Our brand new writer, Chris Inman, has not only provided the world with his top five movies of 2009, he now furnishes you lucky people with his top twenty movies of the decade. A couple of controversial more recent choices are included and should be debated immediately, but otherwise it’s a bloody strong list that will definitely find one followers amongst the existing MOD clan who will thoroughly agree with the winner.
Onwards then, and look our for more articles to come from Chris in the very near future as he kicks off his tenure with us in earnest.
Just for the sake of my own sanity and desperate need to have these written somewhere, I give you my favourite forty-two films of the past decade. There are at least fifty-six other films I would like to put onto a list, but I think I need to forcefully prevent any more decade-based listmaking as quickly as possible. So beneath is the top ten list, along with a sentence or two on each film and then thirty-two, out-of-list-order, films which I had to include.
If there is one distinctive, auteurist-feature to the directorial work of Cameron Crowe, it’s surely aural rather than visual. He doesn’t necessarily have any visual style, though all of his films seem to have a misty nature to them, a kind of wistful dreaminess in their themes and in the way of their main characters. The only time this fails to happen is with Vanilla Sky, his remake of Alejandro Amenabar’s Abre los Ojos, though even here the soundtrack falls into line with his methods.
The single defining feature of a Cameron Crowe film is surely music. Crowe is interested in music of his characters, music of their time and music they would like. Some would place his squarely as a 60s-70s man, but this era-based categorisation is negated entirely by the first film I’m going to talk about in his column.