Nearly four weeks after the infamous 100 list in The Guardian, we at Filmotomy scouted our band of filmaniacs from across the internet. Badgered them to compile their own top ten films between the years of 2000 and 2019. Without engaging too much in when the century actually began or the fact this year is not out yet.
And our list is better than The Guardian’s. Are we even allowed to say that? In fact, the second 100 films (you know, ranked 101-200) made a pretty compelling list too. Such a diverse collection, it certainly rivals the final 100 you will browse through shortly.
Best Picture winners (The Hurt Locker, The Shape of Water); Oscar near-misses (Dunkirk, Silver Linings Playbook); underseen international gems (Millennium Mambo, Incendies); movies from the beginning of the century (Moulin Rouge!, American Psycho) to more recent films (Good Time, Eighth Grade), including favourites from this year (The Farewell, Us).
Films that made us laugh (Sideways, Shaun of the Dead); made us cry (Cold War, Coco); scared us (It Follows, The Descent); outright shocked us (Irreversible, Martyrs); got us talking (mother!, Three Billboards Outside Ebbing, Missouri).
Greta Gerwig surprisingly just missed out twice (Frances Ha, Lady Bird), as did other filmmakers, Michael Haneke (Amour, The Piano Teacher), Quentin Tarantino (Django Unchained, Kill Bill: Vol. 2), and Wes Anderson (The Royal Tenenbaums, The Life Aquatic with Steve Zissou) though the latter three still managed to land in the top 100.
Trilogies were separated (The Lord of the Rings: The Two Towers, the best of the three, outvoted); some films were out of this world (Gravity, Interstellar); there were even some classic animated misses (Toy Story 3, Inside Out, Finding Nemo); hits at Cannes (Blue is the Warmest Color, Volver); as well as towering performances from Daniel Day-Lewis (Lincoln, Phantom Thread). Mouth-watering, but not the top 100.
Fear not, you are about to embark on a wondrous journey of cinema. There are at least double entries for many popular movie fanbases – Lars von Trier, Martin Scorsese, Joaquin Phoenix, Alfonso Cuaron, Park Chan-wook, Amy Adams, David Lynch, Yorgos Lanthimos, Coens, Charlie Kaufman, Richard Linklater, Jake Gyllenhaal, PTA. Gasp.
And for those looking for winners of the Palme d’Or, even Best Director winners at Cannes, Best Foreign Language Film Oscar victors, and of course films directed by women – we have you covered in abundance. Enough gabbing, here we go with your tallied votes for the 100 Best Films of the 21st Century.
> > > Let’s Begin the Countdown with 100 – 76
100. Far From Heaven
We begin on a meticulous high note, with the first but not the last of the Todd Haynes entries. Far From Heaven, on the contrary, is near-perfect cinema. Lavish in both its story-telling and general appearance (costumes, sets, demeanors), the film also boasts a towering central performance from the illustrious Julianne Moore. One of her highly-regarded should-have-won Oscar nominated turns. — Robin Write
99. Leave No Trace
One of the most critically acclaimed films of 2018, much of the talk in these neck of the woods was regarding the awards season’s shocking disregard of the little picture. Leave No Trace is astutely, poignantly directed by Debra Granik, focusing on a PTSD-suffering father and his smart-willed teenage daughter. Both choose to live in a public park area in Portland, Oregon, seemingly closed off from the world that surrounds them. The captivating Ben Foster continues to slip under the acting-accolade radar, though it is the young Thomasin McKenzie as the daughter who just about steals the show with an assured, emotional breakthrough. — Robin Write
98. O Brother, Where Art Thou?
I cannot not be biased about this. First of all, the soundtrack. One of the best lyrical outfits of all time — and I choose these words carefully. What follows? A truly entertaining, beautiful creation that doesn’t directly copy but winks to Homer’s masterpiece in a most flirty, audaciously impish way. Now, one ought not to have even heard of the Odyssey to enjoy this, it stands proud and it stands alone, no historic crutches needed. If, however, you are one of the lucky ones to be familiar with the artistic starting point, you are guaranteed a trip to the absurdly funny and, in the name of Homeric balance, the agonizing human struggle. Aristotle viewed The Odyssey neither strictly a comedy, nor a rigid tragedy and the Coens seem to agree as they manage to carry this profound complexity onto a simple story that comes to life by amazing execution in acting, filmmaking, and excellence in setting the vision into stone. — The Greek
97. The Lord of the Rings: The Fellowship of the Ring
As far as expectations go, this one had a lot to live up to. Peter Jackson filmed all three chapters of The Lord of The Rings back-to-back – and claimed to be the biggest fan of Tolkien’s book of the century. That is a lot of weight on this man’s shoulder’s. The Fellowship Of The Ring is a creative ensemble piece, a cinematic experience that made us want to see movies. As the end credits unexpectedly pasted across the screen we were, no matter how many times we looked at our watch during the film, eagerly awaiting the next one already. The heart of the film is the fellowship, and it is strong with this one – in adventure, in story-telling, in film-making. — Robin Write
96. The Master
Unmistakably Paul Thomas Anderson, with stunning cinematography and performances coerced as close to perfection as any arthouse analysis could attempt to outline, The Master is by no means without faults, however, it truly fills in the narrative’s later amorphic gaps with anticipation and emotion. Surprisingly, next to the megalith that was Philip Seymour Hoffman, the ride seems entirely driven by Joaquin Phoenix and his stellar portrayal of Freddie, a man as much in need of a rooted sense of belonging as the freedom to escape into a different somebody at his foggy mind’s troubled bid. A rigid must-watch as a character study, a sentimental should-watch as a pleasure; albeit a rather dark and demanding one, The Master rightfully features in this list — and many more to come. — The Greek
95. American Honey
A lens-hugging break-out central performance from Sasha Lane just about carries the movie to the finish line. An assured performance, her heavy expressions and no-fear attitude display her character’s inner turmoil. I’ll rave about the Robbie Ryan cinematography though, given a clear platform to really let his hair down with his talent for visual scope and outdoor lighting. Andrea Arnold has not particularly tripped here, her dedication and determination are all over this. She’s so aware of her craft, and what makes characters tic. — Robin Write
