Florian Henckel von Donnersmarck’s stirring tale of a East Berlin Communist functionary whose party loyalty disintegrates while surveying a rebellious playwright and his actress girlfriend should be required viewing by all high school seniors.

The Lives of Others captures the dehumanizing cost of living under communism. Over and again history teaches us that communists begin by promises of..well, hope and change (uncomfortable, but true). The dreams of government coddling the people soon gives way to the harsh reality that it is all a facade to cater to the gluttony of the elites. When people allow themselves to be subserviant to the state, the state always responds by enslaving them. No other film showcases, in intricate detail, life in such a man-made hell.

The entire cast does a brilliant job, but it is Ulrich Mühe's performance as Stasti interrogator Hauptmann Gerd Wiesler that stands out. Wiesler begins the story as a loyal party dupe. He has amassed some power and uses his authority to torment the poor souls who live lower on the food chain. As Wiesler conducts survielence over Georg (Sebastian Koch) on the instruction of a party official who fancies Georg's girlfriend Christa-Maria Sieland (Martina Gedeck). As Wiesler listens in on the couple, he is confronted by his own loss of connection with others.

This is one of Ulrich Mühe’s final performances. He died of stomach cancer in 2007. His performance is quiet but moving. His controlled delivery is remarkably tense as he shows a man who comes to realize the works and beliefs he’s spent his life protecting, were all to support a corrupt and despicable cause.

For those of us in America, with the rise of open communism being proposed and remarkably accepted in many corners of society, a film such as this can offer a word of warning.

Cautions: Nudity, sexual situations, language, violence




It is not surprising that a film dedicated the sacrifice of Jesus Christ has been controversial since its inception. Before the first day of principal photography, Mel Gibson ran into naysayers and attacks over his decision to make this film. The film's release was met with complaints and protests and claims of antisemitism. Even after Gibson modified the film to satisfy the demands of those offended by the Gospel account, he was still roundly bashed. Years later, the film was tainted by Gibson's drunken tirade when, along with a ton of other harsh comments, he spouted off at a Jewish cop who was arresting him. Despite Gibson's self-destruction, his film about our Lord still stands as a masterpiece.

I've read many reviews of this film and there are two obvious audiences, Christians and everyone else. For those who are not Christian, this film comes across as an obtuse snuff film where we watch a man be brutalized for ninety minutes. Jesus' flinches, His blood and cries of pain are missing the required context.

It won't come as a surprise when I say that I am a Christian. I understand what the production was doing, the messages it was conveying. To see Jesus actually looking Jewish on screen, to hear His words in the ancient tongue, these are wondrous thing even after multiple viewings. For Christ Followers seeing Jesus' final hours is indescribably painful and moving. There is no other film that has managed to show Christ's sacrifice with such power. We get Gibson's point, we understand why he chose to film his own hand putting the nail into Christ.

This is a master work. As a work of cinema, as a work of religious dedication, it stands as one of the most potent pieces ever made. Regardless of one's theological beliefs, this film forces the audience to confront the claims Jesus made and the legacy of his sacrifice.

Cautions: Extreme and gory violence




Even with its stuttering resolution, this is a remarkable piece of cinema. It is clearly deserving of all of the awards and praised it has received. Every aspect of the film is well managed and shows a dedication to film making that is a pleasure to witness.

The story revolves around three men. Llewelyn Moss (Josh Brolin), a gruff welder, who stumbles across the results of a drug deal gone bad in the desert. He discovers and steals a case containing two million dollars from the scene. He takes the case home to his simple wife Carla (Kelly MacDonald). Of course, it isn't too long before the men who lost the money decide to track it down. They unleash the menacing killer Anton Chigurh (Javier Bardem, in an Oscar winning performance) on Moss' trail.

Following the trail of this chase, crusty old sheriff Ed Tom Bell (Tommy Lee Jones) struggles to make sense out of the nonsensical deaths caused by Chigurh’s efforts. This may not seem like a foundation for a great film. In many cases, the story itself is seems rather mundane. Beneath the seemingly random acts, strange interactions and brutal violence there is a method to the Coen's madness. I like the explanation found here.

This is a nihilist film. I generally have little regard for films that promote the philosophy found in this production. This film overwhelms my bias on multiple levels. From the technical choices to the script to the acting, this is one of the great American films. I would go as far to say that this film is the defining film of this decade.

Cautions: Language, violence




This film gives us a glimpse of what it was like inside Hitler’s bunker in the final days of World War II through the eyes of his stenographer Tradul Junge. This film is based on Junge’s book of the same name.

Like Das Leben Der Aderen "The Lives of Others", #5 on this list, this film's impact comes from revealing the very human core of historical evil. Hitler's crumbling Nazi regime is seen in its death throes. The promises of a glorious Nazi paradise have come crashing down and those who were captivated by those promises are forced to watch it all fall apart. As Hitler slowly resigns to the inevitable, those around him begin to see that he was not the savior of Germany but a false godhead. As those in charge abandon their stations or kill themselves, the growing sense of dread fills the faces of those left behind. Not to mention, the Russians are closing in on Berlin.

