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"Good Old JR" Jim Rutkowski weighs in with his picks for the TOP 10 films of the decade
JR & BO TOP TEN OF 00'S 10-7.mp4  

JR'S & BO'S TOP 10 FILMS OF 2000-2009

Bocepheus joins JR as they both rank the ten best films of the past decade In this episode they reveal their #10 thru #7 picks.
J.R & BO'S TOP 10 OF 00'S 6-1.mp4  

JR'S & BO'S TOP 10 FILMS OF 2000-2009

Bocepheus joins JR as they both rank the ten best films of the past decade In this episode they reveal their #6 thru #1 picks.

Movie Reviews by:
Jim "Good Old JR" Rutkowski
10. Where The Wild Things
 9. Minority Report
 8. Once
 7. A.I.
 6. United 93
 5. Spirited Away
 4. Zodiac
 3. The Departed
 2. Eternal Sunshine of the
     Spotless Mind
 1. There Will Be Blood
I may have to sue Comic Book Man for emotional distress. Compiling the yearly list is something I have become used to. But to whittle down literally thousands of films to a list of 10 is downright painful. Still, when all was said and done, these ten films were the ones that sprang to my mind fairly quickly. Yet so many others that I personally love and revisit time and again had to be left off. So to ease my cinematic conscience, I have included a large list of honorable mentions at the end. Tastes change. That is because we, as individuals change. Even in small ways, our perspectives alter. So in a few years (or even months) if I were to revisit this list, I have no doubt that the placing of some these would change. But for now, these are the picks. I won't try to encapsulate what the state of movies were through this entire decade. Except to say that, I think my list represents individual voices as well as those rare times when commerce and art can be completely compatible.
"...manages to bring a beloved classic to the screen-in ways that are engaging and powerful.”
Spike Jonze and Dave Eggers took Maurice Sendak’s restless and surpassingly simple picture book and turned it into a dark and complicated fable, one of the most piercingly realistic cinematic treatments of childhood ever made. The film’s technical brilliance is almost casual — quietly seductive rather than dazzling — and its high spirits are colored by a melancholy that grownups may find too sad to bear..
A pinnacle for Spielberg and star Tom Cruise, this near-future sci-fi depicts a world of psychic crime- stoppers but is rooted in old fashioned film noir. Arguably the best escapist entertainment the director has produced in two decades. Minority Report rivals some of Spielberg's top adventure/science fiction epics, such as Close Encounters and Raiders of the Lost Ark. What's more, it affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting
This low-key story of a busker on the streets of Dublin (The Frames’ Glen Hansard) who meets a girl that digs his songs is one of the most heartfelt celebrations of music ever filmed. Its handheld realism is the cinematic equivalent of a great live show—a palette-cleanser that strips away layers of studio lacquer in favor of warm tones and deeply soulful characters. While the film seems slight at first, the method that Carney uses to de-construct what we know as the romantic musical, slowly begins to find it's way into the heart, so that by the end, the viewer is involved on a very deep level with these characters..
"...A.I. is superior"
Realizing a long-in-the-works project left unfinished by the late Stanley Kubrick, Steven Spielberg may not have made the film Kubrick would have made, but he stayed true to his friend’s obsession with how humans react when pushed to extremes. The film doesn’t focus on a single character challenged by isolation, war, violence, or jealousy, but turns instead to a creation whose very existence raises uneasy questions about what makes us human: a robotic boy who marks the edges of humanity by almost, but never quite, perfectly imitating his creators. An outcast from a family (and species) where he never fit in, Haley Joel Osment’s Danny travels the border country between humans and machines, finally finding the place where that border has no meaning, only to discover loneliness, isolation, delusion, and death.
#6-UNITED 93
"... powerful not only in the way it provides hope through the actions of a few unlikely heroes, but in its ability to take us back through time to a day many of us would prefer not to remember..."
For Americans, it’s almost impossible to watch this film more than once. And for a cineaste, it’s vital to see it at least once. So rarely is the art of film employed so powerfully in the service of deeply, painfully felt communal tragedy; more often than not, one overwhelms the other, or does disservice to it. So, it’s something of a miracle that, so soon after 9/11, Hollywood, of all places, could produce this movie. The only reason not to watch it would be because you can’t..
