The End of Miramax

So, Disney have announced they are closing Miramax. After two decades of fighting for independent and world cinema, one of the greatest and most successful studios of recent time. As Empire magazine have said Miramax is in many ways The House That Quentin Built, but its important to realise that it was Harvey and Larry Weinstein who took the risk (well maybe risk is to strong a word) on Reservoir Dogs, letting an unknown movie geek, directed a heist film with no heist, starring some of the best actors around at the time.
It was also the Weinstein's who stuck with Tarantino allowing him to indulge himself and direct genius films such as Pulp Fiction and Jackie Brown, but also Kill Bill and Gindhouse, both films which could have been disatrous for both the studio and Tarantino. (NB. I realise Grindhouse was a disaster but they still let him make it).

Then there is Kevin Smith, the indie kid who delivered Clerks on a shoestring and then sold it Miramax. The rest as they say is history, and although Kevin Smith has never managed to equal his success, his indy mentaility found a great home with Miramax, as did Steven Soderburgh whose sex, lies and videotape started the whole independent American cinema resurgence back in the early nineties.

There is also Dimension, the production company responsible for Scream, Sin City etc. And for most of the nineties, the Dimension logo before a film may not have guaranteed a great film, but did ensure an entertaining couple of hours.

The real benefit provided by Miramax though must have been what they did for world cinema. Films such as Life is Beautiful, Kieslowski's Colours trilogy and many others were pushed and given decent distribution, the success of which has drastically changed world cinema distribution in both the US and UK marketplace.

So, it may be the a good time to close down and waning studio, with the Weinsteins having sold it Disney and jumped ship but the studio reinvented cinema in more ways the one in the 90s and the benefits are still being felt today.

Still can't forgive them for Shakespeare in Love Oscar haul though. So not all good.

A Prophet - 2010

A Prophet is the latest film from director Jacques Audiard and tells the story of 19 year Malik, who after commiting an assault on a police officer is setenced to 6 years in prison. The prison in many ways, intended or not, is a microcosm for French ethnicity within society. Split between the Corsican's and the Arabs, and those in between, Malik holds a special place as he speaks both French and Arab, although neither the Corsicans or Arabs welcome him with open arms. To the Corsican's, led by mobster Cesar Luciano (Niels Arestrup) Malik is the perfect fit for a hit on a Arab who will soon testify against Corsican mobsters in court. Before long Malik is given a choice. Murder the Arab inmate or be killed himself. Almost instantly the film grips you in a vice-like hold, and for the next two and half hours refuses to let you.

The film is brutal, brilliant and utterly shocking at moments. There are a number of scenes which have you gripping the arm rests, and others which make you want to pull your eyes from the screen, but you know you never will, for fear of missing another perfectly crafted sequence.

Jacques Audiard is fast becoming one of cinema's brightest talents. His earlier films, such as The Beat That My Heart Skipped, received great critical attention, but A Prophet seems to have elevated him to a new level. The film has a assured confidence one finds only in the most accomplished directors. No scene feels less important than the last, Audiard commanding your attention, and creating a world which feels rich, fresh and original - despite falling into a genre which often creates bland, uninspiring mis-en-scene and characters ripped from the pages of cliche. The greatest accomplishment Audiard achieves is in making, what on the surface looks cliched and predictable, but is not only brilliant, but equally epic. By the films closing moments, is a fantastically simple yet carthartic moment; you feel the passage of time, the growth and character and almost as if you too have served the sentence sentence with Malik
.

A Prophet doesn't really look or feel like a typical gangster film and yet it is, the rise to power of an unsuspecting hero, a man who somehow, through luck, ingenuity and foresight, manages to find the freedom in prison he failed to find in the real world. In this way A Prophet is a damning indictment of the prison system and the potential for rehabilitation. Prison life may not be glorified or presented in a flattering light, but it does show, that with some brains, now how and the right people you can become a much more successful and dangerous criminal than you ever were before you went it.

A Prophet is held together by the two central performances, both astonishingly well rounded, notably from first timer Tahir Rahim (as Malik) and Niels Arestrup and a director in complete control off every frame. The film also works as a stunning assessment and commentary of French culture, as potent and insightful as Laurent Cantet's The Class.

Films of this quality and achievement are rare, and should be savoured. Audiard's A Prophet deserves all the plaudits it has recieved, and more. One of the most engrossing films in recent times... just don't show me a spoon anytime soon.

Up in the Air - 2010

The worst thing I can say about Up in the Air, Jason Reitman's lastest comedy, is that it ends. I can't remember the last time a film finished and I didn't want it to. The film is also irrefutable proof that George Clooney is a modern day Cary Grant. Subtle, charming but without his usual need for cool, Clooney expresses a range of acting that is rarely seen in modern romantic comedies. But then, this isn't like modern romantic comedies. It never feels cliched, instead it is fresh, original, with two characters who have masses of on screen chemistry, yet also feel like real believable people; not just idealised versions of what romantic leads should be. Up in the Air is also a film which reminds me of the classic Wilder comedies of the 50's or the Cary Grant comedies with its zinging, pithy dialogue.

