The Top Ten of The Last Ten

10 - The Social Network (2010)

The protagonist of Fincher's Facebook film may have lost some of our respect over recent years, following criticism of his involvement with Cambridge Analytica and attitudes to ads, but whilst Mark Zuckerberg has fallen, The Social Network has soared. Its razor-sharp dialogue, powerful editing, and compelling acting never presents its characters as anything but flawed and broken trying to make it in a world that only cares about popularity. It's still a highly entertaining, and culturally damning, portrayal of the power of social media and the overwhelming desire to be liked. It could be argued that it is more meaningful now than ever.

9 - The Hurt Locker (2009)

Really, The Hurt Locker is what started everything for me. Not my love for films, that was well established, but my love for all things Oscars. The Hurt Locker was one of those rare films that took my breath away like nothing had done before. So why the love for the Oscars? In my mind, Avatar was going to win Best Picture; it was a two horse race. But Hurt Locker won. That was exciting - to see this superb piece of cinema topple the $2 billion behemoth. And every year there's a competition, a battle with a winner to predict. But that's not why The Hurt Locker is so high on this list. Yes it holds a special place in my heart, but it is also a gosh-darn great movie.

8 - Up In The Air (2009)

Some films get better the more you watch them, some get worse. My master's thesis focused on airports in American Cinema (fun, right?)*, looking at 2004's The Terminal and 2009's Up in the Air. I liked both films when starting but now I'd be happy to never see a single frame of The Terminal again. Up in the Air, however, got better with every viewing, despite excruciating analysis. Now that's the sign of a good film. A beautifully crafted movie with George Clooney's Ryan as a living embodiment of airport life - busy, impressive, free, but ultimately empty, devoid of any solid, concrete relationships, revelling only in temporary connections. It's as warm as it is heartbreaking, and much more grounded than its title lets on.

*Full title: Representation of the Airport in American Film: Exploring Marc Augé's Non-Place, its Effect on Relationships, and the Concept of Home in The Terminal and Up in the Air

7 - Django Unchained (2012)

Slavery may not seem like a natural topic for Tarantino, the wise-cracking, violence-loving, history-warping filmmaker that he is. In fact, slavery should surely be treated with the upmost sincerity? I mean, look at 12 Years a Slave - they won Best Picture with their very serious (and very good) representation of one of the darkest times in American History. But with Django, an organic pairing emerges. Tarantino does not treat slavery lightly, but never does he let his audience dwell in sorrow. While this is a victorious story, it still shows all the gruesome realities of slavery and doesn't hide the ugliness of revenge. Is it stylised, yes. Is it often tongue-in-cheek, yes. But does it ever downplay the suffering of those who were enslaved or make light of their plight? No. It could very easily be a disaster, but in Tarantino's hands, it is a major success.

6 - Birdman or (The Unexpected Virtue of Ignorance) (2014) 

It's tempting to assign Birdman's success to a gimmick: the single long take in which the film is shot. And whilst it's stylistic properties are worth all the merit they're given, Birdman is so much more than clever camera work. As well as being the highest Best Picture winner on this list, it's a stunning piece of visual artistry and outstanding strong telling, contained within the parameters set by the single wandering viewpoint. It's immersive and subversive, funny and miserable, stacked with world-class performances and complimented by a strong rewatch value. Well, how could Birdman not make the top ten?

5 - The Wolf of Wall Street (2013)

At three hours long, The Wolf of Wall Street is easily the longest film to break the top ten, but unlike other similar-length films, particularly those released around Oscar season, it never drags. It portrays the exhilarating appeal of Belfort's lifestyle, regardless of its condemnable morality, whilst not shying away from the ugly, crushing devastation that it brings. It is bold, brutal, breathtaking, and boasts a career-best performance from Leonardo DiCaprio (don't @ me). The picture it paints may be shades of moral and ethical grey, but grey has never dazzled so brightly.

4 - Black Swan (2010)

What happens when you combine the high art of ballet with spine-tingling unease and paranoid suspense of a horror film? The answer: you get one of the best films of the last ten years; an unnervingly dark dive into the human psyche as it pursues perfection. Black Swan is as scary as it is steamy, whilst never being insincere and we, as the viewer, share in Nina's swan dive into madness, experiencing every second of it through her as our unreliable guide with Aronofsky's directing perfectly positioning his audience to constantly surprise, scare, and shock us. As far as films go, this one is on pointe (sorry).