94. Holy Motors
Director Leos Carax and actor Denis Lavant have, of course, worked together before on The Lovers on the Bridge. Holy Motors pairs them up again, in what quickly becomes one of the most extraordinary, striking, mind-boggling pieces of cinema of any year. Lavant is remarkable. His enigmatic character is made-up, costumed, propped, inhabited in various guises. An old vagabond, a crazed red haired man who kidnaps Eva Mendes, a gangster Chinaman, a bed-ridden man, and perhaps most poignantly an ordinary man in an emotional exchange with is daughter. Kylie Minogue also turns up late on. — Robin Write
93. The Lobster
The Lobster is an off-the-wall, unmissable journey, an education, in this very life we lead, but also in how to write a truly original, seminal movie. Original as in, not just making up a story and running with it, but an achievement of such kinetic, deep-seated exploration of the type of thought-provoking channels of mankind that rarely get touched on, let alone enlightened in this manner. But love, the yearning for a soulmate, the appreciation of singledom, the mystery of it all, is around us all the time, and we think we know it well. — Robin Write
92. Hereditary
Um… excuse you, Toni Collette. Excuse you and how dare you, really. Want an Oscar? Here, have two. Three. Fuck it, have them all. I could nitpick about where that missing half a star went but it’s really not worth your reading time. Just watch this. Just watch it. PS: Not to be overlooked, Gabriel Byrne was pretty hot, too. Alex Wolf is a miracle to behold. Ari Aster does magic and the members of the editing/sound teams each deserve acknowledgement by full name, individual mentions. — The Greek
91. Synecdoche, New York
Synecdoche, New York marks yet another chunk of the unique and brilliant from Philip Seymour Hoffman. It is also a film not just written by, but also directed by Charlie Kaufman. Hoffman is wasting away as a theatre director unable to curb his elaborate production expanding into madness. In turn, the narrative blends stature with deterioration, and you have to simply experience the unraveling rather than attempt to put together the pieces. The cast, too, is worth the admission, with the likes of Michelle Williams, Emily Watson, Samantha Morton, Catherine Keener and Dianne Wiest all contributing finely to the constructed bedlam. — Robin Write
90. Up
Pixar’s most darkly dramatic comedy to date, a deep-seated, most private affair, Up not only features already in many Best Movie lists but is also a safe bet for many more, and I’m fully on board with the notion, with one minor gripe to voice. Most people adore Up because of the heart-wrenching story between Carl and Ellie and their bittersweet love triangle with tragedy — not unlike than any other dramatic Pix-animated punch in the proverbial gut only so, so much different. As much as Finding Nemo’s opening scene hurt (and boy, did it), Up delivers it in a profoundly personal way that makes you, and me, and all of us, become both Carl and Ellie, and each and every one of the what-ifs we carry come to life through their love, and pain, and loss. And that is fine, great even, this is one golden nugget of emotion rightly adored by the masses. — The Greek
89. A Serious Man
The abrupt cut to titles as a tornado approaches a school, to Jefferson Airplane’s “Somebody to Love”, is the kind of what-the-fuck moment that still make Joel and Ethan Coen such refreshing filmmakers. A Serious Man might well be one of the Coens’ more personal ventures, but it still has something of that sombre satire we are accustomed to. And at the centre of it, quickly falling apart at the seams, is Jewish professor, Larry Gopnik, and with it a breakout performance from the terrific Michael Stuhlbarg. — Robin Write
88. Before Midnight
You’ll see as you churn your way through this list, just how far apart Before Midnight is from the middle film of the Richard Linklater trilogy. Did voters get the two films mixed up? Nonetheless, all three real-time romances were loved by audiences. The 2013 film has Jesse (Ethan Hawke) and Céline (Julie Delpy) yet another nine years later, now struggling with parenthood and career choices. Their relationship is as rich and fragile as ever, and we are left wondering how they can maintain their romance. — Robin Write
87. Dancer in the Dark
Lars von Trier finally got his Palme d’Or for his relentless Cannes Film Festival attendance over the years. Dancer In The Dark is perhaps much better known for the devastatingly good performance from Icelandic singer, Björk, as the ill-fated Selma. Also a winner in Cannes, for Best Actress. Carrying a hefty return to the Dogme 95 movement von Trier helped create, Dancer In The Dark is about as downbeat, grainy a musical you can find. If you can call it that. — Robin Write
86. Adaptation
In writing Adaptation, Charlie Kaufman (him again?) invented a twin brother for himself, and even managed to get the fictitious character a writing credit on the film (and an Academy Award nomination to boot). Adaptation is loosely based on Susan Orlean’s The Orchid Thief, with Kaufman taking satirical liberties. Spike Jonze is director, with Nicolas Cage playing the dual roles of the Kaufmans, Charlie and Donald. Even in its punchy wit, the film depicts writer’s block in a rather authentic way. Meryl Streep is also great in support, and of course Chris Cooper, who won the Best Supporting Actor Oscar. — Robin Write
85. Inland Empire
David Lynch’s 2006 what-the-fuck Inland Empire at first sight certainly depicts the blurring of fantasy and reality. So much so, as a viewer you also lose your mind somewhat part way into the three-hour run-time. There’s a host of familiar Lynchian faces here – Laura Dern, Justin Theroux, Harry Dean Stanton, Grace Zabriskie, Diane Ladd – and also the likes of Jeremy Irons, Julia Ormond, Mary Steenburgen, William H. Macy and Nastassja Kinski show up at one time or another. Lynch wrote, directed, edited, provided music, contributed to the sound design, but also shot the entire film in low-res digital video. It gave him complete freedom of control. Though there was hardly a script to revise. Inland Empire‘s nightmarish vision and muddled structure, what with phantoms and lost girls, even out-mystifies Lost Highway or Mulholland Drive. — Robin Write
84. Shoplifters
Japanese director Hirokazu Kore-eda’s stunning portrait of a makeshift family bonded by circumstance pulls heartstrings that won’t seem be reattached. This story of familial love beckons the audience to examine our own views of loss, community, and parentage, wrapped together with strong acting and a gorgeous, garbage-filled landscape. — Michael Frank
