Favorite Films of ’00-’09

100


Wild Tigers I Have Known (2006)

Logan (Malcolm Stumpf) embodied how it was like to come to terms with one’s sexuality and the film handled the issue with such sensitivity without having to sacrifice honesty. This is a difficult film to sit through if one doesn’t have an open mind because, yes, Logan does experiment with cross-dressing, phone sex and creates an alternate identity of the opposite sex in order to be with another boy who is interested in girls. As twisted as all of that sounds, this film deserves a spot on my list because it was daring, sometimes funny, sometimes sad, and fascinating all the way through. Having seen “Wild Tigers I Have Known,” written and directed by Cam Archer, the summer before I went off to the university, it made me interested child psychology.

99


Thirteen (2003)

Although I did have my angry, angsty teenager phase in high school, I wasn’t as bad Tracy (Evan Rachel Wood) when she experimented with drugs, sex and crime. Although “Thirteen,” written and directed by Catherine Hardwicke, did not have a complex story arc, it did show what bad parenting could do to a teenager. Or worse, how it was like for someone to not have any sort of internal locus of control in order to break out of a deadly cycle. Diablo Cody stated it perfectly in “Jennifer’s Body” (2009): Hell is a teenage girl.

98


Grizzly Man (2005)

“Grizzly Man” was Werner Herzog’s documentary about two activists, Timothy Treadwell and Amie Huguenard, who were murdered by the creatures they fought for. After watching this film, I remember I just sat there on the couch for a while because I couldn’t believe it all really happened. This is a documentary about the danger of loving something so much that one gets blinded to the reality of the situation. We can judge the two activists however we want but Herzog honored his subjects by just showing instead of judging. I’m still shocked about what I saw years later.

97


Paris, je t’aime (2006)

18 stories about Paris and the people that loved the city. I haven’t been to Paris and I promised to myself that I would visit at least once before I die. Although only half of the stories worked for me, I ended up loving the ones that did work. One of my favorites has got to be the one when an American woman struggled with her French to describe how much she loved Paris. There was something so honest and beautiful about her broken French. I am moved whenever I think about her sitting alone on that park bench while eating her sandwich and then realizing… something profound. She made me reflect about my life and where I was going.

96


Cashback (2006)

Ben (Sean Biggerstaff) has insomnia and has to figure out (amusing) ways to pass the time during his late night shift at a supermarket. “Cashback,” written and directed by Sean Ellis, is a film about love and imagination and I absorbed every minute of it. There was a beautiful quote I always end up reading whenever I’m sad or needing an inspiration. That is, “Once upon a time, I wanted to know what love was. Love is there if you want it to be. You just have to see that it’s wrapped in beauty and hidden away in between the seconds of your life. If you don’t stop for a minute, you might miss it.”

95


Frailty (2001)

This sinister film about a father (Bill Paxton) convincing his sons (Matt O’Leary, Jeremy Sumpter) that God has told him to murder people really chilled me to the bone. It doesn’t succumb to typicality and it really showed what it wanted to get across. Directed by Paxton, I was surprised with how multilayered (and very atmospheric) it was up until the last second. I still don’t have an answer whether he really did get messages from a higher power or if he was just a broken man with disturbing delusions of grandeur. Lastly, the twist was clever and I did not see it coming.

94


Downfall (2004)

I’ve seen a plethora of World War II movies that features Adolf Hitler but never has he been more terrifying as personified in “Downfall” which was directed by Oliver Hirschbiegel. But at the same time, it was more than how terrifying he was. The picture showed that he was more than a monster like in most WWII pictures—that he was capable of feeling for others and the way he handled those feelings as his regime began to collapse. It’s really quite a unique experience to see him as an actual human being.

93


Shaun of the Dead (2004)

I love zombie flicks and I feel like there has always been an element of comedy in movies that aim to horrify audiences with zombies. “Shaun of the Dead,” written and directed by Edgar Wright, stars Simon Pegg and Nick Frost as two best friends who must save their love ones when everyone around them starts to want to feed on brains. Yes, it’s very cheeky and some of the jokes may not have been as funny to American than European audiences. However, what’s apparent was everyone was having fun and it was able to rapidly reference to one classic zombie movie to the next with wit and confidence. I distinctly remember that scene when the protagonists pretended to be zombies (moaning and slow movements included) to get into a pub. At times the picture was dripping with irony.

92


Chicken Run (2000)

Written and directed by Peter Lord and Nick Park, “Chicken Run” was one of the first movies I saw from start to finish in absolute joy when I first imigrated to America. I remember thinking that it was no ordinary animation because the characters looked like they were made out of clay or rubber. Rewatching it years later, I thought it was very funny, sometimes ironic and it really was creative when it comes to entertaining the kids while at the same time providing social commentaries directed to adults. The one scene that stood out to me was when the chickens tried to escape the chicken farm with a slingshot. While I admire its bona fide sense of humor from start to finish, what I admire more was its sense of adventure.

91


London to Brighton (2006)

“London to Brighton,” written and directed by Paul Andrew Williams, was short but taut thriller–a real nail-biter from start to finish. It’s so refreshing whenever a movie deliberately highlights a line between a person’s job and who the person really is. In this case, a prostitute (Lorraine Stanley) does the best she can to protect a girl (Georgia Groome) from the hands of men who want to take advantage of her. I will not forget the last few minutes of this film because I seriously could not help but squirm in my seat since I was so scared for the two leads. This may be a small movie but it didn’t limit its budget from really telling a story that was crafty and touching. It reminded me that there really are strangers out there who are willing to put themselves in danger to save someone else. The writing just flowed and it ended up being a brilliant piece of work.

90


Bigger, Stronger, Faster (2008)

“But in America, it seems like cheaters always prosper.” It starts off as a critique on American society where most people are willing to do anything to be the best. And then suddenly, it becomes about family values, body images of both youth and adults, childhood dreams, politics, what we’re willing (or not willing) to give up in our lives just so our loved ones can sleep a little better at night. This documentary was able to fuse two things about the American society: how drug-dependent we are and how much our self-esteem is reliant upon others’ evaluation of us. “Bigger, Stronger, Faster,” written and directed by Chris Bell, was truly eye-opening.

89


Super Size Me (2004)

I always label “Super Size Me,” written and directed by Morgan Spurlock, as the one that got me to stop eating fast food for three months. There are more than a handful of jaw-dropping statistics presented here but they were presented with snarky humor; I think that strategy helped make this film all the more memorable. One of the scenes that was cut from the film (which I thought should have made it in) was the experiment that involved which food did not get mold after several weeks. Normal unrefrigerated food get moldy after a couple of days. Fast food, on the other hand, do not get moldy for months. Now this may sound like a positive thing for fast food. However, critical thinking suggests that molds do not grow on unhealthy food because they cannot digest such food efficienty. If microorganisms that have been around for millions and millions of years could not take care of unhealthy fast food how could we expect (as organisms that haven’t been around for very long) our metabolism to do the same? As a student interested in becoming a doctor, I thought it was outrageous that that experiment did not make it into the movie. Granted, the film was very strong by itself and it really should be seen by everyone.

88


Mean Girls (2004)

Tina Fey wrote the screenplay of Rosalind Wiseman’s book and the film marked Lindsay Lohan’s comeback as a new student in a school ruled by three mean girls led by Rachel McAdams. Despite the picture’s glossy material, I thought it was ultimately a satire of the high school hierarchy, not just focusing on the popular cheerleaders and jocks and the loners and “geeks” (I prefer the term “Future Millionaires of America,” thank you very much) separately, but what happens when the two worlds collide. The film had a number of quotatable lines and I thought the movie was quite “fetch” considering it’s the “Clueless” (when, really, it had the potential to be the “Heathers”) of the 2000s.

87


Away from Her (2006)

As a person who works with people who have Alzheimer’s, I thought “Away from Her,” written and directed by Sarah Polley, was poignant and sensitive without sacrificing its accuracy. A husband (Gordon Pinsent) unwillingly puts his wife (Julie Christie) in a home for people with varying levels of dementia. When she falls in love with someone else, he must deal with his own feelings and find acceptance that his wife was no longer his wife even though the body of the woman he loved was still there. The way the dementia of Christie’s character was rapid just like some of the people I see from week to week. I get really sad whenever I think about my first day and how some of the residents made me feel welcome compared to present time when some of them rarely talk anymore. This is another one of those movies that I believe everyone should see because one day we might be faced with the same decisions that the husband had to make. The lessons and insights that this film has to impart are indescribable. They have to be experienced.

86


Boy A (2007)

Andrew Garfield does an amazing job as Jack Burridge who was sentenced to jail as a child because of a murder he committed. With the help of Peter Mullan’s character who is like a father figure to Jack, Jack is given the chance to reintegrate into a society that he left (or of which that left him?). Garfield, within the first five minutes, proved to me that he truly regrets the past and wants to lead a normal life again. He has that childlike quality that is extremely charming, but at the same time there are moments in the film that shows the audience that the evil inside him–which most likely resides within us as well–is not fully expunged despite his best efforts. “Boy A,” directed by John Crowley, is a very good movie that gathers momentum as it goes on and doesn’t break its spell until after the exemplary last scene. This is a thinking person’s movie because it essentially comments on (and even questions) human psychology.

