Filmotomy Culture: The 100 Best Films of the 21st Century

75. A.I. Artificial Intelligence

Resurrecting a project developed by Stanley Kubrick, A.I. sees Steven Spielberg in more reflective, pessimistic mood. Essentially a riff on Pinocchio, the film ponders the nature of love and what it is to be human, taking us on an epic voyage with David, a robot child programmed to love his human mother. Only to find himself abandoned by her, when her own human child is brought back from the brink of death. Merging the cold, clinical aesthetic of Kubrick, with the warmer, observational aspects of Spielberg’s own oeuvre, the results are fascinating, incorporating seamless effects with a haunting, bittersweet allegory and a remarkable performance from Haley Joel Osment. — Chris Watt

74. Ex Machina

A marvelous, multidimensional film that, through expert toying of light and darkness, subtle visual cues and superb acting, slowly peels its layers to reveal different outlooks of the same, immovable focal point – freedom. The movie is equally about postmodern intellectual brilliance as it is about primordial love; about the importance of safeguarding boundaries as much as the human drive to question them, push and, utterly, shatter them to pieces. — The Greek

73. Your Name.

What opens as an anime picture that colors the skies with a meteor shower, quickly transcends any expectations we might have had, and soars on ahead into our blood stream. Your Name splashes intrigue and wonder into your face from the opening seconds and won’t take its foot off the gas from there til its very last moments. Effortlessly leaving live action for dead in spectacle and emotion, Japanese film-maker Makoto Shinkai based the screenplay on his own novel, where Mitsuha, a high school girl living in a mountainous town, and Taki, a high school boy living in the hustling urbanity of Tokyo, cross paths through a concept we’ve seen before, but I assure you never ever quite like this. — Robin Write

72. Blade Runner 2049

The long-awaited follow up to the now divisive science fiction classic is no disappointment. Ryan Gosling and Harrison Ford turn in their best work yet, with Roger Deakins’s Oscar winning cinematography setting a beautiful multicolored backdrop for a heartfelt, incredible story. — Jennings Collins

71. Dogville

Like a couple of other filmmakers in this list with more than one entry, Lars von Trier compels us to embrace the weird and the discomforting cinema. Though the Dane is arguably more of an open wound in terms of his popularity as a person, irregardless of the impact of his films. Here, in Dogville, an indirect middle finger to America is one way to look at it, but this is such a complex social commentary display on a literal minimal canvas. It’s an unflinching journey for all who watch as labeling gooseberry bushes soon turns its attention to open-plan rape. There is a power to von Trier’s inventiveness here, with the satirical, deadpan narration from John Hurt, or the lurkings of despicable evil within the once deceptively wholesome community. — Robin Write

70. Kill Bill: Vol. 1

This was my first exposure to writer/director Quentin Tarantino back in 2003, and it’s his gonzo-style approach – combining spaghetti westerns, martial arts flicks, his love for pop-culture references from the 60’s and 70’s (Hell, there’s even a Dario Argento reference in one segment, and an whole scene shot in Anime form in another!) – That has stuck with me ever since. Much like 1994’s Pulp Fiction when Vincent Vega stabbed Mia Wallace in the heart with a syringe-full of Adrenaline, this genre-bending action film was the shot in the heart movies have sorely needed – and an action movie that ranks as one of the century’s finest. — Jonathan Holmes

69. Under The Skin

Jonathan Glazer, the director who got Scarlett Johansson to take her clothes off? True, but after seeing Under The Skin I am not sure you will appreciate the actress in quite the same way. Mica Levi’s score is disturbingly intoxicating as well. Under The Skin is an usually effective and brilliant movie in it’s own right, but has some heart-wrenching and deep thought-provoking moments. Glazer’s direction is not particularly cruel, but it does leave you scarred. — Robin Write

68. Ida

There is so much to say about a movie with hardly any complexities, but so much depth of story-telling and film-making. The intimately open scenes with Ida and a sax player have you yearning for a forbidden love. The movie touches on the elements of history and impact of not taking your vows, but never tramples them all over the narrative. I imagine some will get lost at times in the simplicity of it all, but for me that is part of the investment. And I had little choice in the matter, while I was still engrossed in the eighty minute movie I was already trying to rationalise my own thoughts on whether this might be the best I saw that year. — Robin Write

67. Once

I have to say that Once is one of those underrated treats that when discovered it never leaves you. It seeps into your soul not only in the gorgeous soundtrack but also in the story of these two people who are unfortunately the victims of bad timing. Director John Carney is no stranger to the music world so the film is in the best of hands and becomes a quiet yet powerful story of the too brief collaboration and bond found between the guy (Glen Hansard) and the girl (Marketa Irglova). The guy is a busker and aspiring musician still nursing the wounds of a broken relationship and the girl is a single mother trying to make ends meet. Starting as strangers they find common ground and while collaborating on a demo tape the bond grows closer and becomes heartbreaking as the harshness of reality sets in. — Katie Keener

