Best of Decade, Part III

This week we continue our look at the films of the decade with numbers 6 and 5 on our lists.

Ryan: When people say they don't make them (movies) like they used to they almost exclusively are referring to the golden age of Hollywood. But that mantra could also be applied to other film eras-- more specifically the anti-hero morality tales of the '70's that helped to define that decade. Michael Clayton (2007), which comes in at number six on my list, plays like one of those classic films from the '70's. In the film George Clooney stars as a “fix-it” lawyer on the cusp of a mental breakdown. He's a broken man who reluctantly gets drawn into a class-action lawsuit against a corporate chemical company but along the way and he's provided the opportunity for moral redemption.

On the surface Michael Clayton is a smart legal thriller but upon repeated viewings it becomes clear--that for what it sets out to be--that it is the most perfectly executed film of the decade. It is technically—from the direction, to the screenplay, to the acting—as flawless of a film that somebody is going to find in this decade. (It only comes in at number six on my list mainly because I just happen to like better the other movies on my list). The film also transcends it's genre by delving into issues of the decade. The tagline of the film, “The Truth Can Be Adjusted,” unfortunately defines much of the national political leadership of this decade and the notion of an evil greedy corporation resonates with the economic uncertainty that has gripped this era. I'll concede that on the literal level Michael Clayton doesn't have the scope of a truly great movie but ultimately it resonates with a perfect blend of timely and classic themes that are executed in a brilliant manner.

Andy: I’m admittedly leaning pretty heavily on the early part of the decade on my list, but one movie I saw this year has resonated strongly enough in the five months since I’ve seen it to check in at number six on my list is Up. The Pixar films dominated the animated scene in the decade. Monsters, Inc., Finding Nemo, The Incredibles, Ratatouille, and WALL-E are all outstanding films. Monsters, Inc. and Finding Nemo are already classics, but as the decade has worn on the Pixar films seemed to become as much about making a good, interesting movie as they were about being appealing to kids. They have managed to make sophisticated movies that are about things kids enjoy watching. The culmination of this is the film Up.

Upon watching Up you know after the masterful first fifteen minutes that this is not going to be like an ordinary children’s movie. An almost completely dialogue free trip through the entire life of the unlikely hero, Carl Frederickson, the start of the movie is some of the best story development I’ve ever seen. By the time the movie really gets going, you know everything important to this man. It seems like it should be a cheap literary trick, but it is executed so beautifully that you don’t care, you just want to make sure your watching when things work out for this guy.


Ryan: Number five on my list is a film that made Andy's list a few weeks ago. Sideways (2004), directed by Alexander Payne, details two best friends (Paul Giamatti and Thomas Hayden Church) on a bachelor party journey in Southern California wine country. During their venture they come across two single women (Virginia Madsen and Sandra Oh).

On Andy's write up he alludes to the fact that he's not a fan of fine wine but that he was nonetheless completely drawn into the story even though the movie centers around people who love wine. I completely agree with that assessment. I'm not into the wine scene but Sidways is such a well-done film that in the end it doesn't really matter if one is into wine or not.
I was also struck, upon re-watching it, with how generationally specific the film is. The movie is basically about four adults having midlife crises and thus one might assume that the movie might not have that strong of an appeal to a younger audience. But that couldn't be further from the truth. Again this film is such a strong movie (with its themes of finding oneself and finding love) that ultimately it resonates with any audience willing to give it a chance.

Alexander Payne deserves loads of credit for crafting (directing and adapting the screenplay) a film that only gets better with age. It should also be pointed out that Sideways contains four career defining performances for its leads. None of the performances won an Oscar (only Church and Madsen were even nominated) but that does not factor in at all when evaluating these performances. In fact I would say that the performances—especially Giamatti's and Madsen's—are two of the most authentic, heartfelt performances of the decade.

Andy: For my number five film, I’m looking at last year’s The Dark Knight. Repeated viewings have me convinced that it is easily the best film in the Batman franchise. It is also the most lasting film from 2008, highlighting how ridiculous it is that the movie was not even nominated for best picture. Also of note, this is the best film from director Christopher Nolen, who was quite possibly the director of the decade (Momento, Insomnia, Batman Begins, and The Prestige are his other efforts) in spite of never being nominated for best director.

It’s appropriate to talk about how Nolen’s script (co-written with his brother Jonathan) is one of the best action film scripts of the decade. Or how Christian Bale solidified himself as both the definitive Batman and Bruce Wayne. Or even how, in spite of being a movie about a superhero, it felt and still feels culturally relevant. But everyone knows that this movie achieves greatness because of the transcendent and terrifying portrayal of the Joker by Heath Ledger. Even if he had not died before the movie came out, Ledger’s Joker would have likely been the most iconic movie character of the decade. But viewing it with the knowledge that this was the brilliant end to a short and impressive career makes it all the more tragic and compelling. The Dark Knight is a very good movie by any measure, but Ledger’s performance ensures that it will be remembered as a great movie.