Best Films of the 2000s: Andrew Osborne’s List

So, yesterday, Scott, Phil and I posted our Top 20 movies of the past decade for Nerve, and now, for those what am interested, I hereby post my own personal list, along with some Honorable Mentions Nerve apparently didn’t have the bandwidth to include…

  1. The Royal Tennenbaums (2001)
  2. Ghost World (2001)
  3. Sideways (2004)
  4. Lost In Translation (2003)
  5. Almost Famous (2000)
  6. O Brother, Where Art Thou? (2000)
  7. Young@Heart (2008)
  8. Mulholland Drive (2001)
  9. Eternal Sunshine of the Spotless Mind (2004)
  10. No Country For Old Men (2007)
  11. The Queen (2006)
  12. There Will Be Blood (2007)
  13. Big Fish (2003)
  14. Knocked Up (2007)
  15. Hell On Wheels (2007)
  16. Juno (2007)
  17. Dave Chappelle’s Block Party (2006)
  18. The Squid & The Whale (2005)
  19. State & Main (2000)
  20. Vicky Cristina Barcelona (2008)
  21. Before Sunset (2004)
  22. Chuck & Buck (2000)
  23. The King of Kong (2007)
  24. This Film Is Not Yet Rated (2006)
  25. Inglourious Basterds (2009)

Dave Chappelle’s Block Party (2006)

More than a film, this rollicking concert documentary was an event…and I’m not just talking about the titular block party, an all-day, all-inclusive jam for the residents of one hardscrabble Brooklyn neighborhood (and one lucky Midwestern marching band) featuring undervalued performers like Erykah Badu, the Roots and Jill Scott.  For one thing, it was a fantastically classy, big-hearted, easy-going comeback for Dave Chappelle after his 2005 “meltdown” (wherein the comedian utterly baffled the entertainment community by deciding not to sell his soul).  But even beyond that, in this post-9/11, post-Katrina, post-optimistic, pre-apocalyptic era, director Michel Gondry captured a joyfully defiant moment of celebration, hope and community sorely needed but sorely missing from the media landscape for most of the 2000s.

Knocked Up/Juno (2007)

Both love-it or hate-it propositions (depending, respectively, on your tolerance for un-P.C. bromance and self-consciously hepped-up dialogue like, “This is one doodle that can’t be undid, Home Skillet”), these twin pregnancy comedies represented two distinct and influential flavors of pop-devouring, post-ironic early 21st century American filmmaking.  On the one hand, while the Judd Apatow universe is clearly a boys club, the underlying decency and humanity of its foul-mouthed, quick-witted inhabitants made it a club I was happy to join.  As for Juno, I went into the theater prepared for an overdose of precious twee, but after making a conscious decision to just roll with the film’s hamburger phone sensibility (and soundtrack), I was pleasantly surprised by the tender heart beneath the Tic-Tacky veneer, the sharp characterizations by Ellen Page, et al. and the way director Jason Reitman and screenwriter Diablo Cody managed to explore fresh terrain in the tired old teen comedy genre.

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