"Shocker?'"
Ocean's Eleven
(2001) Steven Soderbergh
I know, I know. Re-makes are a ballsy proposition when considering films that are great, valuable and most importantly, unique. But, seriously, what other movies can you think of where you honestly, guiltlessly refer to them as "cool?" I mean, this thing's a multiple showcase, working as both a crowd-pleasing caper as well as a showcase for that underrated duo of the oughts, Clooney and Soderbergh. Soderbergh's produced something like 15 good to great to perfect indie films over the last decade, and that earns him kudos as likely candidate for director of the decade. But this is him in dual operating modes, making a clever, mainstream, likable heist movie, with artistic (not pretentious) ambitions. This was the peak of his creative powers IMO. Also, Clooney solidified his leading man status by being the coolest dude EVER as Daniel Ocean. Yeah, the crew was perfectly cast and developed, and the writing was just so snappy, and let's not forget that snazzy score. But Clooney became a lead of near Newman-esque heft, handsomeness and affability with this. Who else can get away with ordering "whiskey. and a whiskey." like him?! "Ocean's Eleven" was a great time, easy to rewatch, and far more noble in terms of style and intentions (unlike the sequels, or the original).
Why can't I sound this cool? http://www.youtube.com
"Look closer. Seriously, what the hell am I looking at!?'"
Cache (Hidden)
(2005) Michal Janeke
In post a 9/11, web-ready, Patriot Act world, privacy and security seemed like the biggest of issues for us this last decade. German director Michael Haneke not only understood that everybody feels unsafe, but used that paranoia to create probably the most intelligent, calm and assured mindfuck you'll ever see. And that's just MY interpretation of this unsettlingly potent thriller about a man lead into a disturbing mystery after he finds that someone's leaving tapes on his front doorstep. What are on those tapes? Why, they're merely single take, extended length shots of the man's home (see above picture). This, like many other films on the list, didn't readily affect me until I had time to digest and think about what exactly I had seen. For a better perspective though, I'm gonna have to give the nod to Ebert, and encourage you to read his Great Movies Essay on the film. But I know this: in terms of thrillers, nothing beat this when it came to themes and craft. It almost destroys you while you watch it. Oh Haneke, you awkward auteur.
What do you see? http://www.youtube.com
"What?'"
No Country for Old Men
(2007) Joel and Ethan Coen
Why didn't I realize this sooner?! "No Country for Old Men" IS the very best western film of the decade. Forget the horses and crooning and the John Wayne-ish talkin' pardners of past gunslinger films. "Old Country" was a brave, new western. A thinking man's western. The Coens brought their most accomplished film to date in this infinitely rewatchable film, making both a visceral chase saga and Tex-Mex existentialist piece. When drug money goes missing, somebody's going to find it, come hell or high water. Friendo. Oh, and I won't even bother wasting your time heaping praise on Javier Bardem as Anton Chigurh, because, well, he's already got enough praise (second to the other great villian, Heath). A meditation on masculinity (differently embodied by three great actors), "No Country" was a cocktail of potent filmmaking. A near perfect film. But most importantly, it's one smoking hot western. Friendo. Dah! I can't stop!
Please leave my store. http://www.youtube.com
"Oh, snap! I'm outta here.'"
The Hurt Locker
(2007) Kathryn Bigelow
Let's avoid my usual "sobering" anecdote on this one. Who in the hell knew that Kathryn Bigelow had it in her? After I declared this tops for 2009, I set out to buy every other film in Bigelow's filmography, because I wanted to know who the hell this master helmsman was. The smartest, most gripping and potent war film this decade ... was from the director of "Point Break?!" Well, it was improbable ... but certainly not impossible. After years of masculine, structuralist chic (not to mention latent homoeroticism), Bigelow emerged in 2009 with her explosive magnum opus, a meditation on war and its effects on the people that participate in it. Some might argue that bomb defusers as main characters make for all-too-easy ways to evoke tension and drama ... but it seems peripheral when you realize that it's men and women that go to war. In my initial review for the Daily, I postulated that "Hurt Locker" was the best Iraq War film to date, and was deserving of Oscar consideration come the end of the year. Well, I was right and wrong. It certainly deserved its gold statuettes for director and Best Picture. But I was wrong about calling it the "best Iraq film to date." "Hurt Locker" is actually a masterpiece.
Boom! No, I'm not dicking around. http://www.youtube.com
"Does anyone remember laughter?'"
Almost Famous
(2000) Cameron Crowe
You know, this totally planted the seed for my need to write? I mean, not only did Crowe's delightful "Almost Famous" romanticize pop culture and a bygone era of exciting journalism, but it kinda entranced me. 15-year old boy gets picked up by The Rolling Stone to follow a rock band around, and experience some truly life-changing stuff. So, yes, it is a coming-of-age story. But what a grand, heartfelt one it is. Cameron Crowe based the story of teen lead William on his own experiences as a teenaged writer for The Rolling Stone. That's right, Crowe was the lucky bastard plucked from obscurity (thanks to his literate, witty writing style, on display here) to write for the magazine. That's not to say I'm jealous. I've had my brief affair with arts writing. She broke up with me. But I'm trying to get her back. What? Oh, yeah, "Almost Famous" is a wonderful evocation of lost innocence, fame, reality and the experiences that last a lifetime. It goes for the heart.
"I dig music." http://www.youtube.com