The sotry centres of Ryan Bingham, who works for a corporate downsizing company, spending all his time in planes, airports or hotels flitting between cities to lay off the staff for companies unwilling to do so themselves. With the current financial climate this film feels more relevant, and at times you wonder if the light hearted comedy will jar against the depressing nature of the story, yet in the hands of Clooney and Reitman, the film manages to be funny and moving in equal measure. What makes Clooney even more endearing is that his goal is a simple one. To accumulate 10million airmiles. That's it. Nothing more, just to join an elite club. This provides not only a measure of the comedy, but also sheds light on to the type of character Clooney is playing.

On his journey Bingham meets Alex (Vera Farmiga - sexy, effortlessly charming, and the equal of Clooney in every way) who is essentially the female version of him. Together they embark on a love affair across states, catching an evening here and there whenever their hectic schedules send to the same place. It's here, in the witty exchanges, like comparing the size of their airmiles, as if it was the most intimate of secrets, that the film achieves its greatest heights. Not for a long time as a romantic couple on screen been so seductive.

Bingham though has other problems. Loving his life, spending 250 odd days a year on the road, and somehow finding time to give motivational speeches about losing all the baggage we carry round, Bingham is paired with young colleague Natalie (Anna Kendrick), who is attempting to revolutionise Bingham's industry without even understanding it. She threatens his existence by devising a plan for the company to fire people not face to face, but using a webcam. This subplot, which in lesser hands would derail the entire film actually ends up giving the film its heart. Kendrick more than holds her own, where a lesser actor would have faded or competed against the chemistry of Clooney and Farmiga. This film highlights Kendrick as an actress to keep an eye on.

What makes this film stand out against the usual, run of the mill romantic comedies is that it is a bitttersweet journey, and one which has a unlikely protagonist. Bingham is isolated, prefers to be alone, and doesn't believe in marriage or children. In many ways he is unlikeable, but when he is laying people off, you seen his humane side. He understands human nature, how devestating losing your job is, and so he provides an unlikely and unexpected comfort to these people. The film also benefits from using actual people who have been laid off over the past years, allowing them to draw on their own experiences.

The film also refuses to deliver the typical rom-com ending, and this final resolution provides a fitting end to a film which never veers anywhere near convention. A film which is pertinent to the current climate, has a heart and charm unlike any comedy for years, delivering a breath of fresh air so far from the recycled air of an airplane that when the credits begin to roll, you feel alive, and a great appreciation of life. Its in the final images that Reitman interweaves the two central plots most effectively, allowing the theme to come to fore - of those who have lost their careers and the pursuit of love.

Reitman hits the big time, with a effortlessly charming romantic comedy, with a potentially career best performance from Clooney, and a message which nevers feel trite. This is what Hollywood used to do best, and Reitman may well be the unlikely director to rekindle the past, especially if his next film can equal the beauty and simplicity of this gem.

Daybreakers - 2010

Yet another Vampire film clogs up an already hectic genre, with variations on variations. Over the past few years the genre has come back from the dead, just like Dracula, and already it seems as if the life has been sucked out of the genre. For every Thirst, or Let The Right One In, there is a Twilight of Daybreakers.

Conceptually, the film isn't actually too bad. Set in 2019, vampirism has all but rid the world of humans, and as such the vampires are now in danger. With the human race dwindling, blood supplies are running low and no alternative or substitute has been found or created. Ethan Hawke plays Edward Dalton, a scientist with human sympathies, whose job it is the find a suitable substitute to blood. He is joined by Willem Dafoe, a former vampire, who somehow, reverted back to being human, and now leads the resistance. The other recognisable face is Sam Neill, as the bad guy and Ethan Hawke's boss.

Daybreakers explores some interesting themes, and through some of its subplots we glimpse the potential for a quality science fiction, but unfortunately writer/directors The Spierig Brothers seem more interested in poorly concieved action sequences and excessive amounts of blood letting, so the dilemma Neill feels for his human daughter not wanting to be a vampire, or the relationship between Hawke and his brother, who turned him because he didn't want his brother to stay human, or the human survivors hiding from detection who are brutally and mercilessly hunted by the vampires, or the concept about a vampire class system are never fully explored and developed to make this film feel fresh or original enough to merit much interest. It also feels as though this film is trying to become the first part in a potential franchise, and therefore doesn't focus on telling a story which is fully contained and comprehensible.

Once Hawke's character stumbles upon a potential cure for vampirism and realises the best way the replace the need for blood, is to take away the need itself the film veers off into a pointless, senseless action. This ideais equally as interesting as the other ideas, especially, what happens to vampires who are blood deprived, raising questions about the nature of why a vampire drinks blood; ostensibly it gives them the one thing they need to maintain their human side.

The third act descends in a violent, blood letting, and the Spierig brothers seem obsessed with decapitated heads; I eventually lost count. The preposterous performances don't help, and their is no sense of emotional cartharsis, unless you find cartharsis is stupidly balletic violence.