85


Shortbus (2006)

John Cameron Mitchell’s very sexual film involving a group of New Yorkers opened by eyes in so many ways the first time I saw it at the end of high school. What I loved about this film was it wasn’t just about the sexual escapades that the characters took part in. It was also about the emotional components from those escapades that made some of the characters question whether they were really happy with where they were in life. I also liked the fact that it didn’t paint sex in a negative way. In fact, the film argued that it was healthy and maybe even necessary so we could ultimately laugh at ourselves. One of the many qualities of America that I detest is its aversion to anything sexual and magnetism to anything violent. This may easily be labeled as a gay film because it spends most of its time focusing on gay relationships. But let me reassure you–whether you’re a top Democrat or a bottom Republican, or vice-versa, you’ll undoubtedly enjoy this one.

84


Brick (2005)

Rian Johnson’s modern noir story set in a high school is led by Joseph Gordon-Levitt’s determination to find justice regarding his girlfriend’s death. With the help of Brain (Matt O’Leary), the lead character collides with many members of the school hierarchy, including a drug lord, only to realize that the mastermind of it all was closer than he believed. I love the dialogue of this picture because it really reminded me of the edginess that the noir films of the 1940s and 1950s had. It was very efficient with its time with each scene providing a clue on who the lead character should interrogate next. But as classic noir films prove, nothing is simple or quite as clear-cut when it comes to murder. “Brick” may require multiple viewings to be really appreciated but it’s more than worth the effort.

83


The Good Girl (2002)

Jennifer Aniston completely blew me away in this film because I thought she was just a comedic actress. But her turn here as Justine Last who wanted to break out from the suffocating small town she lives in (after meeting an appropriately named Holden played by Jake Gyllenhaal) was devastating. In every frame, I could feel the desperation in her eyes and how much she hated how her life ended up the way it did. I saw this back in high school during my phase when I felt like I hated everything so it was easy for me to relate. Years later, I can still relate with her but on an entirely new level. I can relate with her when it comes to that fear of entering a new level in her life. “The Good Girl,” directed by Miguel Arteta, is one of those first few films that made me fall in love with dark comedy.

82


Jesus Camp (2006)

This film’s content angered me in so many ways because I think converting kids into having an extremist “religion” is just plain wrong. The supposed Evangelical teachings are so twisted, it’s pretty much brain-washing. Getting to these kids before they even have a chance to think for themselves in morally repugnant to me. Those adults who are taking advantage of the kids should seriously be committed into an institution. As angered as I was, I was also very sad because I have an idea with how these kids will turn out. In a nutshell, they will most likely not be happy people because they will always look for something that isn’t there and therefore cannot be achieved. I urge you to see this film as soon as you can so you can see how horrifying the adults’ methods are of brainwashing these children. Directors Heidi Ewing and Rachel Grady made a really powerful documentary. Just recalling what I had seen really digusts me.

81


This Film is Not Yet Rated (2006)

Ever wondered about those movie ratings on the movie posters and prior to watching a trailer? Who really determines such ratings and why are such ratings so inconsistent? This magnificent film, directed by Kirby Dick, will give you answers, while at the same time give you more interesting questions. Several directors such as Kimberly Peirce, Kevin Smith, John Waters and movie critics like David Ansen offer their insights regarding the ratings system and also the sex and violence on screen. After watching this film, I learned to disregard the ratings system because those people in charge are full of bias and homophobia. If you’re a cinemaphile, this is a must-see. If you’re not a cinemaphile, still see it because you’ll be more informed of the information that’s being given to you.

80


Shattered Glass (2003)

I’ve forgotten how much affection I had for this film because it was one of those movies that I saw in transition from being a casual moviegoer to someone who really loves the cinema. Hayden Christensen deserves to be commended for achieving a great feat of making his character sympathetic but not too sympathetic to the point where the character is viewed as a good person. Also, I found the look and feel of this film to be extremely realistic. I’m not just talking about the lighting, props, and sets. I’m also talking about the way the journalists looked, the way they spoke, and the way they acted. It was all perfecly weaved; I’m amazed that “Shattered Glass,” written and directed by Billy Ray, was not embraced by the mainstream.

79


XXY (2007)

Inés Efron does a great job as Alex who has not yet made a decision whether to continue as a female or get an operation to become a male, but has recently decided to stop taking pills which contain hormones that aim to retain her femininity. I don’t know if I felt pity or sympathy for Alex (maybe it’s understanding) but I wanted to scream for her. Every time I look in her eyes, I feel like she desperately wants to escape but couldn’t. She tries to love her body but she’s always reminded by others that she’s different so she constantly reevaluates herself. Even though she has supportive parents and some supportive friends, some strangers are so cruel to her to the point where I wanted to jump into the movie and fight for her. “XXY,” written and directed by Lucía Puenzo, was emotionally exhausting but it was very rewarding since I didn’t know much about Klinefelter’s Syndrome.

78


The Rules of Attraction (2002)

This dark comedy, directed by Roger Avary and based on the novel by Bret Easton Ellis, was taken apart by critics but I couldn’t help but love it. Despite the pointlessness of it all, I bonded with the characters played by James Van Der Beek, Shannyn Sossamon, Kip Pardue and Ian Somerhalder. I’ve read some of Ellis’ novels and they were about the hollowness of the characters and the glitters surrounding their cocoons. I thought this film perfectly embodied that emptiness as the characters experiment with drugs, violence, and delusions. I believe that a lot of college students can relate to this because they will either see themselves in subjects or may know someone like the subjects. Personally, I can write all day about each of the characters because of their many self-destructive behaviors, their ugliness on the inside and the lies they tell themselves so that they could keep on living.

77


Entre les murs (2008)

I thought “Chalk” was a realistic portrayal of the classroom environment but “Entre les murs,” also known as “The Class,” directed by Laurent Cantet, was grittier and far more realistic. Based on the novel and starring François Bégaudeau, this film was a docudrama about a teacher who tries to encourage fourteen- to fifteen-year-olds to be more passionate about learning via being honest with them and using various methods to find their strengths in a span of one year. Seeing François Bégaudeau’s character reminded me of my best teachers in high school (unsurprisingly, my favorite classes: French and Psychology) because even though they always try their best and put on a mask that everything is okay, tiny cracks on their armors are sometimes seen and the frustrations leak out like a dam about to burst. Most American films about inspirational teachers have this message that teachers are always proper, always wearing decent clothes and always having that need to provide a big speech that would change everybody’s minds for the better. None or very minimal of that American formula was painted here.

76


Spider-man 2 (2004)

Peter Parker (Tobey Maguire) tries to balance his personal life, career and saving New York City from Doc Ock (Alfred Molina). Although critically adored and hailed as the best superhero movie at the time (and one of the best sequels ever made), I’ve read some critics mention that watching the movie didn’t feel like a comic book. For me, it did in fact feel like a comic book and that’s what I loved about it. The wonder I felt made me feel like a child again. The translation from comics to film was so seemless yet it was able to retain its roots. “Spider-man 2,” directed by Sam Raimi, was action-packed, full of drama, funny and thoughtful all wrapped into one.

75


Once (2006)

Even though I bought the soundtrack months before I’ve seen this film, the songs are more powerful when I actually saw the actors (Glen Hansard, Markéta Irglová) perform them. Even though it’s a small movie, it delivers a big wallop because it tends to wear its heart on its sleeve. I enjoyed some of the film’s grainy look, shaky camerawork, and toned down dialogue. Somehow, it all felt very real and very sincere. Written and directed by John Carney, “Once” is a simple but thoroughly engaging film that blows grander musicals out of the water.

74


La meglio gioventù (2003)

“La meglio gioventù” or “The Best of Youth,” directed by Marco Tullio Giordana, runs for six hours but I was so invested in all of the characters so I wanted it to run longer. Its focus was on two brothers named Nicola (Luigi Lo Cascio) and Matteo (Alessio Boni) and how the choices they made back when they were young in the 1960s have impacted their respective futures all the way to the 2000s. I really felt like I was watching someone’s life unfold before my eyes because as the characters often reflected on a certain memory when they were younger, I actually had a picture on which memory they were talking about as well as the circumstances that surrounded that event. I’m so happy to have seen “The Best of Youth” because it inspired me to love my life and the people in my life more.

73


No Country for Old Men (2007)

Five minutes into the film, everything started rolling and people started dying. The violence is deftly handled, the dialogue is crisp and menacing, and the characters are endlessly fascinating. I heard a lot of complaints about the ending but I thought it was the right kind of conclusion for this film. My favorite scene has got to be the hotel scene when one of the characters awaited for the enemy behind the door. And then the chase after that was magnificent. Ethan Coen and Joel Coen really know how to tell a story in a unique, sometimes frustrating, but always interesting manner.

72


Not Quite Hollywood: The Wild, Untold Story of Ozploitation! (2008)

I’ve heard of the term “exploitation film” before (mainly from Quentin Tarantino because his movies often reference to that genre) but I never really knew what it really meant until I saw this film and did a bit of research about it. I had no idea that Australia released all these cult classics, some of which have never been released in America. The way Australians made and released these daring movies in the 1970s and 1980s was so refreshing because nowadays, especially here in the United States, those kinds of movies are not made anymore. The documentary, written and directed by Mark Hartley, was divided into several sections which started from movies about sex and nudity and ended with movies about car crashes and extreme violence. I wish this movement would repeat itself here in America because I’m starting to get sick of Hollywood trash being released in theaters weekly.

