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.