusion is as much as I could ask for as a moviegoer.

98. Sunshine
2007, Danny Boyle.

Danny Boyle's science fiction thriller breaks boundaries with its mindblowing scope and massive vision. Visually arresting, moody moving.

97. Children of Men
2006, Alfonso Cuarón.

This is an all-around impressive feat; tightly edited, shot with glorious vision and passionately directed. This is a joyously dark and intriguing science fiction thriller that has interesting ideas and presents them clearly.

96. Letters from Iwo Jima
2007, Clint Eastwood.

Eastwood's companion piece to Flags of Our Fathers is a masterfully crafted piece of work. Bold, ambitious and potently effective. A great film.

95. Slumdog Millionaire
2008, Danny Boyle.

Danny Boyle's crowd-pleasing gem is, like all of his work, a rousing experience that sparks the senses and involves the audience. A classic rags-to-riches story told in an unconventional fashion, it's a stylishly executed piece that works beautifully on a multiplex screen.

94. Eastern Promises
2007, David Cronenberg.

The direction is fantastic and Steven Knight's script is worthy of high critical acclaim. The performances are immensely impressive. Mortensen and Cassel find convincingly tragic sadness in the souls of their characters, bringing us a stunning, rare brand of acting.

93. Garden State
2004, Zach Braff.

A beautifully perceptive film filled with originality and passion - Braff's talents are in full exposure here, and they're impressive indeed. Outstanding soundtrack.

92. Into the Wild
2007, Sean Penn.

There is a great deal of poignancy in this story, and I think that's what makes the film what it is more than anything. Sean Penn does a great job pacing the picture and illustrating it with majestic imagery, and his screenplay has very little to object to as well. It's a tightly made film, with colorful supporting performances and an engaging pace. However, it's the subject matter that makes it stand out, and I have to admit I was very emotionally moved by the conclusion.

91. Hard Candy
2005, David Slade.

This sadistic, daring mind-bender is successful due to strong performances and an intelligent approach to controversy. It kept me on the edge of my seat throughout, and it was one of those rare films to actually make me cringe. It's a gorgeously shot piece, with an unusual amount of detail paid to stylistic choices. Terrific picture.

90. The Passion of the Christ
2004, Mel Gibson.

A stunning, emotionally stirring film directed with honesty and power. Extremely hard to watch, but pure at heart and gorgeously executed.

89. Munich
2005, Steven Spielberg.

Spielberg is a master. Munich is directed with the precision of a man who knows his craft like the back of his hand, and is willing to take risks when he puts that talent up on the screen. A fierce screenplay and remarkable cinematography add to the greatness of this film.

88. Cinderella Man
2005, Ron Howard.

Morally-driven filmmaking with a fantastic crowd-pleasing appeal. Russell Crowe delivers one of the most intimate, powerful performances of his career. Beautiful art direction and a wholesome screenplay.

87. Little Children
2006, Todd Field.

Field's direction and writing are outstanding, and the entire cast seems to know exactly what he wants. The performances are unanimously remarkable. I'm particularly impressed with Patrick Wilson, who proved himself a talented and promising actor in the year 2006. One of the most incredible things about this picture is its combined visceral and thought-provoking effects. It had my mind working, even at the points where I was tearing up. This is a suburban tragedy in the same vein as the modern classic American Beauty.

86. The Life Aquatic with Steve Zissou
2004, Wes Anderson.

Wes Anderson is a sharp, promising director with impressively original sensibility. This film is painterly and charming, and it confirms Anderson's place as one of my favorite directors. Bill Murray is magnificent, as usual, and the soundtrack is fantastic.

85. Don's Plum
2001, R.D. Robb

Coarse, uncompromising character piece filled with quirks and moody undertones. Basically, we watch a group of miserable young adults discuss everything ranging from sex to suicide - they fight, they gripe, they laugh and they talk to themselves in a grimy bathroom mirror. It's about the triviality and meaningless complexity of a night out between wealthy American friends. There are some unpleasant, off-putting scenes in this film that have contributed largely to its negative reception. I can see why it's such a strongly disliked movie, but I get something out of it and I really admire the performances (particularly from the brilliant Leonardo DiCaprio).

84. Anything Else
2003, Woody Allen.

The way Woody Allen's current work is so frequently shunned by audiences and film critics is shameful. He is a relevant, extremely skilled filmmaker, and this piece of work fits nicely into his brilliant career. It's a beautifully photographed piece - Allen's only movie to be filmed using an anamorphic ratio aside from Manhattan. Jason Biggs is charming in the lead, and he shares fantastic screen chemistry with Woody Allen. Christina Ricci is top-notch as a confused, neurotic character, and all the supporting roles are filled nicely as well. Everything I want from a romantic comedy, and so much more. Anything Else is great.

83. Lars and the Real Girl
2007, Craig Gillespie.

Gosling delivers one of the strongest, bravest and most unforgettable performances of the decade in this beautifully funny and tragic little gem. The screenplay's structure and balance are extremely impressive, and it's an expertly directed piece as well.

