The Best Films of the Last
Decade |
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I remember in the 90s, there was a series called The History of Rock”n Roll on
PBS around the time of grunge which featured an interview with Bono. He
basically said (and I am paraphrasing here) that the word “rock n’ roll” itself
is probably outdated, and he felt privileged to live in an era in which rock is
morphing into something else. Now it’s mostly hip hop and heavily produced pop
or dance music that is capturing the ears of young people
Something similar seems to be happening in cinema. At one time the lines or
boundaries between feature films and other types of media were pretty clear.
Anything which opened and played in the movie theaters for an extended period of
time was considered cinema. Also, despite the appearance of some great TV shows
like Star Trek, Buffy the Vampire Slayer, and Twin Peaks which rivaled many of
the feature films in quality the best directors and best stories usually were
utilized on the big screen even though there have always been many crappy
feature films. There was often a clear quantitative difference between cinema
and other genres, and usually doing TV was seen as a step down for film
directors. People like Arthur Penn and Robert Altman started with TV than
graduated to film, and people like Kimberly Pierce, Mary Harron, and Tamra Davis
only went back to TV because they could not get enough good feature film
directing gigs (many women went back to TV because they hit a cinema glass
ceiling)
But then things started changing with the advent of cable and streaming and even
Network shows started taking more risks to compete. Now often times the dumber,
more formulaic franchise films and TV remakes hog the big screens for months and
the smarter and artier films are just as likely to debut on Netflix or play just
at a film festival as on the big screen. South side and/or suburban movie goers
had to drive an hour into the city or subscribe to Netflix to see such likely
Oscar nominees and critical smashes as
Marriage Story,
The Two Popes and
The Irishman while the Charlie's Angels remake played in every
mall theater complex in the country. Now everything is up for grabs and we might
have to agree on a new broader definition of cinema no matter what Spielberg
thinks.
There has also been a change in criticism. Cahiers du Cinema, which is one of
the most respected film criticism journals picked Twin Peaks: the Return as the
best film of the decade and even the great film maker Jim Jarmusch who makes
films for the big screen agreed. But as far as I know Twin Peaks: the Return did
not appear in any theaters except for some episodes which played at the 2017
Cannes Film Festival but I am including it.
More critics also have been putting music videos (Beyoncé’s Lemonade was on many
critics’ top 10 lists a few years ago.) I have decided to follow their lead and
include a video and show episode and even a cinematic trilogy on the list
because cinema is not just determined by running time and where its premiers any
more, I am using it to mean in a broader sense to denote quality as well. The
films I most love tend to violate the rules of conventional cinema so I am going
to try to the same thing with my list.
This is a list of the best and most innovative films in any medium. To be more
representative I only included one film per director. (Asghar Farhadi, Lars Von
Trier, Clint Eastwood, Bruno Dumont, Martin Scorsese, and Pawel Pawilkowski made
multiple great films that could have made this list).
Finally, the films are ranked in
order of quality...
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1)
Certified Copy (2010)
This film (which I saw at the
2010 Chicago International Film Festival) was the most moving, thoughtful and
ultimately satisfying feature film of the decade. The Iranian film master, Abbas
Kiarostami’s classy and absorbing drama about a pair of people that pretend to
be a married couple makes us question the very notion of artistic authenticity,
and it’s the best ever improvisational exercise captured in a film. The film is
about a man and woman that might or might not be a real couple. Afterwards I
went to a bar with a female friend and after someone mistook us for a couple, we
went around to different bars pretending we were married all night. Juliette
Binoche just might be my favorite living actress, and when Kiarostami died of
cancer in 2016, he was near the peak of his career and influence (at least we
still have Herzog and Godard). In French, English and Italian with English
sub-titles. |
2)
Twin Peaks: The Return (2017)
This film/show/miniseries whatever you want
to call it, masterfully goes back to update us on the
characters from the 90s show and explores more sinister
secret shenanigans and hidden corruption being the wholesome
image of the town. The series does not make a whole lot of
sense until the second to last episode in which everything
seems to come together and major plotlines are resolved.
