The Real 100 Best Films Of The 21st Century, Part One
Originally compiled for The New European, am posting this on Substack in response to the publication of the Sight & Sound 100 and the rumpus that caused.
Lists – they’re meant to get people talking. A glaring omission here, a surprise selection there, the odd bold choice… if a list doesn’t stir up a bit of controversy, it isn’t doing it’s job.
The Guardian’s countdown of the best 100 films of the century so far went a few steps further, however. In fact, it wouldn’t be too much to accuse the paper of trolling its readership. Particularly heavy on films it describes as ‘slow-burning’ or ‘wondrous’, it’s no more a list of the century’s greatest film than I am Hertfordshire’s sexiest man (honourable mention, 1999).
So it is that I have taken a whack at the very same task. As you’ll see, the following list includes many of the films the Guardian plumped for, the majority given near enough the same ranking. There were, though, no end of movies it was hard to believe the paper hadn’t deliberately done away with, not least my selection for the top spot.
Needless to say, any omissions here are either deliberate, mistaken or in error (delete as applicable). As for whether I’m having second thoughts about my selections, I would urge you come up with your own list and then make a note of all the great pictures the shortage of space has left you obliged to jettison. It’s enough to make you cry. Or write to the Guardian.
100=) George Harrison: Living In The Material World (2011)
Iron Man (2008)
The Lost City Of Z (2016)
The Guardian’s survey didn’t think to have more than one number 100. By massaging the list like so we’ve been able to include Martin Scorsese’s ennobling study of The Beatles’ ‘Quiet One’, the truly thrilling introduction to the Marvel Cinematic Universe and an overlooked epic celebrating the remarkable lives of Percy and Nina Fawcett.
99) Once Upon A Time… In Hollywood (2019); 100 in the Guardian’s list
Still hard to tell whether Quentin Tarantino’s love letter to late 1960s cinema is a triumph of music, film and ad licensing rather than a wholly successful film. Mind you, there’s no denying that that finale delivers, and so do Brad, Leo and Margot Robbie for that matter.
98) Che (2008)
Steven Soderbergh completed his ‘I-Spy Book Of Directing’ so quickly, he retired from film-making for a while. His two-part Guevara biopic is remarkable for putting the man before the myth. Not only that be we’re also treated to the sight of Matt Damon speaking German.
97) Wonder Woman (2017)
One trusts Patty Jenkins has been well remunerated for single-handedly rescuing the DCEU from the twin black holes of poor box-office and critical indifference. As for Gal Gadot, we must have done something really nice somewhere along the line to deserve a movie star like her.
96) Sideways (2004)
The Guardian went for Tamara Jenkins’ Private Life but our preferred Paul Giamatti movie remains Alexander Payne’s tale of a sedate but destructive stag weekend. The Billions star has simply never been better and Thomas Haden Church reeks of awesomeness as the world’s worst best friend.
95) Call Me By Your Name (2017); 95 on the Guardian’s list
It’s a rare art house film that spawns a sequel. With director Luca Guadagnino hard at work on Find Me at this very moment, this is a fine time to remind yourself of the lightening he captured in a bottle the first time around. Oh, and Mrs Chalamet, you have a smashing son.
94) Gladiator (2000); 94 on the Guardian’s list
“Are you not entertained?!” bellows Maximus Decimus Meridius, commander of the Armies of the North, General of the Felix Legions and loyal servant to the true emperor Marcus Aurelius. “Yes, we are,” we reply. “Thank you very much for asking.”
93) Dark Blue (2002)
In which Ron Shelton demonstrates that, if you want to make an effective film about gun violence, you cast a firearms-friendly Kurt Russell in the lead rather than some ‘wishy-washy liberal’ who has no chance of reaching those in thrall to the NRA.
92) Zero Dark Thirty (2012)
While the Guardian plumped for the Oscar-winning The Hurt Locker, we’ve opted for Kathryn Bigelow’s follow-up on the grounds that it’s truly compelling rather than a film you feel you have to endure as a means of thanking the troops for their service.