82. Chinese Coffee
2000, Al Pacino.

Al Pacino isn't a director, and he doesn't propose to be, but this is a terrific little film and I'm very glad that I got the opportunity to see it. The acting is great, and the source play is beautifully written. There's a sense of personal connection, both with the writer and the actors, and the result is a thoroughly convincing character study.

81. Broken Flowers
2005, Jim Jarmusch.

Bill Murray delivers a restrained, highly convincing performance that is impressively reminiscent of Lost in Translation. Moody and subtle, with a delightfully original screenplay and a style it can truly call its own.

80. Margot at the Wedding
2007, Noah Baumbach.

Noah Baumbach is a truly great writer - he replaces forced quirkiness with the weirdness of human truth and brings about stories that are equally comic and tragic. This is an absolutely beautiful film filled with memorable performances and deep ideas. Baumbach openly welcomes comparison to Woody Allen, but his work is harder and less philosophically oriented.

79. Michael Clayton
2007, Tony Gilroy.

This film succeeds because of ingeniously developed tension, gripping subject matter and a balance of focus both on character and plot. George Clooney is excellent in a role that seems like he was born to play, and Tilda Swinton is equally good in a fantastic supporting role. Strongly directed, written and acted. Just a very well-constructed film all around.

78. Syriana
2005, Stephen Gaghan.

Stephen Gaghan's masterful study of power, corruption and the tangled web that money weaves is as gripping as it is brilliant. Employing the use of an intensely convincing ensemble, Syriana pulls us into a complex story that illustrates the potentially irreversible problems facing our generation. Rather than fixating on singular issues or on connecting stories, this film instead brings a prominent theme to each segment that leaves a resonant impact once it has finished. This is a grim, chilling film that has deeply disturbing undertones. Serious, intelligent filmmaking.

77. Where the Wild Things Are
2009, Spike Jonze.

People can say what they want to about this film, but I don't think anyone has ever made anything quite like it. Spike Jonze has crafted a brave, ambitious, flawed piece of a rare variety. This is a big-budget project that feels both personal and pure. Instead of focusing only on the pleasantry of nostalgia, Jonze uses the wild things to represent all the aspects of the young protagonist's psyche and life. In doing so, he captures a lot of the pain and loneliness that we tend to forget about, and rarely associate with childhood. It's a moody film whose emotional texture won't work for a lot of people, but I admired its aims and it worked for me. I saw a lot of myself in the hero of the story, and it took me back to a place I haven't thought about in a long time. Visually brilliant and inventive, of course, this is something that needs to be seen on the big screen. People who say it's too dark for children are misled... this is more challenging and beautifully made than 90% of mainstream family movies.

76. Mulholland Drive
2001, David Lynch.

Wow. A beautiful, haunting thriller bursting with atmosphere and style. Much more romantic than Blue Velvet, this one also has more emotional roots underneath its maniacal weirdness. David Lynch is a masterful film stylist and a fiercely original cinema voice.

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Since you've managed to compile a list of 100 films just from this decade, I now must return to my Top 100...

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Excellent choices so far, Corleone.

Good idea.

Looking forward to the rest of the list, maybe I'll do something like this or at least post my top tens from each year of the decade as I have them already done.

Although this decade isn't quite over yet. Haven't really thought of it until just now, typing out this post, but we have pretty well a month left in the 00s.

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"Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."

I would post a similar list, but my knowledge of movies from this decade is relatively weak if I do say so myself.

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Iro's Top 100 Movies v3.0

75. Million Dollar Baby
2004, Clint Eastwood.


A gloriously personal film with a crushingly bleak ending. Gracefully directed and acted with incredible conviction.

74. Collateral
2004, Michael Mann.

Sleek, gorgeously shot character study with some fantastic action sequences. Cruise and Foxx are magnificent and Michael Mann's direction is as strong as ever.


73. Gladiator
2000, Ridley Scott.

An ambitiously directed epic of rare power and enormity. Russell Crowe's nuanced performance keeps this film grounded.


72. A Serious Man
2009, Joel Coen & Ethan Coen.

A tense, powerfully effective exercise in tonal control, this movie functions well as an entertainment piece as well as an art film. It's darkly hilarious in a style that only the Coen brothers can pull off, with phenomenal structure and a wonderfully ambiguous premise. The performances are unanimously fantastic, from a cast of mostly no-name actors. Roger Deakins' photography is, of course, stunningly beautiful. In short, this film contains the kind of quality we have come to expect from these beloved American auteurs.


71. Kill Bill
2003/2004, Quentin Tarantino.

As entertaining and as stylish as films get. A mosaic of styles spanning from spaghetti Westerns to TV kung-fu, Kill Bill is insanity and brilliance combined.


70. In Bruges
2008, Martin McDonagh.

In Bruges is not another action-comedy that sucks the life out of a genre established by Quentin Tarantino. This is a well-paced, sharply written character piece that integrates elements of black comedy and even tragedy. The acting all around is fantastic, especially from Colin Farrell in an immensely demanding role.


69. Love Liza
2002, Todd Louiso.


Philip Seymour Hoffman is truly one of the most skilled actors working in film. This bizarre, funny and extremely tragic character study is engaging the whole way through, and most of its power is due to the brilliance of Mr. Hoffman.