So a film which shows some potential, but is never commited to any of the great ideas swashing around vying for attention in a film more concerned with coming across as cool as opposed to intelligent.

Kubrick's Napoleon - The Greatest Film Never Made... @ BFI

To coincide with the release of Alison Castle's epic book on Kubrick's unmade masterpiece Napoleon, her follow up to the fantastically insightful and comprehensive Kubrick Archives, the BFI last night presented a lecture on the film and the compilation of the book. Unfortunately the books editor Alison Castle was unable to attend, and present her lecture (another victim of the recent weather) but to make up for it, and at very late notice Christiane Kubrick stepped into the breach along with her brother, and Kubrick collaborator Jan Harlan.

Harlan began by giving, first a brief background to his relationship with Kubrick and his collaboration with the filmmaker, before discussing how he came to work on the aborted project for Napoleon. Christiane followed this reading through Castle's lecture, explaining how she first ventured into Kubrick's archives and how when she arrived she was overwhelmed by the level of research and information Kubrick housed in his Estate. Despite the fact that Napoleon was never made the research Kubrick undertook far surpassed any of his other completed films.

The slides which accompanied the talk demonstrated the vast amounts of research and the obsession and dedication Kubrick had for the project. Trunks full of draft scripts, box files upon box files of location photography, production notes, transcripts of interviews, costume fittings etc. All of which is compiled in extensive detail and beautifully reproduced in the book.

Following the talk, Jan Harlan and Andrew Birkin had a discussion with Rhidian Davies, the Curator, Public Programmes for BFI Education. Both worked on the project at different stages, and Birkin, for example, who began working with Kubrick on 2001 A Space Odyssey. He finally came to Kubricks attention suggesting a British location for the dawn of man. Kubrick then made him Assistant Director on Special Effects and he shot the front projection plates for the Dawn of Man sequence. His work on Napoleon involved scouting and photorgraphing locations in France, visiting every place Napoleon have ever visited. Birkin revealed that Kubrick had intended to shoot many of the interiors scenes - such as Napoleon's throne room - using a more advanced front projection system he developed on 2001. Birkin was engaging, informative, and had an almost encyclopaedic knowledge of Napoleon.

Jan revealed many of the key developments of Kubrick's thinking on the film, and the development of the project including, rather mouthwateringly the potential cast members including David Hemmings, Ian Holm and Jack Nicholson all in contention for Napoleon, although when MGM pulled the plug, Hemmings had apparently secured the part. Audrey Hepburn was approached to play Josephine, but turned down the role. Alec Guinness and Peter O'Toole were amongst the actors considered from supporting roles.

There was also some discussion on the screenplay Kubrick wrote, which exists on the internet here. What was most intriguing, both in the scripts discussion and also in reading the script, which I did in preparation for the event, is Kubrick's grappling with a strong, central story, and the vast sums of history which he clearly, at this early stage, felt was necessary to convey the magnitude of Napoleon's life.

In conclusion, Kubrick's Napoleon: The Greatest Film Never Made was a fantastic look into the mind of a genius, and his pursuit to tell an epic historical film about the life of what he considered to be the most interesting man who ever lived. As with all of Kubrick's films the story and man explored a central theme Kubrick repeatedly explored; the fallibility of man. It emerged that Kubrick was fascinated with a man who was so brilliant and yet failed. A man who above all else was human - this, explained Christiane is why Kubrick chose to begin and end the film with Napoleon's childhood toy; a teddy bear.

What the script also achieves is to portray Napoleon in a complete unsympathetic, unsemtimental and unbiased way. He presents the man, and tells the story, through the aid of a detached narrator from a distant point of view, presenting Napoleon as a gifted, brilliant but ultimately fallible man. What the script also offers is a crash course in Napoleonic Era history.
There are problems in the script, but as it was revealed, this is merely a first draft, and Kubrick was known to rewrite even on set.

What Kubrick's Napoleon could have been is anyone's guess. But by looking first 2001 A Space Odyssey, and then Barry Lyndon you can begin to imagine just how inspiring and brilliant the film could have been. What's left is possibly the greatest film never made and an archive which stands as a testament to one of the most uniquely brilliant artists not just of the 20th century but of any age.

Dune - 1984

I first saw David Lynch's Dune a few years ago. I knew of the source material, the reputation Frank Herbert's tome had, but knew little of the story. And so watching film was not only a little confusing, but also contained a mystical attraction - which I know put down to Lynch's aura and my lack of knowledge of Dune. Now, having having read (one of the most incredible books of my life) Icame to the film with a different perspective. Firstly Lynch should be commended for his screenplay and effectively condensing enough material to make a trilogy into 2 hours worth of cinema. He should also be commended for creating such a visually vibrant and unique universe. Yet the film is so incomprehensible if you are not completely familiar with the source text; there is also a rather rushed character arc for Paul (The always watchable Kyle MacLachlan), and a lot of the major character developments within the book are breezed over, and come not through action by through some intuitive voiceover. Lynch can't really be criticized for this. He is tackling a beast of a story, and has managed to do so admirably.