83. Nightcrawler
The Academy Award for creepiest, budging eyeballs goes solely to Jake Gyllenhaal in one of his best performances to date; a performance completely snubbed by the Academy that year. Like Gone Girl, this film questions how far the media will go to present the perfect news story. — Courtney Young
82. 35 Shots of Rum
Claire Denis’ deeply emotional, brutally honest depiction of a loyal father and daughter relationship makes the list, showing it might not be as underseen as we thought. And perhaps the most pleasant surprise of this entire collection. The bond between father (Alex Descas) and daughter (Mati Diop) in their little Paris suburb bubble is a tight one, so much so they each struggle to connect with reciprocal feelings from potential partners. Diop of course might be more recognisable now, given she won the Grand Prize at Cannes this year as a director. — Robin Write
81. Werckmeister Harmonies
I’m guessing that the Hungarian film, Werckmeister Harmonies, from 2000, is the most obscure entry in the list. Truth is, the black and white communist drama, directed by Béla Tarr and Ágnes Hranitzky, is actually highly acclaimed. Indeed, you will find it on similar lists at BBC or Sight & Sound. Adapted from the László Krasznahorkai novel, The Melancholy of Resistance, Werckmeister Harmonies might even suit the moniker, The Thirty-Nine Shots, given the steady-paced structure within it two and a half hours. — Robin Write
80. Spring Breakers
For those of you looking for a deeper meaning behind the neon-dazed art-house creation of Spring Breakers, there may not be one. And that’s the point. With casting choices including Disney darlings Selena Gomez/Vanessa Hudgens and ABC Family’s “Pretty Little Liars” Ashley Benson, the film’s cultural casting statement certainly raises eyebrows and elicits confusion with it’s R-rating (Rachel Korine, the fourth spring breaker in the gang of four, is actually director Harmony Korine’s wife). To understand the logic behind Spring Breakers, you need understand it’s writer/director–Harmony Korine. Rarely using a linear narrative while incorporating scenes filled with symbolism and metaphorical meaning, some of Korine’s earlier work include underground oddities like Gummo and Trash Humpers, Spring Breakers is his most mainstream work. — Courtney Young
79. Crouching Tiger, Hidden Dragon
Ang Lee’s 2000 swish-buckling epic was (perhaps before Roma) the closest thing to an international Best Picture Oscar winner. If it wasn’t for the fact Hollywood are a sucker for dusty sandals and brutish comebacks, it might well have. Sweeping and glorious in pretty much all areas of the technical craft, Crouching Tiger, Hidden Dragon also boasts a classic case of story-telling, where lucid moments of romance play just as big a part as the wuxia culture and visual splendor. — Robin Write
78. Drive
So perfectly stylish and refreshingly cool, even in its very dark and violent moments. You can see the director’s blueprint all over the movie, via the edgy, yet very different, performances from main actors (Ryan Gosling, Carey Mulligan, Albert Brooks in particular), to the shifts in movement and pace. I mean, at times it almost lingers so much it comes to a complete halt, but is not for one second tedious or uninteresting. Even the electronic music Refn uses sits right beside the chugging tone of the film’s narrative, and could have been so out of place in anyone else’s grip – but is a perfect companion to it. — Robin Write
77. Spotlight
Spotlight tells the true story of the Boston Globe’s Spotlight team and their years-long investigation into allegations of child molestation and cover-up at the hands of the local Catholic Archdiocese. The story led to local, national and international, wide-reaching repercussions for the Catholic Church as thousands more came forward in the aftermath. An emotionally gripping drama featuring an all-star cast (Michael Keaton, Rachel McAdams, Mark Ruffalo, among others) at their best, Spotlight serves as a timely reminder about the importance of good journalism and speaking truth to power. — Shadan Larki
76. Zero Dark Thirty
While the film critics were wowing Zero Dark Thirty, aiding it’s potential to be a serious Oscar front-runner, Glenn Greenwald was writing in The Guardian about how the movie actually endorses the kind of torture it depicts. There was then direct criticism of those praising the movie, and the snowball of controversy got bigger and bigger, tarnishing the movie with so much mud it got stuck. Director Kathryn Bigelow and screenwriter Mark Boal attempted to defend their creation, but it was too late. Bigelow, for Best Director, was astonishingly not. Having made Oscar history a few years earlier to a well-earned reception, Bigelow and Zero Dark Thirty now become victims of a truly damaging smear crusade. It really was game over for a film greater than the rest of 2012. — Robin Write
> > > Onward to the Films at 75 – 51
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 11th, 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
50. Carol
Love, no matter how forbidden, has rarely looked as sumptuous as in Todd Haynes’ Carol. Aided by Ed Lachman’s cinematography, which recalls a glorious Technicolor of cinema-past, reds and muted colours juxtapose the dynamic of the two women at the centre of this story. Lipstick and smoke dominate many a scene, charging each meeting between Carol and Therese with eroticism. Interestingly, the erotic element of sexual attraction is portrayed most effectively in these quieter moments. And with actors this good, it’s no surprise. Blanchett can say more with a glance and a smile than dialogue could ever convey, while Mara invests Therese with an almost ethereal curiosity. Apart, they’re fascinating. But together, they’re compelling. — Chris Watt
49. Donnie Darko
The lightning in a bottle, surreal debut of Richard Kelly has only gotten better as the years go on. A young Jake Gyllenhaal delights in this weird, iconic cult classic filled with imagery that burns itself into the mind of any viewer. — Jennings Collins
48. 4 Months, 3 Weeks and 2 Days
Cristian Mungiu’s screenwriting and directorial execution here is not afraid to be ruthless and authentically awkward as his characters have to passively engage in extremely sensitive circumstances as well as blunt, discrete conversations. The plot focusing around an illegal abortion performed in a hotel room, and the rich, fine-tuned dialogue that carries it, is all handled with as much genuine recklessness as one would expect given the situations. Yet somehow there is a raw, down-to-earth nature to the whole affair, making it believable in it’s most nerve-cringing moments. Unsettling as it is magnetic, it’s an astonishing film achievement, worth every ounce of its weight in gold, and not a drop of cinema is wasted. — Robin Write