66. Paddington 2

Much to everyone’s surprise, Paddington 2 became the best-reviewed film of all time on Rotten Tomatoes, achieving a perfect score of 100%. And rightly so. Yes, it’s that good. With an almost Wes Anderson-like quality, Paddington 2 is visually gorgeous and narratively beautiful, delivering something truly delightful for both young and old. With its charming message of acceptance and the importance of family, Paddington 2 brings the feels with its warm and inviting narrative that’s impossible not to adore. We could all use the dose of overwhelmingly positivity and joy Paddington 2 brings. It’s exactly what this world needs right now. — Doug Jamieson

65. Parasite

At times during the first hour of Parasite, the film plays like a farcical heist melodrama, as the gloriously diabolical scam is enacted with expert skill, all furiously edited with terrific style by Yang Jin-mo. There is impeccable craft at play in this sinister and selfish game that often led to thunderous applause from an audience devouring each sinful trick. Every lie and sabotage is downright delicious, as the family exploit any shred of information for their own wicked gain. But the mastery of Bong’s direction and screenplay (co-written with Han Jin-won) lies with how quickly this film can shift tones, knocking you right off your feet with moments of excruciating tension to balance the whimsical fun. You’ll often assume Parasite is taking one path, as it plays with an audience’s expectations with deft delight. — Doug Jamieson

64. United 93

They said it was too soon for an unflinching, harrowing portrayal of the fourth plane that went down over the Pennsylvania fields on September 11^th, 2001 – or for any film to tackle a date that would live in infamy for my generation. Director Paul Greengrass defied the critical consensus and came away with the medium’s finest hour so far this century. United 93 doesn’t resort to corny, clichéd, ra-ra patriotism to prove that the men and women on that plane were heroes. Even the famous last words “Alright, let’s roll!” wasn’t exploited as some feel-good moment. The people on that flight knew this was a one-way ticket, and Greengrass captures their silent heroism, as well as their fears about the situation they were facing. There isn’t a better film that faces the event head-on, or honors the memory of those who died that day. — Katie Keener

63. Caché

Marinated in dread, Michael Haneke’s incendiary thriller, Cache, has a Hitchcokian premise, but a horror movie aesthetic, revolving around what appears to be the threat of blackmail against the patriarch of a well off family, before descending into a multi-layered nightmare in which past meets present. With storytelling as precise as a cut throat razor, the mis-en-scene is often eerily still, Haneke content to hold shots for as long as possible, as if the sheer normalcy and banality of life is being pushed to its very limits. A cinematic chill down the spine. — Chris Watt

62. Moonrise Kingdom

Wes Anderson is a true maestro when it comes to perfecting his signature candy colored, kitschy and eclectic aesthetic in each of his films. This is never more true than in Moonrise Kingdom which is both a wonderful convection and tongue in cheek look at young love. Set in 1960’s New England in a fictional coastal town we meet our menagerie of kooky characters such as breakout talent of the young cast and the veteran adult actors (such as Frances McDormand, Bruce Willis, Bill Murray, Tilda Swinton, etc.) filling out the colorful supporting roles. Suzy (Kara Hayward) a quiet, intelligent and curious young girl and Sam (Jared Gilmore) an orphaned and already cynical 12 year old cub scout make up the story of first love, which soon becomes an almost Bonnie and Clyde tale of love on the run and youthful rebellion. — Katie Keener

61. Prisoners

Prisoners gets by on the conflict which it causes in our minds as we realise that this man, who convention dictates ought to receive our sympathy, is a real nasty, passively abusive piece of work, and then on our futile search for an appropriately sympathetic alternative. And its covert method of establishing narrative clues as we’re busy adjusting to the story’s moral and emotional content is very smart. Villeneuve coaxes excellent performances from his cast, none of whom overplay their hand. — Paddy Mulholland

60. You Were Never Really Here

If Joker ends up being a colossal disappointment, we have another Joaquin Phoenix vehicle tackling toxic masculinity to remember in its stead. Much like the novella of which it is adapted, Lynne Ramsay’s latest outing is tightly paced, short and bitter, with enough compelling yet dark material to ruin your entire day’s mood in 90 minutes flat. You’ll still be glad you watched it as it haunts you. — Jennings Collins

59. Melancholia

Melancholia is one of the most honest portrayals of debilitating depression that cinema has to offer. Justine is undoubtedly a troubled soul, any enthusiasm she can muster is dwindling by the second. Eventually, as we merge into Claire’s chapter, Justine has sank into somber lethargy, hardly able to walk on her own. And with it, the depiction of anxiety through Claire’s own nervous condition. The film has a grace not present in many corners of von Trier’s other works. And as you get wrapped up in the comfort of sadness, there’s an uplifting light in the grim dark. — Robin Write

