Top 12 - 3,2,1

My Top 12 movies of the 2000s builds to an exciting climax.

#3 Kill Bill Vol. 1 (2003) Dir Q Tarantino (US)
Known for his rapid fire dialogue in Reservoir Dogs and Pulp Fiction, writer/director Quentin Tarantino demonstrated his flair for style in Kill Bill Vol. 1. Originally conceived as one movie, the Weinsteins felt that for length reasons, it be split into two parts (and no doubt the lure of double box office takings). Ostensibly a revenge tale by the Bride (Uma Thurman) to kill Bill (David Carradine), her former lover and mentor, it was a vehicle for Tarantino to lovingly embellish the best of the Hong Kong martial arts films he enjoyed as a youth. While Vol. 2 is more traditional in its structure, including the Bride’s back story, it is in Vol. 1 that Tarantino can cut loose with his wild sword fights, excessive blood spurting from severed limbs, an energised soundtrack, including a live performance by The 5, 6, 7, 8’s and dynamic change ups in presentation, from colour to black & white, anime and silhouettes. Kill Bill Vol. 1 is an exercise in exhilarating style.

#2 Lord of the Rings – Return of the King (2003) Dir P Jackson (NZ/US)
It would seem that the best battle sequence in movie history was to last only one year. When Return of the King was released, one year after its prequel, The Two Towers, the best battle sequence was passed by the best battle sequence ever! The attack by the foul fiends of Mordor on the city of Gondor is compelling for its ability to reveal the large picture without losing sight of the individual stories we have invested so much time in. The heart of the film is Frodo and Sam who stagger up the steep incline of Mt Doom to destroy the One Ring in its fiery pits. It is their total devotion to each other, and indeed the selfless goodness of the allies in their fight to “save the world” that make this so much more than just a dumb, special effects laden action movie. And after travelling this epic journey over three films and 10 hours, the ending which runs for over 20 minutes, gives us sufficient time to say goodbye as our timeless heroes take the boat to the Grey Havens.

#1 Lord of the Rings – Fellowship of the Ring (2001) Dir P Jackson (NZ/US)
This is a road movie of sorts where our heroes commence a journey unawares of what lies ahead and what toll it will take. They meet fantastic beasts and pass through unimagined lands. The Fellowship is a collection of nine including humans, a wizard, an elf, a dwarf and hobbits. Their mission is to take the One Ring to Mordor and destroy it. Unlike the subsequent two films that necessarily take on a darker tone, the Fellowship is full of wonder, mystery and innocence. The friends are bound together by their mission with each dark turn of events binding their dependence and loyalty tighter.

Top 12 : 6, 5, 4

#6 Amelie (2001) Dir J-P Jeunet (France)
Released at the Toronto film festival, days before 9/11, this super-saturated, whimsical French romantic comedy took audiences away from the fear and drama of the real world and made it an international hit. Audrey Tatou stars as Amelie and her elfin looks gives her character the slightly mischievous and naïve traits needed to pull off the role. Unlucky in love, Amelie tries to play Cupid to those around her, and in the process finds the man of her dreams, a photo booth repair man. As with other Jean-Pierre Jeunet films (Delicatessan, City of Lost Children), he delights in the off beat and eccentric while delivering warm and funny stories.

#5 Shrek (2001) Dir A Adamson (US)
The giant green ogre, voiced by Mike Myers, is, in my opinion, the pinnacle of the early computer animated features. As with the early Disney’s (Snow White, Pinocchio) this “new” medium was full of imagination and verve and the colour and humour promised something that a “real life” drama can’t deliver. Pixar are unlucky not to be included here as their golden run of Toy Story, Monster’s Inc. and Finding Nemo all presented through the mid 90s raised the bar on what to expect from “children’s” entertainment. But it was Dreamworks’ Shrek that married the elements of animated absurdity, “mum & dad jokes,” well rounded characterisations and a credible storyline, the best. Suffice to say they haven’t got close with Shrek II or III. The production values are first rate and Eddie Murphy (as the Donkey) and Cameron Diaz (as the Princess) give great supporting performances.
Japanese great, Hayao Miyazaki, likewise should mentioned for his artistry in continuing to produce hand drawn, animated features, the pinnacle of which was Spirited Away in 2001.

#4 Lost in Translation (2003) Dir S Coppola (US)
So what does Bill Murray’s Bob Harris whisper to Scarlet Johansson’s Charlotte ? If you think it matters then you have probably missed the point of the whole movie. So what is the point ? Bob is a fading film star, promoting whiskey in Tokyo for a vast sum of money, further isolating himself from his wife, back home in the US, and forgetting his son’s birthday. Charlotte has been married two years, has finished University and doesn’t know what to do with the rest of her life. Her husband is a celebrity photographer and is off on assignment in Japan. The setting of Japan is a convenient means to demonstrate their isolation. Neither character speaks or understands Japanese and so all of the other ‘noise’ in the picture is incomprehensible to us and them. Of course both characters would be equally lost were the film set in New York or Sydney, but those settings would have distracted us from the core of the movie. Bob and Charlotte strike up an unlikely friendship during their stay at the Tokyo Sheraton and this leads to the sharing of their lives where they feel that life is passing them by. Despite some of the more obvious set-ups for Murray to perform his “comedy,” such as the TV show appearance or the “Rat Pack” photo shoot, it is when Murray sings Roxy Music’s “More Than This” at a karaoke bar, does he deliver an awkward moment of self realisation.
Johansson plays her character with the right mix of maturity and playfulness. Writer and director Sophia Coppola won the equivalent of the Oscar’s encouragement award for Best Original Screenplay as the two characters contemplate the changes that lie ahead in their lives.
Bob’s whisper at the end of the film allows viewers to apply their own closure while the characters themselves step tentatively forward to address the next phase in their lives.

