The 2000s were an interesting decade for movies. Animation became a dominant creative force, with Pixar leading the way. Big budget, action adventure spectacles reached the peak of their critical success, and then began to fade in favor of simpler fare. Cheaply made comedies and horrors are now all the rage. And independent films are no longer independent but “indie” and are manufactured by the studios to make people feel like they’re seeing something from outside the system. Oh, and the professional movie critic has become an endangered species.With all that in mind I offer part 1 of my list of the best films of the 2000s. (For this list I am counting any series of films as one film, since I generally view movies in terms of the overarching storyline rather than as individual films.)

16. The Chronicles of Narnia (The Lion, The Witch and the Wardrobe and Prince Caspian)
I had an odd mixture of excitement and apprehension when The Lion, The Witch and the Wardrobe was announced. I love the source material, and as much as I love the BBC production, I felt like it could do with an updating. I was thrilled that Weta Workshop would be doing the effects and the production, but was wary of the fact that the director’s only big credits were the Shrek movies. But I was not prepared for the maturity with which the story was presented. They turned a simple Christian parable into a sweeping epic. The effects are top notch and the storytelling couldn’t be better. It may not be the most faithful adaptation, but it is stirring nonetheless. With the pitch-perfect young cast, the incomparable Tilda Swinton, and some fantastic voice acting, the world of Narnia comes alive in a fully believable way. But the true magic was to make a sequel that surpasses the original. Improving the effects, adding to the cast, and increasing the stakes of the characters, Prince Caspian was such a step forward that I can’t wait for next year’s Voyage of the Dawn Treader. What could have been a cheap cash-in on a famous title turned into one of the most pleasant surprises of the film decade, a film series that sticks with you, and keeps you waiting for the next installment.

15. Indiana Jones and the Kingdom of the Crystal Skull
This will be my most controversial pick for the best movies list. Actually, it has made many of the worst movies of the decade lists that I’ve read lately. Crystal Skull, however, I think is a victim of overblown expectations, shoddy memory, and misunderstanding. Similar to the Star Wars prequels, many Indiana Jones fans had built up the original trilogy so much in their minds that they lost sight of what the films were about. They were meant to capture the feeling and the style of a certain time period, with a classical hero, but filmed in a modern style as only Spielberg can. It feels like a film out of the 50’s (except for the effects and the action, which are very modern). But it’s not really the 50’s, any more than the originals are the 30’s. It’s an idealized version of the time period, full of Soviets and nuclear weapons, jocks and greasers, motorcycles and aliens. Crystal Skull gives us some of the best action sequences of the series (both the opening warehouse scene and the motorcycle chase are perfectly filmed), and lends the series some pathos by reuniting Indy with Karen Allen’s Marion. Sure, Mutt being Indy’s son is painfully obvious from the beginning, but Shia LeBeouf plays it well enough to get through the rough spots to get to the entertaining spots. Cate Blanchett makes a delightfully evil villainess, and the addition of character actors like John Hurt, Ray Winstone and Jim Broadbent all lend credibility and style to this fun film. It’s a shame that it had such a hostile reception, but I feel it deserves its place alongside the other 3 films, and I’ll be first in line if they ever decide to make more. (And yes, I have a personal connection to Indiana Jones films… so sue me!)

14. Michael Jackson’s This Is It
The most recent film on this list (only 2 months old), This Is It is nominally a documentary, but it’s really a bittersweet memorial, and a behind-the-scenes look at a genius. It has neither the flash nor the polish of Michael’s earlier concerts, nor is it nearly as complete as I would have liked. However, it was exactly what I needed, as a fan. I needed to see that he could still dance as well as always, hear that he could still sing with the power and beauty I know better than any other voice, and to feel that I still meant as much to him as he did to me. I’ve shared my feelings about Michael enough on this blog for people to understand my connection. The footage was full of the moments I wanted to see, from MJ quietly singing “Speechless” to no one in particular, just relishing in the music, to the huge spectacle he was planning for songs like “Earth Song”. But the behind-the-scenes footage allowed us a glimpse at the musician and the poet, two aspects of MJ that often get overlooked. He was a perfectionist, to the point of frustration, but there was never any doubt how much he cared. He cared about each and every one of his fans, his dancers, his musicians, and his crew. Every criticism was offered with love, and only in the hope of bringing everything together. But the best moments, the moments that earn this a place among the best of the decade, are the ones where he lets the music overtake him. When rehearsing a duet, MJ initially holds back, saving his voice for reasons only known to him. But as the song progresses, and he starts to feel the music within, he lets his voice loose and blows not only the crew who had gathered around to watch, but the entire audience away. It’s a powerful moment, of the sort rarely captured on film. It’s raw and it’s real, a sign of what we’ve lost. But most telling of all is his modesty when it’s done, jokingly fussing at the gathered crowd for encouraging him. It may only be a moment, a snapshot of a complicated and fascinating life, but oh, what a moment it is.