47. Yi Yi
The title Yi Yi translates to ‘one one’ or ‘one after the other’, and depicts the highs and lows of everyday life within the Jian family – as seen through three generational perspectives, with the father, younger son and teenage daughter. Yi Yi is also the second Taiwanese film from 2000 to make this list. It’s a sumptuous film for the most part, both in its visual framing and how the emotions of the various events engulf you. The director, Edward Yang, won Best Director at the Cannes Film Festival. — Robin Write
46. The Favourite
A twisted vision of a twisted tale so thorough in its depravity as to barely shock at all. The Favourite takes its time toward getting around to poking at its characters’ hardened hearts, but when it does, the cumulative effect of all the seemingly heartless scheming and backstabbing is enormous. An audacious final image resembles that of a deranged mind’s desperate final thoughts before dying, as everything blurs into a cacophonous collage of irrelevance save the hurt that lingers still, and the love that has engendered it. Enjoy the bitching while you may, but know the price you’ll pay for doing so – The Favourite is that blackest of black comedies, in that the reward for its laughter is only pain. — Paddy Mulholland
45. The Handmaiden
Seeing is never believing in Park Chan Wook’s films. It’s the premier component in what makes him such an exciting filmmaker, particularly when he can hold off allowing the abundant surface pleasures of his films to overwhelm them. What makes this film so consistently engaging is that Park actually wants us to see – his jolting zooms, narrative ellipses, flashy mise-en-scene, and syncopated editing are designed to direct our attention, to impose a strong sense of dramatic irony that is itself doubly, deceptively ironic. The erotic satisfaction in the withholding and the exposing of secrets is matched by the common emotional satisfaction for the viewer, the thrill on being let in and on being led on. And with such a bold, vivid style, Park is able to hide those secrets in plain sight, both from his characters and from his audience. — Paddy Mulholland
44. Talk to Her
That very intimacy portrayed, that there is love beyond loss, a troubling notion but an even harder reality, make Talk to Her a truly unparalleled love story. Pure naturalism in its execution, rather than all-out depressing, but delivered to our eyes like sunshine. Pedro Almodóvar’s unflinching grasp of fragile human interaction, as both a story-teller and film-maker, is a thing of beauty here. His performers are so natural, speaking the words as though their own – grounded, emotive, heart-breaking. An unrivaled, alluring film in all of its pain. — Robin Write
43. Y Tu Mamá También
Few coming of age films approach sexuality with anything other than rose tinted romanticism. Y Tu Mama Tambien goes deeper. Sex is not just an act. It is the eye of the storm, the driving force behind everything that happens in the story, spinning off jealousy, passion, anger, humour and personal growth. Two horny teenagers and one woman that teaches them both to grow up, albeit at great personal cost. Alfonso Cuaron crafts a visually stimulating portrait of youth, rejecting the commercialism of his brief stint in Hollywood, employing his now signature style of long takes, married to a tone that is pure French New Wave, yet marks itself out as one of the definitive Latin American films of its time. — Chris Watt
42. Inside Llewyn Davis
A heartbreaking approach to the tortured musician, the Coen brothers craft a green-tinted nightmare for any artist. Oscar Isaac gives a career best performance as the titular Llewyn Davis, a couch surfing singer in a downward spiral. Bolstered by a wonderful soundtrack of folk songs and brief appearances from Coens regulars and irregulars, Inside Llewyn Davis might be cynical, but it never gives up hope. — Jennings Collins
41. The Lives of Others
Set in 1984 East Berlin, the film centers on an agent of the secret police, Gerd Wiesler, (Ulrich Mühe) who is tasked with spying on a famous playwright and his lover who are suspected of being disloyal to the Communist Party. But as Wiesler becomes more and more intrigued by and absorbed into the alluring lives of his subjects, his own allegiances become increasingly unclear. From writer and director Florian Henckel von Donnersmarck, The Lives of Others is a searing reminder that you never really know what does on behind closed doors. A film that stays with you long after unforgettable final moments. — Shadan Larki
40. Black Swan
Oddball maestro, Darren Aronofsky, followed his 2008 film, The Wrestler, one man’s struggle to achieve perfection in the ring, with Black Swan, one woman’s struggle to achieve perfection on the stage. Natalie Portman’s swansong won her the Academy Award for Best Actress, as Nina Sayers, a ballet dancer in New York City, about to discover the hard work and surrealism that goes into devouring the White and the Black Swan in Tchaikovsky’s Swan Lake. A visual, head-ratting feast. — Robin Write
39. The Tree of Life
A movie that divides audiences is a movie worth debating. In Cannes in 2011 Terrence Malick‘s The Tree of Life, an enigmatic motion picture experience, was received with some applause and some boos. Understandable, but an experience is what The Tree of Life is. A grand one. Perhaps not in the depths of how we try and figure out the universe itself, but you have to wonder how Malick conceives and then executes such a concept onto film. In concrete terms, the cinematography itself is ridiculously majestic – you will struggle to find one movie that manages to fill every single frame with such captivating beauty. The selection and use of classical music is also something to be savored. Jessica Chastain is as enchanting as any actress can be on screen here. And in that final extraordinary sequence I simply disappear. — Robin Write
38. WALL·E
Whether it be the vacated, garbage-filled Earth or the human civilization on board a starliner in space, the magnitude of WALL-E‘s animation work is incredible to say the least. In fact you forget this is an animated movie. Will we see anything quite this grand again in this field of film-making? This is cinema magic in its purest form, balancing to perfection the sense of adventure and romance, while allowing us to ponder on the state of the planet and the euphoria of rebuilding. The formidable companionship of WALL-E and EVE is so affecting, so natural, you route for them like you would for the greatest of human love stories. — Robin Write
