50. A.I.- Aritiifical Intelligence
Few films have been as misunderstood as Stephen Spielberg's A.I. - Artificial Intelligence. Originally intended to be a Stanley Kubrick production, when Spielberg announced that he was taking over the project after Kubrick's death, the media and critical community were skeptical at best.
I remember viewing the movie at the State Theater in Ann Arbor, Michigan on opening day with a crowd of students. After the movie was over, immediate reactions ranged from ecstatic praise to flat out anger. As the years have progressed, I have seen the film on both lists defining the greatest and worst films of all time. Honestly, for a while I wasn't even sure where I stood on the piece of work.
Now, nearly ten years later, I look back on A.I. as one of the great flawed masterpieces of cinema. It does not always work. Some of the acting is not necessarily where it needs to be, and there are times when the special effects are dodgy. That being said- the vision, themes, and implications explored in this picture are among the most deeply philosophical I have seen in a Hollywood production.
Much has been said about the ending of A.I. It is certainly open to interpretation , as Kubrick would have intended. I will say that anyone that thinks this film has a happy ending is sadly incorrect. The fact that this movie still cements such discussion is a testament to its place in the history of the movies.
49. Anchorman: The Legend of Ron Burgandy
Will Ferrell is the most absurd of modern comedians. He is hilarious, and has never been funnier than in Anchorman: The Legend of Ron Burgundy. This movie is utterly ridiculous. There is no plot, the camera just rolls on while Ferrell and the gang go about their misadventures. There are sequences in this film that are so idiotic I laugh until I cry. Seeing Ron Burgundy talk to his dog, Baxter is one. Seeing the news team sing a beautiful rendition of Afternoon Delight is another. Then there is the wonderful sequence in which Brick (Steve Carell) kills a man with a Trident. This is one film my friends and I routinely quote dialogue from.
This is a movie that exists for no purpose other than to make us laugh, and in that it is wildly successful. There are no profound moments of realization here and the movie does not have the emotional resonance of some of the other great comedies of this decade- but this doesn't matter. This movie is simply funny as hell.
48. Bowling for Columbine
Michael Moore is at his best when he stands back from a situation and begins to ask questions. I think the most profound question he has asked in any of his pictures is in Bowling for Columbine, his examination on the obsession with guns and violence in America. There is a bank that is offering a free gun whenever anyone opens an account. Moore looks at the teller and asks- "Don't you think its a little dangerous handing out guns in a bank?" It is ironic how sometimes the most simple questions can be the most profound.
Moore has made a career for himself being a rabble rouser, generally with justifiable causes. There are times that he comes across as too brash though, and some of his stuff is simply outrageous propaganda. For the most part, Bowling for Columbine steers clear of this fault. His interview with Terry Nichols brother and Charlton Heston are the highlights of the film. More than anything, Bowling for Columbine makes us think about the state of the American psyche.
47. Elephant
Another film about school violence, this one a work of fiction. Gus Van Sant's brilliant Elephant tells the story of a day in a life of students at a suburban high school. The style of the film is technically outstanding, using long tracking and steadicam shots to literally follow the students as they roam the halls, interact with each other, attend class, and plan to kill other students.
Elephant is an exceptional picture because it does not offer cookie cutter explanations; it is only a portrait of sadness and grief. It is alarming to think about the number of students that live these lifestyles. We feel for them, and at the end of the film we may not understand the actions of the characters but we understand they are a product of their environment. Much deserved winner of the 2003 Cannes Film Festival Palm Do'r.
46. Iron Man
Iron Man is a purely entertaining film experience from start to finish. It works so well primarily based on the brave choice of allowing Robert Downey Jr. to play Tony Stark. In his portrayal of Stark, Downey Jr. created a character that was so completely realized and special that we would watch him even if he wasn't in the latest superhero tent-pole attraction. As spectacular as some of the sequences are, I distinctly remember being more entertained when Iron Man wasn't on the screen. There has never been an alter ego that has been more interesting than its super hero counterpart in the history of these types of movies- this is what made Iron Man the comic-book movie for people that didn't like comic book movies. And yes, I enjoyed watching Downey Jr. be reborn along with Stark. We have a sense that both characters, the living and the fictional, have had a insane life. Tony Stark grows up and takes responsibility along with Downey Jr., and transforms into something magical.
