Celebrating a Decade of the Awards Psychic: The Top 100 Television Shows of 2009-2019 - Part I

100. Sherlock - Before Benedict Cumberbatch was a genuine movie superstar, Oscar nominee, etc. He was killing it as a quirky and damaged version of Sherlock Holmes on PBS's fun series Sherlock. I don't think anyone felt like another remake of Sherlock Holmes was necessary, but creators Steven Moffat and Mark Gatiss brought fresh energy to a classic tale that has been done to death. This new Sherlock fizzled at the end, but its first few outings were a perfect mix of classic mystery tropes and 21st Century setting, with a dose of funny and romance to add some spice. Martin Freeman and Benedict Cumberbatch had an incredible on-screen chemistry that really built and solidified the central relationship, and both ended up winning well-deserved Emmys for their creative performances. Sherlock wasn't groundbreaking, but it was quality television, incredibly entertaining, and impeccably acted. For that, it deserves recognition.

99. Curb Your Enthusiasm - Obviously, Curb Your Enthusiasm's best days were its first ten years. Yet, despite only airing two seasons in this last decade, it still managed to be a hilarious show that has incredible legs, including a new season premiering soon. Over the last decade plus, Larry David has built a show with a cast of crazy characters, daring guest stars, and a rambling story line full of anger, grumpiness, and laughter. There is nothing about David, or his demeanor, that screams star power, yet somehow, he has managed to create a character that has led one of the most enduring comedy series in the last couple of decades. You have to give him a lot of credit for that, and I personally can't wait to see what he has up his sleeve next.

98. Unbreakable Kimmy Schmidt - So this show would have been a lot higher on the list had it stopped after its third season. The last couple of outings were almost painful to watch, as its premise wore thin. But for a few brief shining seasons, Unbreakable Kimmy Schmidt was one of the funniest, unique, and bright shows on the television landscape, and an early comedy success for Netflix. The writers knew how to blend in the ridiculous with the heartwarming in a brilliant way, and you never stopped smiling when you were watching it. It also didn't hurt that it was led by an amazing cast including Jane Krakowski, the legendary Carol Kane, and particularly the dynamic duo at its center Ellie Kemper and Tituss Burgess. This show made Burgess a star, and finally gave Kemper a leading role, and when those two were sharing the screen together, the results were comedy magic.

97. Jane the Virgin - For those of us who grew up on soap operas (my mom loves The Young and the Restless) or telenovelas, there is no story line too crazy, too ridiculous. In fact, the juicier the story line, the more intriguing the watch, no matter how guilty it makes you feel that you have been sucked into ridiculousness. Jane the Virgin was based on a premise right out of a classic soap opera, but they recognize that, and then found a clever way to lean into the overarching humor behind these plot lines. But Jane the Virgin did not win over viewers by just being a funny take on a soap opera. There was also a lot of humor, heart, and love on screen, with an amazing cast led by the magnetic Gina Rodriguez. Jane the Virgin took a cooky premise, and made it something quite special.

96. Grace & Frankie - The creator of Friends, plus a cast of four living legends? I was definitely in, and I'm glad I joined the ride. Jane Fonda and Lily Tomlin sharing comedic screen magic once again is so much fun to watch, and the supporting cast, including Sam Waterston and Martin Sheen were so game, and became so integral to the success of the show as time went on. In particular, the four children's story lines became almost as intriguing as their parents. I am always in for a well-written sitcom with an amazing cast, and Grace and Frankie was just that, and more.

95. American Horror Story - So I have had trouble lately staying on the American Horror Story bandwagon. The last few seasons have started to lose some of the luster of their previous efforts. That being said, when AHS was on top, it was a breakthrough horror series that launched the television revival of horror anthology. Particularly the first three seasons were masterpieces of television, led by an amazing array of rotating cast members that included legends like Jessica Lange, Angela Bassett, Frances Conroy, Kathy Bates, Sarah Paulson, Connie Britton, and many many others. It continues to be renewed and a part of the greater television landscape, and its legacy will live on long after it leaves the air.

94. Key and Peele - Before Keegan Michael Key and Jordan Peele began pursuing their successful film careers, they were two up and coming comics who got caught in the brief, but incredible wave in the last decade of the revival of sketch comedy shows. Key and Peele only lasted for a few seasons, but its mark is still felt. Their sketches were sharp, captured the zeitgeist of American culture at the time, and even caught the attention of the President. It also successfully launched these two amazing talents into super stardom, and both will have long and fruitful careers ahead of them.

93. Cougar Town - A terrible name and a cancellation and subsequent pickup could not stop Cougar Town from becoming a cult comedy classic. The first, and really only major sitcom project for Courtney Cox post-Friends, Cougar Town's name turned off a lot of people, and its first couple of episodes were cringe-worthy. But once it gets into its groove, it is actually a heartfelt, laugh out loud ensemble piece with quirky, but loving characters, and the family that is built over the course of six season was worth a watch.

92. Playing House - Another show that continually faced renewal odds, Playing House only lasted for three seasons, and was not seen by many people. But it should be seen if you get a chance. With a dynamic duo at its center, real-life friends and collaborators Lennon Parham and Jessica St. Clair, Playing House is about family, friendship, the village it takes to raise and child, tackle cancer, and all of the other challenges that life throws at you. Well-acted, funny, emotionally resonant, and sweet, Playing House was a hidden comedy gem of the last decade.

91. Silicon Valley - I never particularly loved Silicon Valley. The anxiety that the show produced honestly got to be a bit much. That being said, I didn't have to love the show to respect it. Mike Judge, who created King of the Hill, one of the greatest shows of all time, returned with this story of a geeky group of friends trying to make it in the dog eat dog world of Silicon Valley. It was darkly funny, well-acted, and showcased the tension, and ups and downs of the fleeting world of tech development.

Celebrating a Decade of the Awards Psychic: The Top 100 Television Shows of 2009-2019 - Launch

Well, Oscar season is behind us, but that does not mean there are not plenty of awards to cover. In the Spring/Summer, we will have the CMAs, Daytime Emmys, Peabody Awards, Tonys and their precursors, SXSW and Cannes, the summer blockbuster season, and eventually the Primetime Emmys. Before the Emmys start, I wanted to continue the year-long celebration of a decade here at The Awards Psychic. So starting this week, you will begin to see the countdown of the Top 100 Television Shows of the last decade. This is for shows with air dates between July 12, 2009, the launch date of this blog, and July 12, 2019 (Sorry Watchman). I hope you enjoy this countdown, and the upcoming Spring/Summer coverage!

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Final List

One last look at the Top 100 films of the first decade of The Awards Psychic, July 12, 2009 to July 12, 2019:

1. The Social Network
2. Gravity
3. Inside Out
4. Lincoln
5. Mad Max: Fury Road
6. Drive
7. Selma
8. Lady Bird
9. La La Land
10. BlackKklansman
11. The Favourite
12. Before Midnight
13. Dunkirk
14. Roma
15. Inception
16. Up in the Air
17. Call Me By Your Name
18. Moneyball
19. Hell or High Water
20. Star Wars: The Force Awakens
21. The Martian
22. Manchester By the Sea
23. Bridesmaids
24. Birdman
25. Boyhood
26. Black Panther
27. Moonlight
28. Three Billboards Outside Ebbing, Missouri
29. Arrival
30. Fences
31. First Man
32. Nebraska
33. Inglourious Basterds
34. Can You Ever Forgive Me?
35. Logan
36. The Big Sick
37. Spotlight
38. Moonrise Kingdom
39. The King's Speech
40. The Shape of Water
41. Steve Jobs
42. Blade Runner 2049
43. The Kids Are All Right
44. Django Unchained
45. Skyfall
46. 50/50
47. Mud
48. Top Five
49. Enough Said
50. Snowpiercer
51. Toy Story 3 and 4
52. The Help
53. Whiplash
54. Avatar
55. Wonder Woman
56. Sicario
57. Zero Dark Thirty
58. The Post
59. Take Shelter
60. Ex Machina
61. District 9
62. Beasts of the Southern Wild
63. The Tree of Life
64. If Beale Street Could Talk
65. A Most Violent Year
66. The Grand Budapest Hotel
67. The Wolf of Wall Street
68. Nightcrawler
69. The Descendants
70. Mary Poppins Returns
71. Captain Phillips
72. Blue Valentine
73. Please Give
74. 12 Years a Slave
75. Wreck-It Ralph
76. Precious: Based on the Novel PUSH by Sapphire
77. An Education.
78. Widows
79. The Rider
80. 20th Century Women
81. Win WIn
82. Tranwreck
83. Looper
84. Short Term 12
85. Looper
86. Star Wars: The Last Jedi
87. Eighth Grade
88. Harry Potter and the Deathly Hallows Part II
89. Never Let Me Go
90. Booksmart
91. Girl's Trip
92. Silver Linings Playbook
93. The Souvenir
94. Spider-Man: Into the Spider-Verse
95. Obvious Child
96. 21 Jump Street
97. Easy A
98. American Honey
99. How to Train Your Dragon (1-3)
100. City Island

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part X

10. BlackKklansman (2018) - I am simply going to regurgitate my thoughts from last year's Awards Psychic Awards when BlackKkLansman won Best Drama: First Man is underrated to say the least, Can You Ever Forgive Me? was a pleasant surprise, and Roma was expertly crafted. Yet only film this year left me literally breathless after watching it. As the end credits rolled on BlacKkKlansman, I literally sat in stunned silence. Spike Lee has always made evocative films, but BlacKkKlansman is his most potent, and most effective since Do the Right Thing. Spike has always been better when society is in turmoil. His anger, and his explosiveness as a filmmaker can truly resonate when the world around us is collapsing. Think about it, during the tensions of the late 80's and early 90's that eventually led to the LA Riots, it was Do the Right Thing and Malcolm X. During the mid-2000's, with war and economic hardship, 25th Hour and Inside Man got a lot of attention. Now, in the current era, BlacKkKlansman has emerged as a voice for those who see society retreating to its dark pasts. It also helps that BlacKkKlansman is one of his best films to date. Its cast, led by John David Washington and Adam Driver, is on point, the script is sharp, helped by a great book by the real Ron Stallworth, and the message is particularly focused. But the moment that Lee really hits it home is the film's ending. As if there were not enough references to modern struggles, his ending, with live footage of Charlottesville, and his tribute to Heather Heyer, show us all how, despite all of the progress, it can take one movement, one man in some cases, to override that progress. The demons of our past are still lurking, hiding in the wings, hoping to find their moment to revive. After a triumphant last scene where Stallworth gets to tell off David Duke, you are cheering at the screen. The good guys won! Then Lee reminds us that while that particular battle was successful, we still have a long way to go to win the war.

