Another Top 50 Films of the 2000s List: 15-11.

No. 15 - “Ichi the Killer” (2001)

I don’t like it when a list includes two movies by the same director in a row (in this case, Takashi Miike), but damn it, this is how my ranking turned out. “Ichi the Killer” contains more perverse violence than anything on this list. Dismemberment, disembowelment, torture with hooks, rape, tongue cutting. Fucked up, I know, but this exaggerated violence seems to mock Japanese gangster films and anime. “Ichi” was clearly made with comedy in mind, as evidenced by cartoony gore, wild characters (one guy puts on dog ears to become a hound/sleuth), and complete lack of explanation for the titular character’s deadly suit (which may comment on countless anime in which whiny protagonists become unstoppable via ridiculous suits).

But why the hell is it so high on the list? The story is unique, where almost every character has a sadistic or masochistic side. These tendencies are often exploited for laughs, but if you take the characters for what they are, their motivations are understandable. The script simply plays by a different rulebook.

Convention and decency are not only ignored in “Ichi”—they are deemed inappropriate. Perhaps the boldest display of this philosophy can be seen in the film’s climax, when Miike allows his cast (led by the incredible Tadanobu Asano) and crew to make the creative decisions themselves. As Miike explains in a DVD commentary track for this scene, one possibility is more fascinating than multiple possibilities.

He’s right. There will never be another climax like it.

No. 14 - “Memories of Murder” (2003)

Director/writer Bong Joon-ho could have made a pretty good serial killer film, like David Fincher went on to do with “Zodiac” in 2007. After all, Joon-ho was drawing material from real and fascinating unsolved cases in South Korea. Instead, he made a great satire using the same story. This is why you see an officer dropkicking a suspect during an interrogation. Every time you think you might be watching a procedure, “Memories of Murder” inches toward bitter critique. Song Kang-ho is brilliant as the lead detective who helps botch the investigation.

No. 13 - “Spirited Away” (2001)

From my standpoint, one can enjoy Hayao Miyazaki’s animated masterpiece in two ways. You can watch “Spirited Away” as a quirky story about growing up, with the child protagonist Chihiro getting a job, falling in love, and finding her way in a world of spirits and magic. Just as one’s life is affected by many people, Chihiro meets an array of strange characters that help and challenge her.

However, I prefer watching “Spirited Away” the other way, accepting every weird, unexplained thing as fact and not bothering with what anything means. Judging by certain negative opinions on this film, some people may have forgotten the bliss of watching a movie as a child. Miyazaki certainly hasn’t.

No. 12 - “Eastern Promises” (2007)

David Cronenberg changed his direction for the 2000s, leaving behind social critique and sci-fi/horror for a more realistic, character-driven, and subtler approach. (But as one can see in “Spider,” “History of Violence,” and “Eastern Promises,” the director didn’t abandon subtext.) Cronenberg improved this new approach with each of his 2000s films, making “Eastern Promises” his contemporary masterpiece. For such a short film in an overcrowded crime genre, it explores several themes and sets itself apart from “The Godfather,” “Miller’s Crossing,” and every other superb crime film (for example, everyone uses knives in “Eastern Promises”).

The cast and characters are devastatingly good. Viggo Mortensen’s best performance could have been a disastrous lesson on how not to do a Russian accent. Half the battle was won with the script, which presents Mortensen’s character as a three-dimensional moral enigma. Then you have Naomi Watts, whose maternal heroine stands up to an organized family of crooks; Vincent Cassel (almost steals the movie), a son who may or may not be hiding homosexual feelings; and Armin Mueller-Stahl, a friendly but sinister force of evil.

But as much as Cronenberg restrained himself in the 2000s, he still couldn’t help his fascination with the relationship between sex and violence. This lack of restraint is best demonstrated in the sauna fight of “Eastern Promises,” a hilarious spectacle of penetration and dick waving. What makes the scene so well done is how its excess complements the overall story.

Finally, I like any movie that knows how to use a voice-over narrative with fucking dignity. “Eastern Promises” doesn’t overuse the device and allows it to enrich the story, not frustrate me with rambling and exposition.

No. 11 - “Pan’s Labyrinth” (2006)

“Pan’s Labyrinth” is a fairly tale in hell that gets darker every time I see it. The greatness of this film lies in its ability to be simple and profound simultaneously. The fantasy segments don’t give us a break from the war story. They help us understand it. Guillermo Del Toro handles the theme of resisting authority—even if it means death—rather brilliantly, framing the idea in the context of politics and family. The girl Ofelia is defying both a captain of a repressive regime and her stepfather. While this story element may seem merely obvious, it helps accomplish the impressive feat of melding the war and fantasy genres.