The film is also helped out by a very watchable cast, grappling with dialogue that even a great Shakespearean actor such as Patrick Stewart struggles with. The action set pieces are also exhilarating, especially the final duel between MacLachlan and Sting. But ultimately the film lacks the weight of the book or any number of classic science fiction films, and also contains some fairly shoddy and now dated visual effects.

With word of the new remake, adaptation of Dune, and the failed attempt of Jodorowsky's Dune, the myth and life of Dune continues unabated, and a new director must now tackle one of the most difficult science fiction books. What Lynch gave us was a unique interpretation of the book, which remained as faithful as possible, and also showcased one of American cinemas most original and visually challenging voices but the film is evidently the weakest Lynch has made and is now more a curio than a classic.

Night and the City - 1950

Directed by Jules Dassin Night and the City tells the story of Harry Fabian (Richard Widmark), a hustler in post war London always looking for an angle, and always failing. After a meeting with retired wrestling legend Gregorious (Stanislaus Zbyszko), Fabian devises a plan to promote a wrestling match and thus get rich. In order to do so though he must avoid local wrestling promotor and underworld boss Kristo (Herbert Lom) who also happens to be Gregorious' son.

Shot on location in London the film shimmers with brilliance, both the performances from Wdimark, and Gene Tierney as Mary Bristol, Fabian's lover, as well as the strong supporting cast of character actors. The chiaroscuro lighting is sumptuous and fatalistic in equal measure, as Fabian scurries around the city looking for the finance to promote his wrestling match, Mutz Greenbaum, credited as Max Greene, does a wonderful job of capturing London, and rarely has it looked so stunning. The script also bristles with intensity and beautifully captures the desperation of Widmark's Fabian. The film is also notable for is complete lack of sympathetic characters, but what it manages to achieve is making each of the characters human, in world which has little to no regard for such a concept.

There are number of key seqeunces which elevate this film above a lot of the bog standard film noirs, the highlight being a seemingly endless, brutally and violent wrestling match, on which the hopes and dreams of Fabian hang. During this sequence, I found my self shifting closer and closer to the edge of my seat. The one scene highlights the genius of the film. I was gripped by a series of characters for whom I felt no sympathy and yet could not help but empthasise with their plight. Widmark in particular was a man on the cusp of crazy; his performance a series of sweating, pleading moments as he tried, with all his power, to drag himself up in the world and make something of his life.

A superbly brilliant piece of noir filmmaking from a stunningly talented directed, who made the film in the UK after he was blacklisted and forced to leave America. Night and the City is a groundbreaking Noir thriller with some great performances and a devestating ending. A must for any fan of film noir.

The Life and Death of Colonel Blimp - 1943

Michael Powell and Emeric Pressburger are fast becoming two of my favourite filmmakers. Over the past year I have enjoyed watching their films from the famous; Black Narcissus, A Matter of Life and Death or The Red Shoes (which I recently saw in a digitally restored print at the BFI or the less famous A Canterbury Tale and I Know Where I'm Going. Despite having seen only a handful of their films, I am convinced The Life and Death of Colonel Blimp is the most accomplished, beautiful and brilliant piece of cinema they ever created. Even surpassing my previous favourite, Peeping Tom.

The Life and Death of Colonel Blimp tells the story of Major General Clive Wynne-Candy, and his experiences fighting in 3 Wars. The film uses a rather effective framing device which picks up the story during the Second World War when Wynne-Candy is one of the founding members of the Home Front. From there, through a clever dissolve we flash back forty years to meet, a much younger, fitter and decidedly more Roger Livesay looking Wynne-Candy.

Over the next two and bit hours through stunning performances from Livesay, who portrays the General over the entire 40 yrs, aged using some of the finest make-up effects I've ever seen, Anton Walbrook - fast becoming one of the most underrated actors in my opinion, as life long friend Theodor Kretschmar-Schuldorff and Deborah Kerr, playing three different characters, but essentially fulfilling the role of Wynne-Candy's love interest.

What marks this film out as the mastepiece that it is, is not only its innovative flourishes, such as the a scene which sees Wynne-Candy prepare for a sword fight with Walbrook's Kretschmar-Schuldorff, only the the camera to pull back, out of the hall, and sweep down before dissolving into a shot of Kerr waiting in a carriage, to its hilarious humour and rollicking good story. All the actors are clearly enjoying themselves but never at the expense of the story, or the theme. Powell and Pressburger's script zips with great lines and inventive storytelling techniques, never missing an opportunity to push the boundaries of cinema.

That this film was made during the war, and is now over 50 years old, highlights the astonishing achievement the filmmakers achieved, but also that it feels as vibrant and fresh today as it must have upon its initial release. The film also doesn't lose any of its controversial standpoint, allowing us to empathise and even love Walbrook's German officer, at a time when Britain was deep into conflict with the Germans. What is even more shocking, and helps to explain the reasons Churchill attempted to have the films production shut down (although this was not based on the finished film), is that its Kretschmar-Schuldorff who recognises and adjusts to the changing and shifting shape of war, especially the new enemy which are the Nazi's. While Wynne-Candy becomes an archaic figure, representative of the British war effort, and those running it. In this way the film was seen as a satire upon release, and in many it is, as biting as it is funny.

