Getting this out of the way now - I know there's films I've missed. I've spent the better part of two weeks pacing and angrily rearranging and removing titles from their spots, only to bring them back later. After the relative breeze that was my Top 50 TV Shows of the Decade I thought I had begun to achieve at least a sense of knowing what the hell was going on inside my brain.
But alas, it appears I was wrong. This list of my favourite films of the decade (yes, favourite) is most likely missing a handful of darlings I hold dear to my heart that have for some reason escaped my frantic researching and hidden themselves within the crevices of all the imdb release date lists I've searched through for the past few days. I also haven't seen every film of course, in fact 2019's been a pretty piss-poor year for me attendance-wise due to availability and my isolated location, so of course in a year's time I'll have seen dozens of new films from this decade and think "awww shucks, I sure do wish I coulda seen that before my list ya'll" in the farmtown accent I'll most definitely have in the future. Still it's the end of the decade now so I owe it to the Lords of Time not to be picky with my choices and just get on with it as they are now. So here goes. I'm still not happy with this list. Deep breaths everyone.
50) Stoker
Written by Wentworth Miller
Directed by Park Chan-Wook
"There's nothing a man could master that a woman couldn't make"
Underneath the pompous identity and frustrating disconnect betwixt narrative and character there's an insidious feeling that inhabits Stoker and forces you to replay it again and again inside your brain. Park Chan-Wook's atmospheric and poetic direction cooks the psychological unease and tension to perfection, with just enough help from a screenplay by Wentworth Miller (yes, that Wentworth Miller) to make enough of a storytelling splash that raises its impact significantly. The central trio of Nicole Kidman, Matthew Goode and Mia Wasikowska all working their asses off to be as mysterious as possible heightens the film's dark nature to a palpable degree. Kidman especially, kick-started what appears to be a career renaissance with her subtle mixture of empathy and fear as a mother terrified of losing her child. It's the stuff of old-fashioned literature, sometimes literally.
49) The Skeleton Twins
Written by Craig Johnson & Mark Heyman
Directed by Craig Johnson
"I'm tired of you acting like you're the healthy one and I'm your special needs kid"
This little indie darling drama focuses on the relationship between twins Milo (Bill Hader) and Maggie (Kristen Wiig) Dean, siblings forced back into each other's lives after a decade due to unfortunate circumstances. Like many independent family dramas this decade, The Skeleton Twins is filled with realist dialogue that mixes the mundane with the morbid whilst fluently dipping in and out of the type of subject matter that forces introspection. Both Hader and Wiig deliver scarily-good performances, with Hader commanding the screen as camp and suicidal Milo whilst Wiig is left to build the blocks of subtlety with a restrained and bitter turn as disgruntled housewife Maggie. It's the story of two people unsatisfied with their lives and scared of taking the necessary steps towards achieving what they want, and on a cold lonely night sometimes that's the exact thing you need to be told.
48) Blindspotting
Written by Daveed Diggs & Rafael Casal
Directed by Carlos López Estrada
"You monsters got me feeling like a monster in my own town!"
Lifetime friends and musicians/poets Daveed Diggs & Rafael Casal managed to translate their chemistry so well into their first foray into feature films that they actually managed to find a way to make freestyle rap/spoken word poetry not feel awkward on-screen. Blindspotting is still a recent find for me, and it's appearance on this list is mostly thanks to the breezy nature it happens to grasp heavy topics with. Racism, police brutality, gentrification and identity are all heavily played with throughout as Diggs' Collin is forced to stay out of trouble in order to appease his parole hearing. However in a world with such a heightened sense of reality as Oakland there's always trouble to find yourself in, which causes a divide between him and lifelong best-friend Miles (Casal). It works largely thanks to the two's performance, but Carlos López Estrada's direction manages to keep things fresh and clean without adhering to common tropes many first time directors cling to when presenting such drama.
47) The Lego Movie
Written & Directed by Phil Lord & Christopher Miller
"Special one? What a bunch of hippy dippy baloney"
Nobody expected it, and nobody was ready for just how truly awesome The Lego Movie was. Phil Lord and Christopher Miller's mile-a-minute comedy was built with ADHD in its bricks, with every other line of dialogue living on past the credits as a quote you endlessly fire off in front of friends. Thanks to a healthy mixture of meta-humour, absurdist overtones and seemingly endless licensed characters to rip off of, it continues to stand as one of the funniest films of the decade. Will Arnett's Batman alone was popular enough to secure a spin-off feature. It's the surprising amount of heart within The Lego Movie that allows it to stand strong however. Not comfortable with the notion of being a corporate cash-grab, the film's climax has a strong message for both kids and adults that catches you off-guard and renders the entire adventure in a new light. Like the best family films it's destined to do good in the world, and it just so happens to do that whilst continuing to be funny as hell.