Then like a master magician Lynch takes out the rug from
under us and negates everything we think we know as expertly
as the Orson Welles’s magician in F is For Fake. Only the
surrealist master, David Lynch could have made this. The
last episode was better than anything I saw in any medium in
the past decade. This hard to top work is sure to be studied
by film scholars for years. |
3)
Jeanette or
The Early Childhood of Joan of Arc (2018)
Bruno Dumont’s
irreverent, subversive, and unusually surprising historical biopic/musical
focuses on a young Joan before she went to battle (played by two capable
actresses). It was based on “The Mystery of the Charity of Joan of Arc,” a
dramatic text by a socialist mystical poet, Charles Péguy, and the background
music is a jarring mixture of rock, rap, metal, synth pop and hip-hop. The film
does an excellent job of combining the everyday with the divine, and has scenes
of people praying or singing to God while doing banal things such as plucking
chickens. It makes fine use of nonprofessional actors with ordinary voices who
get by with their charisma and apparent sincerity (it’s the opposite approach
used in the slick, professional Glee show.) Bruno Dumont, who also did the hard
to categorize, Li’l Quinquin clearly is on a hot streak. He has developed into a
weirdly wonderful, avant-garde film genius. Lars Von Trier and David Lynch may
need to watch their backs. This was also John Waters’ favorite film of the year
(the man has good taste.) In French with English subtitles. |
4)
The Salesman (2011)
Emotionally volatile melodrama from Iran about a
well-meaning professor (he’s directing a version of Death of a Salesman) whose
life begins to fall apart after his wife is sexually assaulted. With this film
and “A Separation,” director, Asgahar Farhadi proved he is one of the most vital
film makers in the universe. He did not bother to show up for the Oscars for his
best foreign film win to protest American immigration policies. In Persian with
English sub-titles. |
5)
Ida (2014)
Superb minimalist drama about a nun to be who
searches for her parent’s graves only to have her faith tested. This beautiful
black and white film has some of the best cinematography and most striking shot
compositions of the year. The director, Pawel Pawilokowski later made Cold War,
which is also a monumental masterpiece. In Polish with English sub-titles. |
6)
Black Swan (2010)
This daring fusion of dance/art film and
psychological/body horror is about a gifted ballerina who starts to succumb to
her mental demons (and perhaps rivalry) when she gets the lead part in Swan
Lake. As I said in my Kilter review, if Rod Serling and Mario Bava had
collaborated on the Masterpiece Theatre version of Showgirls it might have ended
up like this.
To read my earlier interview with the film’s director go here....
https://www.artinterviews.org/cinema/darren-aronofsky-interviewstory. |
7)
Melancholia (2011)
This devastating film by the infante
terrible, Lars Von Trier, begins with the end of the world
–depicted (refreshingly with almost no special effects
except a bride’s smoking fingers). The rest of the film is
broken into two parts which spotlight two sister characters.
Kirsten Dunst is the mentally unbalanced sister who goes
into a deep depression on her wedding day for no apparent
reason. Is she having a premonitions? Charlotte Gainsborough
is the “sane” sister whose façade of composure begins to
crumble when she is faced with catastrophe. The two sisters
end up switching roles or nonliterally become each other in
a twist on Bergman’s “Persona” in which the two characters
merge. This psychological apocalyptic film is one of Trier’s
most audacious and fascinating works. |
8)
Moonrise Kingdom (2012)
Delightful and beautifully developed
absurdist dramady about an alienated boy scout and an
anti-social young girl who decide to celebrate their love by
living in the woods together. The ensuing manhunt (or is
that boy and girl hunt) is extremely ridiculous (as is
almost everything in the film) and somehow it all ends up
being very life affirming. The plot is nothing great, but
the film is perfectly directed and almost every little event
resonates. This may be Wes Anderson’s most perfect fully
realized film, and it’s the only feature that made me forget
I existed (it made me achieve the visual equivalent of
flow.) |
9)
Embrace of the Serpent (2016),
(For Full Review click the icon)
Surreal, hallucinogenic film is about a
dying man who sails down the Amazon with a shaman in search of cure. This film
brilliantly channels the best works of Alejandro Jodrowsky plus Werner Herzog,
and it has exquisite black and white cinematography. This was the first
Columbian film to be nominated for an Academy Award but it’s a great film
anyway. Someone once said that great art blows the top off your head, and for me
this is the only recent film that accomplished this goal (I recommend as a
mind-altering substitute for real drugs). In Spanish, Portuguese, Aboriginal,
German, Catalan, and Latin with English sub-titles. |
10)
This is America (Childish Gambino video-2018)
I got more out of this short music video
dealing with gun violence in America than some whole novels.