“Pan’s Labyrinth” does a lot of things very well: acting, cinematography, visual effects, characters, etc. But what I can’t forget is the woman humming during the main theme of the film’s soundtrack and how her voice overcomes an undefined sadness.

Another Top 50 Films of the 2000s List: 20-16.

No. 20 - “Children of Men” (2006)

The cinematography in this allegorical sci-fi film is breathtaking, but director/writer Alfonso Cuarón uses the camera to support his story about hope and fear, not drown it. “Children of Men” is sometimes nihilistic with its brutal depictions of murder and xenophobia, but the movie also explores the resilience of humankind—in the form of a baby—and the general beauty of life (perhaps the latter is best symbolized by the strange attention Cuarón gives to kittens). Because the script relies heavily on metaphors, the film could have collapsed without the talented cast, including action man Clive Owen in his best performance, Michael Caine in an unusual turn, and Chiwetel Ejiofor, whom I believe ranks with the top performers of the decade.

No. 19 - “The Lives of Others” (2006)

Odd. Controversial films are generally loud, but this subtle picture stirred up some shit. One cause of debate was “The Lives of Others” winning the Best Foreign Film Oscar over “Pan’s Labyrinth.” Others argued that the film was too optimistic and unrealistic in regard to its protagonist, a fictional member of the secret police of 1980s East Germany. The film was also questioned for delving into the fascistic tendencies of the German Democratic Republic. Before the film’s release, criticism regarding the GDR was taboo in Germany, despite the fact that the GDR’s secret police invaded the private lives of Germans through wiretaps and informants.

All of this hubbub over one of the most restrained dramas I’ve seen. Director/writer Florian Henckel von Donnersmarck’s direction is an interesting beast to dissect, as its power can be inexplicably overwhelming. The challenge is giving it a chance. “The Lives of Others” is a cinematic heavyweight that cannot be easily—or perhaps accurately—described in a review or on the back of a DVD case.

No. 18 - “American Splendor” (2003)

“American Splendor” is a comedy about a couple from an autobiographical comic book of the same name and is directed by two documentarians who happen to be a couple. What a crazy sentence to write and read, but the film is a crazy, unique production. There’s nothing quite like watching actor Paul Giamatti as a curmudgeon, especially when he’s playing off an equally adept actress like Hope Davis. But watching the real Harvey Pekar and Joyce Brabner show up in the film to discuss, yes, the film? Fuck, my mind has stopped and I can’t write anymore …

No. 17 - “City of God” (2002)

I was not captivated the first time I tried watching this one. I stopped it before an hour had passed. I have no idea why, considering how impressed I was throughout my second viewing. Well, maybe I have an idea. I kind of stupidly dismissed it as a Brazilian “Boyz n the Hood” wannabe. Damn.

“City of God” makes “Mean Streets” look tame. Most of its cast came from real shanty towns in Brazil. In other words, the film could have been a shitty bummer, but the direction of Fernando Meirelles and Kátia Lund lends enough cinematic power to prevent the movie from being a boring exercise in realism. Something as straightforward as chasing a chicken becomes a surreal parade. And that’s only the first memorable scene (which occurs at the very beginning of the film, by the way). The script is also strong. It wants us to sympathize with the protagonist, a boy whose love of journalism helps him escape the streets, but this is not a preachy or sentimental story, and other fascinating characters—like Li'l Zé, Benny, and Carrot—often steal the spotlight.

If nothing else, “City of God” is a trumpet leader for modern Brazilian cinema. I am still unfamiliar with the country’s other recent endeavors in filmmaking, but “The Elite Squad” waits for me as I write this entry.

No. 16 - “Audition” (2000)

There is only one other 2000s movie that disturbed me as much as “Audition,” but I will be writing about that later. Director Takashi Miike is a cunt’s hair away from insanity, but he’s also one of the greatest and most prolific directors alive. His sensibilities are unorthodox, deranged, and unpredictable. The first 50 minutes, give or take, of this film almost resemble a romantic comedy, but the set-up becomes a faint (and pleasant) memory once you experience the second half. Experience. “Audition” isn’t something you watch. It’s something that gets into your stomach. Poe and Hitchcock would have loved it.

As an aside, you will see “Audition” listed as both a 1999 and 2000 film, depending on the source. I tried to dig up the reason but haven’t found anything definitive. However, Wikipedia indicates the film was released in Canada October 6, 1999, and in Japan, March 3, 2000. A Japanese Movie Database link corroborates the Japan release date.

Another Top 50 Films of the 2000s List: 25-21.

