Films of the 2000's

The hands that indeed built America, on the one hand this film is a testament to the dedication and sheer will power of early settlers to the untamed west, on the other, however, it's a cautionary tale about obsession and greed. Loaded with layers and subtext, this is a frightenging insight into a man so driven by the pursuit of power and capital, and its intoxicating effects, that he forsakes all else. Fairview's initial redeeming quality, as well as any sign of humanity, is in his love for his son, but by the end, he even manages to destroy this due to paranoia fuelled by alcoholism. Like Charles Foster Kane, by his twilight years, Fairview is nothing but a bitter and pathetic figure, who has shut himself away in his gilded cage. Day Lewis' performance is mesmerising and undeniably one of the most well-deserved Oscar wins of all time. Paul Dano holds his own as the slithery and shrewd Eli/Paul Sunday; not an easy feat when placed next to an artist such as Day Lewis. By the end, both characters are indeed finished.

This film is about celebrity worship and casting Brad Pitt as the only really well known actor was a brilliant move. Casey Affleck's portrayal of Robert Ford is riveting; he plays him as creepy yet pitiful in his painfully pathetic attempts at being respected. The viewer can't help but cringe at Ford's desperation and lack of self-esteem. Apart from the fantastic acting, the film is a complete visual treat, putting a new twist on an old genre. Soft lighting and wide angles give the movie a Zen-like quality by capturing the beauty of the landscape as well as subtext in dialogue.

Definitely one of the most original biographies ever put to film, I'm Not There is an explosion of imagery shown in a variety of styles which perfectly mimic the kaleidoscopic life that is Dylan's. A bold project to say the least, Director Todd Haynes nails what is the essence of Bob Dylan as a man, an artist, a husband and a rock star. And he does so in a purely metaphorical, non-conformist fashion - exactly how Dylan would want it. Simply brilliant.

Providing an accessible insight into the fundamentals of existential philosophy, this film explores the concept of what it means to 'live'; is a life the pursuit of a goal, after completion of which, may be over? Or is it a specified time on earth which must be lived out until its natural date of expiry? Do we, after having achieved our life's objective, have the right to determine our individual moment of death? In the film, all three of the main players question their lives, or more so, the purpose of their lives in what becomes an incredibly intriguing character study, which explores not only character development, but also the complexities of human nature. One can go on and on about the many layers in each of the story lines, however one will only get the most out of them after fully understanding the film's bigger message and its philosophy about life. Utter brilliance.

The Coens' outdo themselves in this homage to 70's filmmaking. The longer takes and lack of score add to the story's believability, while its chillingly uncensored violence leaves the viewer shaken to the core. Bardem's portrayal of 'Anton' is brilliant and intriguing with an odd sense of honour; he can easily be rated as amongst the best psychopaths on film. There's nothing 'Hollywood' about this film's conventions on storytelling.

Christopher Nolan addresses the Aristotelian concept of man being inherently good and pushes the envelope by making this sequel darker and even more adult oriented. The Joker and Batman are two sides of the same coin; the Joker banks on the notion that all mankind needs is 'a little push' to make them commit unthinkable acts, whereas Batman refuses to give up on their goodness. The script is as tight and intelligent as any serious drama with a complete sense of realism. Ledger steals the show; his unorthodox character choices take him beyond merely acting as the Joker, and instead becoming the character from the inside out. We focus on the psychological aspects of this intriguing and brutal villain, while the replacement of quirky killer gadgets with more accessible bombs and knives makes him all the more deadly - especially when taking in to consideration that he makes an apocalyptic sort of sense. Oldman plays a perfect and understated Commissioner Gordon, while Ekart captures being both Gotham's White Knight and also the insane Two Face perfectly. Zimmer and Howard's score feels like a character in itself, and shows there's nothing funny about this so-called comic book movie. Dynamite dialogue, beautiful visuals and a fantastic score have catapulted this film and its characters into immortality.

A beautiful, emotionally intense character study of a group of flawed but very real individuals. It's definitely one of the most touching movies I've seen in a long time. Highly recommended.

Quite possibly Pixar's best so far. Not only is 'Ratatouille' full of important life lessons for kids, it also hosts plenty of grown-up humour for, well, grown-ups! It's a complete story with well developed characters you can't help but fall in love with. And the CGI - faaantastic, with a cute homage to 2D animation with the ending credits - nice touch, guys!

Visual storytelling at its finest, this film caters to a thinking audience. Feelings are emoted through breathtaking imagery teeming with metaphor, music and a very original use of voiceovers. Malick plays to a viewer's heart rather than their head, invoking emotions at an instinctive level which, many may argue, leave a stronger and more intense impression. One must not watch this to see what happens at the end, but rather to savour, and get lost in, moments in the film.