9. La La Land (2016) - Boy has this film taken a beating since it went from Oscar front runner to the embarrassing moment at the Oscars when the producer had to announce Moonlight instead. This film that was celebrated upon its release as a modern musical marvel, was suddenly a terrible film that just took one shot after another. Well, I don't care. I stand by the fact that La La Land is an incredible film. It is an amazing musical spectacle. From its opening scene to its final moments, every frame is beautifully shot, every musical number impeccably crafted. The craft team deserves a lot of credit, they just pulled out all the stops. The dynamic duo at the center of the film, Emma Stone and Ryan Gosling, are fantastic in their roles and capture the ups and downs, the heartbreak of fame, love, and loss. But I think that most of the credit is owed to the visionary young director Damien Chazelle. That poor guy has made three incredible films, and has proven to the world that he is an impeccable talent. Yet the last two films have been mired in undeserved controversy. It's almost as if the world doesn't want him to succeed. His talent is too great, that it scares the establishment. That is probably just me diving into conspiracy. But I will say this: I think Chazelle is going to keep making movies, and not let detractors stop him from continuing to be one of the finest directors working today. I am also going to say this: La La Land is a hell of a film, and I firmly believe that time will prove me right.

8. Lady Bird (2017) - Every generation has its teenage angst anthem film, and this generation's might be Greta Gerwig's directorial debut Lady Bird. Gerwig had been a fantastic writer and actress for years, and finally tried her hand at directing. It was a fantastic debut. She had so much pop, so much courage, so much control over the project, which was just unexpected for the first time out. Of course, some of that success might be due to the personal nature of the story. Lady Bird is semi-autobiographical, and you can see that nostalgic energy in every scene. But none of this success of the film would have occurred if Gerwig had not cast such an astounding array of actors for her bright and beautifully drawn characters. Tracey Letts, Lucas Hedges, Beanie Feldstein, Lois Smith, Stephen McKinley Henderson, and Timothee Chalamet all create a vibrant supporting cast. But this film belongs to the dynamic mother/daughter combo of Saoirse Ronan and Laurie Metcalf. With Gerwig's witty and amazing script and wonderful direction, these two fine actors were able to really chew on the material, and build one of the most honest mother/daughter relationships we have seen on screen in a long time. Metcalf's hard nose, tough, yet loving character clashing with the free spinning, angst ridden Ronan is the tension, the humor, and the heart and soul of the film. It is the final scene for me that seals the deal. I had already fallen in love with this movie, and had laughed and laughed the whole way through. But the last scene did something more, it broke my heart. We were all once that rebellious teenager, who wanted to get as far away from home as possible. We thought we were invincible, that we knew better than our parents, and that if given the chance, we would show the world just how grownup we were. Like Lady Bird, we all have also had that moment where we realize that when we leave for college, we are not all that grownup, and that separation is a hard thing when you truly love your family. That moment might have been the most honest film moment of the last decade, and it took Lady Bird from great to extraordinary.

7. Selma (2014) -  Ava DuVernay, Ava DuVernay, Ava DuVernay. Do I need to say it again. Sure: Ava DuVernay. This talented bold director has now made an incredible career of telling black stories, stories of injustice, and bringing to life the bold, sometimes uncomfortable, but important truths of our past, our present, and our future. On both film and television she has produced, written, and directed projects such as Queen Sugar, 13th , When They See Us, and Middle of Nowhere that have challenged the world as we know it, and talked about issues that matter to people. Her crowning achievement is Selma. Starring an amazing array of actors, Selma is a brilliant ensemble piece featuring characters from the likes of Carmen Ejogo, Andre Holland, Tom Wilkinson, Oprah, Tessa Thompson, Common, Lorraine Toussaint, Dylan Baker, Niecy Nash, Wendell Pierce, LaKeith Stanfield, Tim Roth, Stephen Root, and Cuba Gooding Jr. It is David Oyelowo that really shines though. The film could not use any of Dr. King's actual speeches, so Oyelowo had to simply channel him with tone and feel. He did a marvelous job. He didn't act like Dr. King, he was Dr. King. He showed us his passion, his flaws, his character. It was a stunning breakthrough performance. But it is Ava DuVernay who deserves the most credit. Her passion for the material, her energetic and focused direction, her incredible work with her actors, all put together a film that felt as if we were reliving history with its alive and vibrant nature. This film truly honors the brave men and women who made this world a better one by fighting for what is right. A magnificent triumph.

6. Drive (2011) - In the era of loud, brash genre films, it is a rarity to have an action thriller that is mostly quiet. Nicholas Winding Refn's 2011 film noir masterpiece still stands the test of time as one of the best, and most effective action thriller films of the last decade. Starring a haunting Ryan Gosling, whose quiet demeanor serves as a effective leading presence throughout (similar to his First Man role), Drive does not have a lot of dialogue. It also does not have a lot of action. It is a film whose beautiful cinematography and use of music showcase the emotional changes without needing too many words to make its point. Drive manages to be shocking, utilizing the silence to make the moments of violence have more impact, while also being introspective, dreamy as it unfolds, and haunting in its almost casual portrayal of horror. This is due to the stylistic choices of a director that saw a vision and executed to perfection. Of course it doesn't hurt that you also have great supporting performances from Albert Brooks and Carey Mulligan, proving that it is an acting showcase, as well as a directorial one. Since this singular masterpiece, Refn has never quite reached its heights, by not taming down some of his visual flourishes. Drive is the perfect balance of directorial overload, yet enough subtlety to give it weight. Drive is one of those films that I watched in college, when I was really starting to explore different styles outside of my comfort zone. It is one that still haunts me, entices me, and still gets a good once a year re-watch. It says something about a film that it has that effect. What it says is that it is excellent.

5. Mad Max: Fury Road (2015) - So, in my previous commentary, I made a comment that might have seemed like a dig at loud, brash genre films. I have a nothing against loud films, especially when they are impeccably well done. Mad Max: Fury Road is one of those films. The earlier Mad Max films are not favorites of mine. They have style, they make a point, and anything George Miller does has his signature touch. Stll, I was a bit skeptical about this new incantation of the series. Boy, was I wrong. Fury is a great word to use in this title, because this film has a furious pace. It takes off from its first frame, and it never lets up. It is a shocking, jaw-dropping, and relentless post-apocalyptic thriller that is a visual masterpiece. The cinematography, costumes, visual effects, makeup, everything came out of George Miller's brilliant mind, and his fantastic crew took his vision and ran with it in a way that is just still so mesmerizing. Mad Max though, never let its relentless action stop it from creating amazing characters. Particularly, his creation of Furiosa gave this film a decidedly feminist twist that was refreshing and emotionally evocative. Of course, a lot of credit belongs to the amazing Charlize Theron. She is finally back in the Oscar race for Bombshell, and I am thrilled because it is an amazing performance. But how in the hell she did not get recognition for her role in Fury Road is still one of those mysteries I will never understand. She is the pitch perfect balance of strength and vulnerability. She is just simply undeniably mesmerizing, and it brings a new level of depth to a visual stunner.

4. Lincoln (2012) - Steven Spielberg makes two types of films. He makes fun sci-fi/fantasy adventures and he makes historical epics. It is always surprising, and it should not be, just how well he handles both. Of his films in the last decade, Lincoln is his peak, his shining star. It is an unabashedly traditional and old school film making masterpiece. It does not have a lot of action, it is a film of words, and people. Despite that, it is also wholly entertaining, with suspense, humor, emotional impact, and historical heft. Spielberg is just a master of film, and Lincoln joins the canon of Saving Private Ryan and Schindler's List in terms of greatness. It doesn't hurt that he has a roster of the best technical folks in the business that understand what he wants as a director, and consistently create amazing visual and auditory elements that elevate his films, and showcase mastery that is unmatched by many technical teams. He also has an impeccable knack for pitch-perfect casting. Let's just, for fun, list the roster of amazing actors that populate this sprawling epic: Sally Field, Tommy Lee Jones, David Strathairn, Joseph Gordon-Levitt, James Spader, Hal Holbrook, Walton Goggins, Jackie Earle Haley, John Hawkes, Tim Blake Nelson, Jared Harris, Gloria Reuben, and Michael Stuhlbarg. Of course, the name that gets the most attention for this film is Daniel Day-Lewis, and there is a good reason why. He won yet another Oscar for his role as Abraham Lincoln. He was Abraham Lincoln. He studied dialects to try to perfect what he would have sounded like. He looked and felt like we were watching the real thing. In the career that he has had, it is hard to say that he gave a great performance, because he always does. But this was not just great, this was transformative, and brilliant, and it takes Lincoln to new cinematic heights that very few films ever get close to reaching.

3. Inside Out (2015) - This decade has had a wealth of amazing animated films, as more studios tackle this still underappreciated art form. Pixar, in particular, has made a name of creating animated films, geared to kids, that have such emotional heft that adults can fall in love with them as well. Of their many successful films over the last decade, it is Inside Out that, in my opinion, reigns supreme. I don't cry often in films. Even the most emotional of films, usually leave me sad, but not literally blubbering like a baby. Inside Out is one of those films, and it made me do it, twice. Twice in the same damn film, I am bursting into a snot-inducing cry-fest. Inside Out is an inventive film, creative to its core, with a brilliant cast led by Amy Poehler, Lewis Black, Mindy Kaling, Bill Hader, Richard Kind and particularly the magnificent Phyllis Smith, who joins the ranks of Robin Williams in Aladdin, Eddie Murphy in Shrek, and Ellen DeGeneres in Finding Nemo, aka voice actors who should have gotten acting Oscar nominations. For all of the imagination that is poured into this beautifully animated, visually stunning film. It is the human part that makes it extraordinary. In the end, it is a film about growing up. The sudden changes in our life that leave us breathless, confused, and heart broken. The vulnerability we all go through trying to control our emotions in an unforgiving world. That scene towards the end, where Joy realizes that she needs sadness to make everything okay again is just pitch perfect cinema. It also hits home for anyone whose ever had to grieve so that they could move on from the pain. As Pixar enters a new decade, I can only hope that they continue to reach the cinematic heights of films like Inside Out, and continue to make us all laugh, and yes, and maybe most importantly, cry.