3 - Mad Max: Fury Road (2015)

There's no other film on this list quite like Mad Max: Fury Road. Firstly, it's a sequel. Not only that, it's a reboot-sequel. And not only that, but it's a reboot-sequel set in dystopian wasteland, ruled by a cult of radioactively decaying, kamikazing mad-men that drive spikey sand-buggies and swing flamethrower-guitar players from ropes whilst chasing the few females left in their world. Not your typical Oscar bait, but simply brilliant. A visual masterpiece, a joyous thrill-ride, an overwhelmingly unique piece of cinema; Fury Road is all these things and more. But what does Fury Road have that few others on this list have? Fun. It takes it's fun seriously, and as a result it is seriously fun. Whilst other films may make us well up or pull on our heartstrings, Fury Road begs us to watch again and again and again. It says 'hey, hop in. Enjoy the drive', and we can't not. It's just too good.

2 - The Grand Budapest Hotel (2014)

Auter is not a word thrown around much these days, and probably for good reason. Do many directors today really have a distinguishable style, something immediately recognisable? A few names spring to mind, but none more so than Wes Anderson; his style is uniquely crafted and The Grand Budapest Hotel is the jewel in his crown. A ridiculously comic, character driven caper featuring a dream cast, a non-linear narrative (complete with complementary aspect ratios) and signature cinematography. It is a meticulously detailed cinematic experience which never sacrifices its entertainment value or its beauty. In fact, it truly encompasses all that the medium of film has to offer in order to tell a fantastic and phenomenally funny story.

1 - Whiplash (2014)

It's not often I finish a film and want to re-watch it immediately, but that's what happened with Whiplash. I was rewatching it the very next day after thinking about it all night. Almost five years since its release, and I'm still thinking about it all the time. It is a reminder that films don't have to be box-office behemoths filled with cherished intellectual property to be brilliant, but great performances, a sharp edit, a contained narrative, and only personal stakes can do the job fine. Damien Chazelle has become a regular at the Oscars (with La La Land and First Man in the last few years) but not because his films are 'Oscar-bait', but because they are good films without appealing to the conventions of a typical winner. And sure, he hasn't gone home with a Best Picture gong yet but his best film to date gets the absolute privilege of sitting at the top of this completely pointless list, on this completely pointless blog with an author who will fight tooth and nail for it to stay there. 

Ranking 10 Years of Best Picture Nominees

So for the last ten years, since the Academy moved to ten spots for Best Picture nominations, I've committed to watching every Best Picture nominee. That's 89 films. Some of which I've seen many times since, some I've not watched again, and a couple I wished I'd never watched. The winners by year have been bolded and I've included some occasional thoughts. Do let me know your thoughts too! What should be higher, lower or am I spot on?

So here we go, with all objectivity out the window and only subjectivity left, this is Phil's rankings of the last ten years of Best Picture nominees:

89. Extremely Loud & Incredibly Close (2011)

Taking a proud spot at the bottom of this crucial list, the only film nominated for Best Picture in the last ten years that I thought was simply bad. It was distasteful, badly made, and had an irritating lead (though Max von Sydow is a glimmer of excellence in an otherwise poor film). It stands at 46% on Rotten Tomatoes, which is about half of what most nominees get (for reference, the next 'worst' film is The Blind Side at 66%, a whopping 20% clear). I'm with Andrea Peyser who called it 'Extremely, incredibly exploitive' in her review. The handling of a subject such as the devestating effects of 9/11 deserves better, more thoughtful treatment and, less importantly, the Oscars deserve better films.

88. Bohemian Rhapsody  (2018)
89. The Kids Are All Right (2010)
90. Lion (2016)
91. The Post (2017)
92. The Blind Side (2009)
93. American Sniper (2014)
94. Zero Dark Thirty (2012)
95. Moneyball (2011)
96. War Horse (2011)
97. American Hustle (2013)
98. Hidden Figures (2016)
99. Beasts of the Southern Wild (2012)
100. Selma (2014)
101. Hugo (2011)
102. Dallas Buyers Club (2013)
103. Les Misérables (2012)
104. The Theory of Everything (2014)
105. The Imitation Game (2014)
106. Phantom Thread (2017)
107. Her (2013)
108. Hell or High Water (2016)

67. Green Book (2018)

 

The lowest ranking of the Best Picture winners. This is not a bad film but it is forgettable (see also Argo at 62), and that is where it's success came from. A safe commentary on racism that appealed to everyone but dazzled no one. It falls at the better end of mostly forgettable films (see numbers 88-68) which suggests, whilst still one of the better films of the year, it's not going to survive in cinematic memory like those just a few further up the list. 