37. Get Out
Jordan Peele’s directorial debut Get Out is definitely a horror film in the traditional sense but the true horror is not in the blood but in the look at society as a whole. The story centers on Chris (Daniel Kaluuya) as he cautiously prepares to meet the parents of his girlfriend Rose (Allison Williams). It all seems rather mundane but as a black man Chris knows that some prejudice still lives on despite the consistent reassurance from Rose that her parents aren’t like that. Rose and her family soon show themselves to be the progressive and liberally minded white people who seem like more talk than action as they live in their Pinterest perfect worlds. To Chris they all seem well intentioned, albeit out of touch, but soon the veneer fades away and the gruesome ugliness underneath is shocking but as Peele shows maybe not that surprising. — Katie Keener
36. Oldboy
It is difficult to talk about the dynamic filmmakers over the years without mentioning a select, special few. And Park Chan-wook is certainly in that illustrious list. The South Korean writer-director has a hefty filmography shadowing him, but it is perhaps still the dark, devastating Oldboy from 2004 that still has audiences in the grandest of awe and the most fragile of states. A exceptional chapter in his accidental vengeance trilogy – with Sympathy for Mr. Vengeance, and Lady Vengeance, Oldboy is both disturbing and brutal, but the energetic style, ridiculously good performances, and the filmmaker’s unbridled talent shines through in abundance. — Robin Write
35. The Departed
Martin Scorsese brings his knack for crime dramas from New York City to Boston. The tale of two men: one raised to be a cop infiltrating the mafia, another raised to be a mole for the Irish mob. DiCaprio, Nicholson, and Damon shine in this film. I haven’t taken cranberry juice seriously since. — Mackenzie Lambert
34. Brokeback Mountain
Well of course Ang Lee has multiple entries in the 100 greatest films of the 21st century. His gentle and piercing touches through that cinematic eye leave a lasting impression. Perhaps none more so than the timeless romance between Ennis and Jack in 2005’s Brokeback Mountain. Academy Award travesties aside, Best Director winner Lee soaked up the rest of the film world that had yet to claim themselves a fan of the great filmmaker. Brokeback Mountain demonstrated so much of what we encounter in our relationships, when in any given time we are truly happy, painfully pining, never really knowing just how to quit that feeling. — Robin Write
33. Arrival
Arrival is the most cerebral experience of 2016, and the intimate nature of the film has everything to do with that. The film is not entirely original; it takes the age-old science fiction premise of aliens landing on Earth with the panicked world asking: “Why are they here?” But this sci-fi addition has all the right ingredients from it’s cast to director to score to script that produces some serious thought-provoking material. The exploration of this archaic, hypothetical reality leaves me wondering when this inevitable future will occur off-screen. I’m. Not. Ready. — Courtney Young
32. Memento
What many believe is Christopher Nolan’s début had audiences shaking their heads in awe. A narrative that ventures backwards and forwards (in color and black and white respectively) where the main character Leonard (Guy Pearce) starts to uncover what the hell is going on as we, the audience do. Be it via polaroids, or tattoos. It was a revolutionary notion in cinema, and superbly executed by Nolan. The screenplay was co-written by his brother Jonathan, and was supposed to win Original Screenplay at the Oscars wasn’t it? I mean, even eventual winner Julian Fellowes said he thought Memento would win. — Robin Write
31. The Grand Budapest Hotel
The story begins in present day unveiling the ultimate decay and demise of the once regal Grand Budapest Hotel, but rewinds in a few decades of flashbacks from the mid-1980s, back to the late-1960s and focusing predominantly in the 1930s in the fictional European country of Zubrowka. Wes Anderson’s artistic creativity and surreal visualizations for the world he creates allows me to boast that he’s one of the best visual directors in cinema right now. His pictures are visually recognizable, but his creative eye to lens system is more methodical than I imagined. With The Grand Budapest Hotel, Anderson and his director of photography, Robert D. Yeoman, shot each time period in the aspect ratio of its era. That means the movie is more or less square in the 1930s and widescreen for the present day. — Courtney Young
30. Requiem for a Dream
It’s weird to me that while Rotten Tomatoes and IMDB allow users to rate a movie on a scale of 1-10, they don’t allow an option for “sat paralyzed through the credits with my mouth agape after watching.” Because after viewing Darren Aranofsky’s 2000 film Requiem for a Dream, that’s the state I was left in by the film. A biting critique on excess, this is a movie so far ahead of its time that it was putting America’s ever-growing infatuation with substances under a microscope and shining a light on the hollow pursuit of fame some fifteen years prior to either “Big Pharma” or “influencer” entering our everyday lexicon. Requiem for a Dream tells the story of how taking the edge off can go too far. It’s the story of the endless pursuit of the fix, and just how much of ourselves we may be willing to break to receive it. — Mike1 of Mike, Mike, and Oscar
29. Birdman
There are a plethora of reasons to like, or even love The Birdman and in my heart, I’ve exhausted them all. Iñárritu’s technical prowess demands our dedicated attention in relentlessly extended tracking shots and extravagant dark slapstick that effortlessly demolishes the 4th wall without ever leaving the audience feeling unwelcomed. The film itself pokes fun at the film itself which pokes fun at the film itself and the viewer, soaring like Batman cum plucked Birdman ebbs and flows between its fearless comedy and the raw, almost painfully human reactions. Not to go unmentioned, Edward Norton in what I personally think is probably his best performance yet — and a special Whoa! for the Hollywood critic scene because, oh yeah, they totally went there. — The Greek
28. Her
A man falls in love with his computer is the most basic, undeveloped synopsis of Spike Jonze’s Academy Award winning screenplay. Set in a not-so-distant future, Her is a realistic exploration of relationships, love and alternative methods to avoid loneliness. One of the most uncomfortably accurate portrayals of our technologically-infused lifestyle, Her delves deeper into the unchangeable human condition to love and emotions surrounding that. Completely worth your time. — Courtney Young