2. Gravity (2013) - You ever sit there, thinking too much, and remember criticism of a film you love, and still get angry about it seven years later? Still bewildered that people completely missed the whole film, or clearly didn't pay enough damn attention to have the same reaction as you did? When I hear people say that Gravity, while visually stunning, did not have emotional heft, I want to throw something against the wall. First, let's tackle the big part. Gravity is the most visually stunning film of the last decade. Cuaron, Chivo, and an amazing team of art directors, visual effects specialist, and sound and music aficionados used their talents, and challenged themselves to takes risks to breakthrough to yet another phase in the evolution of cinema. It is a masterwork. Now, back to the other point. No, it was not a dialogue driven character film with tons of characters to build an emotional connection. But in its simplicity, it is a heartbreaking story about a woman who has to decide whether she wants to live, and go home. If home was just you driving to avoid the memory of your young child who died tragically, and you literally escape the planet to try to clear you thoughts, wouldn't you have a similar struggle? Wouldn't you question whether it was worth fighting? In so few words, in a short time span, the brilliant Alfonso Cuaron, and his magnetic star Sandra Bullock explore these questions. They do it with few words, but they do it in a way that makes you ponder your own existence, and eventually root for our hero to realize that there is always room for hope, for clarity, and there is always a reason to keep fighting to keep living. That is the heart of Gravity, and because of that, it takes a visual stunner, and makes it a film for the ages.

1. The Social Network (2010) - When I was making this list, I started from the top. Because for me, my top two films were easy. I knew exactly who I wanted perched at the top of this. From there, it became much more of a negotiation of where exactly these films would fall. The reason that the top was so easy, is that there is not a film that is more pitch-perfect in the last decade that David Fincher and Aaron Sorkin's The Social Network. Combining Fincher's dark, visually driven style with Sorkin's breathtakingly paced character driven scripts, made for a film that was just, start to finish, and perfectly assembled piece of art, that understood, even ten years ago, the weight of this social media craze. It realized, even then, that there is a light side and a dark side to our new frontier of technology and new levels of connectivity. I recently showed this film in my library film series, and right afterwards, one of my patrons was reading the paper about Mark Zuckerberg testifying before Congress about the negative impact that Facebook had on American elections. Even ten years later, the characterization, and cut-throat process of Facebook's success still rings as hollow, as scary, and as devastating as it did a decade ago. I think that decades from now, when film historians are charting this era of American film, The Social Network will go down as one of the definitive films of our time, a perfect snapshot of this decade in American culture. If that is not deserving of a number one slot, I don't what is. I would like to once again thank all of you for ten years here at The Awards Psychic, and I can't wait to join you for ten more.

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part IX

20. Star Wars: The Force Awakens (2015) - I am a huge Star Wars buff, and cannot wait to see The Rise of Skywalker on opening night in a few weeks. I am also a disappointed Star Wars fan. Not in the movies themselves, but in the fandom. I get why people didn't like The Last Jedi (many fans felt the same way about The Empire Strikes Back thirty years ago, and how did that work out for them?), but the hatred that went from I don't like the movie to the exposition of the racist and sexist underbelly of the fandom was horrifying. It almost made me ashamed to say that I am a Star Wars fan, because I do not ever want to be associated with those people. Unlike some folks, I think that this trilogy has been a brilliant reboot of a beloved franchise, and the finale looks to be a stunner. The Force Awakens, in my opinion, will go down as one of the best of the series. The film not only rebooted a classic, and did so much better than the dreaded prequels, but it so brilliantly blended classic Star Wars with new elements and new characters. It is also a stunningly crafted, emotionally resonant, well-acted, funny, fun, and pulse-pounding film. It is everything that you want from a Star Wars film, and more, and it is one of the best film experiences I have had in a movie theater over the last decade.

19. Hell or High Water (2016) - There is something about Taylor Sheridan's screenplays that I immediately attach to, and I don't really know why. Sicario, Wind River, and Hell or High Water, were a trio of modern westerns, about outlaws and the men and women trying to stop them. They are about corruption, violence, pain, humanity, and grief. They are about honest, hardworking, and flawed people often caught up in the horrors of the world. Something about their stories, I am assuming its the sad honesty of them, kept me intrigued. Hell or High Water is the best of them, and its honesty, and the way it connected with film goers, kept its momentum up, as it went from early year surprise to Oscar Best Picture nominee. Sheridan deserves a lot of credit, but he is not the only piece in this successful puzzle. David McKenzie's underappreciated directing effort was fantastic. The technical elements, particularly the cinematography and the editing, kept the storytelling and the vision sharp. But probably the most important component, beyond the script, was the cast. Chris Pine, Ben Foster, and a cast of talented character actors built a wealth of interesting characters that populate this film, providing unexpected moments, ensemble depth, and often laughter in the face of horrific events. But Jeff Bridges stands above the rest of them. In this late career resurgence, which netted him three Oscar nominations in seven years, and a win, Bridge has proved that he is beloved veteran and an impeccable talent, and Hell or High Water, is but one of the many examples of just that.

18. Moneyball (2011) - I am not the biggest baseball fan in the world, but I absolutely adored Moneyball. It is the true story of Billy Beane's crazy experiment to build a winning baseball team. This was a hugely different tone for Bennett Miller, whose two other films, Capote and Foxcatcher, are much darker. Miller here takes a lighter tone. It's not a full-on comedy, but it definitely is a fast-paced drama with a lot of wit. Miller does great work here, albeit more subtle than his other two films (probably why it is the only film of the three for which he did not get an Oscar nod, even though it might be the best). Steve Zaillian and Aaron Sorkin worked together to create a pitch-perfect screenplay. Sorkin provided the zippy one-liners and the quick witted dialogue between characters, and Zaillian comes through and smooths out spikes with narrative heft. It is a remarkable screenplay by two of the modern masters. The cast is fantastic as well, and perfectly captures the manic and the emotional. Supporting players like Philip Seymour Hoffman and particularly Jonah Hill do a great job, but this movie belongs to Brad Pitt. In the age where franchise names mean more that movie stars, folks like Pitt continue to surprise. He is a genuine movie star, he is infectious, lovable, and easily watchable on screen. But Pitt is not just a pretty face, and that's what makes him a even bigger rarity in today's time. He is also an incredible actor, and gives just a magnetic performance, making Moneyball soar.

17. Call Me By Your Name (2017) - Andre Aciman's quietly romantic and devastating novel became a breathtaking film experience. Luca Guadagnino's films are usually not so subtle (just watch his Suspiria remake), but with Call Me By Your Name, he finds a soft touch and creates a quiet film. There is not a lot of dialogue between the two main characters, it is mostly looks, movements, highlighted by the breathtaking Italian countryside. But, in this case, you don't need constant dialogue. The amazing script by the legendary James Ivory, who finally won an Oscar for it, and the tender direction by Luca Guadagnino allow the story to unfold at a perfect pace, and allow their actors room to make these characters their own. And boy, did they. Timothee Chalamet gets most of the credit, understandably, in a kind of breakout role that earned him his first, of what I assume will be many, Oscar nominations. Somehow, and I'm still not sure, by the time the final awards had rolled around, Armie Hammer had gotten lost in the awards shuffle. He was just as integral to the success of this story as Chalamet, and his emotionally wrought performance was definitely worthy. Luckily, the rest of the film managed to do relatively well with awards voters, because it was certainly worthy as well.

16. Up in the Air (2009) - Jason Reitman has been criticized for making films that are too cynical. Unfortunately, in many cases those films are also honest, which deserves respect whether we want to hear it or not. Not all of his cyncism has worked, the dreadful Men, Women, and Children, was like a right-wing horror show, and some of his other films have made too much light of too dark of subjects, and have come off as glib. But Up in the Air found a perfect mechanism for cynicism that almost everyone can get behind: corporate greed. It is the story of a shallow man who works for a company that literally is hired by other companies to fire people. He is so shallow that he cannot have meaningful relationships with his family, has no friends, and is more concerned about reaching his airline miles goal than having an actual life. Then two women come into his life that have the potential to change how he sees things. I'm not entirely sure why, but Up in the Air is just one of those films that has stuck with me, and has elicited many viewings over the last decade. Maybe its the dazzling performances of George Clooney, Anna Kendrick, and Vera Farmiga. Maybe its the witty, yet dark script. Maybe its the subject matter that hits home. But whatever it is, this is a movie that I connected with, and continue to think its a masterclass film.

15. Inception (2010) - Christopher Nolan has tackled historical dramas, he has tackled psychological thrillers, and he was even brave enough to tackle Batman. But Inception might be his most ambitious, most unique, and most fascinating film project to date, which is saying something considering his marvelous career so far. Inception is a mind-bending genre epic, utilizing futuristic technology, impeccable visual treats, and a star studded cast to warn us, enthrall us, and entertain us. Only someone has masterful as Christopher Nolan could craft such a visual spectacular, and at the same time, keep the story grounded in humanity. As the last scene rolls around, we are left with a devastating cliffhanger that infuriated many of his fans. Those moviegoers that were expecting this action epic to end with a cut and dry ending, clearly have never truly paid attention to Nolan's work. The reason that it was so infuriating is because after all of the thrills and the chaos, we want to know if Cobb (a well-done character thanks to Leonardo DiCaprio), has actually found his way back to his family, or if the final scene is just another layer to the dream puzzle that is the center of the film's narrative arc. Nolan doesn't let you know, he lets you to think for yourself (a novel concept these days). In the end, I think Nolan's point is that as long as he is with the people he loves, the reality doesn't matter. Now that is something you don't see enough in big blockbuster movies, and something we definitely need to see more of in the future.