58. 12 Years a Slave

The film tells the true story of Solomon Northup (British actor Chiwetel Ejiofor), a free black man living in New York, who is kidnapped in 1841 and sold down the river to the owner of a cotton plantation in Louisiana. Director Steve McQueen’s 12 Years a Slave is not intended to re-expose the weakness of black culture’s roots nor is it intended to re-slap America on the hand bestowing another moral hangover. McQueen carefully juxtaposes the evil and misery of slavery aside the beautiful, Oak-filled plantations. Like a fly on the wall, McQueen made me feel like a witness in the background of the monstrosity. — Courtney Young

57. Punch-Drunk Love

Adam Sandler’s quaint turn in Paul Thomas Anderson’s Punch Drunk Love, though nominated in several comedy categories in the pre-Oscar awards, is not really a comedy performance. Rather it is an edgy turn of pace. We are used to seeing Sandler screaming at a golf ball or, well, generally pissing about. His name was never meant to be mentioned as an Oscar contender, but his sedated and compelling performance here did have people talking about him at the time in that very light. — Robin Write

56. The Wolf of Wall Street

Is The Wolf of Wall Street disgusting? Absolutely! Is it too flashy and over-the-top? Rightfully so! What these swindlers did to the unsuspecting middle class, by taking from the rich and putting in their pockets incinerated the bank accounts of many unsuspecting victims. Scorsese is really pointing his finger at all of us. Although the events surrounding Jordan Belfort (Leonardo Dicaprio) occurred during the 80s and early 90s, the film’s reflection on present day hasn’t faltered. The film in a sense glorifies the antics and obscenities of how far Belfort and his cronies could really go into the immoral cesspool they created. But Belfort isn’t the hero; he’s the anti-hero in Scorsese’s cautionary tale. — Courtney Young

55. Spider-Man: Into the Spider-Verse

An animated comic-book movie by Sony Pictures depicting the characters of Miles Morales. This film has a stellar voice acting cast, with the likes of Shameik Moore, Hailee Steinfeld and Jake Johnson starring as numerous different heroes with the Spider-Man persona. Set in Brooklyn, this story tells the tale of Miles Morales who gets bitten by a radioactive spider and develops the abilities of Spider-Man. During a mission alongside this universe’s Spider-Man, numerous realities intersect as Miles teams up with five personalities from different universes to stop Kingpin from causing more mayhem. — Amy Smith

54. The Diving Bell and the Butterfly

The Diving Bell and The Butterfly is an extraordinary looking film, and concept, unlike much you have seen before, or could see in the future. A grand achievement by director Julian Schnabel. The set-up is purely about perspective, we see much of the movie through the point of view of the main character. And I mean this quite literally, through his eyes. Based on real events, when Jean-Dominique Bauby (Mathieu Amalric) suffered a stroke and was left paralyzed from the head down. Bauby’s eyes guide us (well, one eye actually), not the exact way they guided him, but Schnabel certainly gives it a good go. Some of the technical story-telling is so astonishing you wonder what kind of trickery this really is. Schnabel’s direction is so tight and meticulous, it flourishes – at times you suffocate as your heart breaks. — Robin Write

53. Memories of Murder

Snowpiercer, which I liked. Mother, which I loved. Okja, which I disliked. Parasite, which I adored. And with Memories of Murder, slap-bang in the middle of the Venn diagram depicting Joon-ho’s incredible range, we have the entire globe perfectly balancing on a pin’s head. Using ensemble staging in ingenious, inventive ways, the camera becomes rather a pair of 3D glasses as opposed to the viewer’s eyes, painting a clearer picture, aiding in the audience’s immersion into the narrative without the application or need for any sort of coercive force. A real feat to accomplice while still preserving the natural flow of the dialogue and doing justice to the gritty core of the subject, not to mention exposing bare two characters who somehow manage to evoke our sympathy and understanding, albeit polar opposites. In short, with respect and gratitude, Bong Joon-ho; a master of tightrope walking a self-imposed cinematic equilibrium. — The Greek

52. The White Ribbon

The White Ribbon is by its own declaration a German children’s story. But it’s no fairy tale. Or at least, not as we know it. Set in the early 20th century, some time not long before World War I, in a small German village where the simple life is diluted with strange goings-on. The patiently-paced story seems to portray villagers of all ages, and age has no barrier to ask why or respond to the bad things that happen. At times it feels like a collection of harmonious short-stories scattered for harvest, their relation to one another not in question. A series of beautiful photographs capturing these terrible things, wonderfully crafted characters, and the importance of wondrous innocence. Michael Haneke‘s direction and writing, accompanied by the marvel that is Christian Berger’s black and white cinematography, gifts us story-telling that is never ever laborious or unappealing in its duration. A real gem indeed. A masterpiece you might say. — Robin Write

51. Call Me By Your Name

Perched up by an honest and piercing performance by Timothée Chalamet, Call Me By Your Name relies heavily on the charm of its leads and the queer freshness of its coming-of-age storyline. Chalamet and fellow breakout star Armie Hammer are undeniable in Luca Guadagnino’s adaptation, striking a balance between talent, beauty, and the rawness of young’s love. — Michael Frank

> > > Into the Second Half with Films 50 – 26