27. Roma
Filmed by Cuarón himself, Roma is a visual delight, with some of most sumptuous and gorgeous black-and-white photography you will ever see. While the film will be released later in the year on your television via Netflix, this is a film which demands to be seen on the big screen. Almost devoid of closeups, Cuarón consistently keeps his audience at a distance, instilling the film with an almost voyeuristic quality. Often relying on the use of slow pans, Cuarón presents the idea that the perfectly choreographed events in his film are related, with a consistent flow permeating throughout his entire work. — Doug Jamieson
26. The Lord of the Rings: The Return of the King
It took two years of pre-production, a year plus for the shoot to begin – filming all three movies simultaneously – and an additional three years of reshoots, visual effects shots and other post production duties, in order to fully capture director Peter Jackson’s vision of JRR Tolkien’s epic fantasy series. The first two installments, The Fellowship of the Ring and The Two Towers were massive achievements in scope, vision, action and juggling a massive cast, never once sacrificing the personal journeys of the characters for the sheer spectacle. The Return of the King is the victory lap, the magnum opus of the trilogy. The action is bigger, the stories carry more dramatic weight than in the previous films, and the bonds that have tied characters like Frodo and Sam, to Aragon, Legolas and Gimili are strained, and put to their absolute breaking point. Yet, the themes of friendship and sacrifice in the face of such mounting evil and terror still resonate through it all. Yes, even through the six or seven endings Jackson put the audience through. — Jonathan Holmes
> > > Are You Ready for the Top 25 Films of the 21st Century?
25. Whiplash
Jazz drumming at an elite conservatory didn’t puncture my curiosity initially, but Whiplash has more to offer than a tremendous jazz score. The film shares a dynamic duo whose relationship heavily blurs the line between right and wrong. Miles Teller rips through this film with an elevated level of dedicated ferocity that I haven’t seen from a young actor recently, while J.K. Simmons is both electrifying and terrifying to glimpse on screen. — Courtney Young
24. Let the Right One In
Let the Right One In is probably the most creative and solidly-structured of the core subject — vampires are not easy to do well outside of margins set in stone based on the limitations of the genre. Now, either a lovely horror story or a horrific love affair, this exceptional take on the bizarre and the devious will lurk in the cold shadows and tease in red with a promise to take residence in your memories; fulfilled as soon as you invite it in. A tasteful taunt of the senses and a challenge of your morals providing you just let go and take it for what it is; a sweeping, divergent, often contrasting but never contradictory experience. — The Greek
23. The Dark Knight
The genre that has dominated our lifetime has been the comic book movie. But the one film has shown to be head and shoulders above anything before and after its release, and that’s The Dark Knight. Marketed as a superhero movie, Christopher Nolan’s Batman sequel is actually the best crime movie of the millennium. With Michael Mann style direction, a haunting performance from Heath Ledger and a devilishly layered script, The Dark Knight is the ultimate battle for the soul of humanity. While the volume of superhero movies will grow, no film will ever move the culture and elevate film more than this crowning achievement from Nolan and company. — Ryan McQuade
22. City of God
A breathless pace leads us through Rio de Janeiro’s slum towns, in Fernando Meirelles and Katia Lund’s City Of God. Few films hit the ground running and never let up, but skilful editing and ingenious use of every cinematic trick in the book (freeze frames, zooms, high speed footage, even a chase sequence involving a chicken) prove utterly riveting, forcing you to face the grim realities of the characters. The use of non-actors is incredibly effective, while the neat choice of having the main character a photographer, provides many opportunities to create frame within frame visual tableaus, the ultimate eyes of the audience. Only the click of the shutter provides the blink. — Chris Watt
21. Inglorious Basterds
Inglourious Basterds was the movie geek fans’ favorite, with Tarantino showing a truly inventive and historical outburst following some disappointing murmurs surrounding the Kill Bill movies. And the magnificence of Oscar winner Christoph Waltz raised the bar in acting. Let’s not forget Melanie Laurent, whose Shosanna is the heroine of the movie, a character and a performance both commanding and affecting. As for the endless debate of whether Tarantino indeed writes strong, uncompromising women, take note of Shosanna’s once in a lifetime chance to exact the most incredible revenge, and form the real heart of the picture. Until the leery soldier shot her dead. Thanks Quentin. — Robin Write
20. Almost Famous
Whether you were there to experience it in real time or discovered the albums years after their creation, it is hard to deny that the music born between the 1960s-1970s was something truly world changing. Cameron Crowe gives us a little backstage pass so to say into what that time felt like in 2000’s Almost Famous. The story of the film is loosely based off of Crowe’s own experiences when he was a teen contributor to Rolling Stone magazine in the 70s. This told through the eyes of William Miller (Patrick Fugit) a young teen hailing from a household that disapproves of rock music who gets the fantastic chance to report on the Stillwater band as they go on tour. The time on the road alongside the influence of Penny Lane (Kate Hudson) changes him in many ways opening up to self discovery and the process of growing up. — Katie Keener
19. Boyhood
An easy honor to bestow on a film-maker who invested twelve years of his life on Boyhood. Not just that, but carrying the weight of time with a remarkable crew and cast – of course two of which started as little children, and were young adults by the close. More than that perhaps, Linklater merged the years into one unit, still maintaining his unique way of showing us life, reminding us of why we loved him in the early years of Slacker and Before Sunrise. A remarkable achievement. — Robin Write
18. Amélie
