The (Now-Overrated) ILX Top 100 Films of the 2000s Poll Results

oh wait, full length DUMPLINGS! is on that disc so you're golden

short AND long versions together. brilliant.

man I wanna eat some pan fried DUMPLINGS! right now

made all the more attractive by Christoper Doyle

to update WmC's list above, netflix instant play has

Gosford Park
Oldboy
Best in Show
Brick
The Host
Audition
Kings and Queen
Synecdoche, New York
Together
Capturing the Friedmans
Happy-Go-Lucky
Brokeback Mountain
Rachel Getting Married
Pan's Labyrinth
4 months, 3 weeks and 2 days
Memento
Let the Right One In
In the Mood for Love
Inland Empire
The Royal Tenenbaums
Wall-e
Eternal Sunshine of the Spotless Mind

and Head-On from the 25 runners up

gah, this reminds me that I need to remove Audition from my viewing queue like immediately

Hot Rod 2 pts. 2 pts 1 vote
Anatomy of Hell 2 pts 2 pts 1 vote

... ummmmm ...

don't wanna load the thread - how many did 300 get?

dwp, role models, cloverfield, lotr twin towers, adventureland, wonderboyz, mike clayton, forgetting sara marshall, gomorrah, hellboy, syriana, oceans 11, inside man

― max, Friday, February 12, 2010 12:33 PM (2 hours ago) Bookmark

i voted for dvp! and adventureland, clayton, marshall & inside man

or dwp w/e

poor bright star

― snoocki (s1ocki), Friday, 12 February 2010 18:31 (2 hours ago) Bookmark

;_; can't believe it got a solitary vote.

who are the other 3 Eureka voters, and have you seen it recently? (I had to watch a wobbly VHS.)

― Fusty Moralizer (Dr Morbius), Friday, 12 February 2010 17:08 (3 hours ago) Bookmark

i saw it a couple of years ago. i didn't vote for it because it's crap.

fyi I called the top 10 the night before they were posted

< /bragging>

Huge belated thanks to Omar for the number-crunching, the nicely paced unrolling of results and the beautiful screencaps. I've never been so addicted to an ILX thread and I'm looking forward to getting more work done next week.

crap's a bit strong; it's OK

yeah yr right

you are both very wrong, but at least 3 other ppl know that.

maybe I'm the only person who like the list in ascending order? anyway...

1. Mulholland Drive
2. Children of Men
3. Eternal Sunshine of the Spotless Mind
4. No Country For Old Men
5. There Will Be Blood
6. Spirited Away
7. Inglourious Basterds
8. Wall-E
9. Zodiac
10. City of God
11. The Royal Tenenbaums
12. Grizzly Man
13. Inland Empire
14. In the Mood For Love
15. Let the Right One In
16. Lost in Translation
17. Ghost World
18. Memento
19. Adaptation
20. Caché
21. The Incredibles
22. 4 Months, 3 Weeks and 2 Days
23. Donnie Darko
24. The Departed
25. Superbad
26. American Psycho
27. O Brother, Where Art Thou?
28. Pan's Labyrinth
29. Shaun of the Dead
30. Kill Bill: Vol. 1
31. Battle Royale
32. The New World
33. Rachel Getting Married
34. The Bourne Supremacy
35. Bad Santa
36. Brokeback Mountain
37. A History of Violence
38. 24 Hour Party People
39. A Serious Man
40. The Bourne Identity
41. The Dark Knight
42. The Hurt Locker
43. Gosford Park
44. Oldboy
45. Anchorman: The Legend of Ron Burgundy
46. Up
47. Best in Show
48. Kill Bill: Vol. 2
49. The 40 Year-Old Virgin
50. I'm Not There
51. Eastern Promises
52. Punch-Drunk Love
53. Before Sunset
54. Miami Vice
55. Munich
56. Yi Yi: A One and a Two
57. Brick
58. You Can Count On Me
59. Sexy Beast
60. The Host
61. Audition
62. Borat
63. Wet Hot American Summer
64. Kings and Queen
65. Kung Fu Hustle
66. A.I. Artificial Intelligence
67. Synecdoche, New York
68. Elephant
69. Far From Heaven
70. Ratatouille
71. 25th Hour
72. Amelie
73. The Triplets of Belleville
74. In Bruges
75. Y tu mamá también
76. In the Loop
77. The Squid & The Whale
78. 28 Days Later
79. Team America: World Police
80. The Diving Bell and the Butterfly
81. The Lord of the Rings: The Fellowship of the Ring
82. Master and Commander: The Far Side of the World
83. Harold and Kumar Go to White Castle
84. Finding Nemo
85. Almost Famous
86. All the Real Girls
87. Minority Report
88. Memories of Murder
89. The Lives of Others
90. Together
91. Talk to Her
92. Tropical Malady
93. Sideways
94. Napoleon Dynamite
95. Capturing the Friedmans
96. High Fidelity
97. Happy-Go-Lucky
98. Dogville
99. The Piano Teacher
100. Movern Callar

english is my first language btw

Dagon - 33 33 pts 1 vote

I thought I would've at least gotten some help from Latebloomer on this one, sheesh.