71


Drag Me to Hell (2009)

Directed by Sam Raimi (“Spider-man” and “Evil Dead” series), “Drag Me to Hell” has more than enough energy to balance comedy with pure terror. What I love about this film is its ability to take risks. Sometimes the horror scenes may look like they’re cheesy or that they should be from a midnight B-movie but one should realize that it’s all purposeful. Raimi wants to communicate to his fans, especially of the “Evil Dead” series, that he’s still got it after all these years and just because he’s directed big-budget Hollywood movies, it doesn’t mean that he’s above using tried-and-true elements like wind and loud noises to scare his audiences. “Drag Me to Hell” is not your typical horror movie. For one, it does not involve stupid, sexually-charged teenagers running around a deserted hallway as they try to escape from a serial killer, or cellphones/videotapes that have ghosts in them. It’s about how one decision that we initially thought others would notice and commend us for turns out to be the decision that ultimately shatters our lives.

70


Sicko (2007)

This film shocked the hell out of me. I saw this with a friend who has relatives in the United Kingdom and he says that Michael Moore is right about the difference between the insurance here in the United States and the insurance there in the UK. Intense tear-jerker moments are abound because one cannot help but feel bad for the families who got screwed over by the greedy insurance companies. This film opened my eyes in so many ways because I had this idea that America had the best health coverage in the world. I guess it is because I see a plethora of commercials about health insurances and how they claim that “it’s for everyone.” I will never see a health insurance commercial the same way. And I will never see America in such a generous light. This is Michael Moore’s best film to date.

69


The Matador (2005)

I loved “The Matador,” written and directed by Richard Shepard, the first time I saw it because this is a classic ordinary guy meets a not-so-ordinary guy… with a little something extra. The timing and pace of this picture is impeccable: the first forty-five minutes focus on how Greg Kinnear, a businessman, and Pierce Brosnan, an assassin, meet and the last forty-five minutes focus on how their lives have changed after their meeting. Greg Kinnear is perfect as a regular Joe who doesn’t see how good he has it despite being often down on his luck. There are a lot of inside jokes (accidental or otherwise) that made me laugh and one of them was the job in The Philippines. Those scenes were so funny to me because none of the supposed Filipinos on screen even looked remotely Filipino. I really couldn’t stop laughing and I thought it was great.

68


Crouching Tiger, Hidden Dragon (2000)

I don’t know about you but when I want to see a martial arts film, I’m more interested in the action than the story. This is one of those gems that happens to deliver both. The battle sequences are inspired, the dialogue was passionate and the film gathered momentum from start to finish. Ang Lee really has outdone himself in this film and it’s unfortunate that I don’t see this picture being cited as one of the best of the decade. People sometimes make fun of me when they see me rewatching this movie when I have nothing better to do. I just can’t help wanting experience something beautiful and truly captivating.

67


Ginger Snaps (2000)

Emily Perkins and Katharine Isabelle star as Brigitte and Ginger, two very close sisters who started off as extremely fascinated with death and the macabre. But when a werewolf attacked them in the playground one night and Ginger was turned into a werewolf, their strong bond was challenged not only by the slow and painful transformation but also because they were beginning to grow up. I thought “Ginger Snaps,” directed by John Fawcett, was particularly astute because it wasn’t just a regular horror film with a scary werewolf killing everyone in its path. It was able to use being a werewolf as a metaphor for adolescence and its physical, emotional and psychological hardships. That metaphor was always at the forefront and it was able to use (dark) humor to comment not only on the characters but the audiences who probably went through the same thing: feeling like an outcast, being overshadowed by siblings, feeling suffocated by family, and feeling like school doesn’t really foster or appreciate one’s talents.

66


Adaptation. (2002)

This was a film about many things: the writer’s struggle to adapt a novel to film (Nicolas Cage as Charlie and Donald Kaufman), a woman’s (Meryl Streep as Susan Orlean) desperation to break out from her loveless marriage and find another soul that she’s compatible with (Chris Cooper as John Laroche), sibling rivalry and the fear of being eclipsed by someone who shares our DNA (or worse, someone who we think is less talented than us), and the fusion of reality and fantasy to tell a story that is not only unique as a whole but utterly unforgettable every step of the way. Directed by Spike Jonze, I absolutely loved “Adaptation” because it was a cinematic experience that was surreal, satirical, stunning, self-aware and not afraid to reference to things that were random. Although it had a lot of insight to offer its audiences, it did not come across as pretentious or preachy. This is a film of rare quality and should be seen by those searching for creativity and vivaciousness.

65


The Shape of Things (2003)

I can see why many people are disgusted by this movie, especially when they are not familiar with the work of Neil LaBute. Along with “In the Company of Men,” this film is a dark comedy at its core despite the cruelty of the characters that inhabit in its world. It is hard for me to not admire this picture because it is character-driven where dialogue makes up most of the film and its climax is bold and shocking. The transformation of Paul Rudd from a geeky museum worker to a stunning potential ladies man is a revelation. But the person that made this movie is Rachel Weisz. One of film’s messages is that some people we come across in life are simply poison. It’s up to us how to deal with them (or don’t) when they haven’t yet decided to strike, and how to deal with the devastation that they have inflicted upon us.

64


The Mist (2007)

Regardless of its nondescript title, this film is fascinating in every way. It has something to say about politics, the way society behaves when the chips are down and the pressure is up, how religion capitalizes on people’s fear, and how people’s actions change when they know that death is about to knock on their doors. On top of that, I appreciated that this is one of those old-fashion horror-thrillers with a mix of comedy–it goes for the mystery, what can and cannot be seen. It is not one of those easy-shock, torture-porn movies that anesthetize people when it comes to violence (although this film is very generous when showing blood and guts). This is one of my favorite Stephen King adaptations to date because it is imaginative and incredibly snarky.

63


El laberinto del fauno (2006)

Written and directed by Guillermo del Toro, “El laberinto del fauno” or “Pan’s Labyrinth” tells the story of a girl (Uvana Baquero) who uses her imagination as an escape from the political battles in Spain 1944. The result was an impressive dark fairytale–the kind of story that we haven’t seen much this decade so this picture is definitely a stand-out. I liked the fact that this was geared more for adults and never takes the easy way out just because the protagonist is a little girl. The look of this film (especially when it came to the monsters) impressed and gave me serious goosebumps. It’s so nice to see an original piece of work from time to time that chooses not to be self-conscious whether it’s going to do well on the box office or not. Truly outstanding every step of the way.

62


Memento (2000)

Directed by Christopher Nolan, “Memento” was about a man (Guy Pearce) who has trouble with his memory yet he obsessively tries to put together the pieces of the puzzle regarding what had happened to his wife. The picture is insightful and knowledgeable about the inconsistencies of memory and the depravity and motivations of people. I’ve taken a handful of Psychology classes so I was able to apply some of my knowledge with the film, which was neat. Still, even if one is not comfortable or has no Psychology background, it’s still thoroughly engaging because twists pile on top of one another like there’s no tomorrow. Over the years, “Memento” has gained popularity but its brilliance is cemented with each viewing.

61


In the Valley of Elah (2007)

Directed by Paul Haggis, “In the Valley of Elah” is one of the best anti-war films I’ve seen in a while. Tommy Lee Jones is excellent as a father who wants to find out who murdred his son and why. Jones is an expert when it comes to looking defeated and tired but he’s incendiary when he tries to keep his anger from bubbling over, spilling, and causing a flood. I’m impressed with this picture because it is so angry in a quiet way. It managed to keep me interested because it does not always show the audience what the characters see. Just when you think that the case is solved, it turns out to be the opposite so it becomes suspenseful. I’m also impressed with the images that this film presented: the flag, the videos from Iraq, the distraught soldiers, the empty land… Somehow, they all fit together because they pretty much symbolize the same thing. I will never forget that scene when Jones tells the story of David and Goliath to Charlize Theron’s son.

60


Le fabuleux destin d’Amélie Poulain (2001)

Whimsical, romantic and very funny, “Le fabuleux destin d’Amélie Poulain” or “Amélie,” directed by Jean-Pierre Jeunet, was a real gem. I remember watching this picture for the first time when I was taking French in high school. Even though I could barely see the subtitles from the back of the class, the images in this film really spoke to me. I actually didn’t need the subtitles because its energy was so vibrant and addicting that it was impossible to resist its charm. Audrey Tautou played the main character who decided to change the world by helping people out reminded me of those classic movie stars in the 1930s and 1940s because even though she seemed delicate, she had the ability to summon inner strength when the occassion called for it. This is a feel-good movie designed for people who need a reminder than beauty could be seen everywhere we look.

59


Signs (2002)

I strongly believe that this film is M. Night Shyamalan’s underrated classic. Mel Gibson, Joaquin Phoenix, Rory Culkin and Abigail Breslin must take shelter in their house as mysterious crop circles started appearing in their farm. What started off as a curious exercise in rising action (strange noises coming from a baby monitor, news reels of alien attacks from around the globe) became a truly horrifying experience as the aliens displaced their neighbor (played by Shyamalan–a reference to Hitchcock) and eventually came knocking on their door. But this wasn’t just an ordinary horror film because this was about the loss and finding one’s faith. I’m not a religious person but I was moved by some of the questions it brought up and the way it suggested we should interpret such questions to find the answers that are right specifically for ourselves. The way Shyamalan played with the camera was fascinating to me and even though he hasn’t delivered quite as strongly since this film, I still believe in him even though a lot of people have lost faith in this promising storyteller.