46) The Babadook
Written & Directed by Jennifer Kent
"Whether it's in a word, or it's in a book, you can't get rid of The Babadook"
And the award for 'most annoying kid in a film this decade' goes to....The Babadook. Looking at these lists it's fairly easy to see the type of film that makes an impact and appeals to me, and Jennifer Kent managed to tap into a primal psychological fear easily with her first feature. The Australian filmmaker deftly keeps the layer of ambiguity intact throughout the film's runtime, and employs a handful of neat visual tactics to keep the viewer on their toes whilst ramping up the scares. The Babadook itself is a frightening beast, and has been instantly accepted into the zeitgeist of horror classics with good reason. Thanks to some simple and effective design choices and compact lore kept inside the realms of a single storybook (which I would kill for) he manages to work as both a literal and figurative nightmare. A lack of jump scares and emphasis on atmosphere makes it clear that Kent's commitment to the craftsmanship of genre integrity stands out too, whilst its emotional impact will either be soul-destroying or profoundly touching depending on your stance.
45) The Nice Guys
Written by Shane Black & Anthony Bagarozzi
Directed by Shane Black
"I think I'm invincible. It's the only thing that makes sense. I don't think I can die"
Much like Shane Black's other brilliant noir buddy capers including the wonderful Kiss Kiss Bang Bang, The Nice Guys is a mixture of snarky dialogue, strong flawed characters with rough exteriors but hearts of gold and a pulpy, seedy backdrop which allows them to play to their strengths. Okay so it doesn't necessarily strive for originality or innovation, but in terms of entertainment and quips there's few who can do it so well. Hell, even Iron Man 3 managed to stand out from the crowd thanks to its sharp dialogue and detective story. The Nice Guys allows tough guy for hire Russell Crowe to team up with pitiful detective/father Ryan Gosling to solve a string of murders closely linked to the porn industry of Los Angeles in 1977. Cue leather jackets, car-crashes and enough physical comedy to make a justified comparison to a live action Looney Tunes. Oh, and a giant talking bee too. Don't even think about forgetting that.
44) Harmontown
Directed by Neil Berkeley
"Come on down to Harmontown. Turn that frown upside down. Pee is yellow, poop is brown. Come on down to Harmontown"
Neil Berkeley's documentary about the American podcast tour Dan Harmon went on in 2012 after being fired from Community is a snapshot of a man caught in the tethers and pulled in several different directions. Whether you watch it out of curiosity it's easy to apply dozens of different ideologies to the man himself. Whether he's a classical tortured genius or really a nihilistic and horrible person depends on your opinion, but Harmontown refuses to pick a side. There's a barrage of interviews with those who view him as both, and the documentary never shies away from the darker and more manipulative moments within Harmon's personal and professional life. Through his flaws though, it's the small interactions with fans and the wholesome feeling of hope and friendship that his work's inspired that will probably live on the longest. It's something that the film bookends with whilst also offering a unique insight into the inner-workings of a writer who had maybe been a bit too disillusioned with the entire industry at the time of filming.
43) Interstellar
Written by Christopher & Jonathan Nolan
Directed by Christopher Nolan
"Don't let me leave Murph"
By now it's a fact that every Christopher Nolan film released is going to end up on some form of 'best of' list no matter what it is. The man's output consistency is something to be marvelled at and it's his fusion of blockbuster scale and intimate human emotion that allows films such as Interstellar to stand out from the crowd. Whilst still managing to feel like a science fiction epic thanks to some groundbreaking visuals and science behind the scenes, Interstellar manages to crawl out from a hopeless pit of despair with the human spirit holding high. Whether or not the third act loses you I do not know, personally I can understand why many aren't so enamored with it but even so Matthew McConaughey and Jessica Chastain act their butts off to make you feel something. Whilst Alfonso Cuaron's Gravity left many bemused and broken, I'd argue Nolan's film works better as a narrative piece over a slice of the outer-space experience.
