Futuristic themes in music 90s-2000s
Great Gerwig eats, while Jocelin Donahue gets her Rosemary’s Babysitter on. Set in 1983 and shot to look as though it could have been made then too – all soft lighting and soft furnishings – it’s a rare pastiche than eschews a knowing wink for straight-faced reverence, its craft belying its mere $900k budget. Said reputation rested on 2011’s The Innkeepers and this 16mm marvel from 2009. The House of the Devil (Ti West, 2009)įor a few years, before his move into television, Ti West was one of the bright young things of American horror.
It stands as one of the best alien invasion films of that decade by (mostly) letting those events play out in the background of its intimate, emotional character study. Though often sillier than his previous works (and Mel Gibson is perhaps a strange choice for a timid former reverend) there’s simple power in that restoration of faith, even among events that should shatter it entirely. The third film from M Night Shyamalan is another subdued genre piece (again set in Pennsylvania) about grief and faith. It’s enough to make anyone want to put down their guitar and take up gardening. Capturing moments of shameless excess, unironic bravado and comi-tragic self-sabotage, Dig! plays out like a real-life Spinal Tap, a sobering, frequently obscene cautionary tale that shows what life is really like behind the music. Dig! (Ondi Timoner, 2004)Ĭharting the respective rise and fall of American psych-revival groups The Dandy Warhols and The Brian Jonestown Massacre, Ondi Timoner’s 2004 rockumentary is a riveting portrait of ego and hubris, centred around the not-so-friendly rivalry between band leaders Courtney Taylor-Taylor and Anton Newcombe. Of course, it bombed, but it’s hard to imagine another blockbuster this subversive coming out of the Mouse House again any time soon. A return to the genre romanticism of The Untouchables and one of the great CG-driven spectacles, it’s a reflexive commentary on artistry and creativity through FX in service of a god-killing creation myth. Mission to Mars (Brian De Palma, 2000)įor his last Stateside project before an extended European sojourn, Brian De Palma – that impish cinematic interrogator of content through form – was handed the keys to Disney’s digital play chest. Think we’ve missed something? Share your favourite movies of the 2000s with us 100. To keep things interesting, we’ve limited ourselves to just one film per director. The following ranking is not intended as a definitive canon – we simply hope it stimulates some debate and prompts you to revisit and possibly discover some great films. Whittling these lists down to a lean ton is never a straightforward task, so we’ve enlisted the services of some of our nearest and dearest contributors to help us come up with a wide-reaching – but by no means comprehensive – survey of what the world of cinema looked liked two decades ago. Having already surveyed the best films of the 1990s and the 2010s, we thought we’d plug the gap and satisfy our (and hopefully your) nostalgia by checking out what the rest of noughties had to offer. Truly, the start of the new millennium was something special.
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Typically these pieces are pegged to notable anniversaries, and 2020 has so far seen a number of exceptional, era-defining movies reach the 20-year milestone, from Christopher Nolan’s Memento to Mary Harron’s American Psycho to Spike Lee’s Bamboozled.
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Regular visitors to these pages will know that we often celebrate and reappraise older films: they might be modern classics, under-the-radar gems or works which, for whatever reason, have gained deeper meaning or resonance over time.