Top 12 : 9,8,7

A continuing countdown list of my top 12 favourites from the 2000s.

#9 Lady Vengeance (2005) Dir Park Chan-wook (Korea)
Originally reviewed post film festival in 2006, Chan-wook is one of a small band of Korean director’s keen to push the boundaries of mainstream Korean cinema by presenting stories and images that contrast in every way to the conservative, “soapy” staple that is the Korean mainstream. Lady Vengeance is Chan-wook’s third piece in his revenge trilogy that explores the personal impact of taking the law into one’s own hands. The story follows Lee Geum-ja on her release from prison after 13 years for the murder of a child she did not commit. Her hunt for the man responsible employs former prison-mates in the search and finally engages the parents of all of his victims. While not for the fainthearted, it parallels the conflict between contrition, retribution and redemption.

#8 Lord of the Rings – The Two Towers (2002) Dir P Jackson (NZ/US)
The second of the Lord of the Rings trilogy, New Zealand director Peter Jackson, employs his home country as a backdrop to the land of Middle Earth in a way that has changed the way that country is known forever. The Fellowship (established in the first movie) fractures during Two Towers and it is a testament to Jackson and his editors that they so effectively keep tabs on three disparate groups of characters and their three separate story lines.
By employing a dizzying array of computer special effects, model minatures and life size recreations of some sets, the climax to this film, the battle at Helm’s Deep, is like something that has never been seen in film before. Not content to have a hundred or a thousand or even ten thousand Orc soldiers, he creates a monster army of a hundred thousand or more, beating their breasts and charging the stone bastion of Rohan.

#7 Mulholland Dr. (2001) Dir D Lynch (US)
One of the most amusing ‘extras’ on the DVD is watching the Cannes film critics interview director David Lynch about this new release which had just been screened, and having absolutely no idea what the film was about and with Lynch giving absolutely nothing away.
If it is so incomprehensible, what makes it so good ? Part dream, part reality, part hallucination, part flashback, it is vital to know which part of the movie belongs in which “reality.” This is the first clue to unlocking the story. I won’t deny that an internet search was the lion’s share to understanding.
Naomi Watts plays Betty, a naïve country girl who comes to Los Angeles hoping for fame on the big screen. Her ambitions slowly fail and she finds herself drug addicted and making ends meet as a call girl. In her breakthrough role, Watts is a revelation as the fresh faced girl creating her own ‘Wizard of Oz’ storyline in her head while her waking reality becomes more and more desperate.

Top 12 : 12, 11, 10

A top 12 of my personal favourites for the films made in the 2000s. Please add your own to the ones I forgot and vehemently disagree with any of my choices.

#12 21 Grams (2003) Dir A Inarritu (Mexico)
While it is true that anyone of half a dozen movies could have been squeezed into the number 12 spot, I have chosen 21 Grams for its brilliant performances (Sean Penn, Naomi Watts, Benicio Del Toro) and powerful story. The film is not told in a linear fashion with the fragmented cuts of beginning and end deliberately disorientating that build with dread. It is a story of loss and grief and attempts at redemption from the very talented Mexican duo Inarritu (director) and Arriaga (writer) who have also produced Amores Perros and Babel.

9 Nov : I have just seen The Sea Inside (2004) after the compilation of my top 12, by another of the South-of-the-border-Spanish-speaking alumni, Alejandro Amenabar (Open Your Eyes, The Others). This would be a very worthy place-getter and for the sake of argument, will put it in here as equal twelfth.
It is based on the true story of Spaniard, Ramon Sampredo, a quadriplegic for 28 years, who wants to end his life because he believes his life is one without dignity. Javier Bardem plays Ramon and it is astonishing how much charm and charisma and humour he can extract when all he is allowed to do is move his head; his body is completely limp. Ramon is not bitter and has a small and dedicated band of friends who fight his legal battles and visit him. He is lovingly cared for by his sister in law as he shares her home with his brother, nephew and elderly father. Like all good movies, it is the loving relationships that give a story strength and depth and while the subject matter is difficult or confronting, this remains a positive and stirring film.

#11 The Passion of the Christ (2004) Dir M Gibson (US)
While I really liked Gibson’s Apocalypto from 2006, I respond to The Passion more. Firstly it is a brutal and up close account of Roman ‘justice’, the political machinations and trial of an innocent man, and a faithful retelling of a well known and revered story by Christians. Jim Cavaziel plays the Christ from his arrest in the quiet of the Garden of Gethsemane to his death by crucifixion. The film’s power is a credit to Gibson who connects real world faith with celluloid image and provides context and meaning as to what Jesus had to experience to fulfil his father’s purpose, that is, to reconcile mankind with Himself. You can read what I wrote last year.

#10 Life Aquatic with Steve Zissou (2004) Dir Wes Anderson (US)
Wes Anderson has made a career of off-beat comedies starting with Bottle Rocket, Rushmore and The Royal Tenenbaums but none ever quite worked for me until this one. Steve Zissou has Bill Murray front and centre as the hapless, middle aged, undersea explorer wondering what happened to his life, mourning the loss of his friend, Esteban, to a man eating shark and confronted by a young man, Ned (Owen Wilson) who may or may not be his son. The film works because the relationships amongst the characters are genuine and played straight while the laughs are almost always deadpan or occurring behind the main action. The supporting cast are uniformly excellent, each adding their own idiosyncrasy : Anjelica Huston, Willem Dafoe, Jeff Goldblum, Michael Gambon, Noah Taylor, Cate Blanchett, Bud Cort and another half a dozen that you have never heard of that gives the film its magic.