68. The Lord of the Rings
2001/2002/2003, Peter Jackson.


A landmark in contempory cinema, Jackson's labor of love is the definition of spectacle. Filled with breathtaking battle sequences, visual effects and photography, this trilogy is arresting and beautiful. This is a monumental achievement that is bound to go down as one of the great feats in movie history.


67. Hotel Rwanda
2004, Terry George.

Brutally and mercilessly reminds us of the power and importance of film. Hotel Rwanda vividly depicts a hideous stain on modern North American history that will never be wiped off. Sophie Okonedo and Don Cheadle are both incredible in this film.

66. A Beautiful Mind
2001, Ron Howard.


Fantastic human drama boasts superb performances and solid direction from Ron Howard. A sensitive, moving portrait of mental illness and the toll it takes on one man's life.


65. Road to Perdition
2002, Sam Mendes.


A gorgeously made gangster picture that casts Tom Hanks against expectations, with excellent results. Jude Law and Paul Newman deliver equally strong supporting performances. Oustanding cinematography, art direction and musical score.

64. Capote
2005, Bennett Miller.


A complex character study and a very uniquely written biopic. Marvelous acting, especially from Philip Seymour Hoffman. The direction is subdued and avoids being showy, but it's certainly not weak and the film is held up by the performances and script.


63. The Assassination of Jesse James by the Coward Robert Ford
2007, Andrew Dominik.


A grim, carefully structured study of two complex men. The tone is set beautifully through the picture's cinematography and a chilling score, and the performances by Pitt and Casey Affleck are nothing short of remarkable. The story is obviously tense, since the death of a lead character is evident in the title. However, the film strays away from suspense-building techniques and instead looks at the sad ruins of two murderous, self-absorbed people.


62. Rescue Dawn
2007, Werner Herzog.

The visionary direction, compelling story, breathtaking photography and superb performances contribute to its enormous power. The entire cast is fantastic, particularly Christian Bale. An absorbing, inspirational picture.

61. Y tu Mamá También
2001, Alfonso Cuarón.


I love the shameless, open sensibility of this film. It's as sweet as it is shocking. It benefits greatly from the superb performances, and Cuaron's direction is full of vision and power. It's the rawest coming-of-age story I've ever seen, but its blatancy is striking and effective.


60. Mystic River
2003, Clint Eastwood.

Eastwood's character-driven thriller relies heavily on the performances from its stunning cast, and it's all the better for it. Brilliantly written and acted to perfection.

59. Waking Life
2001, Richard Linklater.


Richard Linklater's inventive existential adventure is an almost overwhelming and undoubtedly important piece of art. Involving, stimulating and imaginative, it's a film that aptly illustrates a kaleidoscopic range of views and philosophies while also employing innovative visual techniques. It's a psychological feast and, I believe, one of the most original American films of the decade.


58. Donnie Darko
2001, Richard Kelly.

A somber, mentally engaging thriller that imbeds us in its environment for every second of its running time. Richard Kelly demonstrates great technique when it comes to exploring mood and atmosphere, and this is an exciting sensory experience. Jake Gyllenhaal is a unique, compelling protragonist, and his performance deserves recognition. In addition to everything else, it has a phenomenal soundtrack.

57. The Prestige
2006, Christopher Nolan.


When I first saw this movie, I had a hate-out for Christian Bale and I think that tainted my view of the film. I have long since gotten over my distaste for Bale, and I am so glad I gave this a re-watch. There is so much appeal in this movie's direction and writing, with its gorgeous photography and brilliantly executed story. Christian Bale and Hugh Jackman are the stand-outs here, with searing tour de force performances, but it's a fantastically cast work and everyone fills their roles very well. The twists are ingenious, but the strong characters are what give it so much impact.


56. The Virgin Suicides
2000, Sofia Coppola.


Coppola's fantastic directorial debut is heartbreakingly truthful and intellectually written. The acting is great from everyone, but I'm particularly impressed with Kirsten Dunst. She delivers a sensitive performance full of nuance and carefully restrained passion. The tone is unique and richly detailed from beginning to end, and the script ultimately leaves us with an understated sense of sadness rather than a lesson to learn from. Absolutely outstanding film.


55. Tape
2001, Richard Linklater.


I'm compelled by this film's themes, by the nature and contrast of its three brilliant performances, and by its stage-oriented approach in general. This is a gripping and very brave film, and the script's somewhat simple structure provides room for deeper undertones and nuanced character study.


54. Gerry
2002, Gus Van Sant.


This movie really shook me up. A minimalist, borderline abstract depiction of two young men fading away slowly in a remote, seemingly endless desert. The photography is unbelievably gorgeous, and Gus Van Sant's visual style captures the story's poetic tone perfectly. Casey Affleck and Matt Damon deliver performances as subtle and powerful as the film itself. Amazing stuff.


53. Bully
2001, Larry Clark.


Despite the extremely cinematic presentation of the characters and their dilemmas, there is certainly a tone of brutal honesty here that is scarcely matched. The performances are all magnificent and sensitive. Michael Pitt, in a charismatic and unsettling supporting role, stands out with his manic energy and uniquely intriguing acting style.