I’m not ashamed in any sort of way to admit that Amélie is one of my favorite films of all time, nailed in the top ten, and making many cases for the number one spot. Composer Yann Tiersen’s poingnant, diverse score, or Bruno Delbonnel’s fluorescent, fabulous photography, the delicious, electric screenplay by Jean-Pierre Jeunet and Guillaume Laurant. The list of incredible parts that make up this masterpiece are countless. Of course, Jeunet deserve much of the credit for nailing down a phenomenal vision and pacing. With a terrific, eclectic cast, the star of the show is Audrey Tautou as Amélie, balancing all manner of quirks and emotions throughout, bringing to the screen one of the most feel-good characters ever seen on film. — Robin Write
17. Lost in Translation
In her sophomore smash hit, Sofia Coppola introduces us to a familiar world within the realms of loneliness and isolation. Lost in Translation revolves around Bob Harris (Bill Murray) who’s experiencing a mid-life crisis in Tokyo while filming a commercial advertising a whiskey for $2 million when he “could be doing a play”. Bob encounters philosophy college graduate Charlotte (Scarlett Johansson) who’s undergoing her own psychological breakdown while her fashion photographer husband is noticeably absent while working on location. Bob and Charlotte are two people at opposite ends of life with a comparable connection, and the two form one of the most unique bonds between two individuals struggling with various components of being lost. — Courtney Young
16. Inception
Christopher Nolan’s greatest motion picture in my eyes. Squeezed in between his Batman ventures, Inception is an astounding feat in story-telling, mind-boggling, and of course some of the most swarve, exhilarating visual effects helping to craft a full-on cinematic experience. Add to that a large, formidable cast, a real human element to the out-there plot, a stunning score by Hans Zimmer – need I go on? The movie of our dreams you might say. — Robin Write
15. Children of Men
At the core of Alfonso Cuaron’s Children of Men is themes of hope and faith, in the face of despair and anguish. Cuaron’s masterpiece is a prime example of a masterclass in handling strong themes such as hope and faith while juggling the film’s technical achievements, mainly seen through Cuaron’s impeccable direction and Emmanuel Lubezki’s stunning cinematography. Hope and faith more specifically, relates to the clear notion that hope depends on future generations. In our constantly changing world, this statement is more than ever legitimate in our society as a way of providing confidence for the future, to teach younger generations right from wrong and through the cautionary tale of Children of Men hope and faith is projected through the power of the film medium. — Jasper Bowman
14. La La Land
Aesthetically, my eyes were gently caressed with beauty for the full duration of the movie and for that I’m most appreciative. Ryan Gosling is his usual, immaculate self, succeeding in gracing us with yet another stunning performance — stylish, suave and utterly charming. Emma Stone has her ups and middles but never a down, and she gave me one of the sole two scenes that made my breathing falter against an emotional hiccup; another win. Along with the glossy couple, I got to glide with effortless elegance through a Starry Night, brush shoulders with Monet, journey into the colourful and the capricious. — The Greek
13. Mad Max: Fury Road
George Miller’s box office bash is entertainment at its finest, clashing desolate beauty with a simple, big budget, action-driven narrative focused on two stars with immediate appeal in Tom Hardy and Charlize Theron. The effects show just how far we’ve come with film, and Miller uses every inch of technology at his disposal to create a movie you can rewatch on any day of the week. — Michael Frank
12. Zodiac
The harrowing murders at the hands of the Zodiac killer live in infamy to this day and David Fincher’s Zodiac is a truly remarkable film that takes a deep dive into the story. Robert Graysmith’s book of the same name serves as the basis and he is portrayed here by Jake Gyllenhaal. While working as a cartoonist doing work of political satire he is in the right place at the right time as cryptic letters from the killer come into the paper. The murders are still fairly fresh so it is a hot button issue and Graysmith becomes entrenched in figuring out how to connect the dots despite some initial disapproval of some colleagues. Alongside the core story we also see into different snapshots from when the Zodiac strikes and it all works together in a tight, gripping and cohesive film. — Katie Keener
11. Before Sunset
Picking up nine years after the events of its predecessor, Before Sunset is a film about the power of yearning. A love letter to love. Ethan Hawke and Julie Delpy are now so identifiable as their characters that they virtually disappear inside them, while Richard Linklater’s unobtrusive direction lends a naturalism missing from most romance pictures. This is, however, more than a meeting of hearts, but a meeting of minds, with dialogue tackling every subject, effortlessly moving their real-time journey forward, culminating in a slow walk up a round staircase that is arguably the sexiest moment of anticipation in modern cinema. — Chris Watt
10. A Separation
When I was first watching A Separation I knew I was watching something great, but honestly had little idea how great. Asghar Farhadi is a master of inner human conflict, characters moving from room to room, reacting to the what’s real, behaving as we would, all with a seemingly heavy heart and hard to resist drama. Farhadi drags you into the domestic world he has created, from the culture he knows too well, making you feel, without having to rely on melodramatic scores or flashy photography. Family ties are already coming apart at the seams, when the turning point occurs, changing what was a rocky road into bedlam. Superb performances, and a terrifically open, gripping screenplay, A Separation is one of the most engaging, important, and essential motion picture experiences of recent years. — Robin Write
9. Spirited Away
Wow. Just…wow. When you witness an artist pour everything he or she knows into their vision of what a film will be? That’s when you see real magic. Hayao Miyazaki crafts an Alice Through the Looking Glass-style fable of a young girl who wanders through an abandoned theme park with her parents, which happens to be a resting place for wandering spirits, yet comes out finding her courage, as well as a more mature, blossoming young woman. There s not one sequence that feels out of place or completely unnecessary, and every frame is beautifully crafted and drawn. The sequence where Chihiro and No-Face board the train heading towards the sixth stop is a hautingly-goregous standout. — Jonathan Holmes