The darkest of the three, this finale does not disappoint. Right from the first shot of Smeagol hooking the worm, there is a feeling of foreboding which culminates in murder. In true Tolkien fashion of brilliant storytelling, stakes are constantly being set higher and obstacles in our heroes' paths are being increased. For those who have not read the books, the only part that might need a clearer explanation is how Arwen's fate is physically tied to Aragon's. Other than that, a brilliant execution of an intricate story and characters. A visual masterpiece.

An homage to '70s filmmaking in its style and pacing. This film is brutal and unapologetic in the best way possible.

Batman Begins goes beyond simply being a fun action movie by incorporating deeper themes of identity and facing one's fears as central to its story. Nolan breaks away from the usual stylistic vision of Gotham City and portrays a much more toned down and realistic version, while also taking his time in introducing us to Bruce Wayne as he takes his first steps to discovering his winged alter ego. In fact all the characters, villains included, are refreshingly intelligent and fleshed out, staying true to Bob Kane's original concepts, while the stunning images of the city and Batman in action are an added treat. The campiness that once followed this franchise has finally been erased for good with this near perfect action experience.

Antis are upped and the action multiplied in this fantastic sequel. Character relationships are deepened and intensified, thus adding more layers to an already intricate story. Heart-stopping special effects place the viewer right in the middle of the battles sequences, while Jackson breaks new ground with the digital creation of Golem.

Thoroughly entertaining and full of subtext, this movie is cotton candy for the eyes. Shockingly brutal at times, writer/director Guillermo del Toro breaks away from convention and takes bold production and story risks. A perfect fairy tale for grown-ups.

This is a story about being true to yourself and not being ashamed of what you really want rather than giving into others? expectations of you. Whereas this is a theme that?s been doled out time and time again, witty dialogue and Ellen Page?s sassy portrayal of the main character, Juno, gives this cute flick a feeling of unclichéd freshness. Jennifer Garner and Jason Bateman are brilliantly believable as the on-the-surface perfect couple with Garner?s character being the less likeable of the two due to her reserved nature. In the end, however, it?s interesting to see her emerge as the true adult in the relationship while her husband wants to shun responsibility by refusing to let go of his past.

A drama disguised as a comedy, Sideways has an unexpectedly profound message. The film deals with several issues including the human resiliency to move past rejection, and also the desire to strive for what's over the horizon rather than appreciating what's already in your grasp. At the centre of the movie are beautiful soliloquies by Paul Giamatti and Virginia Madsen's characters, which sum up the heart of the film: appreciation of the now... because that's all you really have.

The Fellowship of the Rings' first act starts off slow with a very detailed exposure of the Hobbit's Shire (which, in all fairness, wonderfully develops the characters.) The pace quickens in the second act as we are taken on the first leg of this mythical journey. Stunning visuals and an impeccable story delivers on all fronts. With the monumental task of adapting Tolkien's masterful trilogy, Peter Jackson and his team trusted their instincts and switched some sequences around to make the story more cohesive as a feature film. After all, novels and features are two different art forms, and where one method may work for one, it may not for the other.

'Hulk! Smash!' - hit, that is! Right from the get-go, relentless action sequences keep the pace of this film moving at breakneck speed, while cleverly written, non-clichéd characters keep the viewer emotionally involved. Particularly moving is the selfless love shared between Banner and Dr. Ross. The two issues of anger management (Banner) and hunger for power (Blonsky) are subtly juxtaposed next to each other in a way that feels natural and organic, as is the curse of the superhero who is forever doomed from obtaining full love. There's even a little something special for hardcore fans with a surprise cameo by Lou Ferrigno, who plays the Hulk in the original TV series. Ferrigno also provides the voice of the Hulk in the film. All in all, The Incredible Hulk is simply MARVELlous - just as good as Iron Man...only better.

An original twist to the theme of Man vs. Nature, Hellboy II joins the bandwagon in sending out an environmental message. With flesh eating Tooth Fairies, giant killer flowers and an army of golden robots, del Toro lets his limitless imagination reign and introduces even more fantasy than in the first part. All the characters are charmingly flawed, thereby making them more connectable on a personal level. Hellboy, himself, struggles to fit in a place where he looks different to everyone else - an issue that is easily relatable to today's multi-cultural world. As to be expected of any good antagonist, Prince Nuada's rationale is completely valid; he's not some mere bad guy just looking to cause trouble, but rather a loyal servant to his world who is willing to die to save it. All in all brilliant sets, a tight plot and characters we care about make this a fun, smart and exiting viewing experience.