14. Roma (2018) - I will be the first to admit that I did not love Roma. I have seen it several times, and even though I really don't want to watch it again, I will probably revisit it once the Criterion Collection releases it, with all of the special features in tow. So why, you may ask, is it so high on my list? Because, I love film, and I respect those that are masters of film, and Alfonso Cuaron is one of those masters. Roma is not a film that is built to love. It is a film that is built to make us think, to push film and its narratives in a different direction, to celebrate the unappreciated, and it wholly achieves all of those goals. It is a deeply personal film that showcases Cuaron's memories of his home, his family, and in particular, this domestic worker whom he and his siblings become attached. The film has a few punctuations of climatic moments, but mostly is a slow and serene narrative weaving its path through the ins and outs of a normal family in Mexico City. As many of us know, it is the small moments that we most remember, not always the big ones, and Cuaron has managed to capture those small moments to take a snapshot of a transformative time in his life. A snapshot indeed. Not only did he recall his childhood, he rebuilt it. The other reason that Roma is so well respected is because it is such a technical wonder, with almost completely reconstructed sets to match his memory of these places, with poignant black and white cinematography, and with crisp and surprising effective sound work. No I don't think I love Roma, but I do watch it in amazement, and think just how lucky we are to having it in our growing film canon.

13. Dunkirk (2017) - Nolan appears again on this list, and almost everything I said in the entry above remains true. Once again, this time tackling the amazing true story of the Dunkirk rescue, Nolan managed to make a visual stunner of a film, with emotional resonance as well. Dunkirk is a surprisingly quiet film, especially for a war film. Of course, in general, Dunkirk was a quiet operation. There were not much action involved. Instead it was a tense waiting game, where the end result could have been life or death. Nolan handles this brilliantly, capturing that quiet intensity with precision. His character's don't speak much, and yet you know exactly how they are feeling, you can sense the dread and the heartache on their faces. He also lets his camera gaze wide, creating breathtaking shots of the scenery and the majesty of a beautiful beach side. Those two butting themes, the small characterizations and the epic impacts, simply put Dunkirk in another level of storytelling and visual mastery. Nolan continues to evolve and grow as a filmmaker, trying different genres and themes and stories. And each and every time, he gives us something wholly familiar yet wholly new. His next film Tenet sounds like a combination of James Bond, Inception, and The Tree of Life. If Dunkirk, Inception, and so many other films in his fantastic canon serve as models of what is to come, we are all in for a serious treat.

12. Before Midnight (2013) - Once a decade for the last two, we have gotten a chance to be introduced and then reintroduced to the characters of Jesse and Celine. Richard Linklater, Ethan Hawke, and Julie Delpy have created one of the most endearing couples in screen history. Twenty years after their first meeting, we see Jesse and Celine older, wiser, dealing with growing children, mistakes, regrets, two decades of built up hostility and frustrations. We see these ups and downs play out in quiet moments, soft glances, and a few punctuated moments of love, anger, rage, and heartbreak. Definitely the most emotional of the three films, Before Midnight is also the most complete of the series. Delpy and Hawke had grown comfortable with their characters, in full control of the magic that made their journeys so intriguing on screen. Linklater is in full command of the script and the story, and once again allows minimalism to take form so that his actors can compose their character's canvases. Before Midnight is the perfect conclusion (maybe?) to an amazing film journey, an incredibly crafted story, and a truly magical, haunting, and honest love story for the ages.

11. The Favourite (2018) - I respected The Lobster, but didn't love it, and I hated The Killing of the Sacred Deer. Dogtooth was, well interesting. So while I respect Yorgos Lanthimos, there had yet to be a film of his that I just loved. That was until I saw The Favourite. It just had everything going for it. It was a beautifully constructed film, with jaw-dropping sets, costumes, makeup work, and cinematography, a gorgeous period piece to say the least. But this is no ordinary period piece, this is a dark and wicked comedy about two women grappling to gain the favor of Queen Anne. Their antics are ridiculous, horrible, and hilarious. That is because of a witty script, quirky and well edited direction by Lanthimos, and one of the best ensembles assembled in the last couple of years. At the center are the three magnificent women whose onscreen dominance is fantastic. Emma Stone returned to her comedy roots and Rachel Weisz came out of her shell to create the dynamic duo vying for the top spot. Their spats, glares, and humorous exchanges drive the humor and the plot. But all compare the queen Olivia Colman. Colman has been fantastic for years, and finally gets the role of a lifetime playing the sickly, easily manipulated, and sad Queen Anne. She is wickedly funny, commanding, towering, and at times quietly emotional and heart broken. It was a once-in-a-lifetime type of performance, and it not only won Colman an Oscar, but it cemented her as one of our generation's best.

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part VIII

30. Fences (2016) - A straight play can often make for tedious enterprises on screen. Fences is a marvelous exception to the rule. Denzel Washington doesn't do anything fancy with his camera. He doesn't have flashy editing or special effects. All he does is focus his camera on his characters and their stories. In particular he focuses on himself, and the great Viola Davis. These two are the finest actors of this generation. They decided to try this film on stage first, as practice. They won Tony Awards for their roles. Who wins Tony Awards for practice? Denzel Washington and Viola Davis do. With the help of August Wilson's fantastic and human screenplay, they are simply mesmerizing on screen, capturing the emotion, anger, and forgiveness of their characters. When she won her Oscar for this film Viola Davis famously said, "Thank God I became an artist, because we are the only profession that celebrates what it means to live a life!" As a public librarian, I would argue that there are two professions, but I appreciate the sentiment. Fences was not built for box office success, and its goal was never awards glory. It was made to do one thing, and one thing only: to "exhume and exalt" the ordinary people. It did just that, beautifully, I might add.

29. Arrival (2016) - Think piece science fiction films have had a renaissance over the last decade, and no film is a better representation of that than Denis Villeneuve's Arrival. I recently showed this to my Monday Night Move crew at my library. I was really nervous, because normally science fiction is not their favorite. I was shocked when they came out of the film love it, and praising it. Now that I am looking back, I should hot have been as shocked as I was, because at its core, Arrival is about human nature and love. Sure it is the story of a linguist who is tasked with communicating with aliens that have mysteriously landed on Earth. But even the aliens have humanity in them. Arrival succeeds because of two key components. First and foremost is Amy Adams. She was robbed of an Oscar nod for this role, as she was emotional, magnetic, mysterious, and a true star power. The other component is Denis Villeneuve. His recent career streak of well-made, human driven science fiction films is astonishing. As he prepares for Dune, we can look to Arrival and Blade Runner 2049 as examples of his mastery, and proof as to why we are so excited about his next directing adventure.

28. Three Billboard Outside Ebbing, Missouri (2017) - I look back at the controversy surrounding Three Billboards, and I am still bewildered as to how it became such a specter over the 2017 Oscar race. The rub, for some folks, was that Sam Rockwell's character has a redemptive arc towards the end of the film, even though he is portrayed as a racist cop, who brutalized black citizens in his position. I get that that can be hard for some people, and I'm not unsympathetic. But the question remains, does that turn make him less racist? I don't think so. I think it shows that even the most despicable of human beings have the ability to at least attempt to do something right. Just like Mildred, the grieving mother, has the ability to cross the line into criminal activities. Sam Rockwell and Frances McDormand won Oscar for their brilliant portrayals of the complex nature of human behavior. Rockwell's character is still a racist cop who abused power and brutalized his fellow man, and Mildred is still a grieving mother that deserves answers. The great Kareem Abdul-Jabbar, in his Hollywood Reporter article defending the film, wrote this, " Though it’s unfortunate that the highly sensitive issue of police violence is used but never fully addressed, the movie isn’t about that. It’s about the search for the ember of humanity in all of us, and fanning that ember until it burns bright, even in the darkest of us. In doing so, it reaches all people of all backgrounds and asks us to take a single step toward enlightenment. That’s what our best works of art should do." I could not agree more.

27. Moonlight (2016) - It is still such a shame that Moonlight and La La Land got caught up in that mess with that accountant on Oscar night. Both are such great films that deserved better. Moonlight's win was historic, and it was marred by stupidity. Moonlight became the first LGBTQ+ film to ever win Best Picture at the Oscars. It was an incredible moment, that was made possible by the greatness of Barry Jenkins. He brought a realistic aesthetic, brilliant, yet subtle technical elements, a heart, and a quiet effectiveness to the tragic story of a young man unable to live his life as he should. He was helped out tremendously by an amazing cast, led by the likes of Mahershala Ali and Naomi Harris. Moonlight is a breathtaking, mesmerizing, emotional, and transcending film that will continue to go down as one of the best of the last decade. With this, and If Beale Street Could Talk, Jenkins has proven himself to be a young master of human emotion, and of telling the stories of those who are often forgotten. I cannot wait to see what he does next.

26. Black Panther (2018) - I completely understand where Martin Scorsese is coming from. Some of the Marvel and DC outings as of late have become tedious enterprises, and are more concerned about continuing the universe than telling a good story. However, Scorsese is not 100% right. There have been some notable exceptions to the rule, that prove that, if put in the right hands, comic book stories can been cinematic and brilliant. The best example of this is Black Panther. Marvel took a chance on Ryan Coogler, and it might have been its most successful gamble to date. Sure, it still has the breathtaking action, the connections to the bigger Marvel story line, and eye popping visuals. But Coogler was allowed some independence to vary from the Marvel brand. He was able to bring in technical masters like Ruth Carter and Rachel Morrison to create a different aesthetic. He was able to embed cultural relevance in the form of the African America plight and African culture. He was able to cast a stunning ensemble that ranged from newcomers like Letitia Wright to legends like Angela Bassett. These details took a good movie, and made it an incredible one. Black Panther became the first comic book film to be nominated for Best Picture at the Oscars. If Marvel continues to take chances on filmmakers with Coogler's level of talent, they could defy Scorsese's criticisms, and see more Oscar gold in their future.

25. Boyhood (2014) - Boyhood is a unique cinematic marvel. It took 12 years, with the same cast, to shoot the story of a young boy growing up in America. The rockstar editing, the fete of cinematic brilliance, and the daring nature of the film making, make Boyhood one of those films that will stand the test of time. But I think that the real reason that Boyhood is resonant with so many people, is that beneath that interesting story of how it was made, is a wonderful tale of family and growing up. It is a quietly effective film, with a soft and simple script, and great performances, particularly from Patricia Arquette and Ethan Hawke,. It has a few flash point moments, but other than that Linklater lets the story unfold with subtle brilliance. It is in its quiet, that Boyhood finds its stroke of genius. Because at the end of the day, it is one of the most honest portrayals of family life in this country, and that makes it just as unique as its process does.