58


Match Point (2005)

This is hands down Woody Allen’s best film this decade because he was able to incorporate elements from his other pictures such as “Crimes and Misdemeanors” and “Manhattan” and create a cautionary tale about a tennis player (Jonathan Rhys Meyers) falling in lust with a dangerous female (Scarlett Johansson). I loved the way it started off using an aspect in tennis as a metaphor for the events in our lives and built the picture from there. Allen’s direction was very elegant even though the switch of tone in the middle was almost jarring. But that latter part was the reason why I thought this film worked through and through. It proved to me that Allen still got it as both a storyteller and a director because he was not afraid to quickly change direction and really tell a story that was edgy and sometimes quite shocking.

57


The Machinist (2004)

I fell in love with this film the first time I saw it back in 2004 because it was unlike anything I had seen before. It was very dark, uncompromising and quite mind-bending which gave “Jacob’s Ladder” a run for its money. In fact, I believe “The Machinist,” directed with such craft by Brad Anderson,” is better than that film because it had a clearer purpose even though the answers to our questions were just as open-ended. Christian’s Bale’s transformation was just amazing to me. He looked like a skeleton and I was really worried about his health. This film brought up a lot of questions about psychology such as sleep disorders and questioning what was real and what was illusion. The more I thought about this suspenseful film, the more it gave me the creeps.

56


Gin gwai (2002)

“Gin gwai” or “The Eye,” directed by Oxide Pang Chun and Danny Pang, was about a blind woman who received an eye transplant and later discovered that she could see ghosts. What I found so haunting about this film was the fact that the ability could be transfered via the eyes and that the bearer of those eyes could not escape the figures that she saw. Another layer added to the horror was at first she didn’t know that she was seeing ghosts–she thought she was seeing real people. I’ve read about mental disorders that reference to that and it makes the hairs on the back of my neck stand up every time I think about it. Forget the American remake because this one did not even need to try to scare. It was just in its nature. And when it did, it delivered some of the best scares I’ve ever had from watching a horror film.

55


Spirited Away (2001)

Every time I watch “Spirited Away,” I am in complete awe from start to finish. When Chihiro and her family discovered an abandoned amusement park on the way to their new house, Chihiro’s parents were turned into pigs right when the sun started setting and she found herself alone in an alternate universe full of strange creatures and spirits. The level of imagination of the picture was very impressive. Everything was so magical–from a giant baby capable of making threats to a one-footed lamp that worked as a guide–that it was able to easily entertain the kids and make the adults look back on childhood when anything seemed possible. Directed by Hayao Miyazaki, “Spirited Away” was a complex demonstration on the power of imagination. Or better yet, how our imagination can inspire us to pull something from within and make it a reality.

54


The Lord of the Rings (Series) (2001-2003)

When I watched “The Lord of the Rings” series for the first time, I remember I didn’t understand why a lot of people thought the series was a masterpiece. I thought it was overrated, slow, and tedious (not to mention way too long). But upon watching more movies and gaining experience, I now believe that the series is an absolute masterpiece and it deserved every Oscar it received. Although set in a fantasy world, it was more than about defeating evil; it was about friendship, courage, sacrifice and the difficult moral choices one had to make that could impact the future. So the breathtaking adventure was balanced by a healthy load of emotional resonance. Peter Jackson’s meticulous eye for the level of detail with each scene was nothing short of impressive. “The Lord of the Rings” franchise is truly a landmark in the film industry and should not be missed.

53


Bad Santa (2003)

Politically incorrect in every way possible, “Bad Santa,” directed by Terry Zwigoff, did not take any prisoners and I savored every minute of it. A self-destructive conman (Billy Bob Thornton) who was unhappy with his life, along with his partner, decided to rob malls during Christmas Eve. But their little plan became more complicated with they met a boy who decided to teach them was Christmas was all about. Now that may sound sweet and sugary but don’t get fooled. This film is cynical in every was possible and it’s the kind of movie that is not afraid to close with an unhappy ending with the characters learning absolutely nothing. “Bad Santa” is one of those pictures that I saw right when I was just beginning to love movies. It really opened my eyes to the fact that movies do not necessarily have to have a point as long as it was able to make us feel.

52


Open Water (2003)

I will never understand why a lot of people hated this film because when I saw it for the first time, I was absolutely terrified. I don’t like sharks in the first place so watching “Open Water,” written and directed by Chris Kentis, made me not want to go to the beach for months. Shot almost entirely in the ocean, this film had a great sense of suspense. With each passing scene, the stakes got higher because it got darker, it got colder, the sharks began to surround the two leads (Daniel Travis, Blanchard Ryan), and their chances when it came to being rescued became null. The factor that amazed me most was the fact that we barely saw sharks up until the last few minutes. I was very impressed with this independent horror film. Those haters that claimed that “Open Water” was a pathetic attempt to recreate “Jaws” should really re-evaluate their thinking. Just because both films had sharks in it, it doesn’t mean they’re comparable. Both are great films but this one had a more first-person feel to it.

51


A History of Violence (2005)

This first-rate thriller, directed by David Cronenberg, stars Viggo Mortensen as a seemingly harmless man with a mysterious past. After rescuing innocent people from violent criminals in a diner, strange people started appearing in his life and the picture slowly revealed to us who our main character really was and what he was capable of. Although the picture depicts violence on screen, Cronenberg had a subtle way on commenting against violence so the action did not feel glorified. Although it was set in a somewhat rural area, the film had a very modern, somewhat sinister feel to it, as if anything could happen at just about any moment. In my reviews, I always comment on characters and character development. “A History of Violence” is one of those films that really made me want to look and analyze what’s really underneath the layers and how that core affects the character’s motivations and ultimately the decisions that they had to make.

50


Casino Royale (2006)

I outright disagree that Sean Connery is, and always will be, the best James Bond. We have a new 21st century James Bond now–Daniel Craig–and I happen to believe he is the best James Bond… at least, so far. What I love about this film is that it resets the franchise story-wise but manages to keep all the components from the past Bond films that made it into a phenomenon. Craig’s icy-cold blue gaze mixed with genuine humanity and heart creates a character who is both lethal but someone that the audiences can root for. This is highlighted during the scenes where there’s no dialogue; we are left to stare into Craig’s eyes and observe his body language to provide us what his character is thinking and feeling. This isn’t your campy, cheesy, early James Bond films. This is a pure adrenaline action-thriller with astute dialogue that deserves comparison to future Bond pictures.

49


Panic Room (2002)

Directed by the masterful David Fincher, “Panic Room” focused on the survival of a mother (Jodie Foster) and her daughter (Kristen Stewart) in a contained room when burglars invaded their home. The twist was what the criminals wanted was in the panic room. What I loved about this film was its sense of pacing. It had a defined set-up, rising action and resolution without sacrificing the suspense and thrills of being trapped in one place. Pop culture has alluded to this film again and again often for comic relief (thank you, “Family Guy”) but I see that as a good thing because it means it hasn’t been forgotten.

48


The Dark Knight (2008)

I stated in my review that I believe “The Dark Knight” is one of the best films of the 2000s. Even though I was disappointed with some of the elements in the picture, it remains being the best superhero film to date because it had so much ambition, the performances were astonishing, the action sequences were heartpounding and it gave us moral questions worth pondering over. Heath Ledger’s performance definitely reminded me of the ultra-violent Alex in “A Clockwork Orange” and he should be very proud of himself if he was still alive today. It was a great pleasure watching “”The Dark Knight,” directed by Christopher Nolan, even after multiple viewings because I knew that my favourite superhero’s story was finally told with such focus, complexity, and heart.

47


El orfanato (2007)

“El orfanato” or “The Orphanage,” directed by Juan Antonio Bayona, was definitely not an ordinary ghost story because in its core was a heart that radiated even after the credits stopped rolling. But that doesn’t mean that it lacked genuine scares. In fact, there was plenty of suspense, each on a different level. Some of my favorite scenes include the séance, the automobile incident, and when the main character participated in a childhood game. Such scenes made my heart palpitate as if I was watching the best scenes of “No Country for Old Men.” I was really impressed with this film because there were so many chances when it could’ve turned into a typical horror movie. I thought everything about this picture is deftly handled and it made me wish that most American horror-suspense films are more like this, instead of visual-effects focused, Japanese horror remakes.

46


Alpha Dog (2006)

Written and directed by Nick Cassavetes, “Alpha Dog” was inspired by the real-life criminal Jesse James Hollywood. The movie tracked how Johnny Truelove (Emile Hirsch) became a criminal from dealing drugs to actually commiting murder. The picture had a gritty urban feel to it and it reflected the emptiness of the young characters’ lives as they got involved with risky and self-destructive behaviors. It reminded me of a fusion of Larry Clark’s “Kids” and “Another Day in Paradise” although this one was less focused on the bodies and sexualities of the characters. The final minutes of the film blew me away especially with Anton Yelchin’s performance. It was uncompromising, dark and maddening. It’s definitely not the kind of picture that’s suited for everyone.