The film is also intrinsically British, and proud to be such, and in this way it is also utterly enjoyable. The film is proud of the British heritage, and strength of our character, and wears this pride on its sleeve. But Powell and Pressburger are also deeply aware of the effect of such Britishness and lampoon it through Wynne-Candy's caricature.

Very few films aim to achieve as much cinematically, culturally and historically as The Life and Death of Colonel Blimp and even fewer succeed with such aplomb. One of, if not the greatest British film ever made, Colonel Blimp will last forever, and forever bring joy and wonder to its audiences.

Top 100 Films of the Decade

So here it is. After much deliberation, and lots of revisiting the films which stood out, I have not only whittled down the thousands of films I saw over the past ten years (easier than I thought), but I have ordered them based on my opinion of their quality, importance and impact on me (harder than expected). No doubt you will disagree with my list, either the exclusion of certain films or the order. This is not meant to be definitive, as many other lists claim to be, but merely my take on the decade. I hope you enjoy it.

100. Almost Famous (2000)
Directed by Cameron Crowe
99. Bad Education (2004)
Directed by Pedro Almodovar
98. Munich (2005)
Directed by Steven Spielberg
97. The King of Kong: A Fistful of Quarters (2007)
Directed by Seth Gordon
96. Hero (2002)
Directed by Zhang Yimou
95. Mean Girls (2004)
Directed by Mark Waters
94. The Mist (2007)
Directed by Frank Darabont
93. This is England (2006)
Directed by Shane Meadows
92. Ten (2002)
Directed by Abbas Kiarostami
91. The Class (2008)
Directed by Laurent Cantet
90. Sexy Beast (2000)
Directed by Jonathan Glazer
89. An Inconvenient Truth (2006)
Directed by David Guggenheim
88. Chopper (2000)
Directed by Andrew Dominik
87. Intolerable Cruelty (2003)
Directed by Joel & Ethan Coen
86. Time of the Wolf (2003)
Directed by Michael Haneke
85. Italian For Beginners (2000)
Directed by Lone Scherfig
84. Synecdoche, New York (2009)
Directed by Charlie Kaufman
83. Che (2008)
Directed by Steven Sodeburgh
82. Solaris (2002)
Directed by Steven Soderbergh
81. A.I. Artificial Intelligence (2001)
Directed by Steven Spielberg
80. Volver (2006)
Directed by Pedro Almodovar
79. Kill Bill Vol. 1 (2003)
Directed by Quentin Tarantino
78. Moulin Rouge! (2001)
Directed by Baz Luhrmann
77. Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by Gore Verbinski
76. Bamako (2006)
Directed by Abderrahmane Sissako
75. The Dark Knight (2008)
Directed by Christopher Nolan
74. Sideways (2004)
Directed by Alexander Payne
73. Talk To Her (2002)
Directed by Pedro Almodovar
72. Ocean's Eleven (2001)
Directed by Steven Soderbergh
71. CousCous (2007)
Directed by Abdel Kechiche
70. Requiem For A Dream (2000)
Directed by Darren Aronofsky
69. In The Loop (2009)
Directed by Armando Ianucci
68. Eternal Sunshine of the Spotless Mind (2004)
Directed by Michel Gondry
67. Spider-Man 2 (2004)
Directed by Sam Raimi
66. Before Sunset (2004)
Directed by Richard Linklater
65. Zatoichi (2003)
Directed by Takeshi Kitano
64. Nightwatch (2004)
Directed by Timur Bekmambetov
63. American Psycho (2000)
Directed by Mary Harron
62. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Directed by Larry Charles
61. Belleville Rendez-vous (2003)
Directed by Sylvain Chomet
60. Anchorman: The Legend of Ron Burgundy (2004)
Directed by Adam McKay
59. The Man Who Wasn't There (2001)
Directed by Joel & Ethan Coen
58. Shaun of the Dead (2004)
Directed by Edgar Wright
57. Dean Man's Shoes (2004)
Directed by Shane Meadows
56. A Serious Man (2009)
Directed by Joel & Ethan Coen
55. Pan's Labyrinth (2006)
Directed by Guillermo Del Toro
54. Lost in Translation (2003)
Directed by Sophia Coppola
53. The Descent (2005)
Directed by Neil Marhsall
52. Control (2007)
Directed by Anton Corbijn
51. Gomorrah (2008)
Directed by Matteo Garrone
50. Spellbound (2002)
Directed by Jeffery Bitz
49. Traffic (2000)
Directed by Steven Soderbergh
48. Team America: World Police (2004)
Directed by Trey Parker
47. The Incredibles (2004)
Directed by Brad Bird
46. The Proposition (2005)
Directed by John Hillcoat
45. Audition (2001)
Directed by Takeshi Miike
44. Hunger (2008)
Directed by Steve McQueen
43. Amelie (2001)
Directed by Jean-Pierre Jeunet
42. Far From Heaven (2002)
Directed by Todd Haynes
41. Amores Perros (2000)
Directed by Alejandro Gonzalez Inarritu
40. Ratatouille (2007)
Directed by Brad Bird
39. Infernal Affairs (2002)
Directed by Andrew Lau & Alan Mak
38. Memento (2000)
Directed by Christopher Nolan
37. You, The Living (2007)
Directed by Roy Andersson
36. Etre et avoir (2002)
Directed by Nicolas Philibert
35. United 93 (2006)
Directed by Paul Greengrass
34. The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by Andrew Dominik
33. The Three Burials of Melquiades Estrada (2007)
Directed by Tommy Lee Jones
32. Dancer in the Dark (2000)
Directed by Lars von Trier
31. Capturing the Friedmans (2003)
Directed by Andrew Jarecki
30. The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003)
Directed by Errol Morris
29. City of God (2002)
Directed by Fernando Meirelles
28. O Brother Where Art Thou (2000)
Directed by Joel & Ethan Coen
27. A History of Violence (2005)
Directed by David Cronenberg
26. WALL - E (2008)
Directed by Andrew Stanton
25. 4 Months, 3 Weeks and 2 Days (2007)
Directed by Cristian Mungiu
24. Crouching Tiger, Hidden Dragon (2000)
Directed by Ang Lee
23. Donnie Darko (2001)
Directed by Richard Kelly
22. The Bourne Ultimatum (2007)
Directed by Paul Greengrass
21. Together (2000)
Directed by Lukas Moodysson
20. Let The Right One In (2009)
Directed by Thomas Alfredson
19. Oldboy (2003)
Directed by Park Chan Wook
18. Dogville (2003)
Directed by Lars von Trier
17. There Will Be Blood (2007)
Directed by Paul Thomas Anderson
16. The Hurt Locker (2009)
Directed by Kathryn Bigelow
15. Grizzly Man (2005)
Directed by Werner Herzog
14. Downfall (2004)
Directed by Oliver Hirschbiegel
13. In The Mood For Love (2000)
Directed by Wong Kar Wai
12. Gosford Park (2001)
Directed by Robert Altman
11. INLAND EMPIRE (2006)
Directed by David Lynch