24. Birdman (2014) - When Alejandro Gonzalez-Inarritu won his Oscar for The Revenant, I was literally huffing and puffing in anger. George Miller was robbed. However, a year earlier, I was jumping for joy at his Oscar wins for the brilliant Birdman. A lot of folks still think that Boyhood was robbed, and many cannot wrap their heads around Birdman's win. I like both films, but I have to admit that I would have voted for Birdman too. It is a loud, darkly funny, incredible entertaining cinematic experience, whose technological fetes were just as impressive and important as Boyhood's, but just didn't get the same press. It is a non-stop, breathtaking film, brilliantly constructed, constantly engaging, and led by an amazing cast of Michael Keaton, Edward Norton, and Emma Stone. It is also a darkly honest look at fame, our superhero obsessed culture, and the often disturbing lives of artists grappling with the specter of success. It is that depth that is often missed by those who are critical of its awards success, and something that makes it an extraordinary film.

23. Bridesmaids (2011) - Dying is easy, comedy is hard. Raunchy comedy that is actually engaging and deep is even harder. So many films in the last decade have tried to capture the balance of ball-busting raunchy humor, and emotional and engaging character development, but only a few have actually succeeded. The most successful of those films was Paul Feig's surprise hit Bridesmaids. It is so damn funny, there are moments where you are about to pee your pants. It also nails the cringe-worthy horror funny that often accompanies events like weddings. So what sets it apart from say, The Hangover? Well, it is also a brilliant ensemble piece led by the talents of Maya Rudolph, Kristen Wiig, Rose Byrne, and a star-making turn from Melissa McCarthy, which earned her her first Oscar nomination. It is also fueled by a brilliant, Oscar-nominated script, that brings so much depth to this film. This is not just a raunchy comedy about Bridemaids. It is also a heartfelt tribute to the love, humor, and sometimes pain of friendship, is a beautifully feminist take on the genre, and is a film that is just so endearing, you can't help but fall in love.

22. Manchester by the Sea (2016) - Manchester by the Sea is a film that became a solid number three in the 2016 Oscar season, one of my favorites, in terms of the number of films I loved, in recent memory. It really was, in the end, left out of the discussion, as the race became La La Land vs. Moonlight. It should not have been, because it was a fantastic film. I am not going to dive into the Casey Affleck situation, other than to say that if he did those things, I hope he gets whats coming for him. In terms of his performance, it was incredible, and the range of emotion, the heart and soul he poured into this character cannot be denied. Michelle Williams is good as always, and Lucas Hedges is the surprise of the film, in a role that set his career in motion. But I think that the bulk of the credit goes to Kenneth Lonergan. He is a masterful playwright and screenwriter, building incredible characters and really truly yanking the emotion right out of you. Manchester By the Sea is an emotional powerhouse, a quiet film of family, faith, and duty, and at times a surprisingly funny film. At moments you are drenched in its warmth, and at others you are bawling at its pain. Manchester By the Sea was a stroke of genius writing, and it is a film that still remains with me, three years later. It just has an impact that won't quit.

21. The Martian (2015) - Instead of Inarritu winning a second, and wholly undeserved second Oscar, it should have gone to George Miller. Or, if the Academy's director's branch had done the right thing, it really should have gone to the great Ridley Scott. After years of trying new genres, Scott dove back into the science fiction genre, with a fantastic adaption of Andy Weir's brilliant novel, The Martian. This film just has everything going for it. It is a technical marvel, is brilliantly executed by a master in Scott, and is a thrilling, funny, emotional, and entertaining film that is simply one of the best experiences I have had in a theater in a long time. Scott deserves a lot of credit, but so does Matt Damon. I think, as an actor, that Damon often flies under the radar. He is good in everything, he has charisma and star power, and is just one of those actors that everyone seems to like. For all of his awards attention, he has not actually gotten that many acting nominations. The Martian is his best work to date, and it showcases his talents, as he alone is left to carry the film. He is magnetic, funny, emotional, and truly shows what a talent he truly is in front of the camera.

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part VII

40. The Shape of Water (2017) - The Shape of Water was an unusual choice for Academy voters a few years ago. It was essentially science fiction/fantasy. It has an inter-species romance, and its main character was a mute. It was an unusual choice on paper, but once voters and audiences saw the film, those doubts were erased. That is because Guillermo Del Toro and his team elevate the premise (as he does with all of his films), and made it a film deemed worthy of the Best Picture of the Year. That is because at its center it is a human story. Don't worry, like all of Del Toro's films, this is a technical masterpiece. By combining historical setting with fantasy elements, we got to see an amazing array of costumes, masterwork camera shots, sets, and visual effects. But at its center are its characters, and their stories and their struggles make The Shape of Water an emotional powerhouse, as well as a visual stunner. Richard Jenkins, Doug Jones, and Octavia Spencer all are fantastic in their supporting roles. But it is Sally Hawkins amazing performance that really is the heart and soul of the film. It is a difficult role, and it takes an actor with incredible skill to pull it off. Sally Hawkins didn't just pull it off, she took it and ran away with it, and was simply mesmerizing.

39. The King's Speech (2010) - Boy has The King's Speech taken a beating over the years. I agree that the best film of 2010 was The Social Network (as you will soon see), but I have never understood why film buffs always take their ire out on the other film that won just because their favorite lost. You know the Academy, and you know what they like. Is it really still so shocking that The King's Speech won? The answer should be no. It is right up the Academy's alley. It is a period drama about the Royal Family, and it makes you feel good. It also was a great film, and in all of the crap, it is important to remember that fact. It is well-made by Tom Hooper and his production team. It has an emotional, funny, and well-paced script by David Seidler. What really sets it apart though is its amazing cast. Helena Bonham Carter and Geoffrey Rush both play their roles with gusto. But it is Colin Firth at its center that is why The King's Speech is such an endearing film. His vulnerability as a king with a disability, and then his ultimate strength because of his friend and wife, is a great journey to watch, and Firth earn a well-earned Academy Award for this triumph of a role.

38. Moonrise Kingdom (2012) - I said in an earlier post that my favorite Wes Anderson movie of the last ten years was Moonrise Kingdom. I think it is his sweetest film to date. Sure it has all of the Wes Anderson trademarks: quirky characters, outlandishly creative production design, a unique and fantastic script, an amazing cast. It it is the cast in particular that really shine, including a nice mix of Andeson favorites, and newcomers as well including Bill Murray, Frances McDormand, Bruce Willis, Edward Norton, Jason Schwartzman, Tilda Swinton, and Lucas Hedges. But unlike some of the darker humor of films like The Grand Budapest Hotel, Moonrise Kingdom is a quietly effective film about first love. It is endearing, heartwarming, hilarious, and incredibly accessible. Anderson sometimes gets a bit too esoteric for me, and I can sometimes have trouble connecting with his films, even if I respect what he is doing. Moonrise Kingdom was a notable exception, and a film I still love to this day.

37. Spotlight (2015) - I really like Tom McCarthy as a director, especially some of his feel good dramedies like The Station Agent and Win Win. This was a big change for the director, tackling a straight historical drama and it paid off. Not only did he become an Oscar winner, but he led the film to a Best Picture Oscar. Spotlight is not a splashy film. It does have a few mesmerizing climatic moments, thanks to the efforts of Mark Ruffalo and Rachel McAdams, both of whom received well-deserved Oscar nominations for their roles. But other than that, this is an even tempo type film. It doesn't sensationalize. It lets the story unfold, it focuses on the victims and the reports, the stories that deserved to be told. It is led by an amazing ensemble, solid direction, and a pitch-perfect script. It is still odd that this film won Best Picture. Normally, quiet films like this get ignored for flashier efforts. But it is also a great choice for the Academy. It is an excellent film, and it is an important, albeit hard to watch, story that deserved this quality of film and deserved the recognition it got.

36. The Big Sick (2017) - Kumail Nanjiani had been a hardworking, up and coming comedian for a long time before he hit it big in 2017 with The Big Sick. He decided to take his own story, and the story of his wife's illness, and put it up on the screen. It was a magnificent move. First and foremost, Nanjiani is a talented writer, and is funny as hell. The Big Sick is a comedy first, and it shows in both his witty script, and his breakthrough lead performance. But The Big Sick manages to balance the humor, with the heart. Nanjiani manages to take a two-hour comedy movie, and add in a medical emergency with a family struggle, cultural relevance that honors his own heritage and his decision to break from it, and a fabulous ensemble piece with the likes of Holly Hunter, Zoe Kazan, and Ray Romano. But at its heart and soul, The Big Sick is so well done because it is so personal. He and his wife Emily Gordon penned their own story, and it is that connection and that personal touch that make The Big Sick the best romantic comedy in ages.

35. Logan (2017) - Unlike Martin Scorsese (who I adore and respect), I am not a superhero movie hater. I do get tired of the same recycled stories, but I have been pleasantly surprised in recent years as studios have started to take risks when it comes to telling these stories. One of the biggest risks, with one of the best rewards, was James Mangold's Logan. It was so impressive that it became the first and only superhero movie in history to receive an Oscar nomination for screenplay. Logan is the antithesis of a superhero movie. Its a violent fugitive thriller, an almost post-apocalyptic western-esque nightmare, and an emotional swan song for two beloved characters. Led by terrific performances from Hugh Jackman and Patrick Stewart, we finally get to see these talented actors fully flesh out these characters that they had been playing for almost two decades. Mangold has incredible command of this film, and it is sharp and pulse pounding. It all leads up to a sad, yet satisfying conclusion that truly gives one of our favorite heroes the proper send off. Note to Marvel and DC: make more films like this.

34. Can You Ever Forgive Me? (2018) - This is a film that over the last year has just continued to grow and grow on me. I loved it the first time I saw it, and have watched it over and over again and it just gets richer with every viewing. Lee Israel is not a lovable character. She is an ornery criminal with the personality of a fire ant. She lied and forged, and never really showed much remorse. So how the hell did a movie about her become such a charming, energetic, funny, and memorable outing? It is because of four incredibly talented individuals. The young, up and coming filmmaker Marianne Heller has an incredible eye, and now apparently is 3/3, with her latest already receiving rave reviews. Nicole Holfcener's script is so sharp, so witty, so perfectly balanced, you can tell why she is one of the best in the game. Finally, the dynamic duo at the film's center are so damn good, you can't take their eyes of them. Richard E. Grant has been fantastic for years, and to see him get such a nice role this late in his career was welcomed. But at the center of this is Melissa McCarthy. She was just jaw-dropping in this role. Unlikable, yet endearing. Funny, yet sad. McCarthy proved that she is one of the finest actresses working today, and has incredible range beyond her comedy roots.