45


Stanley Kubrick: A Life in Pictures (2001)

I love this movie because it goes over not only all the movies that Stanley Kubrick had made, but also his relationship with his family, the actors that he worked with, and the media. What I love most about Kubrick is even though he is deeply flawed like most of us, he is able to acquire such an accurate view of the human condition and present such views into film in an artistic and unforgettable manner. I couldn’t help but feel sad when the documentary is going over Kubrick’s movies because I’m reminded of the fact that I would never see a new movie made by Kubrick ever again. He puts such thought and craft in each of his films, to the point where each of them is different yet very special. I’ve seen most of Kubrick’s films and I can remember each of them vividly. It was also great to hear what other great directors, such as Steven Spielberg and Woody Allen, comment on Kubrick’s work. Aspiring filmmakers should not miss this film because it is a well of inspiration.

44


Minority Report (2002)

I strongly believe that this movie is one of Steven Spielberg’s modern classics. Set in the future when people are caught before they commit a crime, John Anderton (Tom Cruise), one of the leaders that work for future crime prevention, is predicted to murder someone. He must then prove his innocence by acquiring a minority report from one of the psychics (Samantha Morton). The film had such intelligence because it was able to bring up questions regarding destiny, self-awareness, and the many factors that could blur the distinction between certainty and uncertainty. Not only did it work as science fiction with philosophical undertones but also as a kinetic action-thriller with complex camera movements and an even more impressive imagination. When this picture came out, I believe some of the critics that disparaged it were a bit unfair. With Spielberg’s consistent level of filmmaking, it’s difficult to appreciate his good projects from his great. This one belongs in the latter category.

43


The Exorcism of Emily Rose (2005)

“The Exorcism of Emily Rose,” directed by Scott Derrickson and starring Jennifer Carpenter as the title character, is more of a courtroom drama than a horror film but I think that’s a wise decision. It provides a fresh outlook regarding exorcism pictures. Laura Linney is amazing as a defense lawyer who initially takes the job because she wants to make partner but changes as her faith (or lack thereof) is challenged by both the darkness of the project she decides to tackle and the people that are affected by it. The courtroom scenes are definitely highlights but the scene that stands out to me the most is when Emily Rose’s boyfriend wakes up in the middle of the night and Emily is not right next to him like she is supposed to. The movie challenges those who have faith, those who do not have faith, and those who are in between.

42


Monster House (2006)

Directed by Gil Kenan, “Monster House” is about three teenagers–sarcastic DJ (Mitchel Musso), portly but hilarious Chowder (Sam Lerner) and precocious Jenny (Spencer Locke)–who learn that the house in front of DJ’s home is alive as it starts taking inside it whatever and whoever it thinks to be trespassing (intentionally or unintentionally). So the three form a plan to finally put the evil house to rest. What I love about this animated flick is that whenever I watch it, I’m instantly reminded of my childhood. The dialogue between the three leads reminded me of those teen movies in the 1980’s (and the fact that the parents are barely on screen), while the soundtrack reminded me of the “Goosebumps” and “Tales from the Crypt” television series. Everything about it just brought me back and I guess that’s the main reason why I instantly fell in love with it. I also admired that the premise of the film plays on the archetype regarding scary houses next door and the creepy people that live in them. This should have been seen by more people when it came out in theaters because I think the level of intelligence and creativity matches that of Pixar’s best projects.

41


Nick and Norah’s Infinite Playlist (2008)

Directed by Peter Sollett, “Nick and Norah’s Infinite Playlist” is about the adventures of Michael Cera and Kat Dennings in one night–from finding the drunken Ari Graynor, dealing with the ex-girlfriend Alexis Dziena, having good fun with the gays (Aaron Yoo, Rafi Gavron, Jonathan B. Wright), to attending a “Where’s Fluffy” concert. If one looks at the overall picture, it may not amount to much because it’s directed more toward high school and college students, but it’s undeniably cute and has its genuinely funny moments. We also get cameos from John Cho, Eddie Kaye Thomas, and Kevin Corrigan. There’s also a plethora of music references that range from The Cure to Shout Out Louds. Overall, the picture is very hip, energetic and never fails to put a smile on my face every time I watch it on my iPod.

40


Harry Potter (Series) (2001-present)

The “Harry Potter” franchise, adapted from J.K. Rowling’s novels, continues to impress me with each movie that is released. What I love about “Harry Potter” in general is the fact that even though it is set in a magical world with colorful characters abound, it never loses its emotional core. That is, how it is like to grow up and the emotional highs and lows that comes with that journey to maturity. There’s something special with each installment that I can’t help but connect with because it reminded me of some of my own experiences whether it’s mood swings, the feelings of not being good enough and others. In a way, the magical happenings can work as a metaphor for the unknown that challenges and forces us to be stronger people. Daniel Radcliffe, Rupert Grint and Emma Watson should be proud of themselves for tackling and sticking with such a monolith of a series that never loses magic.

39


Shelter (2007)

I have a weakness for characters who desperately try to keep their families together, especially when they go as far as to sacrifice their own hopes and dreams. Zach (Trevor Wright) is that kind of character and I loved him the minute he appeared on screen. Written and directed by Jonah Markowitz, “Shelter” is one of the best gay-themed movies I’ve seen in a while because every element worked. If one was to watch this closely, I’d say take notice of the use of color and symbolism to reach a deeper understanding of Wright’s character. It’s so refreshing to see a lead gay character who is not into fashion or going clubbing or money/shopping at all (not to mention no one died of AIDS, no cross-dressing, no suicide attempts). I can relate to Zach because he really is a serious person; I wanted to scream for him because Zach is so trapped due to the expectations of his family and of himself. He endures each hardship with such composure, and when he finally breaks I seriously wanted to cry. If this becomes a cult film amongst the LGBT community, I wouldn’t be surprised.

38


Purple Violets (2007)

It’s funny because I’ve always seen Selma Blair as the naive girl who Sarah Michelle Gellar wanted to destroy in “Cruel Intentions” regardless of how many films I’ve seen her star in. This one is the first starring role that convinced me that Blair can be a great actress. Once this film, directed by the always engrossing Edward Burns, started I couldn’t stop watching it because all the actors have a certain energy that made me want to know more. This is undoubtedly a romantic comedy but as I was watching it, I felt like it was a tier higher than that. The film’s core is about deeply wounded thirtysomethings who want to achieve happiness but cannot quite get there because they are not happy with themselves. This movie reminded me of high school when I had all the time in the world to just… write. It made me wish that there were more hours in the day so I could just sit down even for just an hour or two to write about anything and everything. I thought this film was funny and sad with just the right pacing, but above all, it was honest.

37


Finding Nemo (2003)

I remember watching this animated film from Pixar in theaters and I seriously could not stop laughing. I felt like I was kid again and everything felt so fresh and all was right in the world. Written and directed by Andrew Stanton, “Finding Nemo” was about a father clownfish named Marlin (Albert Brooks), along with Dory (Ellen DeGeneres) who he met on his journey to Australian waters, in desperate search for his son (Alexander Gould) after he was taken by a scuba diver. The visuals are absolutely stunning but the story, bona fide sense of humor and touching moments were just impeccable. This is the kind of film that I would watch with my future kids on a weekend morning while we eat cereal in our pajamas. And maybe we’ll watch it again before we go to bed.

36


Death Proof (2007)

Originally part of the “Grindhouse” double feature film experience, Quentin Tarantino’s “Death Proof” was the better film by a mile. A lot of people mentioned that it was “boring” because the action scenes could only be found in the middle and in the end of the picture. I strongly disagree because if Tarantino just gave the violence without the snarky dialogue and characters you can root for, it would just be another Hollywood movie that glorified violence. Those people were obviously unfamiliar with Tarantino because his brilliance could often be found in the dialogue and the way the camera would move from one place (or person) to another. The action sequences were often secondary at best. I loved the fact that the film featured strong women who could fight with words as well as with fists. I’m so sick of watching films that showcase women as fragile creatures.

35


Dogville (2003)

Directed by the controversial Lars von Trier, “Dogville” was about the story of a woman (Nicole Kidman) on the run who ended up in a small town in Colorado. Initially, everyone felt warm and welcoming but the ugliness and the jealousy eventually moved to the forefront. I didn’t care whether it was anti-American or it focused on the negative side of humanity. For a movie consisting of skins and bones (literally, the houses and roads are made out of chalk lines, as if children had drawn them), it was engaging, scary, and mysterious from beginning to end. I absolutely loved Nicole Kidman’s acting because of her mastery in subtle body movements and vocal intonations. Paul Bettany was equally fascinating as a symbol for a wise but sometimes confused humanity. This picture may not have a lot to offer asthetically but it has such depth and interesting commentaries regarding the elements that make up our (sometimes cruel) society.