42) Personal Shopper
Written & Directed by Olivier Assayas
"It's been 95 days. We made this oath. Whoever died would send the other a sign"
It seems as though I'm constantly caught in a never-ending loop between loving and hating the existence of humanity. Depending on how I'm feeling, Personal Shopper manages to nail the simultaneous longing for connection as well as the deep, dark hole of isolation. After losing her twin brother to a heart condition the two of them share, Maureen (a stoic and commanding Kristen Stewart) - a personal shopper to a high-value client, desperately tries to make contact with him from beyond the grave. It's a story about not wanting to be alone, plain and simple. Though quiet and contemplative throughout with a thoughtful and deliberate pace, its implications are loud and clear and could haunt you far longer than any traditional ghost story. Whilst it dips its toe into some standard genre fare, this arthouse piece is an intensely personal experience and possibly a prime example of acquired taste.
41) Booksmart
Written by Emily Halpern, Sarah Haskins, Susanna Fogel & Katie Silberman
Directed by Olivia Wilde
"Shotgun. Just kidding. I don't have one"
Actor Olivia Wilde makes her directing debut with a startlingly funny and touching coming-of-age tale the likes of which hasn't been seen since the days of John Hughes. With a remarkably strong central duo in the form of up-and-coming talents Kaitlyn Dever and Beanie Feldstein, Booksmart manages to keep the focus on the dynamic between the two whilst incorporating sketch-style set pieces that flow over the course of their graduation celebrations. No characters are wasted, and everyone involved gets their own moment to shine of course, but it's Dever and Feldstein's chemistry that makes the bond lasting; their shared joy over dancing in the street and wishing to take collective risks is one of cinema's simplest joys. Wilde on the other hand has clearly been itching to stretch her directing muscles for a while now, and employs a variety of tactics in order to ramp up both the visual comedy and the unexpected poignancy of the characters' journey. A wild night out indeed.
40) Kubo & The Two Strings
Written by Chris Butler & Marc Haimes
Directed by Travis Knight
"If you must blink, do it now"
The easiest way to my heart is possibly through Stop-Motion. There's something naturally dark inside the whole art form, and the amount of effort is immediate on every viewing to the point where I'm always in awe. With that in mind it was difficult to not put all of Laika studios' efforts this decade on this list, but the hardest choice was between Kubo & The Two Strings and Paranorman. However where Paranorman appeals to my horror-adoring mind I feel as though Kubo feels more classical in its storytelling. It's an old-fashioned fairytale of good vs. evil told in its simplest form which allows the character and production to shine. With terrifying monsters, long treks through different terrain and a huge heaping dose of imagination the story of a young boy fighting off the daunting presence of his evil magical grandfather is the type of film that will never get old. So confident is its world-building that even grand performances from Matthew McConaughey and Charlize Theron disappear into their characters. A perfectly-pitched family adventure.
39) Raw
Written & Directed by Julia Ducournau
"Your mum was tough at first. Kept saying I was her best friend at school"
The film that was widely reported as 'the SHOCKING cannibal film that's making audiences FAINT in cinemas' wasn't quite the graphic circus sensationalised by tabloids. Instead, Julia Ducournau's French coming-of-age drama is a very stylish and haunting look at the changes of adolescence. As wannabe veterinarian Justine (Garance Marillier) attends a boarding college to determine her future, she's yanked away from her quiet family lifestyle to the neon-soaked paint parties and promiscuous backdrop of college. Along with it she's forced to accept not only physical but mental changes to herself alongside a developing relationship with her older sister (Ella Rumpf). Of course at times Raw features the haunting images of cannibalism and hammers them home with a driving score in its best attempt to give you either an epiphany or lingering nightmares, but it's the questions of morality and growing up that makes it a good film rather than a sideshow to be gawked at.