52. Notes on a Scandal
2006, Richard Eyre.


An edgy, intriguing tapestry of character drama framed by brilliant performances and intellectual screenwriting. This is a unique and compelling story, and the performances by the two marvelous leads heighten it to its full potential.


51. The Brown Bunny
2003, Vincent Gallo.

With this piece, Gallo disregards every conventional approach possible, which a lot of people interpret as iconoclastic self-indulgence. I see it as appropriate within the context of this movie, and I think it's a tragically beautiful work in its own right. Functioning as a distant character study in which we know very little about the person being examined, The Brown Bunny asks us to give back a lot. I was willing to give it my complete attention, and I found it to be a haunting and uniquely profound experience. This is one of the saddest films I've seen in a while, and the conclusion will leave a resounding impact on most people.

50. The Boy in the Striped Pyjamas
2008, Mark Herman.

This sadly underrated masterpiece is as beautiful as it is emotionally charged. What some critics are dismissing as a "twist ending" is so much more than that... when the film fades out into closing credits, the truth of the story really sinks in. The brutality and horror of something like this is the most unsettling when seen through the eyes of a child. Herman's screenplay and direction are outstanding and the performances are equally exceptional. David Thewlis is a particularly talented actor, and it's always a pleasure to watch him work.

49. About Schmidt
2002, Alexander Payne.

Jack Nicholson delivers what is possibly his best performance in this heartbreaking character study. Written and directed to damn near perfection, this is a genuinely special film full of truth and meaning.

48. Traffic
2000, Steven Soderbergh.

This must-see film documents the intricate and foreboding world of drugs through an exploration of its influence on politics, business, lifestyle, psychology and culture. Steven Soderbergh crafts a brilliantly original piece out of the material provided by the script, employing the use of an awe-inspiring visual design and labyrinthine structure. The performances are excellent across the board. One of the most important, powerful ensemble pieces to be released in modern American cinema.

47. Master and Commander: The Far Side of the World
2003, Peter Weir.

Peter Weir handles this material masterfully, gracing us with an old-fashioned epic that is as entertaining as it is well-made. Not only is it enhanced by the highest production value possible, but it is emotionally rich and full of powerful subtext. Russell Crowe headlines a cast of superb performances, giving this lavishly directed piece a human foundation. Top-notch photography, sound editing/mixing, art direction, costume design, etc. A beautiful, absorbing movie.

46. Synecdoche, New York
2008, Charlie Kaufman.

Yes, this movie will impress open-minded viewers the first time they see it. It may even blow them away. However, I think this is one of the rare films that needs to be seen at least twice in order to assess it accurately. Charlie Kaufman said that his goal with Synecdoche was to replicate, in some senses, the effects of a live theater run. Like live performance, he wanted to craft a piece of work that provides something unpredictable and spontaneous with every viewing. In this sense, he succeeded. I have seen this movie three times to date, and I come to comprehend its mastery with each successive experience. This is a depressing and open-ended analysis of life that, through its subjective and boldly personal approach, forces the audience into a place of reflection. It's not possible to summarize this piece in a review. Watch it a few times and decide what it means to you.

45. No Country for Old Men
2007, Joel Coen & Ethan Coen.

The Coen Brothers' Best Picture winner is fairly straightforward and stylistically simple, and it's all the better for it. A grim, extremely eerie film filled with moody subtleties and unconventional directorial choices. Gorgeously shot, extremely memorable and equally well-penned.

44. The Pianist
2002, Roman Polanski.

A beautifully produced, artistically crafted masterpiece that is painful in its authenticity. Adrien Brody is fantastic, and it's a technical marvel.

43. Milk
2008, Gus Van Sant.

Milk is, without a doubt, one of the decade's most important films. Gus Van Sant's exciting vision and Sean Penn's outstanding character work bring out the full potential of this documentation. Entertaining, but also affecting.

42. The Royal Tenenbaums
2001, Wes Anderson.

The precision of Wes Anderson's direction is breathtaking to behold. This is a beautifully shaped piece of art - completely and remarkably original. The screenplay is a funny and emotionally rewarding one, and it's acted to perfection by one of the best ensemble casts of the decade.

41. Mean Creek
2004, Jacob Aaron Estes.

When films speak this truthfully, I feel unjust criticizing them. We're used to seeing films that are primarily about the victim or primarily about the bully. Jacob Aaron Estes abandons these formulas and decides to examine both the oppressor and the oppressed on a crushingly profound level. As the story's events unfold, they hit a hell of a lot harder because of the character depth that provides foundation for them. Estes maintains a sense of reality while also incorporating a somewhat poetic sensibility. The approach provides for one of the most unnerving movies I've seen. The film's greatness is secured by phenomenal performances from a young and talented cast of actors, and the photography is stunning despite its simplicity. As a very significant footnote, Tomandandy's musical score is haunting and damn beautiful.

40. The Lives of Others
2006, Florian Henckel-Donnersmarck.

A polished, meticulous political thriller that achieves both pathos and suspense. Director Florian Henckel-Donnersmarck emphasizes all the right areas of the story so that it cleanly transcends several genres. It's a painstakingly paced film that sheds light on a horrific component of history while exploring a group of complex characters. It's emotionally and psychologically challenging.