10. Zodiac (2007)
Directed by David Fincher













9. Brokeback Mountain (2005)
Directed by Ang Lee















8. Hidden (2005)
Directed by Michael Haneke












7. The New World (2005)
Directed by Terence Malick














6. Mulholland Drive (2001)
Directed by David Lynch














5. The White Ribbon (2009)
Directed by Michael Haneke















4. No Country For Old Men (2007)
Directed by Joel & Ethan Coen













3. The Lives of Others (2006)
Directed by Florian Henckel von Donnersmarck














2. Spirited Away (2001)
Directed by Hayao Miyazaki












1. The Lord of the Rings (2001 - 2003)
Directed by Peter Jackson



First things first, The Lord of the Rings may have been released theatrically in three parts, but to count each film individually is to overlook the actual story, the achievement and manner in which Jackson and his crew went about shooting the trilogy, and also Tolkien's original vision. The Lord of the Rings is one story, broken into three parts simply because of how big the story is. To separate it would undermine Jacksons achievement.
The Lord of the Rings is quite simply one of, if not the finest achievement in cinematic history. To take one of the great works of modern fiction, and translate it so effectively, and so comprehensively to the big screen is one thing, but to completely realise this world, make it feel inhabited, and find a cast of actors who can handle the dialogue without it feeling confusing or convoluted is something else.
The technological advancements Jackson achieved are also magnificent, from the Mumakil, to Gollum, the CGI to the model work, everything and everyone on The Lord of the Rings were on the top of their game, and the film stands as one of those rare instances where all the elements came together perfectly. The Lord of the Rings is not only the best film of the decade but one of the finest works of cinema ever.





In closing....





So in many ways the Noughties has been a dissapointment. A lot of great filmmakers have begun a slow decent whilst potential greats have failed to step up to fill the void left by the old masters. The death of masters Bergman and Antonioni was greeted with statements about the death of cinema. Certainly no filmmaker today as achieved the global reputation of these two, but cinema has been worse, and as these 100 films, and all the great films which I failed to see, have demostrated that amongst the mediocrity exists genuine films to cherish, and although Hollywood seems to be moving more and more into franchises and remakes, there are still hard working filmmakers looking to push the boundaries and definitions of the art form, and that is a reason to be optimistic into the next decade.





Over the past ten years I have aged from 16 to 26, and have developed my appreciation and understanding cinema. These films represent what I consider they pinnacle of achievement over the past decade. I look forward to looking back in ten years time to see if these films are still has powerful, vibrant, relevant and engrossing as they are now.