38) Hunt for the Wilderpeople
Written & Directed by Taika Waititi
"Faulkner is cauc-asian...well they got that wrong. You're obviously white"
Out of all of Taika Waititi's films, it's Hunt for the Wilderpeople that manages to capture the mixture of wholesomeness and quirky-humour he's become known for. The story of Ricky Baker (Julian Dennison), a rebel orphan known only for trouble, bonding with his forced-only guardian Hector (Sam Neill) in the New Zealand bush as they're tracked down by a growing leg of the law is a dream come true for the filmmaker's talents. Honing in on what made both What We Do in the Shadows and Boy work (the humour from the first, emotion from the second), Waititi creates a warmth that steers clear of any notion of sentimentality, and instead becomes fully endearing. It's neverending charm is utilised by the chemistry of Dennison and Neill, a perfect duo that lean into the old-fashioned tale of begrudging love for one-another, even when the situation turns sour. Add onto that a host of offbeat characters and set pieces, conversations about The Terminator and a man disguised as a bush and you've got yourself an instant classic.
37) Star Wars Episode VIII: The Last Jedi
Written & Directed by Rian Johnson
"We are what they grow beyond. That is the true burden of all Masters"
I've either lost your trust or gained it with this one. The Last Jedi was, for me, everything I never realised I needed a Star Wars film to be in this day and age. It takes risks, not all of which pay off sure, but it's this ralling defiance to conformity in terms of its storytelling and its treatment of beloved characters that earns it my respect. I didn't know where the story was going to go. Mark Hamill's Luke Skywalker had become a cynical and disheartened man who had abandoned the force itself, with a performance that really doesn't get enough credit. Adam Driver's Kylo Ren is easily the most interesting character perhaps in the entire saga, and Johnson wisely pushes him continuously through to his breaking point. Much like The Empire Strikes Back it's the downtrodden and darker middle entry where hope seems lost, and it's depths like this that Johnson thrives in. He also manages to bring us the most visually-pleasing entry in the series too, with space battles and lightsaber duels that are as tenacious as they are entertaining. It's a hell of a ride.
36) It Follows
Written & Directed by David Robert Mitchell
"It could look like someone you know or it could be a stranger in a crowd. Whatever helps it get close to you"
It took me a while to truly 'get' It Follows. Of course the concept is immediately perfect and one of the scariest that will ever be put to film - the idea that an unknown and unstoppable entity will continue to walk towards you no matter what after being passed on via intercource. The 80s aesthetic hadn't yet been overplayed and was used here to isolate the atmospheric Detroit neighbourhood in which the terror unfolds. The blistering synth soundtrack made my ears bleed with intensity and pricked my skin with goosebumps, but it wasn't until my rewatch that David Robert Mitchell's film truly sunk in. His direction choices weaponise the film's already-terrifying concept and elevate the film to new heights. In a decade where the horror genre was revived to its best health in years, It Follows stands as one of the pillars of contemporary classics that helped usher in a new age of big-screen scares.
35) Whiplash
Written & Directed by Damien Chazelle
"...not quite my tempo"
As a tale of obsession, Whiplash plays out like a horror film under the disguise of a drama. Slowly drumming takes over Miles Teller's life, stepping over his personal relationships and health in order to achieve the greatness he knows he's capable of. This neverending drive builds tension throughout the entire film's runtime and never lets up, even when chairs and cymbals are launched into a wall. Damien Chazelle orchestrates the growing madness with a clear eye and goal, weaving in and out of intense slow-motion shots and dwindling corridors; the film wears its own heart on its sleeve to adjust to Teller's exhausting performance. But this isn't even his film. It's J.K. Simmons' as Terence Fletcher that dominates completely. He owns every scene, even those he's not in. And he's the monster of this horror movie. It's difficult to think of a more commanding character, where your breath catches in their pauses out of a mixture of excitement and fear. It not only drives Teller's Andrew Neiman but it drives us as the audience too to do better.
34) Melancholia
Written & Directed by Lars von Trier
"Life is only on Earth. And not for long"
If only all depressive episodes spurred the creation of something as beautiful as this. Written amidst the comprehensive sadness of one of Lars von Trier's melancholic periods, Melancholia's story of two sisters reconnecting amidst the destruction of Earth as another planet makes its way to colliding with it manages to pull off an old-fashioned metaphor between physical and emotional destruction. Whilst the normally provocative Trier's typical shock-tactics are largely kept to the sidelines, it proves he's able to conduct a fairytale-esque narrative with profound visual stimuli that help render the beauty in the end of the planet. Kristen Dunst and Charlotte Gainsbourg shine as the siblings who take precedence over the rest of humanity, and why shouldn't they? After all, when everything's going to hell we might as well manage all of our petty squabbles as best we can.