39. Babel
2006, Alejandro González Iñárritu.

This is a calculated, impassioned piece of artistry from one of the most exciting minds in modern cinema - Spanish filmmaker Alejandro González Iñárritu. After two masterworks, Amores Perros and 21 Grams, Iñárritu completes a profound thematic trilogy with this film. Down to the most minor roles, every performance in this piece is realized and engaging. It is painted with achingly gorgeous imagery, deep emotional complexity and underlined by a beautiful, Oscar-winning score. This is one of the most ambitious and powerful films to be released in years.

38. City of God
2002, Fernando Meirrelles.

One of the most fleshed out, stylized and elaborate crime-drama films I have ever seen. This is one of the most impressive masterworks in modern cinema - a thrilling, important and disturbing work that begs to be seen. Absolutely phenomenal.

37. 2:37
2006, Murali K. Thalluri.

This film broke my heart, and that's all I can really say. It sounds melodramatic, but this is cinema at its most painfully honest. I could comment on the performances, the screenplay, the direction (all of which are terrific), but when a movie is this powerful you have to look at it as a singular piece of art. This is a movie that any teenager who is able to do so is obligated to see it.

36. Manic
2001, Jordan Melamed.

I don't know how this film ended up being the unseen secret it is. It should be a cult classic - stunningly honest and powerful, it's a brutally frank film about teenage rage and masochism. Taking into account the miniscule budget, this is a very smartly directed piece. It's shot like a documentary to maintain its sense of reality, and there is never a cut-and-paste message pushed across to the viewers. I loved all of the performances, but I was especially astonished by Joseph Gordon-Levitt. He's a truly skilled actor.

35. The Tracey Fragments
2007, Bruce McDonald.

This is a film that has bright, exciting ideas about cinema as a storytelling medium and a vessel for emotional power. Employing bold editing techniques and visual concepts, the film is a character study that gives us the internal and external view of the title character's world. Ellen Page's work is much better in this film than in her Oscar-nominated performance in Juno (released the same year). This film jarred me, astonished me, affected me and gave me something to talk about for days afterwards.

34. Zodiac
2007, David Fincher.

With this film, Fincher brings about the strengths of 1970s cinema classics while also injecting it with his own unique flair. Visually stunning, technically impeccable and acted with extreme strength, this is a truly great film.

33. Match Point
2005, Woody Allen.

An intelligent, dark thriller with an intense amount of sexual energy. Powered by a brilliant screenplay and convincing performances, this marks Allen's finest directorial moment of the decade.

32. Adaptation.
2002, Spike Jonze.

This is one of the decade's most towering accomplishments in American cinema. Rarely does a film provide such mind-bending lack of convention. This is one of those rare experiments that doesn't feel experimental. Kaufman's script is one of the finest in recent years, something that breaks so many rules while still remaining in the confines of great storytelling. Nicolas Cage shows us how capable he is of top-notch acting, headlining a cast of fantastically realized performances. Absolutely astounding.

31. There Will Be Blood
2007, Paul Thomas Anderson.

Paul Thomas Anderson (a masterful writer and director) weaves a complex, absorbing, original and unforgettable character study. To match his deeply entrancing script, Day-Lewis' performance is utterly perfect and the film's technical aspects are jaw-dropping. This is a masterwork, through and through. Everyone should see it.

30. The Squid and the Whale
2005, Noah Baumbach.

An impressively unconventional film filled with intuition and unique characterization. Painfully real and delightfully quirky.

29. Amores Perros
2000, Alejandro González Iñárritu.

This stunning debut is a great piece of work on any scale. Woven with distinct vision, clarity and power, this is a cinema masterpiece. Packed with excellent performances and brooding throughout with effective tragedy. Iñárritu does a brilliant job of making this an uneasy experience for any viewer to watch, amplifying the immorality and cruelty of the stories at hand.

28. Before Sunset
2004, Richard Linklater.

I watched it directly after the original, and it's amazing how well the two films feed off each other. This film shakes off the romance and whimsy of the first one - it's more cynical and real, but it doesn't feel bitter or depressing. Both performances are as strong as in the first, and the film leaves us feeling a sense of true resolution.

27. The Diving Bell and the Butterfly
2007, Julian Schnabel.

Schnabel uses visual innovation for the benefit of the story, and it works beautifully on many levels. Every aspect of this picture is a success - ontop of wowing the audience with its technical prowess, it also has a gut-wrenching emotional impact.

26. Before the Devil Knows You're Dead
2007, Sidney Lumet.

This is what I call drama. This ferociously cold depiction of two ruined men kicking and screaming their way through life is as engaging as it is haunting. Philip Seymour Hoffman and Ethan Hawke turn in such jaw-dropping performances that this is required viewing for any actor. Written with smartly intriguing structure and directed with Lumet's signature finesse, it is a great, great crime drama. Sidney Lumet has been turning out classics for decades, and this one deserves to be a classic too.

