2019 Archives - Can't Stop the Movies

5Jan/203

Forever connected: a comprehensive list of the best and worst films of the decade

I am not a fan of lists, and when I decided to do a list covering the best and worst films of the last decade it became clear that I needed to do the whole thing or none at all.

With that in mind, here it is, a comprehensive list of the best and worst films of the decade. This list covers 2010 to 2019 and, starting from the top, goes from the best on down. Each section is broken up with an image of reviews that reflect my best as a writer or a film that has earned special consideration of some kind.

The exception are my picks for the two best films of the decade, tied at #1, and a brief explanation about why they are at the top. After that, I hope that you'll join me through this decade of writing and growth. I've had stumbles, to say nothing of trying to figure out my voice, and haven't been able to review much recently. But I'm hoping to change and get back on my feet again starting with this overview of the last decade in film.

Let's begin at the top.

Our always-connected age means that we are more directly in contact with one another's feelings than ever before. It's overwhelming. One minute you could be happily watching a puppy play in snow then scroll down to find live camera footage of someone being killed. Scroll further and you'll see someone trying to sell you hair grooming products then further down a friend talking about the crippling pain they live with. It's overwhelming trying to figure out what to do with yourself amidst this never ending deluge of feeling. Good, bad, elated, traumatic - if you want to live in this world there's no way of turning it off anymore.

The best two films of the decade both confront what it's like to live in our always-connected age but take vastly different approaches. Shane Carruth and Amy Seimetz's Upstream Color approaches our connection with experimentation and uncertainty. Zack and Deborah Snyder's Man of Steel mythologizes the open nerve of connection with grandeur and spirituality. Upstream Color is the angrier of the two, seeing those that would profit on our pain as aloof emotional vampires. Man of Steel is the more hopeful, watching the savior we don't deserve experience the worst of humanity while still finding the strength to go on by our ability to sacrifice for one another.

It feels impossible to discuss these two films in some kind of neutral state. In Upstream Color's case, the film has so few that have seen it and those that have struggle to find the words for the pain it so directly confronts. For Man of Steel, passions between what it did or didn't do to the legacy of Superman have become so embedded in neverending cultural and political warfare. Neither benefits from languishing in relative obscurity or being the cultural battleground for online liberals and conservatives alike.

Both have exquisite music that highlight our connection while confounding it. Upstream Color's melodies shying away from catharsis as one of Carruth's messy tracks bleeds into the next. Man of Steel never shies away from hope, finding the note to soar even in the most militant-sounding of Hans Zimmerman's compositions. One might seem sonic years away from the other, but in each I hear the same yearning to be felt and touched. To be reminded that what we feel is not what makes us alone.

The images match their conclusions. In Upstream Color, two people huddled in fear that don't understand their connection grow to accept the mystery, and one another, while they reach beyond species to comfort all living things. In Man of Steel, the scared boy who doesn't understand why his sacrifice frightens others grows to draw strength from that sacrifice as he inspires the best in his fellow humans. We are always connected and, many times, we are scared. But there is hope at the end of that painful connection.

Let their examples guide us. Do not accept the vultures that seek to profit off of your misery. Do not accept those in power who would deny the possibility of a messiah because they weren't born in your homeland. Accept that we are all that we are and, even if it doesn't feel like it, we have the capability of inspiring the best of one another in our darkest moments.