The Twenty Best Films of the New Decade: Honorable Mentions

Do you guys remember when I said that I would make a list of films that I thought were the best of the decade? Well, yeah, it took me too long. I picked too many films and in the end I had over 50 movies. So I just said to myself, “Hey, I think I will make myself a runner’s up list!” So I did, and as much as it killed me, I cut down the runner’s up list from thirty flicks to fifteen.

And if you really wanted to know why I don’t have films like “Hotel Rwanda,” “Eternal Sunshine of the Spotless Mind,” “The Pianist,” and “City of God,” it is because I haven’t seen them yet. Don’t worry, I’ll get to them when NetFlix sends them to me.

In no apparent order:


ALMOST FAMOUS (2000) Directed by Cameron Crowe: When I have “Almost Famous” on my list of honorable mentions, you know that this decade has been a pretty jammed-pack one with some great movies. “Almost Famous” is, in my opinion, Cameron Crowe’s only good movie, and the best film of 2000. There is a reason why the film won Best Screenplay. Cameron Crowe based this movie off of some of his own experiences while he wrote for Rolling Stones magazine. The scenes aren’t what make this movie, but it is Cameron Crowe’s knowledge and taste of music. And out of all of his other films that he has made, his music taste is usually the only thing I cannot bitch about…

MEMENTO (2000) Directed by Christopher Nolan: In what was possibly one of the smartest films of the decade (but not the smartest, which will be revealed later in my countdown), “Memento” is one of those films that can play with your mind in so many ways that you think about it for the next seven nights in your sleep. Once you watch it in its entirety, you will want to watch it again from the beginning (ignore that pun, if you will). “Memento” is so good that if you try and put that movie next to any of those other great films that Christopher Nolan has made (and he’s made many), it’ll come out unscathed, and that is taking into account of another film that will be appearing on my list later…

CASINO ROYALE (2006) Directed by Martin Campbell: For reasons unknown, people complained once they heard that Daniel Craig was playing the new James Bond. And in all seriousness, I was the only one that remained quiet. He was simply amazing in “Layer Cake” and “Munich,” and he brings the same amazing-ness (if you will) in “Casino Royale.” I think this one is probably the best Bond film since “From Russia With Love” for the reason that it shows Bond’s real past, and how Bond was once vulnerable to a certain woman played by Eva Green. Unfortunately, as the story continued in the next film that came out two weeks ago, I really stopped caring for the story and began missing that Brosnan-played Bond.

MAN ON FIRE (2004) Directed by Tony Scott: There is a little bit of history between me and this film. Back when it was on DVD in 2004, I wanted nothing to do with it. Until one day I was so bored out of my mind that I went to my video-store and rented it. Once the two-and-a-half hour movie ended, I turned the movie off with tears rolling down my face. This is no lie. “Man on Fire” was the first movie that I cried during. The ending scene creates an impact on you in ways that a Tony Scott film never did. And here is a way for you to know that I really loved this movie. Around that same time, I went out and bought the book. If you really know me, try and understand what that means.

THE DEPARTED (2006) Directed by Martin Scorsese: “The Departed” is a fine example of a great remake, but it is a finer example of a great film. I’ve seen “The Departed” at least ten times in the last two years, and it gets better every time I watch it. You find something new every time you watch it. I laugh at scenes that I didn’t laugh at before and I notice some parts that would have helped me solved the twist out at the end before I saw it. “The Departed” also wins the best dialogue from a film in the whole decade…

Wahlberg: Unfortunately, this shithole has more fucking leaks than the Iraqi Navy.
Baldwin: Go fuck yourself.
Wahlberg: I’m tired from fucking your wife.
Baldwin: How’s your mother?
Wahlberg: Good she’s tired from fucking my father.

HUSTLE AND FLOW (2005) Directed by Craig Brewer: For some reason, every time I watch “Hustle and Flow,” I feel like doing something afterwards with my life. The last time I watched “Hustle and Flow,” I felt like fighting. This is one of the best stories told of the decade, of a man who had almost nothing (except for a few women) who feels like he should do something about it. This is the only time that anyone will see me singing a rap song. “It’s Hard out Here for a Pimp” deserved its Oscar win, I don’t care what you say. Craig Brewer’s first mainstream film is his best, but good things only continued with “Black Snake Moan.” (Sidenote: “Black Snake Moan” was, if you didn’t know, another movie filled with music performances. Make sure you buy that soundtrack.)

UNBREAKABLE (2000) Directed by M. Night Shyamalan: In what I consider to be one of the best superhero films ever made, “Unbreakable” is a film that every comic book fan should admire. With its right amount of action, twists, and drama, inside of it all is a great amount of heart. “Unbreakable” has only one thing wrong with it. It killed M. Night Shyamalan’s career. In what should have been an excellent trilogy, Shyamalan stopped continuing the story and pursued making films like “The Village,” “Lady in the Water,” and “The Happening.” I should know all about that…

FORGETTING SARAH MARSHALL (2008) Directed by Nicholas Stoller: In what was a pleasant surprise, “Forgetting Sarah Marshall” made me laugh harder than almost any film this year. It holds up on rewatch-value and is deadly hilarious. Russell Brand creates one of the most memorable performances of the year as ex-junkie rocker Aldous Stone. “Forgetting Sarah Marshall” also marks a first for Jason Segel. Before “Forgetting Sarah Marshall,” I thought that he just came off annoying in films like “Knocked Up” and “Slackers,” but he wrote the best romantic comedy since “Annie Hall.”