33. Inglourious Basterds (2009) - I don't think, at the time, that the world was really ready for the insane brilliance of Quentin Taratino's Inglourious Basterds. Since then, we have seen two new incantations of his revisionist history films. But in 2009, this was new territory. From that brilliant opening sequence where we are introduced to Christoph Waltz's absolutely jaw-dropping performance as Hans, to the finale where we get to see Hitler get obliterated by a machine gun. Everything about this film is ridiculous. It is loud, brash, historically inaccurate, and way too long. But of course, all of this is what makes it such a miraculous gamble as well, and the gamble paid off. The ensemble, also including Melanie Laurent, Diane Kruger and Brad Pitt, are fantastic. The direction is bold and visionary, and the script is the perfect representation of Tarantino's gift as a screenwriter, particularly the dense, yet fascinating dialogue. Inglourious Basterds should not have worked. But because of talent both behind, and in front of the camera, it went from being a ridiculous idea to a brilliant film.

32. Nebraska (2013) - I really am an Alexander Payne junkie. I just love the guys films. They are emotional, funny, and most of all, they are innately human. Nebraska is a quirky, funny, dry comedy with a great black and white aesthetic. It combines all of the best of Alexander Payne's instincts as a director, and a screenwriter, and has an amazing cast to boot, particularly Bruce Dern and June Squibb, who both are just mesmerizing and hilarious on screen. But at its core, Nebraska is so much more than a funny dark comedy. It is a story about fathers and sons, about family, about forgotten dreams, about the struggle that we all face as we watch our parents and grandparents age. Nebraska is funny, but at its heart there is a lot of pain. It is a pain that comes from understanding the truth of the task it takes to simply be human. No director working today understands this better than Alexander Payne, and Nebraska is a perfect example of that humanity and talent.

31. First Man (2018) - First Man won two awards in my end year Awards Psychic Awards. I feel its best to simply reiterate my sentiments from a few months ago. First, my comments on Ryan Gosling, who won Best Actor: "Ryan Gosling got no credit this year for First Man, and I really cannot understand why. Gosling learned so much about Neil Armstrong from his readings and meeting those who knew him. He learned that he was a no-nonsense, technically driven man, whose personal losses caused him to shut down emotionally. It is a lot harder than it looks to maintain that kind of control of a character, and Gosling nailed it. The children of Neil Armstrong praised Gosling and the film saying it was a perfect representation of who their father was. But Gosling's performance was not just accurate, it was a quietly stunning triumph." Finally, my thoughts on the film's Best Visual Effects win: "First Man, the underrated film of 2018, had a lot of practical production design, combined with its brilliant cinematography, that its visual effects might not seem as spectacular or obvious as say Avengers, Mary Poppins, or Ready Player One, all fine work. What I love about the visual effects in First Man is that you don't really know they are there, but their impact is immeasurable. The brilliant space walking scene showcased not only Chazelle's talent as a director, but the talent of these visual effects artists to make us feel the realism as if we were there. The Academy always loves to reward the most, which I understand, but sometimes its the subtlest of contenders that show the true master of the craft."

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part VI

Now that Emmy season is over, and we have a pause in the fall film festival rush, it is time to continue my celebration of my favorite films from the first decade of The Awards Psychic.

50. Snowpiercer (2013) - With Bong Joon-ho's latest release already having the Palme D'Or in its pocket, it is safe to say that 2019 is going to be a good year for the talented Korean director. But for fans of his, this is not a surprise. In the last decade he has churned out amazing films like Okja, Mother, and his best, Snowpiercer. Snowpiercer is a brutal, post-apocalyptic film that is a thoughtful and timely slow burn. Led by Joon-ho's amazing direction, Snowpiercer never lets up, even though there are plenty of audience members who wished they could get a breather from the intensity. It is also led by an incredible cast of Chris Evans, Jamie Bell, Octavia Spencer, Ed Harris, the late, great John Hurt, and a particularly brilliant performance from Tilda Swinton, who continues to surprise and amaze with each new film. Snowpiercer is the science-fiction genre at its best, and is a rare piece in a market flooded by big budget studio franchises. I personally cannot wait to see Parasite to see what this director has next for us.

49. Enough Said (2013) - Nicole Holofcener is a master of human stories, particularly ones with flawed human beings. But with Enough Said, she sanded down some of the edges (luckily not all of them), and created a vibrant, modern day romance for two characters of a certain age. Bringing her edge, wit, and emotion, Julia-Louis Dreyfus took a rare break from her hot television streak to be a well-cast dynamic lead. The late James Gandolfini, known mostly for his tough-guy groundbreaking work as Tony Soprano, also took a interesting career turn in what would turn out to be one of his final roles. While his untimely death is still a sore spot for his many fans (including this one), at least he got to have one last amazing change to charm his cast members and his audience. Enough Said breaks through the trappings of most romantic comedies with elevated performances (also including Toni Collette and Catherine Keener), a sharp, funny, honest, and quietly romantic script, and the eye of one of our best directors who has a knack for making us laugh, and when appropriate, cry. Enough said.

48. Top Five (2014) - Chris Rock had tried his hand at directing several times before he struck gold with Top Five. The basic story is Rock's character is being forced to broadcast his wedding to a television star on her trashy reality show. As he is being interviewed about his career and wedding, he meets a reporter (Rosario Dawson) who takes him on a day filled with twists and turns to get the story. It has a loose narrative, but its effervescent charm and amazing cast keep it held together, and keep the audience laughing along the way. Names like Gabrielle Union, J.B. Smoove, Anders Holm, Cedric the Entertainer, Ben Vereen, Tichina Arnold, Leslie Jones, Tracy Morgan, Jay Pharoah, Kevin Hart, and a ton of celebrity cameos pack the list of talent actors that carry this amazing ensemble piece. But the cast didn't do it alone. Rock deserves a lot of credit for his charming lead performance, his loose, yet effective direction, but mostly for his clever, funny, and relevant script. That leadership at the helm helped guide this instant comedy classic to incredible heights.

47. Mud (2012) - Professor Matthew McConaughey (you read that right, I also cannot believe it), will be teaching his first college class soon, and it is reported that one of the films that his students will study is Jeff Nichols' Mud. Some of his other films like Take Shelter and Loving got more awards attention, but my personal favorite has always been Mud. I think it is the perfect film to teach to a group of students who are interested in learning about film. It is the perfect combination of different genres. It is funny at parts, has an almost supernatural element to it, is action-packed, emotionally wrought, and has a wonderful coming of age story at its center. Plus it is an impeccably written, tautly and sympathetically directed film with an amazing ensemble that includes McConaughey, Tye Sheridan, the late great Sam Sheperd, Reese Witherspoon, Sarah Paulson, and Michael Shannon. Each of these performances, even the smallest, contributes so well to the film. Honestly, Mud is just one of those films that I just instantly connected to, like most of Nichols films. I did mention in an earlier edition of this list that I was a Jeff Nichols junkie. I truly mean it, and I am thrilled to see that the next generation of film lovers is going to learn about just how fantastic this film really is.

46. 50/50 (2011) - Comedies in this last decade have leaned heavy on either the indie quirky or the raunchy. Will Reiser's autobiographical look at his own battle with cancer managed to balance both of those pillars of 21st Century comedy, in an emotionally evocative, incredibly hilarious, and slightly dirty comedy. Led by Joseph Gordon-Levitt's performance, which was a true showcase for an actor that has shown so many different facets on screen, 50/50 is a great ensemble piece. The real surprise here was Seth Rogen. We all know that Rogen is funny, which he definitely was, but I did not realize just how good he could be when asked to show some emotion. He nailed the balance, as did the rest of the cast, which was rounded out by great supporting turns from Anna Kendrick and Angelica Huston. But it is Reiser's amazing script that gives the actors so much to do, and creates this funny and emotional story, and he truly pours his heart on screen and makes us feel as personally connected to his story as he is. I wish we had more comedies like this, and I wish Reiser would put another gem on screen soon.

45. Skyfall (2012) - James Bond films have been a part of our culture for almost half a century, and over the years, there have been so many incantations of this beloved character. In recent years, the franchise had a huge spark from the Sam Mendes directed Skyfall. It has so much more than your average Bond film. First and foremost was Roger Deakin's absolutely jaw-dropping cinematography. His shots gave us some of the best looks a Bond film has ever had. Second, was Javier Bardem. Bringing in that quality of actor gave some depth to a normally one-tone villain. I think that is the best way to describe why Skyfall stood out among so many films: depth. Depth in direction and production value, depth in the villain, depth in Bond himself. We got to see an emotional side to Bond with the death of a beloved character. We got to see his childhood home and learn about his past. It is that depth that elevated a character, a franchise, and a genre from entertaining, to fantastic.

44. Django Unchained (2012) - Quentin Tarantino has spend most of the last decade reinventing history so that the bad guys can get what was coming to them. Look no further than Once Upon a Time in Hollywood and Inglourious Basterds. Django Unchained is considered by many to be the lesser of the three, and it is, but that does not mean it is still not a fantastic, classic Tarantino film. It was ultraviolent, funny, wordy, impeccably acted by an amazing cast including Leonardo DiCaprio, Jamie Foxx, Kerry Washington, Samuel L. Jackson, and Christoph Waltz. It also had one of the most satisfying endings in recent memory. There is a lot of discussion about the legacy of slavery, the continuing battle of racism, and unfortunately it feels like something that is not going away anytime soon. Tarantino has a lot to say about this, and doesn't do anything subtly. The slave owners get gunned down and blown up, and Django and his love get to ride away in the sunset. If that isn't poetic justice, I don't what is.

43. The Kids are All Right (2010) - A quirky comedy led by a fantastic script, an amazing cast including Annette Bening, Julianne Moore, and Mark Ruffalo, Lisa Cholodenko's The Kids are All Right took the Oscar season by storm about a decade ago, and was a delightful film to see onscreen. But it was also so much bigger than that. Nine years ago, there was no nationwide legal gay marriage. Most of the depictions of LGBTQ+ individuals were men, and there was definitely not a lot of lesbian sex in film. Lisa Cholodenko and her team didn't care. They crafted a beautiful family dramedy about the hardships of marriage and raising kids, the mistakes we make, the fluidity of sexuality, and about how, no matter who we are, that at the end of the day, we all face the same issues, and have to learn how to rise above them for the people we love. That is why inclusion should not be a vice, because it transcends the niche and can be universal. The Kids are All Right proved that in spectacular fashion.