33) Ex-Machina
Written & Directed by Alex Garland
"The real test is to show you that she's a robot and then see if you still feel she has consciousness"
The soft colours of Rob Hardy's cinematography in Oscar Isaac's basement lab of quiet terrors eminently describes the appeal of Ex-Machina. Alex Garland has long been one of the world's most unique genre voices and his directorial debut is just as intelligent and engrossing as anything else he's put his name to. Whilst at its heart it's a simple story akin to Mary Shelley's Frankenstein, the performances from Isaac, Domhnall Gleeson and Alicia Vikander are all pitched perfectly and allow the narrative to flow effortless from beat to beat. Vikander's Ava is a creation of both joy and fear, and is brought to life with just enough unease to apply the thriller aspect to Garland's work. The Turing test has always been a subject of great intrigue, and it's put to its best possible use here by stringing along viewers slowly and deliberately and making you question not only Ava but Caleb and Nathan too.
32) The Invitation
Written by Phil Hay & Matt Manfredi
Directed by Karyn Kusama
"I'm so glad you're here. We have a lot to talk about. So much to say tonight"
The Invitation came out of nowhere. This effective little thriller focus on Logan Marshall-Green's Will who is invited, along with his new girlfriend, to a dinner party by his ex (Tammy Blanchard) in her home in the rural forest. What follows is a perfect example of tension that preys on every unfiltered fear that can come from both dinner parties and the dredging up of old relationships. As Will becomes suspicious of the party's intentions, so do we as an audience, and it's an unease that doesn't let up throughout the whole film. Whilst not overtly horror, director Karyn Kusama coyly plays with tropes and spins them on their head whilst pulling from a legion of genre classics for inspiration. It doesn't reinvent anything in particular, but the overwhelming sense of dread is palpable and allows The Invitation to embed itself as an uncomfortable but brilliant experience. It also happens to have one of the most haunting final shots I've seen in quite some time.
31) Under The Skin
Written by Walter Campbell & Jonathan Glazer
Directed by Jonathan Glazer
"You don't want to wake up, do you?"
Not since Stanley Kubrick's 2001: A Space Odyssey has a film manages to capture the purely alien-like feeling of life amongst the stars. Jonathan Glazer composes poetic images that manage to transcend the work of film, and strings them along the realist-shot story of a disguised hunter praying on the lonely in the Scottish highlands. Almost entirely devoid of dialogue until it crash lands in the middle of society, Under The Skin wallows in its own depressing sense of anti-cinema. Almost every role aside from Scarlett Johansson is played by a non-actor, whilst she parades through crowds of real-life punters playing a deprived and silent version of her own worst nightmare. The simplistic interpretations of her alien traps linger in the mind, as does Mica Levi's distressing score of ambient sound waves and incandescent revolving whooshes.
30) Mandy
Written by Panos Cosmatos & Aaron Stewart-Ahn
Directed by Panos Cosmatos
"You're a special one, Mandy"
Whilst arguably Nicolas Winding-Refn's Drive managed to kickstart this decade's obsession with neon-soaked visuals few films have put it to as good use as Mandy. Mind you, few films have also put Nicolas Cage to as good use...or featured chainsaw battles and intense sequences of body alterations that makes you question your very sanity and leave you feeling as if you're experiencing a contact high off the film itself. Cage plays into his now-stereotype rage-fuelled persona, yet refines his work here with a hopeful sense that the actor can still manage to surprise us every now and then. This simple tale of revenge as a man's wife is ripped away from him by a cult of satanic hell-creatures is suitably volcanic in its approach to violence. After a dreamlike first half, the second belongs purely to Cag who, alongside Panos Cosmatos' direction and a sweet synth/guitar accompaniment from Jóhann Jóhannsson manages to burn brighter than the flames that constantly light up the screen. It's almost a new subgenre all by itself.
29) Lost River
Written & Directed by Ryan Gosling
"You can't cheat death. You can't cheat life. You can't cheat anything, really"
This high up on the list? Sure why not. I must admit that half the time even I don't fully understand Ryan Gosling's intentions with his directorial debut were. It's an anarchic fairytale destroyed from the ground up and left to rot in the ruins of Detroit, inhabited by some of the strangest caricatures of human beings I've ever seen put to film. It's David Lynch-ian in its surrealist overtones and presentation at times, with gorgeous visuals throughout that compliment the ensemble cast including Ben Mendelsohn, Christina Hendricks, Saoirse Ronan, Matt Smith, Eva Mendes & Iain De Caestecker. Detailing a young man's tortured journey to escape the poverty-stricken town his family is stuck in, Lost River occasionally suffers from disappearing up its own ass too many times. But still by the end of it I can't help but be continuously fascinated by its existence.