Review of the Decade - TV Shows

Has there ever been a better decade for television. Below is just a handful of the landmark, and monumental works of television which have aired over the past ten years. A selection of shows I haven’t seen enough of that may merit inclusion include The Sopranos, The West Wing, Deadwood, Arrested Development, Mad Men, The Shield, 30 Rock, Futurama and Curb Your Enthusiasm. Here though stand the 10 greatest Television Shows of the past ten years. That most of them are amongst the greatest TV shows of all time is a testament to the amazing creativity which has developed. It’s ironic that in an age when TV seems to be losing all morality, and reality TV shows clutter up not only the schedules but also the mind, there is still space and time for, if your willing to look, some of the most uplifting, inspiring and beautifully crafted characters and stories ever created.







10. Family Guy
The best comedy family since The Simpsons
Sharp, witty, irreverent. Family Guy is, if nothing else, hilariously funny. It may lack the charm of The Simpsons but its aimed a far older and more mature audience. If you don't like it, you probably don't have a funny bone.












9. The Office
It's funny cos its true
The british comedy phenomenon, giving us the writing talent of Ricky Gervais and Stephen Merchant, Th Office broke with traditional sitcom conventions (laugh track, jokes) to create one of the most inspired, brilliant and observant comedies of recent years. In a decade which became overwhelmed with reality TV, and the desire to become famous, The Office managed in 12 episodes and a Christmas special to connect with a generation of viewers like nothing else.













8. Generation Kill
From the creators of The Wire. Need I Say More
Telling the true story of the recon marines who were the first American soldiers to cross into Iraq. Across 7 episodes we grow to love, hate, admire and respect the soldiers as we also see how American arrogance and poor decision making constantly put the men in danger. One of the few TV or Film's to actually capture the conflict in Iraq effectively, and its achieved mainly by finding the human story behind the conflict. Unflinchingly brilliant TV.















7. South Park
Crude, rude and Lewd. What more could you want
When South Park started at the end of the last decade it felt a little like a one trick pony. Yet, as the years have gone by the writing as become wittier, cleverer, and more culturally relevant. That it takes only two weeks to make an episode demonstrates the genius at work, and Parker and Stone are wise enough to never present a polemic, instead taking shots at both sides of the argument and showing the hypocrisy of both.















6. Peep Show
This is what men reallt think. And it's brilliant
This is the funniest, wittiest and unashamedly honest comedy on TV. A unique, original style and content which felt as if it might not last, is, in its 6th season going as strong as ever. The show may be on the wane, but Jez and Mark are two of comedies great creations and even if the quality is beginning to dip, its still head and shoulders above anything else.
















5. 24
Addictive, intense, brilliant. It's Jack
There has never been a better endorsement of DVD boxsets. The most addictive, compulsive TV around. It may be highly unbelievable and utterly preposterous, but like a drug, once your jack in, its very difficult to give it up. The show has also managed to deal with some of the most crucial issues affecting the world in the 00s and for this reason 24 is in many ways the most important show of the past decade. Season 6 may have felt as though the novelty had worn off, but 7 saw a return to form and 4 and 5 are two of the best seasons of TV ever created.













4. Six Feet Under
Death as never been this good
Pitching a show about a family who run a funeral home must have been a tough sell, but then it was created by Alan "American Beauty" Ball. Therefore it is one of the most interesting, engaging and emotionally resonant TV show of all time. A great range of complex, lovable characters trying to navigate the right path in life, whilst simultaneously having to face the prospect of death of a daily basis. What makes this so beautiful is how real the characters feel. If you don't shed a tear during the extended final episode you are probably already dead.















3. Lost
The greatest mystery in Television history.
Love or hate it, Lost is the big phenomenon of the 21st century. It's also probably the last great mytharc show. For a time it seemed like it was going nowhere, but the one constant in Lost is that no-one can second guess the creators, and each answer spawns a question more compelling. It's also a show you spend infinitely more time thinking about that watching. Quintessential complusive TV, by the time it ends, it could be one of the few truly exceptional works of TV ever created.















2. Battlestat Galactica
Sci-Fi you can takr seriously
If someone had told me that a reimagining of a awful TV show which clung to the coat tails of the success of Star Wars would become the finest science fiction show of all time I would have laughed. But Battlestar Galactica isn't your average sci-fi. Addressing issues of what it means to be human, terrorism, mythology, whether we as a race deserve our existence - its as good at being personal drama as at sci-fi epic battles. The truly great thing though is that characters you love are forced make decisions which turn them into monsters, and yet you know, deep down that you would make the same choice.















1. The Wire
The single greatest TV show ever created.
As Charlie Brooker wrote, I’m jealous of anyone who hasn’t seen The Wire because they have it all to come. I watched The Wire over about four months, long after it initially aired and shortly before it was re-broadcast on BBC2. Over the course of 5 seasons, the creators developed and introduced us to nearly 100 characters, all of whom felt real, but not just real; they felt as though they had always existed and as if their lives continued after the scene, episode or series ended. The show contained great moments of comedy, wit, heartbreak, drama, fear, tension, action and mystery, and managed to do all of it with more authority, authenticity and style than any other show in existence. Yes it might be bleak, but there is always hope in The Wire. Hope in the people who want to stop the game, to break the system and improve the lives of those caught in its web. But most of all The Wire is the great human drama of our age. It is the closest we have to modern Dickens. FACT!