42. Blade Runner 2049 (2017) - I was so thrilled on Oscar nomination morning when the craft guilds of the Academy came through with several nominations for Blade Runner 2049. I was even more thrilled when it took home two Oscars, including having the distinction of being the film that finally gave Roger Deakins his well overdue Academy Award. But Blade Runner 2049 is more than just a technical masterpiece. It is also an incredibly human story at its heart, with great performances from Harrison Ford and Ryan Gosling, and is a think-piece science fiction that is impeccably put together by Denis Villeneuve, who is rapidly becoming one of our finest genre directors. Blade Runner was a classic that was underappreciated in its time. It is no surprise that its sequel suffered a similar fate. I think we will look back thirty years from now, and see a cult classic worthy of that status.

41. Steve Jobs (2015) - Steve Jobs is one of those films that for some reason got lost in the rush of Oscar season, and it should not have. There are so many things that are impeccable about this film. The brilliant aesthetic change throughout the film, using cameras from different eras to visually move the story through its three set pieces, was an awesome move that really did make the production design of the film come alive. The brilliant performances from Michael Fassbender and Kate Winslet are on point, and luckily did earn both actors Oscar nominations. Aaron Sorkin's wicked fast, character driven script kept the film moving at a nice pace, as did Danny Boyle's energetic direction. I know that Steve Jobs is cold character to watch, a lot like last year's Vice in that way. It is hard to root for a protagonist that is, well, an ass. But with such quality performances and production value, it is impossible not to get absorbed in this film.

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part V

60. Ex Machina (2014) - Alex Garland's Ex Machina was the surprise of awards season a couple of years ago. It only ended up getting two Oscar nominations, although it dethroned Star Wars for Best Visual Effects in a stunning upset. But throughout the season, it was the surprise film that kept popping up in the conversation. That is because Alex Garland and his team created an amazingly emotional, finely tuned, and understated science fiction adventure whose darkness, commentary, and tense nature kept audiences glued to the screen to see what was going to happen next. Not only were Garland's direction and screenplay smart, taut, and brilliant, but at he also brought out three incredible performances from Domhnall Gleeson, Oscar Issac, and Alicia Vikander. It is Vikander's role that was the most mesmerizing, as it took incredible skill to pull off the delicate balance of her character. She ended up winning her Oscar for The Danish Girl (another great performance), but many, including me, attributed Ex Machina to helping her cross the finish line. Ex Machina may not have the pop, flash, or action sequences of most science fiction films, but it has all the heart and the message, and it is a beautiful example of how to elevate a genre.

59. Take Shelter (2011) - I have to admit that I am a Jeff Nichols junkie. Even his lesser efforts showcase a talented director with a brilliant eye for human stories. Of his films, one of my top favorites is Take Shelter, which while not his debut, it was his breakthrough hit. Part horror movie, part suspenseful thriller, part family drama, Take Shelter is a slow-building crescendo to an impeccable story climax that leaves the audience breathless. At its center is the fine work of Nichols, who truly has an impeccable eye, and the jaw-dropping performance of Michael Shannon, one of the finest actors working today. The character's slow descent into madness is incredibly frightening, because it feels all too real. That because it is done out of love for his family. While there is a dose of supernatural elements in the storytelling, at its center, it is the human story that still resonates almost a decade later.

58. The Post (2017) - Steven Spielberg has become a machine at pushing out quality historical films. He has, top to bottom, one of the best rosters of crew members of any director working today. Each film they turn out has amazing cinematography, an amazing score, beautiful sets and costumes, and amazing effects. He also has the pleasure of being able to attract some of the best working actors around. The Post is a great story, with a solid script, and beautifully edited tension that keeps you engaged. But The Post was completely elevated by its amazing cast, who capture the heart of this sad, important, and unfortunately still relevant story. Of course there is Meryl Streep and Tom Hanks, who consistently prove why they are two of the best actors working today, and true American treasures. But the depth of the roster is jaw-dropping, and even the smallest role is played by a hard-working character, stage, or television actor who breaths life into just a few lines. Names like Sarah Paulson, Bradley Whitford, Bob Odenkirk, Tracy Letts, Matthew Rhys, Jessie Mueller, Jessie Plemmons, Alison Brie, Zach Woods, and Carrie Coon populate this deep list, and they bring so much to the ensemble. Spielberg is always going to make good films, he is just the best. But it is rare to see this high level of perfect ensemble work, and the final result shows it.

56. Sicario (2015) - Before Denis Villenueve was the next great science fiction director, he tackled several crime thrillers with gusto. Of his earlier work, Sicario stands out. It is a timely, taut thriller about a government task force attempting to stop the drug war at the border. It opens with a bang, and then slowly builds its tension around action-packed, emotional, and horrifying set pieces, all leading up to a violent, shocking, and unfortunately true finale. The cast of Emily Blunt, Benicio Del Toro, and Josh Brolin are all magnificent as they weave this tale of money, drugs, violence, and betrayal. This is yet another in a long string of amazing performances from Emily Blunt, which constantly serve as a glaring reminder that she has still yet to receive an Oscar nomination. This is stain on the current Academy, and I hope they correct it soon. But this is Villenueve and Taylor Sheridan's film. That combination of a quiet, yet effective script, a trademark of Sheridan's short, but awesome screenwriting career (now directing), and Villeneuve's assured, taut, emotionally effective direction, made Sicario one of the best thrillers, and best films of the last decade.

55. Wonder Woman (2017) - DC has had its rough spots. Its Justice League, Suicide Squad, Batman, and Aquaman movies have all been gigantic messes (although they made a lot of money). The one shining gem in that otherwise trash heap of films is Patty Jenkin's Wonder Woman. DC knew that Wonder Woman had to be a film that had female empowerment at its core, if it was going to do justice to the beloved heroine. Hiring Patty Jenkins was their best move since hiring Christopher Nolan. Her indie sensibilities brought a renewed lens to the DC world , which was chocked full of too many die hard male fanboys with a lack of style, substance, or ability. Her control of this film is absolutely amazing, and her insistence of crafting a superhero story that puts the characters at the center lets the film connect with audiences. Of course, the film still has amazing costumes, visual effects, sound design, and action set pieces that superhero fans love. It also has historical context, great mythology, a great cast, led by breakout star Gal Gadot, who truly commands the screen and takes this character by storm, and a screenplay and direction that are above and beyond the expectations for this genre. It is those things that make Wonder Woman one of the best.

54. Avatar (2009) - Avatar has sure taken its beatings over the years. Even recently, as Avengers: Endgame surpassed its box office record, it dredged up this feeling of hatred and ire of a film that doesn't deserve it. Yes, people complain that its an old story Cameron is telling. Its Fern Gully or Pocahontas with blue people. They act like this is the first time that Hollywood has taken an old story or a classic concept and reinvented it. They don't mind the thousand Marvel sequels, but this was too much. Do you know why people have decided to make Avatar the bad guy? Because it was so damn successful. Avatar is far from a perfect movie, but it is first and foremost a game-changing one. The technological advances used in Avatar have revolutionized production design and visual effects for the film industry, and the look of films will never be the same. Avatar is also a unabashedly big, old school, action-packed Hollywood blockbuster. James Cameron, whether you love him or hate him, is the master of these types of films, and he is the master of creating memorable, amazing cinematic experiences. Avatar was one of those experiences. It had me hooked from the first frame, and three hours later, I was still mesmerized by what I saw. Be a cynic if you want to, that's fine, but stop denying the power of this film.

53. Whiplash (2014) - It is a rarity for a young director to knock it out of the park so many times in a row. From his early indie Guy and Madeline On a Park Bench to First Man, the underappreciated gem of 2018, Chazelle has proven to be one of the most talented directors working today, and he (deservedly) became the youngest director in history to ever win an Academy Award for Best Director. The big breakout film for Chazelle was the surprise of the 2014 Oscar season, Whiplash. Featuring amazing performances from Miles Teller, and particularly the incredible J.K. Simmons, who finally got the awards recognition he has deserved for decades of excellent work, Whiplash is an actor's shwocase. Their adversarial, abusive, and intriguing relationship at the center of this film is horrifying, yet mesmerizing to watch. Yet it is Damien Chazelle's whip smart direction, and the best film editing I have seen in a while from Tom Cross, which earned him a well-deserved Oscar, that keep this electrifying tale sharp, engaging, and pulse-pounding. I can safely say that no matter what Cross and Chazelle do in their careers, their work will always be a must-see for me.

52. The Help (2011) -Before you start, I am immune to the deserved criticisms of The Help. Even Viola Davis, an artist I admire more than any other, has said that there is a part of her that regrets taking on the role of Aibileen, because at the end of the day, it is Emma Stone's character that probably gets too much credit, and not enough is given to her or Minny or any of the maids, for truly exposing the hypocrisy and horrible nature of racism. The white savior complex is prominent in Skeeter's character, and in Celia and Johnny's. I understand where Viola is coming from. I also understand criticisms of the film from a directing and screenplay standpoint. It was released in the dumping ground of August, and the only reason it became such a huge Oscar contender was because it was the surprise hit of the 2011 season, and it played well with older, white Academy voters. Despite all of that, I still love The Help. I credit it with the upward rise of the careers of Viola Davis, and of Octavia Spencer, two women I think are essential artists in our time. I also credit it for being something unique in Hollywood. How often do you see a story led by women in Hollywood? How often do you see a cast with such talent, and with such amazing performances, supporting each other on screen, creating amazing roles, truly building an amazing ensemble? How many films can you see Viola Davis, Octavia Spencer, Allison Janney, Sissy Spacek, Jessica Chastain, Bryce Dallas Howard, Emma Stone, and Cicely Tyson all working together? The answer is not many. These women have created life-long friendships, and you can see it every time their together just how much they fell in love with each other during the course of creating this film. Despite its flaws, you can feel that love, that talent, that synergy in each and every frame of The Help. It proves Hollywood still has a long way to go, but it also proves that stories with women at their center can be powerful experiences that reach a wide, and diverse audience. That alone, deserves recognition.