66. The Fighter (2010)
67. Philomena (2013)
68. Winter's Bone (2010)
69. Life of Pi (2012)
70. Argo (2012)
71. Precious (2009)
72. Vice (2018)
73. A Serious Man (2009)
74. The Help (2011)
75. Room (2015)

56. Avatar (2009)

 

Despite being pipped to the post for Oscar glory by small-budget The Hurt Locker, Avatar has left its mark on cinema history, developing groundbreaking technology, and taking more money in its box office than any film that came before it. Only in uniting 11 years worth of superhero films in the MCU's Avengers: Endgame has anyone even come close to beating that record, and they only managed it with a re-release.  Before that, the record was held by Avatar director, James Cameron with Titanic. Was Avatar the best movie of the last ten years? Evidently not. But it was one of the most spectacular cinematic experiences I've had (and I saw it three times in the cinema). It's worth taking a moment to remember the magic that it brought to the big screen, particularly in a world of CGI lions singing Hakuna Matata and endless streams of superheroes. 

55. 127 Hours (2010)
56. Boyhood (2014)
57. Lincoln (2012)
58. Black Panther (2018)
59. An Education (2009)
60. The Martian (2015)
61. Darkest Hour (2017)

48. The Tree of Life (2011)

 

Of all the films on this list, why would I pull out The Tree of Life for a brief comment? It falls somewhere around the middle of this list (despite my own five-star review) and it's not a film we talk about a lot. But it is, and I say this reservedly, the best looking, most beautiful film on the list. Terrence Malik guides us, in a dream-like state, through an exploration of life - its purposes, its meanings and its relationships, not just with one another, but with the world we live in. It's safe to say, there's no other film like it on this list.  

47. Silver Linings Playbook (2012)
48. Dunkirk (2017)
49. The Big Short (2015)
50. Roma (2018)
51. Up (2009)
52. The Revenant (2015)
53. The Descendants (2011)
54. Midnight in Paris (2011)
55. Bridge of Spies (2015)
56. BlacKkKlansman (2018)
57. The Shape of Water (2017)
58. Spotlight (2015)
59. The King's Speech (2010)
60. Gravity (2013)
61. True Grit (2010)

32. Amour (2012)

One of two films on this list that have actually made it into my academic study* (the other falls at number 8), Amour is a beautiful and painful film about love and life. It may be one you haven't seen - thus me highlighting it here - and if that's the case, you should correct that. Six years after the previous foreign-language film made it to the Best Picture race (Babel - 2006) and six years before last year's Roma, Amour was tragically under appreciated. It was a small, heartbreaking movie that wrongly passed under many radars. J'adore Amour.

*Full title: The Shocking Nature of Violence in Films; Film Violence, Aesthetics and Context: An In-Depth Analysis of Audience Reception of Representations of Violence

31. Hacksaw Ridge (2016)
32. Arrival (2016)
33. A Star Is Born (2018)
34. Captain Phillips (2013)
35. Nebraska (2013)
36. 12 Years a Slave (2013)
37. Moonlight (2016)
38. The Favourite (2018)
39. Fences (2016)
40. Manchester by the Sea (2016)
41. Toy Story 3 (2010)
42. The Artist (2011)
43. District 9 (2009)

18. Inception (2010)

 

Christopher Nolan's boggling masterpiece left everything spinning back in 2010: tops, corridors, and our minds. Its stunning set pieces, action paced plot, and ensemble cast have solidified their place in cinematic history. Who can forget the first time they saw Paris fold in on itself, or how they felt after the corridor fight sequence, or the tension in that final shot; did it wobble? Will it fall?! We may never know but what we do know is this was something unique, hugely creative, with jaw-dropping visuals, from one of the best, most influential directors of the current age.

17. Get Out (2017)
18. Inglorious Basterds (2009)
19. Three Billboards Outside Ebbing, Missouri (2017)
20. Lady Bird (2017)
21. Brooklyn (2015)
22. La La Land (2016)

11. Call Me by Your Name (2017)

 

Just falling shy of the top ten is a beautiful piece of cinema. Gentle, loving film-making; the type of film-making we just don't see much of these days. Director Luca Guadagnino lets his camera wander in a day-dream-like manner through the stunning landscapes of rural Italy, watching his characters as they go about exploring relationships, sexuality, faith and much more. They're not in a rush, and neither is the viewer, allowing the audience time to understand Oliver and Elio as they begin to understand one another. We're not just a witness to their relationship, but participants in it, feeling what they feel, experiencing what they experience. It makes the long shot over the credits of Elio all the more heartfelt and real. Pitch perfect performances combined with a genuine artist behind the camera - this is fine fine film-making and a true rarity. 

Well then - only ten left to go. Click here for the top ten!