13. Fahrenheit 9/11
Documentary, propaganda, comedy, drama, entertainment, politics, art or garbage? Certainly one of the most controversial films of the decade, if not of all time, Michael Moore may always been known for Fahrenheit 9/11. At a time of great fear and divisiveness (both of which still pervade our society), Moore refused to keep his outrage inside any longer. What resulted was entertaining and fascinating, even if in the end it didn’t change a thing. Truly fighting for common sense, and common good, Moore and his camera took to the streets of Washington, Flint and Iraq to offer a different perspective than had been seen in the 24 hour news coverage that had become so hard to turn off. Did he take facts and twist them and turn them to try and make his points? Of course he did. But he also showed us things that we needed to see, and made it ok to ask the questions we were too afraid to ask. By yelling his accusations so loud, it allowed us to stop having to whisper. Even the tea party movements owe a lot to Moore, when just 5 short years ago their actions would have been called un-American. But Moore did it with more than just yelling. He orchestrated some of his greatest stunts, from handing out recruitment pamphlets to congressmen (after learning only one child of a congressman was serving in the military) to renting an ice cream truck and driving around reading the Patriot Act to those on Capital Hill who hadn’t bothered to read it. But the most powerful moments are the quieter ones. The story of the hopeless young men in Flint, Michigan whose only way off the streets is to join the military. The tragic moments with Lila Lipscomb, who lost her son and began to question the war. Its these moments where Moore shows a subtle hand, filming but never interfering, a true documentary filmmaker. When Lila Lipscomb is protesting outside the White House, and a woman walks up and accuses her of lying as a publicity stunt, your heart can’t help but break for her. It speaks to our judgmental attitudes, and the feeling, fostered by many talking heads on TV and radio, that anyone who is against us is dishonest or part of a conspiracy. Moore may not have gotten the result he wanted from the film (Bush was reelected after all, and the wars aren’t over yet), but his film still stands as voice for fairness and balance in our society, and that fairness won’t come from the extreme yelling, but the quiet discussion, and awareness of the world around us. (Plus, it grossed over $100 million. $100 million! For a documentary!)

12. Chicago
I’m truly sad that this film didn’t usher in the rebirth of the movie musical like everyone had said it would. We still get our 1 musical a year, but it’s not like I’d hoped. Still, that doesn’t change the fact that this is a dynamite movie. It has fabulous performances from the leads all the way down to the minor roles. It’s edge-of-your-seat exciting and entertaining. And if flat-out has some of the best musical staging I’ve ever seen on film. And it does all that despite being based off of what I considered a mediocre musical, at best. Just think of the musical numbers. “Cell Block Tango” with its red scarves symbolizing the blood of the murdered men. “We Both Reached for the Gun” with its marionette-style manipulation of the press. “Razzle Dazzle”, “I Can’t Do It Alone”, “All I Care About”, not to mention Richard Gere’s legal tap-dance, are all fantastic. But above all those are these three. Queen Latifah‘s “When You’re Good to Mama” is a revelation, and catapulted her from rap music to acting superstardom. Catherine Zeta-Jones’ “All That Jazz” embodies everything that the movie is about, and is one of the sexiest musical numbers of all time. But it’s John C. Reilly’s “Mister Cellophane” that makes it perfect. In full clown makeup, he tears your heart out and leaves it on the stage, silhouetted in a single spotlight, voice cracking as he falls to his knees. It’s showmanship at its best, and really, that’s what Chicago is all about.

11. Master and Commander: The Far Side of the World
This is one that most people missed. Based off of the highly successful Patrick O’Brien series, and starring Russell Crowe and Paul Bettany, it was unfairly overlooked. It truly is the perfect book-to-movie adaptation, perfectly capturing the atmosphere and style from O’Brien, who perfectly captured it from the British navy of the Napoleonic Wars. The plot is an entertaining tale about the hunt for a French warship around Cape Horn to the Galapagos Islands. A true war movie, the battles and the camaraderie are perfectly balanced, and the struggles of duty to country and duty to friends are tackled with the same about of energy and skill. Peter Weir masterfully handles the action, and presents the most realistic naval battles seen on film. It’s unassuming and refreshing, never sappy or overly sentimental, it’s just plain awesome. The begged-for sequels seem like they’re not ever going to materialize, but the Surprise will always be sailing in the books, and whenever the imagination isn’t enough, Jack Aubrey and Stephen Maturin will always be here, perfectly captured on film.