91) Être Et Avoir (2002); 91 on the Guardian’s list
Released in some territories as To Be and To Have, it’s a great shame that the subject of Nicolas Philibert’s award-winning documentary – inspirational teacher Georges Lopez – fell out with the director over money, since watching him at work in his tiny Auvergne schoolhouse is a truly enriching experience.
90) Lady Macbeth (2016)
A film that ought to be seen by anyone unable to separate period drama from Merchant Ivory, Lady Macbeth has a body count to rival a Bond film, plus a performance from Florence Pugh that eviscerates all memory of the frail, be-corseted maidens that have become the genre’s stock in trade.
89) Dreams Of A Life (2011)
With Carol Morley’s Out Of Blue now available on streaming, here’s a reminder of her gifts as a documentary filmmaker. In 2003, Londoner Joyce Vincent died in her flat. It would be three years before her body was discovered. If you don’t now feel compelled to watch Dreams Of A Life this very moment, you should probably check your pulse.
88) Gomorrah (2008); 88 on the Guardian’s list
With its TV spin-off such a complete triumph, it’s easy to forget there was Gomorrah the movie before there was Gomorrah the series. Upon the film’s release, director Matteo Garrone feared for his life. See how he portrays the Neapolitan underworld and it’s a miracle he isn’t sleeping with the fishes.
87) I, Daniel Blake (2016)
One of Ken Loach’s angriest films – a field that has plenty of competition – there are those who consider I, Daniel Blake a trifle far-fetched. Anyone who has had their circumstances even slightly reduced in the wake of the credit crunch might choose to give such naysayers the shortest of shrift.
86) Minority Report (2002)
You can keep Lincoln (the other list’s improbable choice as the 19th best film of the era) – no, Spielberg’s finest film of the 21st century is this inspired Philip K Dick adaptation, complete with a performance from Tom Cruise that might have garnered awards had he not dared to deliver it in a sci-fi movie.
85) Amelie (2001)
Sugary it might be but we’ve a bit of a sweet tooth as far as Audrey Tautou is considered. And we’re also up for the occasional fairy tale, especially when it’s one as winning and uplifting as this one from Delicatessen’s Jean-Paul Jeunet.
84) A Girl Walks Home Alone At Night (2014)
Whatever your expectations of an Iranian horror film, Ana Lily Amirpour’s picture is set to confound them. And while we’re about it, if you’ve yet to explore the wealth of great movies that have emerged from Iran this century, get ready to feel like a starving man who’s just stumbled upon a banquet.
83) The Son’s Room (2001), 83 on the Guardian’s list
A film about a father coming to terms with the death of a child, Nanni Moretti’s drama isn’t particularly subtle but it is profoundly affecting. And those familiar with the director’s films won’t be surprised by the aspect of The Son’s Room that levels newcomers to Moretti’s work – its abiding hopefulness
82) The Skin I Live In (2011)
Depending upon which of his films you’ve seen, you could be forgiven for thinking of Pedro Almodovar’s cinema as lightweight bordering on trivial. The Skin I Live In is neither of these things, rather this is Eyes Without A Face for a modern audience prepared to explore some very dark territory indeed.
81) Carlos (2010)
Released both in a three-part cinematic version and as a mini-series, Olivier Assayas’ epic is an exhaustive but far from exhausting study of the infamous Jackal. With a career-best title turn from Edgar Ramirez, we’re recommending the longer version, but then we do have a lot of time on our hands.
80) First Reformed (2017)
How wonderful to welcome back our favourite Calvinist filmmaker after what feels like forever. And if First Reformed falls slightly shy of Paul Schrader’s best work, that says less about the movie’s quality than the fact his CV includes American Gigolo, Mishima: A Life in Four Chapters and the scripts for Taxi Driver and Raging Bull.
The finale of Once Upon a Time in Hollywood certainly delivers... it delivers sheer idiocy!