The song and video seem to swing between serious social
commentary and hilarious parody. Oh, and the Get Out parody
towards the end is brilliant too. Of course, the Plugged-In
web site critic did not seem to get it, and tried to
denigrate it for its delightful ambiguity, which is its
greatest strength. I know I will remember this far after I
have forgotten Bohemian Rhapsody and A Star is Born. |
AND BECAUSE I'M A REBEL....
11.) The Irishman
(2019)-Three great actors (De Niro, Pesci, and Pacino) came out of
retirement or in De Niro’s case irrelevance to star in comeback film by
America’s most gifted film maker. Pecsi is wonderfully understated (he orders a
hit with the calm of someone ordering a pizza), Pacino is a wonderfully cocky
ham playing Jimmy Hoffa whose end is inevitable, and De Niro is somewhere in
between (we like him even after he has done the most heinous crimes and even
when we suspect his narration is full of crap.) But one of the most impressive
things about it is that each era’s sequences are shot to resemble the type of
photography that was popular in that era. Even when Scorsese is not quite at his
all-time peak (this does not quite rival Mean Streets, Raging Bull, and Taxi
Driver) he is still better than almost everyone else. It is too bad that Ana
Paquin who is a marvelous actress is once again wasted, but viewers should seek
out her film Margaret for her most devastatingly powerful performance. This film
like Citizen Kane gave me the feeling that I had seen and lived a whole life
alongside the main character.
12.)
First Reformed (2018)- Shocking and
emotionally volatile drama about a dedicated minister who goes through a crisis
of faith after he counsels a traumatized ex-army person who just may be an
eco-terrorist. The lead performances by Ethan Hawke and Amanda Seyfried are
magnificent and moving (perhaps too good and true for the Oscar voters) and the
devastating ending is hard to shake off. Director/screenplay writer Paul
Schrader reworks some thematic motifs from Taxi Driver and Robert Bresson’s
films and comes up with his best film in decades. Like Bresson’s films (Schrader
devoted part of his best book, “Transcendental Style in Film” on him), the film
masterfully explores the theme of gaining enlightenment through suffering. This
also has one of the most erotic nonexplicit sex scenes in the history of cinema.
13.) Holy Motors (2012)-The avant-garde French director, Leos “Lovers on
the Bridge,” Denis Lavant proves his genius by playing/becoming nine different
characters including an assassin hired to kill himself, and a leading man who
plays in a romantic scene with the Australian pop singer/ bubblegum goddess
Kylie Minogue. The director, Leos Carax came roaring back after a 13 year
absence, and he shows that he has lost none of his subversive brilliance. In
French with English sub-titles.
14.) Goodbye to Language (Adieu au Language) 2015 – An anti-narrative
cinematic collage about an adulterous couple played by two pairs of actors and
actresses. Director Jean-Luc Godard shows us things (on digital video!) that you
would never see in 3-D in a film such as a dog playing in snow and people
discussing literature. This film features some of the most creative cinematic
uses of 3-D and freshest shot compositions I’ve ever seen, and one shot is
superimposed over another so if you move your head the image changes. It’s
probably more innovative and invigorating (it woke me up completely) than 90% of
the Oscar best picture nominees. This non-linear meditation on humanity, love
and canines did not make it to Chicago until 2015 (at the Gene Siskel Center),
so it made this year’s list. It might be too demanding for the casual viewer. It
premiered at the 2014 Cannes Film Festival and won the Jury Prize. In French
with English sub-titles.
15.) Before Sunrise trilogy (1995-2015)- I am combining three films here,
Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013) because
all of them merge to create a compelling story of a couple (played by Julie
Delphy and Ethan Hawke) as their relationship changes and evolves over three
decades. The leads are marvelous and uncommonly convincing (perhaps because the
main actors had a role in the writing of the dialogue and they used lots of
improvisation). The film features the most fully realized cinematic couple in
ages, and in the last film we see their relationship painfully unraveling before
our eyes. The slacker decade may have been all about Kevin Smith and Quentin
Tarantino but Richard Linklater, (his Boyhood is also terrific) did the most
substantial work of any of his 90s peers in the last decade.