my unique votes:

The Score - 31
The Ninth Gate - 18
Red Eye - 4
Wild Zero - 3 (watch this movie, ilx)

also, about these placements:
Kung Fu Hustle - #65
Shaolin Soccer - #3xx

really??? i think of them as being about on par.

yeah I don't really get why Kung Fu Hustle is all of a sudden the best stephen chow movie either

most seen by americans.

loved Wild Zero but it didn't quite make the top 40.

in fact KFH is actually considered to be one of the weakest chow films in his oeuvre by most HK critics

just like US critics think Marnie is weak Hitchcock.

OK, so just watched CoM and I'm starting to think that maybe I watched it around the same time as I saw Signs, b/c it wasn't as big of a christ-hammer as I remember.

The choice of a barn for the pregnancy reveal was still a little annoying (mainly b/c the first shot of her pregnant belly looked like a religious painting) but I'll let it slide b/c the rant that Kee goes on against the way cows are treated sets her defense of her motherhood up pretty well before the reveal.

I also think that when I originally saw it, when Jasper got shot and the midwife said "everything happens for a reason" it really pissed me off (I definitely don't subscribe to this school of thought), and even though it seemed like Theo disagreed I wish the director had added some dialogue or something to sort of refute it. But I dunno, Caine's whole faith/chance speech was kind of half-baked(maybe the purpose of the scene was to create some sympathy for Theo re:the loss of his son?) so I couldn't tell whether or not Cuaron actually wanted to say that "everything happens for a reason".

Beyond that the thing that surprised me the most was how little actual ass-kicking Clive Owen does. For some reason I remember him doing a lot more than opening car doors and hitting a cop with a brick. But yeah, lol@a boat named "tomorrow".

Great work, Omar & thanks. This has been great reading.

meant to link this here

ILX's Top 100 Films of the 2000s, screencaps version

everything does happen for a reason in fiction.

and on ILE.

I don't really get why Kung Fu Hustle is all of a sudden the best stephen chow movie

just watched it last night, love it more than SS because imo it did everything better (except for that lame roadrunner/wily coyote scene). Funnier, bigger build-up with massive, gorgeous sets, better cgi. Chow trying to be bad and the landlady were both A+. Also cmon, he steps on a flying bird.

just like US critics think Marnie is weak Hitchcock.

It's no Frenzy, but it's pretty good late-period stuff. The psychobabble quotient is higher than anything since what, Spellbound? That takes it down a peg or two.

I vastly preferred SS to KFH, but God of Cookery is better than either of them.

I just watched Mulholland Drive for the first time, having thought I'd seen it already but getting confused between that and Lost Highway.

While everyone seems to remember the lezzing-up scene, the bit that stayed with me the most was the beginning with the monster behind Winkies - did I ever nearly shit myself or what? I spent the rest of the film hiding through my fingers like a six-year-okd every time Lynch used that "walking through a narrow-cornered corridor" technique - and I'm not normally frightened by films.

Must have been because I absolutely didn't expect to see - what was he, a troll or something - just appear like that. The camera shows him, flicks away, and then back again. It's like a nightmare where you know something bad is going to happen, but you don't know quite when and how...

Great film though!
]

^lol was talking about morbs, tape store

― zvookster, Wednesday, February 10, 2010 11:48 PM (4 days ago) Bookmark Suggest Ban Permalink

ooops, belated sorry zvookster, totally misread this

np tape

^lol was talking about morbs, tape store

― zvookster, Wednesday, February 10, 2010

OTOH, u r in my black book.

Mordy, I am appalled that you would mention a film w/ ZERO moral underpinnings (I.Basterds) in the same breath with a film whose bedrock is Jewish morality (Munich).

While everyone seems to remember the lezzing-up scene, the bit that stayed with me the most was the beginning with the monster behind Winkies - did I ever nearly shit myself or what? I spent the rest of the film hiding through my fingers like a six-year-okd every time Lynch used that "walking through a narrow-cornered corridor" technique - and I'm not normally frightened by films.

Yeah the first time I saw Mulholland Drive was on a plane (what were they thinking?) - when it got to the behind-the-diner scene I pretty much had a full-scale panic attack (which had been looming, I hate flying). I had to stop watching and turn over to some Korean romance movie to calm me down.