34


Kiss Kiss, Bang Bang (2005)

Robert Downey Jr. stars as Harry Lockhart, an aimless fast-talking man who gets caught up in a murder mystery along with Val Kilmer as Gay Perry. Everything about this film made me laugh because it was self-aware, not afraid to cite references from the most random sources (which somewhat reminded me of “Gilmore Girls”), and it was able to go in any direction without sacrificing the charm of the very damaged characters. Even though Downey and Kilmer argued a number of times, they had great chemistry and it was easy to tell that they cared for each other. Directed by Shane Black, “Kiss Kiss, Bang Bang” is a satirical hybrid of modern noir and dark comedy. As complicated as that sounds, the lead character assures us that this film would not be like “The Lord of the Rings” by having 17 endings.

33


Mean Creek (2003)

Jacob Aaron Estes directed this dark coming-of-age film about a group of kids and teenagers (Scott Mechlowicz, Rory Culkin, Ryan Kelley, Trevor Morgan, Carly Schroeder) who decided to take a mean, lonely, corpulent kid (Josh Peck) to the woods and take revenge for the things he’s done. “Mean Creek” was one of those movies that I saw and realized how powerful the cinematic medium could be. The picture gave us a situation and allowed us to make moral evaluations without the movie judging its characters before or after certain incidents. I was also very impressed with the level of performances that the actors had because they were able to put themselves in adult situations despite their age and pull it off well. This was a rich film, as most critics mentioned that it was comparable to “Stand by Me” (another one of my absolute favorites), wrapped in simplicity so it’s really worth looking beyond the surface.

32


Milk (2008)

This film made me so proud to be a part of the LGBT community. Sean Penn. Emile Hirsch. Josh Brolin. Diego Luna. James Franco. Alison Pill. Victor Garber. Joseph Cross. Lucas Grabeel. When I saw the aforementioned names on IMDB when they were still filming in San Francisco, I knew I had to watch “Milk” and that I would love it unconditionally. Thankfully, it managed to surpass even my highest expectations. Gus Van Sant have directed impressive films in the past (“Good Will Hunting,” “Elephant,” “Paranoid Park”) but I thought he would tell the story of Milk with a more commercial style. I was elated when I saw his signature awkward camera angles, forcing the audiences to watch crucial scenes via a reflection on a whistle or mirror and everything in between. Having seen the brilliant 1984 documentary “The Times of Harvey Milk,” I knew of the events that are about to transpire in Van Sant’s film, but that never stopped me from hoping that somehow reality and fantasy will trade places and make way for a happy ending. This should have won Best Picture for 2008 and I strongly believe that over the years, this will be regarded as a more important film than the undeserving winner.

31


There Will Be Blood (2007)

Daniel Day-Lewis definitely deserve the Best Actor Oscar for his portrayal of a man so consumed by competition and success. He was funny, scary, sad–but above all, twisted. Because of him, I couldn’t take my eyes off the screen. One minute he was someone one could relate to because he constantly wanted to prove himself, the next minute, he was a complete paranoid psychopath who seemed like he was possessed by the devil. What I loved about this film was its relentless soundtrack: it was always there even though nothing much was happening on screen. It was as if it became a character itself. Paul Thomas Anderson did a masterful job with his character study and making it universal by tackling religion, ambition, business and greed. This picture was 160 minutes long but it was 160 minutes great filmmaking.

30


American Psycho (2000)

Even though there were many great things about this movie I felt like it was seriously lacking something. But I think that was what the movie was trying to tell its audience: something might look stunning on the outside but inside there might lie a big black hole that can never be filled. I’ve seen most of Christian Bale’s films and this is one of his finest performances. Although he may seem extremely charming on the outside, the way he harbors his cravings for a kill in order to calm his inadequacies was brilliant. His inner freak-outs were memorable and darkly amusing. The tone of the film looked sleek and modern but the shadows during the night might suggest something darker and primeval was at hand. “American Psycho,” based on the novel by Bret Easton Ellis and directed by Mary Harron, was above all else a great character study of a narcissistic man on the brink of a breakdown.

29


Hedwig and the Angry Inch (2001)

Written, directed by and starring the talented John Cameron Mitchell, “Hedwig and the Angry Inch” is my favorite musical of the decade but it was actually more than a musical. It was about the many impacts of Hedwig’s unsuccessful sex change operation that left him with “an angry inch.” I love this film because it was kitschy so it made me laugh, the songs were very catchy and insightful and in its core was a message about totally loving one’s self despite (or especially) the flaws. It’s so frustrating whenever I try to recommend this film to friends (most of my friends are straight) because they assume that it’s merely about a sex change operation. Admittedly, it is a topic that not many people want to discuss, let alone watch an entire movie about. But it really is quite poignant and I found it very moving when I saw it for the very first time.

28


Revolutionary Road (2008)

Directed with great skill by Sam Mendes, he tells the story in a non-linear fashion and it works because the audiences are asked to immediately contrast how the couple was like when they met and after they’ve been together for a couple of years. The reason why I loved this film was that I got to watch these two extremely talented actors (with great chemistry) scream at each other for long periods of time; they gave me some sick satisfaction because they were so good at it. Even though the tone of the film was sad and depressing, there were pockets of unforgettable darkly comic moments. I don’t know what it is about me but I always find something amusing when it comes to depressed rich people living in suburbia. This is the kind of movie that I would recommend to couples everywhere who think that they’ve fallen in love after only going out for a short amount of time. It works as a cautionary tale for people who believe in love at first sight.

27


(500) Days of Summer (2009)

“(500) Days of Summer,” directed by Marc Webb, is for movie lovers who love watching films showcasing real-life instead of films imitating real-life. There is a subtle but important difference between the two and this one is well aware of that line it daringly treads. By the end, others may be saddened by Tom’s (Joseph Gordon-Levitt) journey from naiveté to awareness or be uplifted with the possibilities that face him. I belong with the latter because I believe in the necessity of sacrifices for the learning experience. Others may be frustrated with the choices Summer (Zooey Deschanel) made during her relationship with Tom. Webb managed to capture how it was like for a twentysomething to feel lost in the world but still have that glimmer of hope that things would ultimately turn out for the better. Maturity is one of this film’s biggest strengths and it was always at the forefront. I dare say this film was one of the best romantic comedies ever made.

26


El espinazo del diablo (2001)

“El Espinazo del diablo” or “The Devil’s Backbone,” written and directed Guillermo del Toro (“Hellboy,” “Pan’s Labyrinth”), was about a newcomer in an orphanage named Carlos (Fernando Tielve) and the dark secrets that were about to unfold during his short stay. I love the fact that the film started off trying to define what a ghost was. When the proposed definitions seemed unfit, it jumped into the story and actually showed us what a ghost could be. The organic manner in which all of the various elements involving the characters and the extremely atmospheric orphanage was exemplary. I saw this film back in 2002 or 2003, liked it, forgotten about it, and since then became a sleeper hit. I’m not surprised at all because it was so well done. There’s still a lot of people out there that haven’t seen the movie and they really should because it takes ghost stories on a new level.

25


The Others (2001)

Written and directed by Alejandro Amenábar, right from the beginning we know that there’s something wrong with the characters, the place where they live, the fog that surrounds the mansion, and the broken memories of the children. However, we cannot quite put our finger with what exactly is wrong so figuring it out is half of the fun that this film had to offer. On our way to discover the big mystery, “The Others” is able to deliver genuine scares because we do not know what exactly is going on, aided by the fact that each corner of the room is covered in darkness. This movie proves that a horror story does not need special effects in order to generate thrill and tension. What it needs is a creepy atmosphere, unsettling setting, and a spice of great acting. The more I watch it, the more I love and respect it because while it is a solid horror film, its religious implications took it to the next level. If one is to look closely, the movie is not anti-Christian, it’s pro-thinking.

24


28 Days Later (2002)

The first time I saw this film, directed by Danny Boyle, I was in total awe because of how well-written and well-executed it was. Cillian Murphy was electric as a man who wakes up in a London hospital, completely unaware that the city has been evacuated… and the ones left are the hungry undead. I must admit that I love placing myself in his shoes, knowing that all of it is fictional. But when I actually had a dream that was extremely similar to this film, I was absolutely horrified and woke up soaked in sweat, my heart pounding like mad. The tone of the film was nothing like I’ve ever seen in a horror movie, which was really refreshing. The use of silence was masterful and the scares were first class. “28 Days Later” revolutionized zombie flicks because it introduced the idea that zombies could run like sprinters. Years later, (less quality) zombie movies copied the concept.

23


Into the Wild (2007)

Based on a book by Jon Krakauer and directed by Sean Penn, I love that “Into the Wild” is not just about one thing; it’s not just about Christopher McCandless (Emile Hirsch), or family dynamics, or the people one meets on the road, or the life lessons learned (or not learned). It’s about all of those elements combined which made it reach a completely new, raw and captivating level. My favorite scenes are with Hal Holbrook because everything felt sadder, happier yet heavier, and lighter at the same time. There was that one scene when Hirsch and Holbrook sat on this hill and Holbrook says, “When you forgive, you love. And when you love, God’s light shines upon you.” And suddenly the clouds parted and the sunlight fell upon them. I’m not a religious person but that really got to me though I don’t know exactly why… or for way too many reasons. For me, it’s not about a sign that God or a higher power exists–it’s more about the message of what was said and what was left unsaid between the characters, between the landscapes and those that live in and on them, between the film and the audiences.