A mark of any great artist is not in his ability to provide answers, but rather to jolt and question - something Lynch does better than anyone. Another mark of a great artist is a lack of obvious definity to their work; in his films, Lynch invites the viewer to instil an interpretation which relates to them alone. So, what's Mulholland Drive really about? Who can say for sure when it comes to this one-of-a-kind director. One can only fathom a guess that Lynch is addressing illusions: the illusion of Hollywood, of life, happiness and, most of all, the illusion of relationships. The film's theatrical style of dialogue and scene set-ups thrusts us into only the most surreal and disturbing images, while a dream-like, languid pace keeps the suspense raised to heart-stopping levels. There might also be a nod to the idea of the common unconcious; are Betty and Rita one person, or did they have a role reversal, or, in that case, is Rita actually Camilla? Are they three different women or simply different conciousnesses of the one? The only thing that's certain about this movie is that Lynch has us completely invested in what turns out to be nothing but an illusion... or does it?

Unlike the superheroes of yore fighting super villans, Iron Man focuses on the current issue of terrorism. Tongue-in-cheek American patriotism gives way to a moral message for the superpower to take responsibility and be accountable for its weapon's manufacturing and policy. Downey Jr. is great as the arrogantly wisecracking (yet completely charming) Tony Stark and Bridges is a very believable backstabber. The film's weakest link is Pepper Potts, played blandly by Gwyneth Paltrow. All in all, however, this is a smart action hero flick worth checking out!

The complexities of abortion are shown in a simple story with unflinching images. Abashing with no frills attached, '4 months' tackles the issue of abortion behind the Iron Curtain. It neither gives argument for nor against abortion, rather it shows the horror of a young girl stuck in a situation from which she is willing to do anything to get out of. Those against abortion can argue that the film accurately portrays its inhumanity. Their opposers, however, may state the film is about how women are taken advantage of if abortion is made illegal. It seems the filmmakers prefer to leave that opinion to the viewer, and do so in a very matter-of-fact way.

Shyamalan gives us a keen twist on the superhero genre by making this a character study rather than an action flick. Often misunderstood, the message here is about self discovery and self-awareness. For those of us hailing from a more mortal pedigree, Shayamalan challenges us to find our purpose in life - why are we here? According to M. Night (and Buddhists), that's the only way we'll truly find happiness. The film is a treat of visual story telling with minimal dialogue and unique camera angles, while the slow pacing really drives the message home and gives the viewing experience a Zen-like feel. But not to fret, it wouldn't be an M. Night Shayamalan picture without a few creepy surprises!

Gondry brings a funky twist to sci-fi by introducing an ordinary world with an extraordinary technology which leads to the question: how important are bad experiences to our social development? Would erasing bad or imperfect memories also erase aspects of our personalities, and is ignorance really bliss? Gondry beautifully captures how experiences are interlinked at a psychosocial level and can never really be completely erased. This is a wonderful metaphor for suppressed memories. The message of the story, however, is that true love can never be denied.

The general consensus of this film (great action; weak story) is understandable but misguided. Reloaded exposes even more of the already complex levels of The Matrix. Links are made with common supernatural myths and legends (eg: ghosts and werewolves, being 'anomalies' or 'glitches' in the system.) As if this isn't enough mental fodder for the average audience, along comes The Architect who hints that the real world is still in the Matrix, and Neo's just another program designed to reboot the entire system (just like the five others before him) so everything we've seen so far is a lie. ...An onion doesn't have as many layers as this trilogy!

This film is about humility - how far is an artist willing to go for his art? Trier comes up with the interesting idea of challenging the artist, in this case Jorgen Leth, by making him face his own fears through recreating his masterpiece under ridiculous conditions. Seemingly comical at first, it's not long before we realise there's nothing funny about what Trier's attempting to do as he pushes Leth almost to breaking point. The viewer's head is left spinning when Trier ultimately reveals that the film was never really about Leth but rather about Trier's struggle at finding his own humility.

Are we headed towards a future where the world becomes uninhabitable, excess has no limits and actual human contact is at a minimum? Right off the bat, we're thrust onto a desolate and abandoned Earth where compressed blocks of garbage have replaced once proud skyscrapers, and all signs of beauty have turned to dust. With success after success, Pixar could have easily made a cute and entertaining story, so hats off to them for taking the more difficult route and coming up with a story so full of substance that it even makes grown-ups think about the future of the planet and humanity. One can only imagine how hard they must have had to fight to incorporate the sensitive subject of laziness leading to obesity. Homage is paid to Kubrick's 2001 and the escape of the defective robots is akin to One Flew Over the Cuckoo's Nest, however much of the second half of WALL-E lacks the originality one would expect from Pixar. AUTO is a weak antagonist and Wall-e and Eve's escape sequence has a 'seen it before' feel.