No. 25 - “Into the Wild” (2007)

Sean Penn can write and direct. If someone mentioned his name and asked me what I thought, that's what I would say. Yes, he's a good actor, but he often overplays the part. As a director, Penn has much more control, he knows when to hit hard, and he injects a subtle intensity into both of his full-length 2000s films, “The Pledge” and “Into the Wild.”

Penn's eye for tragedy evolved with “Into the Wild,” though. “The Pledge” was tragic, but it was also sort of a detached examination of chance. “Into the Wild” is personal. One can tell Penn has a strong admiration for the protagonist, Christopher McCandless. But as you see in the second half of the film, Penn is also willing to pinpoint the brutal irony in the story of McCandless, a man looking for meaning that was in front of him almost the whole time.

Emile Hirsch won't go down as one of my favorite actors, but he's fantastic as McCandless. Penn's script calls for a complex character, likable and intelligent yet disappointing and shortsighted, and Hirsch gets every bit of it right. I was also impressed by the supporting cast, particularly Hal Holbrook, whose late appearance is unforgettable and crushing.

As excellent as this film is, it doesn't go beyond the bottom of my top 25 for one reason: Eddie Vedder's contributions to the soundtrack. I can listen to Pearl Jam without laughing, but Vedder is hilariously inept here. What's worse, the music doesn't suit the imagery, either. I've been told Pearl Jam was McCandless' favorite band, so the soundtrack includes Vedder for that reason, but shitty music isn't what the film needed.

No. 24 - “The Hurt Locker” (2009)

I'm somewhat surprised this film captivated me. Lately I've been reevaluating my opinions on war movies. “Tropic Thunder” and “Inglourious Basterds” helped inspire these second thoughts. So even though I was very interested in “The Hurt Locker,” I was apprehensive. I didn't want to see any obvious pro-American nonsense with a soldier I could believe in.

“The Hurt Locker,” superbly directed by Kathryn Bigelow, is not your everyday war film, though. It's an honest character study that favors suspense over action, which tends to be mesmerizing when it's there. The first explosion is a religious experience if you worship Sam Peckinpah. But don't take that to mean the film is about spectacle. Ultimately, the film rests on nuanced acting from Jeremy Renner and Anthony Mackie, whose relationship in the film involves uncomfortable racial tension. I believe their roles also benefit from the fact that two veteran actors, Guy Pearce and Ralph Fiennes, aren’t allowed to take over the screen. Bigelow makes damn sure of that.

Frankly, the film's general visual style had to grow on me. It often subscribes to the Shake The Camera If You Have One philosophy, but Bigelow's execution is much better than what you would have seen from Michael Bay, Danny Boyle, Paul Greengrass, Marc Forster, or any other director who has recently utilized the style.

I haven't read too many reviews of “The Hurt Locker,” so I'm not sure if everyone has sucked off the sound effects enough, but I will anyway. The sound in this movie is the best since “WALL-E,” especially in scenes with fire and even for smaller details, like a knife cutting through a car seat.

No. 23 - “Sideways” (2004)

The script doesn't always work, but “Sideways” seems to improve the more I watch it, thanks to Alexander Payne's brilliant direction and great performances from Paul Giamatti, Thomas Haden Church, Virginia Madsen, and Sandra Oh. Payne wisely keeps a comical tone for the most part, but the film contains several effective dramatic moments. Finally, and perhaps most importantly, Payne established a two-movie streak of hefty nude people with “Sideways.” I am curious to see whether he maintains the streak in his next movie, if it ever comes out. (Honestly, I wish Payne would get off his ass and do something.)

No. 22 - “Downfall” (2004)

I stopped “Downfall” after about two hours into its running time to take a breather from disturbing content. Perhaps the film doesn’t affect everyone in the same manner, but director Oliver Hirschbiegel wanted the film to answer tough questions, particularly about Adolf Hitler’s humanity. Much has been said about Bruno Ganz’s three-dimensional portrayal of Hitler. For some people, it is not easy to accept the idea that Hitler was a charismatic man, but Ganz demonstrates how he was. Of course, Ganz’s frenzied breakdown, which is associated with a boring Internet joke thanks to a Depraved Scheme, is one of the decade’s finest moments in acting.

No. 21 - “Master and Commander: The Far Side of the World” (2003)

Not many actors in the world can match Russell Crowe's intensity, but Paul Bettany is one of them. Director/writer Peter Weir creates one of the most fascinating relationships in film history with Crowe and Bettany, who represent the conflict of politics vs. science. “Master and Commander” is a superb overall production, no slouch in terms of art direction, sound, visual effects, music, and cinematography. Weir's sly sense of humor—demonstrated throughout 1998's “The Truman Show”—is the key to the movie's brilliant ending. This choice is a benchmark for the list, in that every movie after this point must be great in almost every respect to warrant mentioning.