22


Encounters at the End of the World (2007)

Prior to watching the documentary, I expected to see strange creatures and jaw-dropping landscapes of Antarctica. What I didn’t expect was fascinating human stories of those who live, work, and research that unknown continent. This film really opened my eyes; this may sound stupid but when I think of Antarctica, I think of penguins and endless desert of ice. I don’t think of people actually living there for years–not just living there for the sake of work but actually living there because they feel like they belong there. Werner Herzog, the director, features different kinds of people who have some kind of amazing stories tell. Watching this picture was like a tour of Antarctica. Not only do the audiences get to hear seals communicate with each other, go through survival training during intense ice storms, and see hypnotic landscapes, they also get a chance to think philosophically: how it’s a priviledge for humans to live on this Earth and how one day we will become extinct and nature will regain its place.

21


Where the Wild Things Are (2009)

“Where the Wild Things Are,” directed by Spike Jonze and based on a children’s book by Maurice Sendak, tells the story of a boy named Max (Max Records) and where his mind goes after going through a very tough confrontation with his mother (Catherine Keener). As a person who has taken courses on child psychology, I think the writing is exemplary. A lot of people may think that Max is just a kid who is self-absorbed and immature. But has anyone really met a nine-year-old who does not have any of those qualities? I can barely even name an adult who is not at times self-centered and lacking maturity. While there definitely are cute images, Jonze took the material to the next level and it really delves into many emotions such as sadness, confusion, isolation, not being heard or considered an integral part of a group, anger, jealousy, and even depression. I loved the fact that it’s rough around the edges and far from a typical movie where everyone goes “Aww” and easily label it as a great movie. Yes, it’s a very polarizing picture. However, it’s very rewarding film if one makes an effort to see some parallels between Max’ reality and imagination.

20


Inglourious Basterds (2009)

Those who believe that Quentin Tarantino is slowly losing his touch when it comes to filmmaking and storytelling should watch this film. “Inglourious Basterds” essentially covers three groups of characters: Lt. Aldo Raine (Brad Pitt) and his men’s quest to hunt, scalp, and kill Nazis; the intimidating Christoph Waltz as Col. Hans Landa, a Nazi hunter who prefers to be categorized as a detective more than a weapon of genocide; and Mélanie Laurent as Shosanna Dreyfus, who survived Waltz’ massacre three years ago and had plans of her own to avenge her family. Divided into five sublime chapters, although this was a World War II picture to begin with, it became so much more than that. In the second half, it became about a project about the love for the cinema and using that as a template to put these very intense characters under one roof.

19


Kill Bill (2003-2004)

Uma Thurman should’ve been nominated for an Oscar because she was extremely engaging and convincing as a bride who was hell-bent on getting revenge from her former collegues (Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, David Carradine). The dialogue, the props, the characters, the story, the soundtrack–all were perfectly handled (not to mention memorable) throughout. I know that the studios decided to divide this movie into two because they deemed it “too long.” But I will always consider it as a one giant film just as Quentin Tarantino originally intended it to be. I’ve seen this picture about ten times and I never get tired of it. Since Tarantino packed it with a plethora of cultural references, I always find something new in it. For that reason alone, I consider “Kill Bill” a treasure.

18


Keane (2004)

Written and directed by Lodge Kerrigan, “Keane” was about a man (Damian Lewis) who wandered the streets of New York City claiming that he lost his daughter. This film impressed me because it dealt with mental illness with such sensitivity but it never takes the Lifetime route. Unlike most movies about people with mental illness, this picture did not showcase them as violent just because they were struggling psychologically. I saw “Keane” when I was in high school while taking my first Psychology course. It absolutely fascinated me and I began to crave for more information beyond what was presented in the classroom. That passion is still with me today and I will always give this movie credit for really pushing me to not just learn the disease but to also understand the people who have to go through such struggles. This is a small independent feature film so not a lot of people have seen it which is unfortunate. The performances here, especially by Lewis, are just top-notch.

17


Imaginary Heroes (2004)

“Imaginary Heroes,” written and directed by Dan Harris, told the story of the Travis family after one of the members of the family committed suicide. I saw this movie when I was on my first or second year of high school and I remember considering it as a good film. But after watching it for the second time at the end of my high school career, I considered it a great film. The movie reminds me of my family: the loving yet flawed parents, the lack of communication between siblings, the quest for identities, the feeling of being the black sheep of the family… all of which I could relate to. The one scene that resonated to me the most was when the father (Jeff Daniels) gave his son (Emile Hirsch) a forced embrace when they couldn’t bear the darkness in their lives anymore. Something exactly like that happened to me and my dad. This is still a deeply personal film for me even though I’m no longer at that stage in my life when all I could think about was the hatred I had for everything including myself.

16


Elephant (2003)

This social issue movie, written and directed by Gus Van Sant, stayed with me for a long time after watching it because it made me really sad and scared. Watching a film like this, especially hearing about school shootings in the news, really changes one’s outlook on high school. One must wonder what must go through the shooters’ minds so that they could do something really horrible. But this movie took it to the next level: it was not about asking why they did it–it merely observes instead of making judgment, which is all the more painful. I wish there was a way I can tell unhappy high school kids that things do get better and that they don’t have to be miserable for the rest of their lives–that there is an escape, an alternative; that there’s no need to result to violence because, in the end, if they do choose the path of violence, they’ll only be ruining their lives and those who care about them. This film was hard to swallow, not only because it was more of an experimental film, but also in regards with its subject matter. This is not the kind of picture that one enjoys but experiences.

15


Kinsey (2004)

Written and directed by Bill Condon, “Kinsey” is a great film about the scientific acquisition of information about sex. I saw this movie when it first came out on DVD and it remains one of my favorites because of its unflinching look at a man’s life and his utter devotion to his work. Even though everything around him started to fall apart, Alfred Kinsey (Liam Neeson) remained focused and objective. His study on human’s sexual behavior paved a way for the American society to become more aware about sex, to be able to talk about it more freely, to defy the norm and to realize that sex was a natural thing. I especially liked the bit about Kinsey’s “relationship” with one of his co-workers (Peter Sarsgaard), his conflict with one of his family members, and his interaction with his ever-loving wife, played beautifully and elegantly by Laura Linney. This film is one of my favorite biopics because it felt very personal without being too sentimental. By the end of this picture, I wish I had met Kinsey so I could ask him questions about his work (and possibly to work under his wing).

14


Closer (2004)

I will always consider this a great anti-romantic comedy. I liked the idea of characters lying, cheating, and deceiving each other throughout the entire film. It’s hard to imagine anyone else filling the shoes of Clive Owen, Natalie Portman, Jude Law, and Julia Roberts because each of them contributes something special that makes this picture extremely memorable. I think the title fits the movie because no matter how close the characters get emotionally, they are never successful when it comes to acquiring genuine and complete connection. Each character is strong in their own way, yet weak also. That rings very true to life because we are all damaged creatures, striving to be loved regardless of how we see the world and the people that live in it. This film provides fascinating characters that are highly suitable to in-depth character studies. I think this is one of Mike Nichols’ strongest films because the level of intelligence and emotional resonance are on the same platform.

13


The Deep End (2001)

The thing I love most about this film is its audacity to be atypical. Tilda Swinton is absolutely terrific as the mother who is constantly tested to see how far she will go to protect her son (Jonathan Tucker) and his secrets. Throughout the picture, I felt like I was watching a poker game as I peer over her shoulder, both of us knowing that she has a bad hand, but she keeps calling her opponents’ bets because she invested too much in the round, desperately hoping that the others are simply bluffing. The bleak atmosphere elevated the constantly increasing drama to the point where it almost works as a thriller. I tried not to look Swinton in the eye too much because once I do, I feel like I’m in as much trouble as she is. Directed by Scott McGehee and David Siegel, “The Deep End” was an exemplary exercise in blending the drama and thriller genres.

12


WALL-E (2008)

I’m impressed with WALL-E in so many levels. I think out of all the Pixar films released to date, this is the most atmospheric: from the post-apocalyptic Earth where WALL-E is sent to deal with waste to outer space where WALL-E discovers what he was meant for. The environs reminded me of the ravaged London from “28 Days Later” to the deserted New York City in “I Am Legend.” Despite the eye-candy visuals for children, there were many layers to this film for adults. For instance, there were comments about the way we push our environment to its limits, our neglect for our physical bodies due to recent developments in technology, our eating habits, and our proclivity (whether we are aware or not) toward hiding behind anything that’s available so we wouldn’t have to deal with reality. Although this works as a modern silent film, this also works as a fusion between animation and live-action. Those techniques are uncommon in modern cinema but they are so masterfully sewn into the story to the point where it is genius. “WALL-E,” written and directed by Andrew Stanton, is timeless.

11


Control (2007)

Directed by Anton Corbijn, this film absolutely blew me away. Sam Riley got my attention the moment he appeared on screen and never let go. He played Ian Curtis with such passion and charisma but also highlighted the character flaws and decisions Curtis made in his life. Samantha Morton breaks my heart as Curtis’ wife who really did everything she could to show her love for Curtis. When she finds out that her husband is less than loyal, the way she responded was unpredictable. Like the actors’ performances, this film is very lowkey yet it has an undeniable quiet power that moved me. I thought the decision to show in this film in black and white is absolutely brilliant because it underlines the depression under the beauty that Curtis was going through. Sam Riley really impressed me with his acting: I thought he was the definition of cool when he was walking down the street while wearing a grey coat without a care for the world. Subtle moments like listlessly sitting on a bed really hones in on the apathy of that generation and also the mental breakdown of Curtis.