16.) The Souvenir
(2019)- The prize-winning film is about a naïve and needy London student
named Julie (Honor Swinton Byrne) from a wealthy family who is attending film
school while trying to establish her own identity. Julie meets the much older
Anthony (Tom Burke) who impresses her with his superior experience, his
sophisticated clothing, and his vast cultural knowledge. But he has some dark
secrets and baggage which only seems to only attract her more. He disappears for
long periods of time, keeps weird hours and keeps asking for money. This is the
debut feature of the immensely promising, Joanna Hogg, who already shows an
uncommon command of the camera. The film is very autobiographical and draws
heavily from the directors’ troubled early life. Although it was made by a
newcomer, this film gave me much more satisfaction then recent efforts by more
experienced auteur such as Quentin Tarantino, Spike Lee, Werner Herzog, Wim
Wenders and Asghar Farhadi. Also, The Souvenir is one of the best-looking films
of the year, and it is filled with striking shot compositions that are assembled
as carefully as fine balanced pieces of architecture.
17.) The Assassin (2015) - Ok I admit that the first time I saw this I
did not get it, but by the end of the third viewing I loved it. An assassin (Shu
Qi in an absolutely stellar performance which should made her an international
star) is hired to kill a corrupt leader in 8th century China, but she takes pity
on him when she sees him with a child, so she lets him off the hook. In order to
prove she is still loyal, she is ordered by her superior to kill her former
fiancé (and cousin) who she still may harbor some feelings for. Unlike many
martial arts films like Crouching Tiger Hidden Dragon (this film is probably
much better) The Assassin actually follows the rules of nature and the ballet
like fighters move realistically. The film has a gorgeous setting, and it was
shot in the Taoist Wudang Mountains of China’s Hubei province in the original
language of the Tang Dynasty. The cinematographer Mark Lee Ping Bing created
some of the most beautiful shots I have ever seen, and with this film, the
Taiwanese director, Hou Hsiao-Hsien proves he is a great epic/war film director
in the tradition of Akira Kurasawa, Kenji Mizoguchi, and Im Kwon-taek. Too many
critics use the word poetic too easily, but the term definitely applies to this
film. Thanks to Lynn Fitzgerald for insisting that I see this film.
18.) Tangerine (2015)-This wholly absorbing film concerns the day to day
turbulent life of a trans hooker who discovers her manager/boyfriend has been
betraying her (no one should be too surprised by this plot development). The
explosive , out of control arguments are completely convincing and I felt like
they were going on in a real life diner three feet away from me. Although this
shocking film was shot on an I Phone for 100,000 dollars with no big-name actors
it kept me enthralled than most of the recent Oscar winners, and/or the Marvel
and Star Wars films. I could not decide whether to include this film or Florida
Project which is also great, but I decided to reward the lesser seen underdog
flick on this list.
19.) 12 Years a Slave (2013) - Steve McQueen’s masterfully directed and
emotionally devastating film about an educated free man and musician of color
that was sold into slavery is based on his autobiographical novel about the
experience. This is one the most personal and powerful films about race since
“Do the Right Thing.” For once the story is not filtered through a white
consciousness (like “Amistad.”) and it makes most works on the same theme seem
phony and contrived in comparison.
20.) Endless Poetry (Poesia Sin Fin-2017)-A visually impressive
semi-autobiographical surrealist film by the always inventive poet/performance
artist/comic creator/film maker Alejandro Jodorowsy has some of the year’s most
memorable dialogue and most mind blowing images. Jodorowsky and his own son
shine playing himself at different stages in his life. Oh and the same actress
(Sandra Flores) plays the poet’s spontaneous, controlling muse/girlfriend and
controlling mom (she won’t sleep with him because she is saving herself for a
god that will come down from the mountain.) This is the second film in a trippy,
mind blowing trilogy. Emily Dickinson once wrote that she knows when she has
read a real poem because it makes her feel like it blew the top off her head.
This is one of the few films that did this to me this decade. In Spanish with
English sub-titles.
21.) Winter’s Bone (2010) - Depressing but mesmerizing tale of a girl’s
quest to find her missing dad, and she runs afoul of her meth producing family.
