Pan’s Labyrinth (2006)
‘It reminds me how hard it is to leave the relative certainties of childhood’: Amanda, 57, Spain
It is an extraordinary, visceral depiction of the growth to awareness of a young girl, on the cusp of adolescence caught up in a savage world where not even retreat into fantasy can provide a moral framework. There are, of course, many coming of age films but none, I think, as poetic and haunting as this. It was the first film my eldest son took me to see and at 18 he was just emerging out of the chaos of adolescence meanwhile his two younger brothers were still in the labyrinth... with some years to go. As a mother and a teacher no other film has come close to reminding me how hard it is to leave, or be forced to leave, the relative certainties of childhood and form your own moral code in an adult world beset by compromises.
Lives of Others (2006)
‘I expected to see it in the top 10’: skoolboyerror
I expected to see The Lives of Others and Pan’s Labyrinth in the top 10. Mainly because Ted is in at No. 60. Much as I love Seth McFarlane, his film doesn’t deserve to be anywhere near either of those masterpieces.
I cannot fathom how The Lives of Others is not listed. The greatest and most poignant last line of any film ever. cwiseman
No Country for Old Men (2007)
‘It’s Kubrickianly good’: sulcus
No Country for Old Men was better than There Will Be Blood in 2007 and still is. It’s more exciting, but underneath that, it’s about how our society’s changing structure has gradually but steadily rewarded the behaviour of psychopaths, and punished the behaviour of the socially motivated. That’s not an over deep reading of the film. That’s what Tommy Lee Jones actually discusses in voiceover. This encroaching darkness he can’t understand, compared to his father’s experiences in the same job. It’s fantastic in every way, right up to its abrupt end with a random car accident. It’s clearly the best film of this century so far, it’s Kubrickianly good. Better than most of the Kubricks actually, it’s close to perfect.
Paddington 2 (2017)
‘Basically it’s amazing’: Invader_Ace
Paddington 2 is perfect. A solid simple story, with every little throwaway joke actually a set up for something bigger later on. All the cast are on point and it has a superb ending that finishes at exactly the right point. It commits to its emotional moments without the need to undercut with a sarcastic jibe or punchline. Basically it’s amazing and if you aren’t moved by that final shot you’re basically dead inside. I wish my kids watched it more often and that is something no parent says about any family/kids film ever.
Crouching Tiger, Hidden Dragon (2000)
‘I thought it was amazing’: Laoi Primorac Ó Murchú
It was the weekend of the Spurs West Ham FA Cup match (if League or League Cup please shout). Was watching in a bar off the main street with girlfriend and friends. We’d already mused the possibility of the cinema that day and CTHD was on at some hour cutting into the game. Okay, whatever, off we went, me and my blonde bombshell. I thought it was amazing, still do. She said it was the most stupid movie ever. I missed the Hammers in action for that sort of reaction? I knew then it was not to be.
Son of Saul (2015)
‘Traumatic subject, devastating film’: Veltatecla
Son of Saul for me. I took twice the length of the film to watch it, paused it often to breathe. It’s a film I wouldn’t watch in a cinema, I had to watch it privately. Traumatic subject, devastating film, I was almost glad when the group died as they inevitably would so there was no chance of being returned. The appearance of the little boy and the only smile in the film, half smile, slight smile, made it OK for the man to die. It’s not my right to be thankful that people died so maybe I took the cowardly way out by being something akin to relieved that I didn’t have to see, think and feel anymore.
Your Name (2016)
‘It covers every emotion I want in a film’: bcdcdude
When thinking of my best films of this decade (I have yet to work out the best between 2000 and 2009), it was a three-way tie between The Tree of Life, Our Little Sister (by Shoplifters director Hirokazu Kore-eda) and Your Name. I’ve decided to go for Your Name, for the simple reason that it covers almost every emotion I want in a film; joy, wonder, sadness, curiosity, longing, loving and the sheer thrill of being alive to watch something so amazing. I’ve watched it three times and each time, it makes me cry. Very few films have ever done that, but to make me cry with simultaneous joy and sadness is a very rare feat.
Timbuktu (2014)
‘Funny and tragic’: ID4460697
Great list, but my top winge is the omission of Timbuktu. Against a stunning landscape and the old city, the Taliban enforce their version of Islam on tolerant ancient local Muslim culture. Some really cinematic acts of defiance the boys show such as forbidden to play football they play with an imaginary ball. A woman stately as a queen, her bright African prints trailing the dirt owns the street in her defiance of sharia fashion. Funny and tragic.
The Fall (2006)
‘I can watch this over and over again’: Cheryl, 60, Leeds
I love this film because it is so multi layered. On the surface is the intriguing situation of the main players in the hospital where they are being treated, Roy, the paralysed stuntman who is clearly seeing his life unravel after a life changing accident on a film set and young Alexandria, the little girl who has broken her arm and initially seems to be the silent narrator as the film unfolds as observed by her. The relationship that develops between them provides a growing emotional tension as he begins to narrate a fairy tale for her in exchange for her collusion in helping him procure the drugs he needs to end his life. The film sets, colour and imagery in this film make it something I can watch over and over again alongside the superb acting of the key characters.
Downfall (2004)
‘A tremendous performance from the late Bruno Ganz’: Heather, 38, London
It’s a controversial choice, but I love 20th century history, so this biopic of Hitler’s last days in the bunker is a film that has stayed with me over the years. It’s a great film, with a tremendous, underrated performance from the late Bruno Ganz. It is both fascinating, horrifying and tragic. And, of course, it’s the only film to have an afterlife as a YouTube meme, a specific 21st Century phenomenon, with that brilliant scene of Hitler realising the war is lost, being overdubbed with all sorts of daft stuff.