10


Bourne (Series) (2002-2007)

Engaging in every way, “The Bourne Identity,” (directed by Doug Liman) “The Bourne Supremacy” and “The Bourne Ultimatum” (Paul Greengrass) is my idea of an adrenaline-fueled escapism at its best. The first film set up the mystery that ran in the veins of the other two. From its engimatic opening sequence, Matt Damon convinced us that he is Jason Bourne–even though he turns out to be an assassin, the audience still care for and identify with him. The second film showed us how deadly he could be and what lengths he would go to get revenge for killing off someone he loved. The third film expertly used flashbacks, past dialogues, scenes, character foils, and similar situations that happened in the past two movies. For me, the “Bourne” series revolutionized the spy-thriller genre.

9


A.I. Artificial Intelligence (2001)

I remember watching “A.I.: Artificial Intelligence,” directed by Steven Spielberg, when I was about thirteen years old and I instantly fell in love with it. It was a stylistic hybrid of two of my favorite directors, Spielberg (who provided light and hope) and Stanley Kubrick (who provided edge and darkness). If I were to divide the film into three parts, I would say the first and the third parts were Spielberg’s forte. The middle part was Kubrick to the core but it was not fully realized because he did not get to helm it. I was impressed with the picture’s the visual effects, the moral conundrum concerning the relationship between humans and machines, and the overall message regarding the capacity to chase after one’s dreams. I could only imagine if Kubrick had the chance to direct the entire picture. It would have been an entirely different yet elevated experience.

8


In Bruges (2008)

I relished every minute of this film because it managed to successfully fuse two of my favorite genres–dark comedy and suspense thriller–in an elegant and astute manner. Granted, three-fourths of the movie leaned toward the former and the rest leaned toward the latter but it does not mean it was less rewarding. Colin Farrell and Brendan Gleeson had such great chemistry. As the picture progressed, we get to realize that their characters weren’t just fellow hitmen–they were more like father and son. I was surprised by how much emotionally invested I was with the characters regardless of their occupation. Written and directed by Martin McDonagh, “In Bruges” was an unpredictable, fast-talking thriller with a great balance of smarts and heart.

7


Le voyage du ballon rouge (2007)

I think this film is a masterpiece. Hsiao-hsien Hou did an amazing job in directing and shaping this homage to “The Red Balloon.” Juliette Binoche was electric even though she was a bit more broken down here compared to her other movies. I liked the pluckiness of her character but was frustrated with the fact that she paid more attention to her career than her son. Simon Iteanu, who played Binoche’s son, was sublime as a lonely boy but he did not make us feel too sorry for him. He showed that he was strong in some ways, whether it came to distracting himself with pinball machines or playing a role in his nanny’s movies. Fang Song played the nanny who I thought made the movie that much more interesting. Her style of acting was so nonchalant but there was something about her that was caring and welcoming. Most people will say that “nothing much happened” but that’s the point: to watch a slice of life.

6


Brokeback Mountain (2005)

Ang Lee directed this film about two cowboys (Heath Ledger, Jake Gyllenhaal) who fell in love but decided to keep it a secret because of the difficult circumstances that surrounded them. This movie should have won Best Picture because it was passionate, had a clear sense of vision, and the story was timeless. Labeled as “the gay cowboy movie” at the time of its release, its raw power transcended such easy and hateful labels. The way Lee focused his camera on the land to reflect the characters’ struggles and insecurities fascinated me every time I saw this picture. I remember seeing this film in an isolated small cinema before it gained popularity (and hatred). I won’t forget that feeling of secrecy and experiencing something truly profound.

5


Before Sunset (2004)

Ethan Hawke and Julie Delpy reunited ten years later in Richard Linklater’s sequel to “Before Sunrise.” I couldn’t help but have a silly smile on my face every time Jesse and Celine talk about every little thing that comes to their minds. Although romantic in every way, it is a cathartic experience every time I watch the film because I feel like they were able to voice out the thoughts in my head. The way the two leads changed from the last time we saw them was amusing (because they became more neurotic) and captivating (because of their strong connection). What’s even more impressive is that one can appreciate this film without watching its predecessor. Delpy’s song in the end really summed up their complicated relationship. This picture will always have room in my heart because it never fails to cheer me up.

4


The Aviator (2004)

Directed by Martin Scorsese, “The Aviator” was a biopic of Howard Hughes’ (Leonardo DiCaprio) impressive career as a director and an aviator. Whenever I watch this film, I am simply outraged by the fact that DiCaprio did not win an Oscar for his performance. He didn’t act like Hughes, he was Hughes: the eccentricities, his passion for filmmaking, his lavish lifestyle, the attitude and the swagger. Another noteworthy acting came from Cate Blanchett as she played Katharine Hepburn. Every bit of neuroticism was spot on, to the point where they were eerily similar. The first time I saw “The Aviator,” I liked it but I didn’t love it. But after I watched more films over time and decided to give it a second chance, its magic just engaged me in such a way that few movies ever could. It easily became one of my top three Scorsese movies. This is not just a tried and true biopic. It is an important gem that shouldn’t be missed by anyone interested in character studies and great filmmaking.

3


The Departed (2006)

Indeed another Martin Scorsese picture. “The Departed” was spellbinding on so many levels and it more than deserved its Oscar win. The thrills were more than earned (I will never forget that scene when the undercover cop and the rat were on the opposite sides of the telephone line), the characters were as sharp as a needle, and the script was as tight as it could be. Even though this movie’s running time was about two and a half hours, I don’t mind watching it multiple times because it just blows my mind every time. The subtleties of the acting by Leonardo DiCaprio, Jack Nicholson, Matt Damon and Mark Wahlberg gave the film that extra quality to make it very special. I distinctly remember watching this movie by myself over Winter Break of 2006. It was one of those rare times when I bought popcorn with a huge soda. Let me tell you, I desperately needed a bathroom break because of all that caffeine (unaware of the fact that it was a diuretic). But I held it in until the very last (comic) scene because the film was just a masterpiece. This film started my very own tradition of going to the cinema by myself on December with a huge cold soda in hand. Four years and going strong.

2


Mysterious Skin (2004)

Psychologically complex in every way, this was one of those small films that I saw when I did not love movies as much as I do now. I guess, in a way, “Mysterious Skin” will always have a place in my top ten list because it truly made me want to look into films a lot deeper than most people. Joseph Gordon-Levitt gave a daring and heartbreaking performance as a young adult who was sexually abused multiple times when he was a child. His character was hung up on a person who he believed loved him. Brady Corbet gave as complex a performance who went through the same abuse–except he could not seem to recall what had happened. I love how everything was literal and metaphorical in this picture. For instance, Gordon-Levitt’s character wished to just get away from the place he grew up in (alienation), while Corbet literally believed that aliens had abducted him when he was a child. Eventually, the two characters crossed paths and it was devastating. Gregg Araki, the director, really made a movie (based on a novel by Scott Heim) that was painfully honest and challenging. Every time I watch this film, I cannot help but relate with the characters because some of the emotional barriers that they put around themselves remind me of my own.

1


The Dreamers (2003)

People can and will argue which movie really was the best of the decade but for me it was undoubtedly “The Dreamers,” directed by Bernardo Bertolucci and written by Gilbert Adair, even before I compiled my list. Most American audiences consider this film as pornographic and I cannot disagree more. It is art in a form of moving pictures. I do not want to get started on how Americans shy away from naked bodies and sexuality even though the United States has one of the biggest pornographic industries in the world. If that isn’t hypocrisy at its finest, I don’t know what is. Although the film has a plethora of depictions of carnality, it was more about the love/”love” between three people and the films that connected them. It also worked as a statement regarding the loss of innocence through interactions among other human bodies and the way those interactions served to protect the owners of such bodies from the political revolution that was happening at the time. I’ve seen this film with many different kinds of people (mostly friends) and it was a shame that most of them failed to see the big picture. (I don’t mean to sound condescending but the frustration I feel is too much.) Instead of focusing on how much the three main characters embodied the films they try to mimic (and the films’ impact on their psyches), audiences tend to focus on the sexual acts because it was “shocking.” I guess it’s hard to appreciate the film if one does not have some sort of a historical background about May 1968 (I did research and it enhanced by understanding of the movie). I guess it’s also difficult to see beyond the sexual acts if one has not seen naked bodies many times. I strongly believe that if one can overcome those two main hurdles, one will have a greater understanding of what Bertolucci wanted to get across. Michael Pitt, Eva Green, and Louis Garrel delievered amazing and daring performances; I will always remember them as passionate cinéphiles. Trivia: the original script had explicit gay scenes where Matthew and Theo had sex. Keep that in mind while watching the film. It might enhance one’s understanding of certain scenes and get rid of some distracting implications. In my opinion, the director should not have cut those scenes out. Nevertheless, “The Dreamers” gets my top spot because it was THE movie that made me fall in love with all kinds of motion pictures–good, bad, old, new. If it wasn’t for this very personal (and sometimes challenging) film, you wouldn’t be here reading these words at this very moment because the passion I have for the cinema would not have ignited.