I applaud all your efforts in making this list, but as time goes on, I tend to find myself totally separated from many people in what they believe are the best of recent films. For example, I find Gerry one of the worst films (calling it a film gives it the benefit of the doubt) I've ever seen (more than once). On the other hand, your list is thought-provoking, unique and not really at all what I'd call bad. In other words, thanks again for your list, but it'll be a long time before I make one of my own, at least a Top 100. I can easily make a Top 100 of the 1930s though, so different strokes.

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It's what you learn after you know it all that counts. - John Wooden
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25. The Assassination of Richard Nixon
2004, Niels Mueller.

Sean Penn is a rare breed of actor, and this is a rare breed of character study. It is irrefutably Penn who dominates this picture with his meticulous examination of a broken man disillusioned by the superficiality of the world he occupies. His performance is comprised not of numerous strong choices, but of a total transformation that we rarely see. This is the type of film I really enjoy, and I was especially pleased by its echoes of the legendary character Travis Bickle. Intelligently directed, handsomely shot by Emmanuel Lubezki and written with a great actor in mind.

24. Closer
2004, Mike Nichols.

Mike Nichols is a brilliant "actor's director", and he is at his strongest here. He draws outstanding performances from all four lead actors and brings about the full potential of Marber's superb script. Like Nichols' 1971 film Carnal Knowledge, Closer is a hard-edged story about the savage cruelty of love... or the idea of love. Successful in every way, its greatness is confirmed by the fact that Damien Rice's "The Blower's Daughter" is the theme song.

23. Half Nelson
2006, Ryan Fleck.

The subtle humanity of unique relationships meets cinematic appeal. This is an absolutely beautifully written piece that allows Ryan Gosling to command the screen. The result is one of the finest, most emotionally stirring pieces of acting in American cinema during the 2000s. Gosling is nuanced, fierce, heartbreaking and captivating all at once - and that's without speaking.

22. Elephant
2003, Gus Van Sant.

There is a brooding sense of sorrow in Elephant's monotony and Steadicam wanderings, and it contributes to the horror of the explosively violent conclusion. This is a disturbing, powerful and strongly directed film. Its aching beauty is unlike anything I've ever seen. This is an important film that deserves attention.

21. Shrink
2009, Jonas Pate.

Kevin Spacey delivers a career-best performance in this admittedly flawed, but highly underrated character drama. The film is often criticized for the amount of characters it examines, and for the seriousness of its material, but I find it to be touching and thoroughly entertaining. It's a crisply directed, expertly acted piece with a lot of beautifully tender moments. I'd recommend people see it for Spacey's performance alone, but the whole film is quite good. I think the critics are horribly wrong about this one. I really fell in love with it on a second viewing.

20. The Wrestler
2008, Darren Aronofsky.

Aronofsky's fourth feature is a departure from the eye-popping inventiveness of his previous work, but it is no less affecting or impressive. Photographed in gritty, documentary-like realism, this film is frequently ugly and ultimately rather depressing. It's a blunt depiction of lives led astray, compromising nothing for the sake of audience appeal. Mickey Rourke's performance lives up to the hype... his work here is sure to go down in history as one of the screen's great performances. It was the right role at the right time, to say the least. Marisa Tomei, portraying a tragic supporting character, is quite strong too.

19. Vera Drake
2004, Mike Leigh.

One of those complex, emotionally absorbing dramas that is so good it leaves you dumbfounded. The acting from every single member of the cast is superb, as is Mike Leigh's writing and direction. This picture strays away from simplification of its subject matter. Instead, it takes a neutral stance and analyzes a challenging story with intellectual power.

18. Lost in Translation
2003, Sofia Coppola.

Lost in Translation is a bittersweet story about the grey area between romance and friendship, and a fascinating glance at two people at difficult turnpoints in their lives. One of the best original screenplays of the decade, and one of the most subtly brilliant character analyses I've ever seen. The atmosphere and tone of the film get under your skin in the most wonderful way imaginable.

17. Catch Me If You Can
2002, Steven Spielberg.

This intricate, brilliant screenplay weaves together tender character portraits and entertainment value in a stunningly unique way. A collection of some of today's best working actors and Steven Spielberg at the top of his game certainly seal its top-notch quality. A relentlessly fun, perceptive biopic. DiCaprio is incredible.

16. Last Days
2005, Gus Van Sant.

This quiet, unsettling character study demands a lot of the audience and it's about as subtle as films get. Having said that, it is very clear that none of the directorial decisions are made without strong intent. Van Sant's abstract, minimalist approach to the story is haunting and effective, providing us with an unforgettably powerful depiction of silent degradation as opposed to a forcefully emotional presentation. The stylistic nature works beautifully as an illustration of loneliness, but it is Michael Pitt's chillingly convincing work on the focal character that brings it all together so well. This is one of his finest performances; nuanced, complex and textured. It is rare that a story can say so much without directly saying anything. This film has developed into one of my all-time favorites.

15. 4 Months, 3 Weeks and 2 Days
2007, Cristian Mungiu.