51. Toy Story 3 and 4 (2010/2019) - I was a kid of the 90's. The resurrection of Disney animation and the birth of Pixar define my childhood. I was five when the original Toy Story came out, and I was nine, when the sequel hit theaters. I fell in love with these stories, and these characters, and to this day, I am still a Pixar junkie, because, to put it simply, they make jaw-dropping masterpieces of film. So as a college student, and then as an adult, almost thirty years old, I got the pleasure of revisiting my old friends. There was no need to continue the story of Andy and his toys. The perfect finale of Toy Story 2 could have been the end. Yet, the creators, writers, and animators at Pixar, saw an opportunity to find new depths, new laughs, and new thrills for our beloved characters. 2010's Toy Story 3 had me literally crying at the end, with one of the most impactful scenes in recent memory. Toy Story 4 made me believe that there are always second, third, or even fourth chances to relive and rediscover something you thought was lost. These two films are amazing entries into the Pixar canon. They are beautifully animated, nostalgic, fun, and embarrassingly emotional films. They also prove that sometimes its worth revisiting your old friends, and find new adventures for you to take together.

Celebrating a Decade of The Awards Psychic: Top 100 Films of 2009-2019, Part IV

70. Mary Poppins Returns (2018) - I am not a film critic, I am an amateur blogger. But I respect film critics, love their writing, and love their passion for something that I too feel so strongly about. But sometimes, film critics can be a cynical bunch. Sometimes they forget that one of the most important aspects of film is joy. While we all love the darker films, the ones that tell stories of our world, tackle challenging subjects, etc., we also like to go to the movies to escape. Mary Poppins Returns is one of those movies that lets you escape. It is pure joy start to finish. No, it will never be fondly remembered by most film critics, and even some cynical audiences immediately dismissed it as Disney fluff. They are wrong. Rob Marshall and his team knew that they were tackling a film classic, and they worked overtime to ensure that the spirit, feel, and joy of the original were felt throughout. It felt like a beautiful homage to a bygone period. Emily Blunt, absolutely perfect in her role as Mary Poppins, never tried to be Julie Andrews. She was always Emily Blunt's version, but we still felt the same way about Mary now as we did back then. Also Julie Andrews gave her her blessing. Let's just say this. There have been very few times that I have left a theater filled with so much joy that it lingered for days. Mary Poppins Returns was one of those films, and while the rest of the world may not appreciate it, I believe that should be recognized.

69. The Descendants (2011) - Alexander Payne is one of the modern masters of comedy, by truly finding humor in dark situations. I love his other films, but for me The Descendants was somewhat of a departure for Payne. Of course there were plenty of his hallmarks. There was a brilliant script, adapted from Kaui Hart Hemmings wonderful novel. It was filled with humor and beautifully constructed characters. There was a pitch-perfect cast, led by a fantastically emotional role from George Clooney, and a breakthrough performance from Shailene Woodley. But The Descendants was not as cynical as some of Payne's other work. It was the first of his films that really had a heart at its center.  For all the humor, and the smart comments, The Descendants is about loss, grief, family, heritage. It is a story about a father trying to pick up the pieces of his wife's death, trying to help his daughters with the loss of their mother, and trying to help his family decide the best for their history and their ancestors. That warmth, love, and emotion, brought a new level to Payne's filmmaking, and proved that he is one of the best at connecting audiences to truly incredible human stories.

68. Nightcrawler (2014) - There's a statistic that they state in Nightcrawler about the amount of crime reporting in local news. I cannot at this moment remember the exact number, but it is exorbitantly high. Local news stations have figured out that reporting on crimes brings in big numbers, and money to their stations. That is the premise of Dan Gilroy's stunning directorial debut Nightcrawler. Jake Gyllehaal gives an impeccably screwed up performance as a cameraman who decides upon himself to help create crime news. It is a brilliantly disturbing performance, and it is bolstered by two great supporting turns from Riz Ahmed and Rene Russo. It is Gilroy's darkly honest script, which earned him an Oscar nod, that really buoys this film. It seems ridiculous, but in our world of cutthroat journalism and ratings obsessed television, it is not beyond the realm of possibility to think that an underpaid, eager employee would go above and beyond to do his part for the ratings. That is what made Nightcrawler so resonant, and so haunting. It could happen. With pulse pounding suspense and solid direction, that fear is realized beautifully onscreen.

67. The Wolf of Wall Street (2013) - At three hours long, and with a whopping 569 f-words said on screen during that time, The Wolf of Wall Street is something that tests an audience ability to finish a story. Luckily, Martin Scorsese's always incredible direction, a wicked-smart script from Terence Winter, and an amazing cast, take this three hours and make it a hilarious, drug-fueled trip through white collar crime. Whatever people think of The Wolf of Wall Street, it is entertaining as hell. Leonardo DiCaprio and Jonah Hill embrace the zany, and honestly, with most of his films being so dark, it was nice to see DiCaprio let loose a little. But Scorsese was never going to make just a regular raunchy comedy. There is a lot of darkness at the core of this film. It is brutal look at a world that with one comment, one deal, one handshake, can wreck so many people. It is an honest film in a way that is almost too honest. It shows us this incredible world that Jordan Belfort lived and worked in, its warts and all. Even the most unbelievable parts of the film ring true, because you know that the unbelievable will eventually turn into the disappointing believable. It was Martin Scorsese and Leonardo DiCaprio in top form, and the final product was one hell of a ride.

66. The Grand Budapest Hotel (2014) - I actually preferred Moonrise Kingdom better (which you will find out), but I completely understand why The Grand Budapest Hotel was such a favorite among Academy voters. It is trademark Wes Anderson. It is quirky to a fault, chocked full of incredibly fun characters played by his rotating favorite cast members, and it has a wild, zany adventurous story that takes it characters to incredibly fun conclusions. But what sets The Grand Budapest Hotel apart was the incredible production value, and its Oscar wins for Costume Design, Makeup, Score, and Production Design are proof. It takes Wes Anderson's quirky sensibility and it puts it on a grand scale. That scale makes Grand Budapest Hotel not only experience for the funny bone, but for the eyes and ears too. It was a quirky comedy hidden in a great cinematic achievement, and it worked.

65. A Most Violent Year (2014) - With Margin Call, All is Lost, and this film, J.C. Chandor has built an eclectic and incredibly deep filmography, with such a bright future ahead. I think his best film yet is A Most Violent Year. Most folks going into this film thought they were going to see constant violence, like a classic gangster film. Instead, Chandor slowly builds with pointed pops of violence that contribute to the story line. Amazing performances from Oscar Isaac and Jessica Chastain, particularly Chastain, elevate, give heart, and provide amazing tension throughout. At its heart, it is a story of family, of a man trying to make it in a world that was not designed for that, and it is that struggle, which yes, sometimes involves violence, that makes this crime thriller a unique and impeccable film experience.

64. If Beale Street Could Talk (2018) - This is a film that has grown on me the last six months. I think the first time I saw it, I respected what Barry Jenkins and his team were able to accomplish. But it took two more viewings for me to really love and become encompassed by this beautiful, haunting, and mesmerizing film. If Beale Street Could Talk is a small story about a family trying to prove the innocence of one of their own. But, while set many years ago, the intensity, the haunting nature, the vivacity of the story make it feel like, unfortunately, this is a story that could still happen today. Jenkins deserves a lot of credit for his script and his direction, as does the amazing cast, particularly the impeccable Regina King, who rightfully earned an Oscar for her jaw-dropping performance. But at its core, this film is a success because of James Baldwin. His beautiful work translated to the screen with ease, and still resonates four decades later.

63. The Tree of Life (2011) - I'll admit, I am huge fan of early Malick. Badlands, Days of Heaven, and The Thin Red Line were all incredible. I have struggled with his work since 2000, mostly because the majority of them have been outright bad (talking to you Knight of Cups and To the Wonder). There is one major exception (actually apparently there is now a second as A Hidden Life did well at Cannes) and that is The Tree of Life. I am not as high on this film as most film buffs, critics, and bloggers are, most of whom would rank this somewhere in their top ten. I actually put this higher after the Criterion release of the film, because I think that the longer cut actually added in some much needed connection, and made the Sean Penn part of the film (the one part I really didn't like) a lot better. So after all of that, you have to wonder, do I actually like this film? The answer is a resounding yes. It is a visionary tale beautifully wrought by Malick and Lubezki, and it has soaring cinematography shots that are breathtaking. I also love the little story at the heart of the film, about the family life of Brad Pitt and Jessica Chastain's characters. It is an honest and well-acted story of love, loss, and the pains of growing up. It is that human connection in the story that keeps it afloat, and makes it worth the watch.

62. Beasts of the Southern Wild (2012) - Benh Zeitlin is about to release his follow-up film Wendy, and it is high on my list of must-sees. That is because his micro-budget indie Beasts of the Southern Wild came out of nowhere in 2012, and took the Oscar race and the film world by storm. With no professional actors (Quvenzhane Wallis has done well in her young career since, but at the time was an unknown), an unknown director, and an incredibly small budget, Zeitlin created a slightly post-apocalyptic world where a young girl must deal with family, crisis, and find her inner strength. The unknown, non-actor cast did a fantastic job, and Wallis became the youngest nominee ever for Best Actress. Beasts of the Southern Wild is a soaring tale of a young girl finding her way, and finding her purpose in the world. It is beautifully created, impeccable executed, and is a film with a gigantic heart. Seriously, fingers crossed for Wendy.

61. District 9 (2009) - Released the same year as the mammoth Avatar, this science-fiction film will never be quite remembered as well, but it did manage to breakthrough its genre trappings, and find room next to the juggernaut in a crowded Best Picture race. Backed by Peter Jackson, with director Neil Blomkamp, who made his feature length debut, District 9 is a brilliant executed, documentary style science-fiction film, that serves as a greater metaphor for the treatment of those different than us, particularly pulling imagery from South African apartheid (which is not surprising considering that Blomkamp is South African). Combining a story of the bad guy who ends up turning on the government to helped the oppressed, with a unique vision, pulse-pounding action, and impeccably thrilling tension, District 9 is an incredibly entry into the science fiction canon, and rightfully deserves a spot on this list.