8. Moonlight
There are moments in life, when you are watching a film that you know you are watching something special. Thus is the case from the get go when we see Barry Jenkin’s South Florida masterpiece begin to unfold into one of best films of all time. A story that covers the life of a young African American man whose struggling with his sexuality and personal identity, is heartbreaking, tender and uplifting. Jenkins took Tarell Alvin McCraney’s story and transformed it a three-part epic that is one of the most personal films ever put to screen. Moonlight shows audiences a story they have never seen before and also gives us the best director of his generation in Jenkins. — Ryan McQuade
7. The Social Network
Has it really been almost ten years since Jesse Eisenberg went slapping down the halls of Harvard in flip flops and sweatpants as Mark Zuckerberg, the fast-talking computer nerd on the verge of revolutionizing the way we communicate with each other? It was all so simple then, back when Zuck was still cool. The Social Network, with Aaron Sorkin’s screenplay and penchant for rapid-fire dialogue, made the story of Facebook’s creation play like a thriller. Complete with the backstabbing backstory of Zuckerbergs’s betrayal of his friend and partner Eduardo Saverin (Andrew Garfield), his denial that anyone else—certainly not the Winklevoss twins, played brilliantly by Armie Hammer—had any part in his own creation story, the film zeroes in on Zuckerberg’s ruthless ambition, and through his relationship with his girlfriend, ironically highlights his own inability to connect. Like the tagline says, you don’t get to 500 million friends without making a few enemies. Directed by David Fincher, The Social Network earned eight Oscar nominations, winning both Best Writing in the Adapted Screenplay category as well as for its score by Nine Inch Nail’s Trent Reznor and Atticus Ross. — Sim Carter
6. In the Mood for Love
Bad timing can be the worst thing when it comes to romantic love, something beautifully portrayed in Wong Kar-wai’s 2000 masterpiece. The story moves along like a dream as we gently pass through periods of time following the intertwined paths of Su Li-zhen (Maggie Cheung) and Chow Mo-wan (Tony Leung). Both of them married and both attached to spouses who they lack any true connection with; a connection that they find in each other. What Kar-wai brings to the screen here is breathtaking with saturated color palettes and direction that flows like a bittersweet ballad. It goes without saying that Cheung and Leung are the heart of the film with a chemistry that makes this story of two ships passing in the night so memorable. — Katie Keener
5. Pan’s Labyrinth
Embroiled within a labyrinthine garden, a strange but vivid world, occupying creatures and wonders, Ofelia is tasked by a faun creature to, in turn, find a key from the belly of a toad, retrieve a dagger from a child-eating monster, and bring her newborn baby brother to the labyrinth. Although she may regret the harsh consequences, Ofelia is somewhat defiant at times, still swayed by innocence, temptation, and a good heart. Surrounded by the brutality of the adult world, her mistakes, if you like, represent an admirable independence and bravery. This is Guillermo del Toro’s greatest world of wonders, beautifully crafted with every ounce of cinematic love. — Robin Write
4. No Country for Old Men
Joel and Ethan Coen, the minds behind such whimsy films as Raising Arizona, Fargo, and The Big Lebowski, give viewers one of the most tense thrillers of the 21st Century. A breakthrough turn by Josh Brolin and Javier Bardem as the frightening Anton Chigurh make for a captivating, extensive on-screen chase. — Mackenzie Lambert
3. There Will Be Blood
2007 is the best year for films in the millennium and the film of that year is Paul Thomas Anderson’s There Will Be Blood. On the surface, PTA’s close to three-hour epic is about what one man will do to gain control of all the oil that surrounds him. But There Will Be Blood is truly about is about how capitalism works for those that take advantage of the system while also showing the level of greed that surrounds someone when they get a considerable amount of wealth. Led by an MVP performance from Daniel Day Lewis, Anderson film is a true American classic while also being a cautionary tale for the rest of the world. — Ryan McQuade
2. Eternal Sunshine of the Spotless Mind
An unthinkable notion to explore with a screenplay, something we all somehow think about in our lives, but almost impossible to imagine this could make it to the screen. Eternal Sunshine of the Spotless Mind is like someone being able to explain the depth of dreams, to portray human memories onto film. The movie achieves its ambitious intentions like magic (in spite of Kaufman’s standard third act wobbles), applying a true sense of love and loss and regret. Jim Carrey and Kate Winslet provide as compelling an on-screen chemistry as it gets. I’d marry both Joel and Clementine. — Robin Write
1. Mulholland Drive
Written and directed by David Lynch, the magnificent, mind-boggling Mulholland Drive still continues to have the movie world yapping about the seemingly infinite interpretations in the guises of Betty, Rita, Diane or Camilla. An old Hollywood struggle tale, complete with a femme fatale and vintage attire. It certainly echoes film noir, but is oh so much more. A dark parable on the long, hard classic journey from lowly waitress to movie star, perhaps. The film’s identity themes are right there on name-tags while coffee is pouring.
Lynch spellbinds his audience, even on multiple repeat viewings, zig-zagging your heart and soul this way and that. The Club Silencio scene is like an ax to the gut, and Betty’s intoxicating audition is an extraordinary moment – just two of a hat-ful of moments that have saliva dripping from dropped jaws. Lynch was vocal about his striving to unite his boiling pot of unique ideas into a perfect whole, and Mulholland Drive is a bravura example of just that. A lot of what we love about the movie we do not yet understand. Be it blue keys or red lampshades, as well as deep-seeded feelings that awake within us. What is clear is that Mulholland Drive is a masterpiece unlike any other. Angelo Badalamenti’s brooding score pumps the blood with heightened emotions. And in the performance of Naomi Watts is not just the breakthrough of 2001, but one of the most nuanced, shape-shifting acting turns this century. — Robin Write
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So there we have it, the 100 Best Films of the 21st Century as voted for by any of you. Please do leave your comments below about the lit – be it disgruntled or overjoyed.