Christian Mungiu's stark, brilliantly neutral drama heightens the tension of its subject matter through ingenious visual choices and grim realism. Almost all of the scenes in this film are presented in one shot, which makes for some truly unique composition and refined movement. The performances are so phenomenally convincing that we can feel the pressure building on a visceral level. Anamaria Marinca is particularly astounding - her performance is composed of nuances and psychological understanding. A staggering, masterfully conceived movie.

14. Sideways
2004, Alexander Payne.

Sideways finds a rare balance between the heavy and the humorous due to a terrifically intelligent screenplay. Great performances all around, but Giamatti is the stand-out with his heart-wrenchingly human portrayal. This movie is more lovable with every viewing.

13. Gangs of New York
2002, Martin Scorsese.

A hugely violent and transfixing film, Gangs of New York boasts incredible performances by Daniel Day-Lewis and Leonardo DiCaprio, and large-scale directorial ambition. One of Scorsese's most solid pieces of work.

12. Brokeback Mountain
2005, Ang Lee.

The most important film of 2005, this is an impeccably shot, sensitively written and intensely acted epic that is destined to become a classic. Absolutely remarkable direction. This is a bold social commentary that doesn't make its controversial subject matter the main basis of appeal.

11. The Departed
2006, Martin Scorsese.

This film contains everything we expect from a top-notch Scorsese feature. William Monahan's script is energetic and exciting, expertly directed by Scorsese. The entire cast is stupendous, but DiCaprio stands out in one of his best performances to date. This is one of Scorsese's grandest feats - he makes this intricate story pull together seamlessly and keeps things moving at a tight pace. Although Monahan's script is an adaptation, The Departed is completely a Scorsese picture. It's bursting with his trademarks and directorial signatures.

I swear to God, if that ****ing Batman film is in the top 10 I'm going to kill you.

As for the list. Firstly, like mark, let me congratulate you for even being able to construct a list like this and posting it. If nothing else, it provokes debate and interest.

For what it's worth, here's my observations.

1. I need to get a move on and watch a few films. 17 of those films I've got but have not yet watched. A good number of other ones I know friends have and could easily borrow.

2. I watched the wrong films. Of the 31 films on the list I have seen, only about 4 or 5 of them are films I'd consider putting on a list like this.

10. Punch-Drunk Love
2002, Paul Thomas Anderson.

Arthouse director Paul Thomas Anderson shocked everyone when he cast Adam Sandler in the lead role of his film. Shockingly, Sandler rose to the challenge and he delivers a staggering piece of acting in this film. This is a sad, emotionally haywire dark comedy that examines the type of person we don't often see in movies. Anderson's most original project to date, this piece is dizzying in its weirdness and unforgettably powerful. Jon Brion's musical score is excellent.

09. The Fountain
2006, Darren Aronofsky.

Every so often, a film of enormous insight and quality is overlooked by critics and audiences. The Fountain is one of those films. This is beautiful, visionary filmmaking with bright ideas. Aronofsky writes and directs this piece with grace, weaving a complex tale full of emotional and metaphorical fibres. He tackles the universal topics of love, life and death with full-fledged vision, producing an abstract illustration of the things we find difficult to describe. The combination of Mansell's music and Aronofsky's images has a sort of poetic perfection to it, and this film is their most successful collaboration in many ways. Cinematographer Matthew Libatique constructs an original visual roadmap that subtly transitions along with the film's central theme of death. Remarkable performances from Jackman and Weisz. There are scenes in this film that are outright heartbreaking.

08. 21 Grams
2003, Alejandro González Iñárritu.

This film's jumbled narrative is a beautiful mosaic of human agony, threaded with an unflinching atmosphere of doom. Alejandro González Iñárritu imbues this masterpiece with a gritty aesthetic quality, which serves well to the grim melodrama of the screenplay. This is a painful, intricate ensemble piece full of unsettling insight and stirring character dynamics, but none of it would have amounted to what it does without the performances. To pinpoint any of the actors in this film as being a standout would be unfair. The three lead actors (Sean Penn, Benicio Del Toro, Naomi Watts) do work here that is so explosively convincing, it's hard to watch. The entire supporting cast is excellent as well, in a film that I would be hard-pressed to indentify any flaws in.

07. Eternal Sunshine of the Spotless Mind
2004, Michel Gondry.

The enormity of this film's achievements are obvious. Its labyrinthine screenplay tells a completely human story while also involving a process in which people's minds can be erased. The uniqueness of the film's ideas and style are what set it apart from so many modern love stories, but it's the little things that make it a classic. This movie captures all the minute, uncomfortable aspects of love and portrays it in a more intimate way than American films generally do. Kate Winslet and Jim Carrey convince us with their Oscar-worthy performances, and we feel involved in their situation before the movie takes its bizarre new directions. Skillfully directed, and featuring one of the great original screenplays.

06. The New World
2005, Terrence Malick.

Malick employs the use of techniques that he has been mastering throughout his career, resulting in one of his most beautiful films. The New World is a thoughtful, sensually absorbing epic that pulls away from the expectations of impatient modern audiences. The 35mm photography is absolutely gorgeous, soaking up the environment of the piece and bringing it to the foreground of the story. The music, the sound design and the writing are all conducive to a singular vision, and this is one of the most reflective movies of the decade. Colin Farrell is wonderfully subdued and nuanced, acting with instinctive newcomer Q'Orianka Kilcher. A lavishly directed, poetic love story.