This film not for the weak-stomached. Cronenberg holds back no punches in this gritty exposé of the Russian mafia in which identity and family duty are the key issues. Set against an interesting backdrop of underage prostitution, we are given a glimpse of the mindset of a people afraid of nothing, care for no-one and are used to getting what they want. Having said that, the characters are very 3-dimentional; they may be cruel on the one hand, on the other they themselves are victims of their environments and, deep down, have compassion. At the end, this movie makes the viewer wonder, what is it really about?

Creepy and chilling but most of all smart, The Ring is more of a detective story book ended by horror, and brings a new twist to an old premise. A good breakthrough performance by Naomi Watts carries the film forward to an unexpected conclusion which throws the viewer completely off kelter.

Brutal. That's the first word that comes to mind, with the second being 'unflinching'. With strong political undertones, "The Animatrix" exposes some of the extra levels of the world of the matrix. Not only did the Wachowski Bros. experiment by achieving this through video game cut scenes ('Enter the Matrix'), they payed homage to some of Japan's greatest anime artists by asking them to contribute their various styles to the project.

An incredible achievement in animation. The first twenty minutes seem to strech a little but after that it's all engines go! Life lessons are expertly shown in typical John Lasseter fashion, and all the subplots are tied up beautifully. Lasseter really knows how to raise the bar!

Perfect if you're in the mood for unrelenting, edge of your seat action. The alien extermination of man is a great metaphor for genocide, while the top of the line, realistic special effects, make you fear, what if...

This film poses the question, if humanity as we know it begins to die out, and in its place a new type of 'human' emerges, then would that creature not be the next evolutionary phase of our species? More than just a vampire movie, this film exceeds expectations with twists and reveals which draw the viewer into its strange world. The character, Robert Neville's relationship with his dog Sam is incredibly touching and gives a much needed feel of humanity to this inhuman hell in which they're both trying to survive.

As always, Spielberg doesn't disappoint with adrenaline infused action sequences which have the same 'anything goes' attitude as in Temple of Doom. The family dynamic between Indy, Marion and Mutt gives a fresh twist to Indy's character but leaves us wanting more; it seems that just as we're getting caught up in the chemistry between the characters, we're suddenly sped along onto the next obstacle. Exotic sets are not used to their full potential while the lighting seems unnatural, thus hindering the viewer's suspension of disbelief. All in all, however, we bid a wonderful adieu to a much loved character, as we crack our whips and hand over the fedora to Henry Jones, Jr. III.

Crazy cool with action galore, John McClane takes us to new heights from plane surfing, dodging traffic and bringing down a chopper with a squad car - what more could action junkies want? Despite the lack of character moments this flick works thanks to a tight script which stays away from stereotypes; here the villian is charming and very smart, McClane's daughter Lucy's no push over and our hero, McClane, finds himself being left behind by technology and partnered with a nerdy geek.

Del Toro's vision of Hellboy is clearly one of passion for a reluctant and unwanted hero. The many character moments between Hellboy and his adopted father take this film beyond simple brainless fun to fun with substance. Hellboy's relationship with his father, infatuation for Liz and love of cats gives his character a very human quality. Perlman is perfectly cast, giving Hellboy a believable, three-dimensional feel, right down to his rambunctious nature and adolescent irresponsibility. The villains are smart and creepy, especially the sand-for-blood, blade weilding, undead assassin, Sammel, while the introduction of the infamous Rasputin gives a sense of history to the story. Wonderful special effects, an exciting plot, fascinating creatures and grand obstacles, make this a perfect escapist experience.

Refreshingly realistic, "Sunshine" is flawlessly enthralling in its first two acts. The third act is where things become a little too ambiguous, leaving the viewer scratching their head. Much is left unexplained, but in a way that is more confusing than intriguing. Overall, however, a very well made movie with beautiful special effects and believable characters.

Hou Hsiao Hsien explores the simple wonderment of childhood. His message is one of lost simplicity: as children we are more open and attune to the simple wonders around us. As we get older, however, we become engulfed in routine and responsibility. Reflected in the gentle pace of this film, the auteur simply wants us to slow down and take time to smell the roses. Fang Song plays a nanny who is thrust in the middle of a single mother family, led by Juliette Binoche. Slowly, the day to day complications of Binoche's private life are revealed as she tries to raise her son and take care of everything else single-handedly.

Funny, quirky and completely enchanting, this fairytale whisks the viewer back to their childhood. A tight script with an original twist and a cast of bizzare and somewhat dark characters, makes this film feel edgy and amusingly morbid. Definitely well worth a viewing - after all where else can we see Robert De Niro play a cross-dressing airship captain??

The Matrix trilogy becomes more complex with each segment and its final conclusion leaves the viewer with more questions than answers. We are left wondering if anything we saw was of 'real worl'. The story toys with the idea of the who