Review of the Decade - Film (Female Performances)

The big debate around female parts in cinema is that there just aren’t enough strong, leading roles for women, and this list contains four supporting roles, and six leads. Despite this argument, which doesn’t look like going away, the decade has seen the emergence of some of Hollywood’s greatest talent in years. I have unfortunately not seen enough foreign actresses performances and so they are notable by their absence, but Julie Delpy, Sophie Marceau, Monica Belluci, Isabella Huppert, Michelle Yeoh, Zhang Ziyi, Maggie Cheung, Marion Cotillard, Deborah Francois, Franke Potente are just some of the actresses working outside Hollywood that have impressed.

10. Kate Hudson

Almost Famous

(2000)

Kate Hudson falls into that cateogry of potential great actresses that fell into below par romantic comedies from which she may never recover. Thankfully we will always have Penny Lane, a role Hudson made her own, and one which should, based on her performance have launched a decade of great performances. She is sexy, vulnerable, seductive, childish, charming and had a profound affect on me when I first saw Almost Famous - a term which aptly seems to apply to her now more than ever.

9. Q'orianka Kilcher

The New World

(2005)

I almost hope to never see Q-orianka in a film again. Her role is so beguilling, so hynoptically beautiful that you leave the cinema believing Malick must have plucked from the past; that she could very well be the actual Pocahontas.

A rare performance from a rare talent, she even manages to out act both Christian Bale and Colin Farrell.

8. Julianne Moore

Far From Heaven

(2002)

Todd Haynes love letter to the melodramas of Douglas Sirk has at its heart and powerful, heart wrenching performance from Julianne Moore as the wife of a homosexual man, whose affections for the black gardener ostricise her from her family and community.
Julianne Moore is, in many ways an actress cast from an earlier generation, and her other, similar role in The Hours demonstrates her ability to battle the emotional turmoil in a repressed society that still saw a woman's place as in the home, and a loyal wife.

7. Julia Roberts

Erin Brockovich

(2000)

This may well be the last great performance of an actress who at one time was the most well paid, and famous actress in the world. As her star has waned in the past year, this film now stands as a monument to what could have been a gloruous decade for the once Pretty Woman. Roberts has never been so commited, sensing the potential for awards, and the Oscar she picked up was wholly deserved.

6. Nicole Kidman

Dogville

(2003)

At the turn of the century, Kidman's career seemed to be going nowhere, an actress more famous for being Mrs Cruise, than for being a great actress. A series of roles, of which this was the pinnacle, demonstrated a technician at the top of her game, and the rare emotion, the setless film forced, allowed Kidman to show why she is one of the finest actors working today.

5. Cate Blanchett

The Aviator

(2004)

The greatest actress that ever lived playing the Kathryn Hepburn. Like her role in I'm Not There, there just isn't another actress alive who could portray the tour de force that was Hepburn. Blanchett imbues the role with a frivolity and vulnerability rarely shown in Hepburn's performances and would have made the great actress herself proud, which is some compliment

4. Laura Dern

INLAND EMPIRE

(2006)

Playing essentially three versions of herself, it could have been easy for Dern to get lost in the labyrinth that was INLAND EMPIRE. Instead she displays a range of acting, and commitment to the role unlike anything she has achieved before. Dern becomes the pillar which holds Lynch's imagination down, and the performance is even more magnificent when you learn Lynch didn't have a script. Dern so effortlessly gives herself over, becoming a conduit for Lynch's mystery and the personification of the films meditations on the female.

3. Ellen Burstyn

Requiem For A Dream

(2000)

I first fell in love with Ellen Burstyn in the wonderful Alice Doesn't Live Here Anymore. In Requiem For A Dream her role is a sub plot yet, its this story, of an aging widow, desiring to be a contestant on her favourite TV show, who becomes addicted to weight loss drugs in an attempt to achieve her dream, which packs the emotional wallop, as you see her succombing to the addictive, hallucinatory powers of prescription medication - the only real victim in this story.

2. Cate Blanchett

I'm Not There

(2007)

There is only one actress alive who could pull off being a man, an possibly the most iconic man on the 20th century. Outacting the 5 other actors playing versions of Dylan (Heath Ledger, Christian Bale, Ben Whishaw, Richard Gere and Marcus Carl Franklin), Blanchett performance is astohishing and should have earnt her an Oscar. Poltraying Dylan at his most famous, and most similar to the real man, this is one of the rarest, and engaging, performances you'll see in this decade, or any other.

1. Naomi Watts

Mulholland Drive

(2001)

There's no real point raving about Watts' career defining role in David Lynch's bizarre, nightmarish surreal drama. Instead just watch her audition scene in the film. Not only is an example for all budding actors how to play the enotion not the line, its also serves as the benchmark for acting this past decade. Watts has demonstrated in the past decade, an ability to take powerful, gut wrenching performances and making them about more than the performance. She never shows off, and can look astonishingly beautiful yet unassuming at the same time. A talent which is rare for leading ladies, especially in this day and age.