He puts up the house for bail, and if she doesn’t find him she will lose her
shelter and her family. The effects of this unflinching but unforgettable film
are hard to shake off and it brilliantly uses the gritty locale. This was
Jennifer Lawrence’s earliest and best break out role (sorry Hunger Games fans)
but her later work in American Hustle and Silver Linings Playbook was just as
brilliant. Director. Debra Granik went on to do Leave No Trace (2018) which was
also quite impressive
22.) Margaret (2007/2012) - Anna (“True Blood”) Paquin plays a young
woman who witnesses and helps cause a traffic accident. Her desire to do the
right thing may bring about the downfall of an innocent family. Tremendously
powerful and well-acted. This film was originally supposed to be released in
2007, but the film company and director could not agree on which cut to release
so it finally came out in New York in 2011 and Chicago in 2012. Ironically
Martin Scorsese who cut Paquin’s role in The Irishman was partially responsible
for getting Ann Paquin’s best film released.
23.) Inception (2010)-Intelligent and beautifully conceived cinematic
work about the nature of reality is like a perplexing journey through a house of
mirrors. The plot is about a man who is paid to enter an executive’s dreams to
get him to sell off his business. I’m not sure if this is an outlandish sci-fi
or if it foreshadows the corporate controlled future (or present). This cries
out to be seen more than once if you have the time, but it’s worth the effort.
Two music films were tied for this place...
24a.)Searching for Sugarman (2012)- Exemplary documentary about the fine
post folkie American singer songwriter, Rodriquez who lived most of his life in
poverty while he was the one of the highest selling artists in South Africa ( no
one told him and most people thought he committed suicide). A few years after
this film got an Oscar for best documentary, the film’s real life director
committed suicide. This film serves as a daring exposure of the complete greed
and corruption of the record industry, and it depicts an underrated artist who
was able to transform his great poverty and pain into fine art.
24b.) Beware of Mr. Baker (2012) - This marvelous out of left field
documentary is about the hedonistic Cream drummer, Ginger Baker, who played
brilliantly, but could never really get along with anyone or manage his life.
The man had serious psychological problems and his savage confrontation with his
son was almost painful to see. Baker eventually died a few years after the Cream
bass player, Jack Bruce, so Eric Clapton is the last man standing. Music fans
should also check out Baker’s monumentally cranky interview in Rolling Stone.
Thanks to Michael Held for recommending this.
25.) Spotlight (2015)-Fine investigative reporting film about how the
Spotlight newspaper investigative crew broke the Vatican pedophile scandal in
Boston. It contains fine performances by Michael Keaton (who gave the two best
performances of his career this decade) and Mark Ruffalo (who was not my
favorite Hulk). It’s nice to be reminded of what real journalism was in this era
of “Fox Facts.” Then again the Spotlight newspaper did initially bury the story
for years so you can also read it as a scathing indictment of journalism as
well.
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Honorable Mentions:
At Eternity’s Gate, Bad Girls (an MIA video), Blade Runner 2049, Blood Buzz Ohio
(The National video), Blue is the Truest Color, Cave of Forgotten Dreams,
Carnage, The Clouds of Sils Maria, The Disaster Artist, Django Unchained, The
Eagle Huntress (if you liked Whale Rider you will love this), The Girl with the
Dragon Tattoo trilogy, Hereditary, Hobo with a Shotgun, La Quattro Volta, The
Lobster, The Master, Moonlight, Much Ado about Nothing, Nick Cave: Once More
with Feeling, Parasite, Patterson, The Strange Case of Anjelica, The Sun, and
Under the Skin.
I regret that I could not find any room on my top 10 for Paul Thomas Anderson,
The Coen Brothers, Christopher Nolan, Oliver Assayas, Cate Blanchett, Isabelle
Huppert, Saoirse Ronan, and Willem Dafoe who undeniably did some of the best
work of the decade. Benedict Cumberbatch is as good as anyone but he has yet to
deliver a performance on a film that is half as good as the one he gave in
historical BBC productions.
If you want to see some of my previous top 10 lists (some were published on
www.reelmoviecritic.com or the Examiner)
go to
https://www.artinterviews.org/best.
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Vittorio Carli, who teaches at area community colleges, a former film reviewer
for The Star,
www.reelmoviecrtic.com and The
Examiner, and is an avid science-fiction film fan.
For more writings by Vittorio Carli go to
www.artinterviews.org
and
www.chicagopoetry.org.
Look for his poetry book, Tapeworm Salad with Olive Oil for Extra Flavor. |
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