What airline was it and have they gone under? :-)

I have spent my library loyalty card on ILX choice Kings and Queen. Never got it out as it didn't look all that to me.

Shame that this thread can't be opened up...ws looking forward to try and skim through 2500 posts of bile heated debate...serves me right for reading ilx on an ancient thing.

it's great. you missed out!

You missed about 2000 posts of indie fuckwits arguing aver the merits of Sofia Coppola and Cameron Crowe, plus a bewildering amount of acronyms.

i meant he missed out on Kings and a Queen

rescreened all the real girls cause of this poll. didnt like it now as much as i liked it at 19 when i first saw it, despite the fact that the relationship resonated w/ me a lot more this time around (probably because, uh, i have been in relationships now, whereas i hadnt at 19). btw. what seems to be DGGs natural antipathy for the character and zooey deschanels inability to act like anything but a flighty teenager (which i guess she was), the movie seems to end up planted pretty squarely on the "side" of paul schneider--understandable i guess since hes the main character, but also kind of unfortunate since zooey surely has more going on than just she fucked some guy at a party.

i did dig the hal-hartley-stoned-vibe as joe put it. dunno, felt like it wandered up a lot of alleys and then turned around--you never learn anything about any of the characters, really.

Enjoying Kings and Queen at the mo'. Halfway through the DVD, at two and half hours I am easily distracted at home, really need the dark box for the longer stuff - saw the interview before starting on the film and the guy sure likes his Bergman, and lots of things, but, I'll say it again...guy sure likes his Bergman. But maybe without the maddening cruelty he was so fond of in the early 70s.

Thanks ILX.

BTW the special features on the Zodiac blu-ray, which include EXTENSIVE interviews both with the actual cops from each jurisdiction, and the two surviving victims, are absolutely amazing. Michael Mageau, the dude who was shot in the opening scene, is just an absolute mess; while Bryan Hartnell, the dude stabbed at the lake, is a successful lawyer. In one segment, Hartnell goes to look at evidence from the crime scene -- including his car door with the Zodiac writing on it -- for the first time in 40 years. It's really something else.

― El Poopo Loco (Pancakes Hackman), Thursday, February 11, 2010 2:07 PM (4 days ago) Bookmark Suggest Ban Permalink

thx 4 this, i took the dvd out of my library & these were v. compelling

Great reading and graphics!

Like coming to a party weeks later and saying "hi" to empty air, my third batch of reactions:

Munich: Loved this, but its limits are those of the audience it hopes to persuade, the moral compass of a powerful country (or two) in which terrorism is on an entirely different moral plane than war.
Miami Vice: Disliked Heat the first time too, so I'll give this another try.
Before Sunset: Best one-day's-urgent-romantic-chemistry since The Clock, and I didn't like Before Sunrise. (My fifth vote.)
Punch-Drunk Love: Loved so much of this, but found her love for him too good to be true, and the memorable flourishes too disconnected from that mystery.
Eastern Promises: Great, but too short, with unsatisfying ending.
I'm Not There: As far as films it'd take a Greil Marcus audio commentary for me to get through (again), I prefer Masked & Anonymous.
The 40 Year-Old Virgin: Love the drunk driving scene, but this has the cheesy unreality of something that should have been more outrageous.
Kill Bill: Vol. 2: I didn't like Vol. 1, for the plot.
Best In Show: Might hold up less well after a decade of mock-doc, but the tone here is so much more interesting than what it spawned. (Sixth vote.)
Anchorman: The Legend of Ron Burgundy: Classic one-fourth-of-a-movie trapped in too-lazy-for-actual-satire Ted Baxter-meets-China Syndrome meta-scare-quotes-ironic riffing bonanza.
Gosford Park: Only remember being bored, but it's Altman, so I'm open.
The Hurt Locker: Great movie, also left off my list for its seeming okay-ness with a limited American view, where Generation Kill was so much more subtly damning of invaders.
The Dark Knight: Batman Begins was more fun.
The Bourne Identity: At some point this became less about its premise than the same old action, which was a loss: Couldn't they have had a love scene in which Damon wasn't sure if his romantic techniques were pre-programmed too?
A Serious Man: Great, but still felt a little like an idea playing itself out.
24 Hour Party People: Most convincing club atmosphere since Twin Peaks: Fire Walk With Me, but fizzled story-wise.
A History of Violence: Too short again, with comic-booky ending, but still good.
Brokeback Mountain: The audience's embrace was an acknowledgment that true love is sexual, the longing all the more resonant for being forbidden. And moving because the love, heat, and forgoing of happiness are believable in these characters. (Seventh vote.)
Bad Santa: Classic Christmas, will watch again.
The Bourne Supremacy: And no Casino Royale? I watched again, and loved the shots of those massive apartment buildings in Russia, and the impression his girlfriend left as someone who would guide his conscience, but there's still less at stake here than there should be for a movie on this list: It's fun to watch Bourne calculate the times of arriving trains rather than don a disguise or start shooting, but doesn't he owe the girl whose parents he killed more than the truth? (Though that actress was wonderful.)
Rachel Getting Married: A little too idealized a wedding to be crashed in a little too perfectly painful a way, but I enjoyed watching the train wreck more as a result, probably.
The New World: Only retain the impression of the cold and hunger, but will watch again.
Kill Bill Vol. 1: The sword on the plane signals what this was about: Taking our minds off "everything else."
Shaun of the Dead: Best buddy movie, zombie movie, and Simon Pegg in one, where all of those categories had competition.
O Brother, Where Art Thou?: Classic Clooney and soundtrack, but a little thin as American, not to mention African American, myth-making.
American Psycho: Love him, but it felt late for adaptation, and why doesn't anyone in his building call the cops? Plus I feel sorry for any musicians on the soundtrack.
Superbad: Where these guys finally master the right balance of naturalism and slapstick. (Eighth vote.)
The Departed: The kink and suspense don't redeem genre cliches, or make Leo credible. (Why is he Scorsese's star again?) But I can't deny that it was fun to see a halfway-decent Scorsese.
Donnie Darko: Gone from memory, will give it another chance.
The Incredibles: This had a Spy Kids vibe, where this grownup 7-year-old prefers serious superhero stories.
Cache: Like A Serious Man, seemed like an idea contorting experience or story to its whim, which is interesting and compelling, but less so than 40 other movies.
Adaptation: Hard to make great cinema about writing, but my favorite twofer-lead since Dead Ringers.
Memento: I feel this way all the time. (Ninth vote.)
Ghost World: A snob-comedy harbinger, boring and bored. OTM above about Happiness being more like a Clowes cartoon, plus actually funny.
Lost in Translation: The loneliness of being too cool for the room, plus an inexplicable night out with actual Japanese people (the only part I liked).
In the Mood for Love: Fell asleep, will give it another shot.
Inland Empire: More a gallery of Lynch-isms than a movie, but I'll try not to fast-forward next time.
Grizzly Man: Great, but so dismissive toward the power of its source material and the bears themselves, and so dependent on that material to work the audience's dread center, that it distances itself from its subject to the point of ironic superiority--and this from the guy in The Burden of Dreams.
The Royal Tenenbaums: Laugh-out-loud funny even on third viewing, but without quite enough story to make my 40.
City of God: Great story, stylized slightly past the point where it could produce real pain or terror, where going for the feel and look of the first half hour of De Palma's Scarface might have put this in the class of The Wire.
Zodiac: Absorbing, will re-rent given the love here.
There Will Be Blood: Makes up for the big flaw of Magnolia, a cluelessness with children, and matches its soundtrack, so maybe our oil man should have broken into song at the end. (10th vote.)
No Country For Old Men: Death walks the earth, but in a performance so entertaining I don't quite care that it makes actual drug-war history a dream. (11th vote.)
Eternal Sunshine of the Spotless Mind: The problem with Charlie Kaufman films is that when you make a movie about the idea of a thing rather than the thing itself, the audience doesn't get to experience the thing in the same visceral way that the characters do, or we with the characters in other movies. So these films operate at an amused remove from the heart that only Synecdoche, New York really really bridged, because that guy's pain is both painful and funny, rather than just painful.
Children of Men: Great cast, a number of gripping set pieces, Clive Owen looking good, and some memorable distopian-totalitarian atmosphere (Costa-Gavras meets George Romero?), but the central conceit that children are what keeps humanity decent is a tough enough sell without the scene where everyone puts down his/her gun to let the baby pass, and otherwise the balance of casual-terror realism and shaky-camera action seems distasteful or at least misguided in a movie against violence, where the combo made sense in, say, Rambo. And what exactly are the motives of the revolutionary terrorists again, except to reaffirm that even activists go to the dogs without hope?
Mulholland Dr: Glad to see this at No. 1, since I would have placed it there after watching it again. Some kind of Exhibit A for what movies do. Favorite touch: The cowboy walking through the background at the party in the second half. (12th vote.)

you could prob just temporarily turn off images in your browser settings & then reload the page, if you want to read all the comments. i hate it when i'd like to catch up on the ilm polls but there are literally 100 youtube embeds

even with images off this page is a mofo

wish this had been nommed:

http://www.castellolopesmultimedia.com/passatempos/0710_julgamento_visao/julgamento_top.jpg

jugallomento

took a flyer on a $5 used copy of "children of men" today. you were all right, i was wrong, etc.