LITTLE MISS SUNSHINE (2006) Directed by Jonathan Dayton and Valerie Faris: 2006 was when I started really getting into film. That this time, I must have admired the likes of great independent filmmakers like Kevin Smith, Richard Linklater, Terry Zwigoff, and Rian Johnson, who all came out with great films that year, but I think that the film that got me the most involved that year was a little indie film called “Little Miss Sunshine.” It came almost out of nowhere, and with nothing but word-by-mouth at the Sundance Film Festival that year, it became a film that was released nationwide, nominated for Oscars, and won two. And on the year where “The Departed” and “Babel” were nominated, I rooted for “Little Miss Sunshine.”

V FOR VENDETTA (2006) Directed by James McTeigue: I can only sum this section up here with a long monologue from the movie.

“Good evening, London. Allow me first to apologize for this interruption. I do, like many of you, appreciate the comforts of every day routine- the security of the familiar, the tranquility of repetition. I enjoy them as much as any bloke. But in the spirit of commemoration, thereby those important events of the past usually associated with someone's death or the end of some awful bloody struggle, a celebration of a nice holiday, I thought we could mark this November the 5th, a day that is sadly no longer remembered, by taking some time out of our daily lives to sit down and have a little chat. There are of course those who do not want us to speak. I suspect even now, orders are being shouted into telephones, and men with guns will soon be on their way. Why? Because while the truncheon may be used in lieu of conversation, words will always retain their power. Words offer the means to meaning, and for those who will listen, the enunciation of truth. And the truth is, there is something terribly wrong with this country, isn't there? Cruelty and injustice, intolerance and oppression. And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission. How did this happen? Who's to blame? Well certainly there are those more responsible than others, and they will be held accountable, but again truth be told, if you're looking for the guilty, you need only look into a mirror. I know why you did it. I know you were afraid. Who wouldn't be? War, terror, disease. There were a myriad of problems which conspired to corrupt your reason and rob you of your common sense. Fear got the best of you, and in your panic you turned to the now high chancellor, Adam Sutler. He promised you order, he promised you peace, and all he demanded in return was your silent, obedient consent. Last night I sought to end that silence. Last night I destroyed the Old Bailey, to remind this country of what it has forgotten. More than four hundred years ago a great citizen wished to embed the fifth of November forever in our memory. His hope was to remind the world that fairness, justice, and freedom are more than words, they are perspectives. So if you've seen nothing, if the crimes of this government remain unknown to you then I would suggest you allow the fifth of November to pass unmarked. But if you see what I see, if you feel as I feel, and if you would seek as I seek, then I ask you to stand beside me one year from tonight, outside the gates of Parliament, and together we shall give them a fifth of November that shall never, ever be forgot.”

Powerful stuff…

THE DEVIL’S REJECTS (2005) Directed by Rob Zombie: Only here would you see a film made by Rob Zombie on the honorable mention list of best films of the decade. “The Devil’s Rejects” isn’t a great film by any means, but it’s a crazy work of art. Rob Zombie has created ruthless villains that rank up there with Mickey and Mallory Knox, Hannibal Lector, and Anton Chirugh. “The Devil’s Rejects” is the right movie for any horror fan, but may I suggest the predecessor “House of 1000 Corpses?” Rob Zombie was born to make horror flicks. He knows how to make them and has some great taste while putting a movie together, creating homages of horror films.

THERE WILL BE BLOOD (2007) Directed by Paul Thomas Anderson: In what many would consider the best film of the decade, I decided to put this film on my runner’s up list. Why? Because everyone else already has it up there. Why should I have to repeat everyone else? But anyway, yes, it is one of the best films of the decade. There are so many themes that are contained in this movie that you can spend days and weeks talking about this movie to people. There is a lot to like about this film – the frightening score by Jonny Greenwood, the amazing acting by Daniel Day-Lewis, the complexity of his character, and, of course, the milkshake drinking.

SHAUN OF THE DEAD (2004) Directed by Edgar Wright: I tried hard to put this film on the list of my favorite films, but I just couldn’t find room for it. Edgar Wright created one of the best parodies ever made, combining a satire of the zombie-genre with an actual horror film. There are tons of lines that you can quote throughout your daily travels. This is the film that set Simon Pegg on the map to stardom, and if it wasn’t for the team of Edgar Wright and Penn, this film just wouldn’t be the same.

BROKEBACK MOUNTAIN (2005) Directed by Ang Lee: In 2003, everyone badmouthed Ang Lee for making a “Hulk” film that wasn’t as good as “Spider-Man” or “X-Men.” In 2005, everyone kissed his ass for his Oscar-nominated “Brokeback Mountain.” The movie had the word controversy spread all over the place, but it was the Academy that drew the final straw. When “Brokeback Mountain” lost the Best Picture to “Crash” (which I still have nightmares over), people called the Academy a bunch of hobophobes. Really? I thought we were just going to call them idiots. I think we can really tell if they are hobophobic later this year with the awards that “Milk” will surely have coming this way, but for “Brokeback Mountain” being the most honored movie in cinematic history, there is no WAY in hell that this film should have lost the Best Picture award.

UNITED 93 (2006) Directed by Paul Greengrass: And my runner’s up list concludes with a film directed by Paul Greengrass called “United 93.” Strongly based on what happened that fateful day 30,000 feet up in the air, “United 93” is one of the saddest stories ever told, but is also the most heroic. In a time where us Americans had to bring ourselves together and fight for our country, “United 93” brings a story to the big-screen to which we actually care for. Mind you, another film that was based on the 9/11 attacks was released that year called “World Trade Center,” and you should steer FAR away from that one. Feel free to watch this one as many times as you’d like though.


And as for a hint for my number 20, the man who infamously played one of the funniest characters on cinema is starring in another movie next year as a famed character. That will be on the site sometime Monday night or Tuesday afternoon.