28) Spider-Man: Into The Spiderverse
Written by Phil Lord & Rodney Rothman
Directed by Bob Persichetti, Peter Ramsey & Rodney Rothman
"You got a problem with cartoons?"
I was sceptical at first. Cynical hipster I am when the teaser for Into The Spiderverse dropped I convinced myself that despite the gorgeous animation work on display that this was just another commercial cash-grab from a company that has a track-record for milking the character dry. How wrong I was. Much like The Lego Movie, Phil Lord and Christopher Miller's production is full of non-stop jokes and a whole lot of heart which elevate it alongside Spider-Man 2 as the best films in the web-slinger's oeuvre. Not a minute feels wasted here, as all of it is packed with such pinpoint precise animation styles, visual background gags and references, fluent character work and a touching story that features a cast to die for. I'm struggling to think of more descriptive words to highlight my point. But if you're even remotely put off by the film's title or intentions, I implore you to take a dive and put on the mask for yourself to see what all the fuss is about.
27) Her
Written & Directed by Spike Jonze
"Play melancholy song"
Only Spike Jonze could offer up a sweet and sincere love story on the platter of a nihilistic society that stretches humanity's dependence on technology to new heights. These contradictory feelings turns out mesh together rather well and, combined with Joaquin Phoenix and Scarlett Johansson's performances, tell a story that resonates now more than ever. With its light sci-fi premise of a man falling in love with an AI operating system, its free to explore every crevice of that concept and revel in its occasionally depressing/sometimes haunting potential. What could have easily been a onenote comedy in the hands of a lesser filmmaker is elevated to something of beauty thanks to a delicate touch and the knowledge of subtlety. It's a complete package, and one that stays for the exact right amount of time before outstaying its welcome. A charming and troublesome story in equal measure.
26) Cloud Atlas
Written by The Wachowskis & Tom Tykwer
Directed by The Wachowskis
"I shot myself through the roof of my mouth this morning"
Epic in every sense of the word, Cloud Atlas is a triumph of storytelling and filmmaking that rarely gets the recognition it deserves. Spanning six generations with the same ensemble cast, Cloud Atlas is all about the experience shared by people and their reincarnated souls, with bonds that transcend time. With a central premise so vague the rest of the film could have easily become aimless but thanks to the narrative from David Mitchell and intelligent, weaving direction from The Wachowskis the stories work both individually and together. One minute you're in the midst of a cannibal tribe hunting down innocent civilians and the next you're in Cambridge in 1936, crying your eyes out over the relationship between a composer and his amanuensis. What? You will. I definitely didn't Not at all. Every time I hear the Cloud Atlas Sextet I struggle not to bawl my eyes out completely.
25) Only Lovers Left Alive
Written & Directed by Jim Jarmusch
"When you separate an entwined particle, and move both parts away from the other, even at opposite ends of the universe, if you alter or affect one, the other will be identically altered or affected"
Jim Jarmusch's tale of loved-up vampires with an intense adoration of culture is so deliciously timid that it very quickly becomes heartbreaking. Tilda Swinton was born to play Eve, a book-enthused vampire in Tangier whilst Tom Hiddleston shines as her husband Adam, a self-tortured musician imprisoned by himself in a Victorian house tucked away in Detroit. These star-crossed lovers are connected via their souls, and it's only when interrupted by the outside world or other vampires that they suffer. Even with Adam's romanticism of suicide the two are bound to each other, and it's a bond that's put to the test in this small but deeply-affecting tale of the lengths people (and vampires) will go for the ones they care about. It's an entirely different mythos for the bloodsuckers, and one that's never looked so good on-screen since. Possibly because I'm slightly envious of the lifestyle too but the less said about that the better.
AND THAT'S IT for part one. I hope you learned something...like how to read. Maybe there's a couple of films you've been unsure of that you're now considering checking out, in which case do! And if you don't enjoy them? Who care? That's what personal opinions are all about after all.
Come back next week for numbers 24-1, and in the meantime have a very happy christmas/whatever holiday you want to celebrate. BYE.
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