05. The Aviator
2004, Martin Scorsese.

This picture brings breathtaking scope to the type of character study that made Scorsese a legend. In the same vein as Raging Bull structurally, The Aviator is a masterpiece of beautiful production value and intelligent use of visual effects. Its power and focus is on the tumultuous life of its protagonist, and he is played with total precision by Leonardo DiCaprio. This is one of the great contemporary screen performances. DiCaprio's examination of this man is disturbing in its authenticity, and he is what guides this epic work through its considerable length.

04. The Dreamers
2003, Bernardo Bertolucci.

Bertolucci uses sex as a tool for developing his characters in The Dreamers, while also shocking audiences and exploring taboo themes. Based on a wonderful novel by Gilbert Adair, this film paints an accurate and nostalgic picture of young ideals. It's directed with texture by Bernardo Bertolucci, making great use of the beautiful locations and actors. All three of the leads are brilliant in this picture, and the way their characters play off each other is exciting and unpredictable to watch. Thematically, it's an intricate movie that benefits from repeat viewings.

03. Tetro
2009, Francis Ford Coppola.

Francis Ford Coppola is no longer interested in making commercially relevant movies. His goal now is to discover something about himself as a filmmaker, and to make films that he feels are artistically satisfying. Tetro is an immensely satisfying picture in every way, and it ranks among the director's finest work to date. Stylishly shot in black and white, it dissects the motivations and feelings of a dysfunctional family. It explores familiar themes in a new way, putting heavy emphasis on aesthetics but always maintaining a human focus. Vincent Gallo and newcomer Alen Ehrenreich are fascinating actors to watch, and they have a great dynamic onscreen together. This is a fascinating new masterpiece from a cinema legend.

02. Requiem for a Dream
2000, Darren Aronofsky.

Requiem for a Dream is a faithful adaptation of Hubert Selby Jr.'s novel, retaining its sense of doom and longing. Instead of depicting the drug culture, Darren Aronofsky chooses to explore the effects of addiction on the human spirit. This is a psychologically astute work that portrays how addiction can defeat love, and it is disturbing to watch. Aronofsky directs it as an overwhelming sensory experience, with relentlessly frantic music from Clint Mansell and a range of visual experiments. This is a movie that crushes in with purpose and ferocity, and it is certainly not easy to forget. As upsetting as it is, it is something I could never get tired of re-visiting.

01. Revolutionary Road
2008, Sam Mendes.

It's difficult to say what sets Revolutionary Road apart from so many recent melodramas. Most importantly, it's adapted from a literary masterpiece by Richard Yates, and it is true to the essence of the text. All of the human details are there, and all of the painful subtext is examined. Sam Mendes presents a visually restrained work that gives room for the actors to depict all the anguish and questioning of their characters. Leonardo DiCaprio and Kate Winslet are easily in the top five working American actors, and it's thrilling to watch them play off each other again (eleven years after Titanic). The acting is completely honest, fearless, and unbelievably potent. I could highlight all of the supporting performances here, the wise directorial decisions, the best elements of the writing, but to me there's no need. This film brings me me to the point of tears, something that is very rare when going to the cinema.

Well, remember, I don't presume to call these the "best" recent films, although I think I could make a case for all of them being very good. I don't know how you could call Gerry one of the worst films you've ever seen, although I could understand distaste towards it. Why do you hate it so badly?

Thanks for the comments, though. And like I said when I commented on your page, you should do a top 100 of the '30s! That would be great.

Oddly enough, I'm not that fascinated with contemporary films. I just love movies, but if you look at my top list, there are way more classics than current films on there.

Oh God! Don't insult me! I'm not one of those people! haha. I am certain that lots of people will be annoyed at me for disregarding Pixar and The Dark Knight on this list, but whatever. It's personal.

If you do get around to watching more of them, please share your thoughts with me. Thanks for the feedback.

Out of all those, I count about 42 that I've seen (and even then I didn't really like all of them), but yeah, it's definitely an impressive effort you put forth. Bravo.

Excellent list. Ill be using this list for the next few weeks.

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Thank you! I wanted it to be a sort of rental recommendation list, more or less.

Very nice list, michael. I notice a very, very strong preference for acting-centric films. I recall you mentioning that you were in an independent film recently; do you think the fact that you've done some acting has heavily influenced this list? Or is it the other way-around, with your interest in performances above all else influencing your decision to act?

That's a good observation. I'm the first to admit that my passion for acting has an influence on my taste in films. I've been involved in theater since I was about ten years old, and I started acting in independent film about three years ago. So I'd say that my interest in performance is reflected in my taste, as opposed to the other way around. That being said, it is exposure to great film acting that has sparked my love for the craft.

You forgot Inglourious Basterds, O' Brother Where Art Thou?, and The Dark Knight amongst others, but I did enjoy your list!

I don't think he "forgot" them as much as neglected to include them for whatever reason, but yeah.

I've not seen Inglorious Basterds, but I don't think I'd put either of the other two on a 100 of the decade list.