You may have a noticed surprising absence of Pixar work on this list despite the fact that no company has made more money, impressed more critics, and pleased more audiences than the bastard love child of Steve Jobs and John Lasseter. True, each Pixar film is a gem in its own right, and it’s widely rumored that the devil has gross points on Lasseter’s soul. However, if you’re talking animation with an unparalleled power to provoke pure wonder and wide-eyed enchantment, even Lasseter would gladly bow down to Hayao Miyazaki. Watching this film is not only to feel like a child again, it’s to dream like a child again.
David Fincher is notorious for his hyper-demanding, Kubrickian pursuit of perfection, where even the simplest shot can demand a hundred takes. With that in mind, rarely have filmmaker and subject been as compatible as in Fincher’s Zodiac, a mesmerizing procedural that follows the still-unsolved case of a Bay Area serial killer all the way down an obsessive-compulsive rabbit hole. What begins as a gorgeous evocation of a region under the grips of a cryptic serial killer—the opening, from the fireworks on July 4, 1969 to the haunting “Hurdy Gurdy Man” sequence that accompanies the first murder, is as good as it gets—becomes all the more fascinating once the case goes cold and only a miserable few can’t bring themselves to let it go. It’s an obsessive movie about the nature of obsession, made by a man who can’t distance himself from the puzzle any more easily than his bleary-eyed characters can.
"Scorsese’s movies usually have an operatic quality; this one reaches the heights of Shakespearean tragedy.”
Martin Scorsese finally won his Oscar for this crime classic that some felt was too old-school to be profound. Watch it again, doubters, and this time pay attention. By casting Leonardo DiCaprio as a cop pretending to be a hood and Matt Damon doing the opposite, Scorsese hit us with harsh glimpses of how corruption starts in childhood. Damon's character was hooked at 12 when a local hood (Jack Nicholson in full Jack glory) bought him off with groceries. This uncompromised vision of a society rotting from inside remains a triumphant bruiser of a film. Even in a decade when Scorsese scored with Gangs of New York and The Aviator, The Departed was his personal best.
PA film is many things, among them a defiance of mortality and a hedge against the fading of memory. All films—from the best to the worst—say something about the way we thought and acted and felt at a particular time and in a particular place. But they’re also artful lies, constructed realities that bend the world into a shape guided by the obsessions of those who make them. (Or the commercial interests of the marketplace, or a momentary whim.) In this, they’re much like memories, which act more subjectively and self-servingly than any film. Painful rejections get blurred. Estranged friends fall victim to careless erasures. We can’t remake the past, but we constantly try to make it a place in which we’re more comfortable living. The Charlie Kaufman-scripted film takes this process to an absurd, moving extreme by positing a world in which technology facilitates our ability to smooth out our past, eliding over the events that hurt us, and removing the people who did the hurting. It’s a freedom that comes, as the leads played by Kate Winslet and a never-better Jim Carrey discover, at a considerable cost. It’s the rare film that shows us who we are now and who we’re likely, for better or worse, forever to be.
Classic, innovative, and totally insane, Paul Thomas Anderson’s masterpiece drinks every other movie’s milkshake. It’s also the great critique of the American character at the start of this century. Anderson stripped away all illusions and forced us to confront our age’s win-at-all-costs ethos with his brutal, touching story of a California oilman who gains the world and loses his son. It’s not an easy piece to swallow, but like a flaming oil derrick lighting the night sky, it inspires awe, fear, and respect. (And watch carefully for the tender sadness of a flashback that makes you feel pity for a psychopath.) There Will Be Blood may still be ahead of its time, but one day, we may well speak of it in the same hushed tones we use for Citizen Kane, The Treasure of the Sierra Madre, Lawrence of Arabia, and The Godfather. Bowling to Brahms’s violin concerto will never be the same again.
In alphabetical order, these are the honorable mentions...
25th Hour

Crouching Tiger, Hidden Dragon
Grizzly Man

Mulholland Drive
Talk To Her
The Bridhe

The Diving Bell and the Butterfly
The Visitor
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