Oliver Hirschbiegel is German, which is suitable. This is a film that needed to be made by a Germans. This coming from Germany gives the film an additional weight of a people openly discussing the horrors of committed by their parents and grandparents. There is a personal tone to the film that would have been missing if this had come from Hollywood or some other source.

Bruno Ganz is breathtaking in the role of Adolf Hitler. To portray someone so well known is a challenge. We all know Hitler's voice, his speaking style, not to mention his history. Ganz brings the historical figure to life. He dares to humanize the monster. This is not done to develop any sympathy but as a means to show him as he was at the time. It is important for us to recognize that Hitler was not some grand mythological figure, but a mere human given enormous power. Yes, he was one of the most important world leaders in world history, but he was a flatulent, controlling, physically and mentally disintegrating man who ultimately proved his cowardice.

Rent this film as soon as you can. Be warned however, this is a long film and hard to watch in places. You’re viewing the axe dropping on Nazi Germany and blood runs through every frame. Even if you’re hesitant to view violent images, this is still worth your consideration. If you can sit through The Passion of The Christ or Saving Private Ryan, the content of this film should be a cakewalk.

Cautions: Persistent violence, suicide, language




Yes, I'm combining them into one big fat ball of a film.

Based on J.R.R. Tolkien’s classics, this is the greatest trilogy since the release of the original Star Wars films. In some respects, this series of films surpasses Star Wars let alone other sci-fi/fantasy films. If for no other reason, these films are well written and have intelligent dialog. Then there is the fact that unlike Star Wars, the bad hair in this films is always intentional.

Guided by Peter Jackson and adapted for the screen by Fran Walsh, Philippa Boyens and Jackson himself, these three films are awesome in their scope and mastery. These films hearken back to the great epics of earlier generations, and fill the screen with their full stories and their massiveness.

Like Star Wars, this trilogy offers a completely believable universe far different than our own. The ingenious design work, to the memorable score, to the signature cinematography all work in unison to present a complete world for us to enjoy.

The stories follow a tiny hobbit by the name of Frodo (Elijah Wood) as he travels through the underbelly of Middle Earth to cast the ancient One Ring into the boiling innards of the Cracks of Doom. Frodo and the other members of the fellowship are forced into action against one of fiction’s darkest evil characters, the bodiless Sauron.

Sauron is not alone, he has recruited the wizard Saurman (Christopher Lee) who in turn creates a massive army of orcs. Saurmon invades the world of men with his orc army. Mankind is certain to fall to Sauron. However, Aragorn (Viggo Mortensen) the long lost heir to the throne governing mankind has returned and confronts the evil at the door.

Adapting these books is problematic. The screenwriters were forced to carve up the original books by J.R.R. Tolkien in order to shoehorn them into a bearable running time. Just getting in the needed historical elements took some clever footwork. While the flavor of the narration of the books is lost in places during these films, Jackson makes up for this handicap by concentrating on the more dramatic elements.

Each film certainly pumps up the more violent elements and downplays the internal struggles. This is a visual medium after all. Don’t let this fool you, the characters are each wonderfully sketched and realized by the actors who portray them.

On the subject of the actors, check out this cast list:

Ian McKellen, Viggo Mortensen, Cate Blanchett, Ian Holm, Hugo Weaving, Orlando Bloom, Sean Astin, Sean Bean, Elijah Wood, Alan Howard, Christopher Lee, Karl Urban, John Rhys-Davies and Liv Tyler

That is how you cast a movie. Many of these actors are now familiar names because of these films. While Ian McKellen stands out from the group as Gandalf, the remaining cast is still stronger than most other films in recent memory. Each actor brings the appropriate level to his or her part. No one overacts, no one vanishes into the scenery. Jackson deserves credit not only for managing the effects heavy production, but also balancing his actor’s performances so masterfully.

I will say that when they are taken as separate films, it is really Lord of the Rings: The Return of the King that puts the trilogy over the top. It is a great film that delivers on the promises of the first two installments. The only serious flaw of the piece is a fumbled ending that seems to go on for ten minutes too long. The audience is left breathless after the incredible assault on Minas Tirith and instead of wrapping everything up, Jackson rambles for just a few moments too long. The Return of the King is one of the best films ever made. It is one for the textbooks.

I believe this trilogy will be one of the few pieces of modern culture that will outlive us.

Cautions: Violence, hobbits



Honorable Mentions:

• Mou gaan dou "Infernal Affairs" (2002)
• About a Boy (2002)
• The Fog of War: Eleven Lessons from the Life of Robert S. McNamara (2003)
• Kontroll (2003)
• Finding Nemo (2003)
• Thank You for Smoking (2005)
• Antikorper "Antibodies" (2005)
• Cinderella Man (2005)
• The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
• Michael Clayton (2007)

Labels: list, miscellaneous, The Top 50 Movies of the 2000's