100 Favourites II — The Top 10

And so I reach the pinnacle of my list — my most favourite films I’ve seen for the first time in the past ten years. (Well, if we’re being precise, in the past ten years and three months, but not counting anything from the last three months. But that’s less snappy.)

Over three previous posts I’ve counted down #100 to #11, but here’s the perfectly rounded number everyone loves for a list: the top ten.

Dark City

4th from 2008
(previously 3rd | original review)

Before The Matrix there was Dark City, which tackles some of the same philosophical issues as the Wachowskis’ trilogy, only in a less opaque and verbose fashion — and, as I said, did so first. Of course, it lacks the groundbreaking action sequences that made The Matrix such a hit, but as a thoughtful piece of stylish sci-fi noir it probably bests its better-known thematic cousins. I also reckon it’s still a bit underrated… including by me, really, because it’s nine years since I first watched it and I still haven’t got round to seeing the Director’s Cut. (Note to self: fix that.)

The Adventures of Tintin: The Secret of the Unicorn

1st from 2014
(previously 2nd | original review)

Calling on the same skill set that produced the Indiana Jones movies, Steven Spielberg created an adventure movie that perfectly balances plot, action, and humour. Despite the freedom afforded by crafting the entire thing in CGI (rendered with stunning realism by Weta), Spielberg knows when to hold back and maintain a level of realism, only to cut loose when warranted. The top end of this list definitely skews blockbustery-y — well, it is “favourite” rather than some kind of “objective best” (not that that’d be strictly possible anyway) — but, nonetheless, I think Tintin is a very fine and underrated example of the form.


1st from 2010
(previously 1st | original review)

As Watchmen was to superhero comics, so Kick-Ass is to superhero films: taking familiar building blocks from other films and TV series, it deconstructs the genre through a “what if someone tried to be a superhero for real” storyline, asking questions about the glorification of violence and the sexualisation of its characters — all while being a funny and exciting action-comedy. Perhaps it’s having its cake and eating it, and that leads some people to miss the point (some by enjoying it a bit too much, some by thinking it has nothing to say), but I don’t think that stops it being one of the best and most thoughtful superhero movies yet made.

Let the Right One In

1st from 2011
(previously 3rd | original review)

It’s felt like you can’t escape vampires in film and TV for the last couple of decades, but trust a European movie to give them a unique spin, right? So it’s both a coming-of-age-y arthouse-y movie about two 12-year-olds and first love, and a scary horror movie about violent supernatural creatures. It works by not shortchanging either aspect, instead combining them to transcend genre boundaries. So it’s a genuinely touching, emotional and relatable drama, as well as a creepy and horrific fantasy thriller.

Mission: Impossible – Rogue Nation

1st from 2015
(previously 1st | original review)

There’s always been a bit of a ‘wannabe’ air to the Mission: Impossible films, like maybe someone thought it could fill the void left by Bond disappearing post-Dalton, only it took so long to make it to the screen that Bond himself got there first in the shape of Pierce Brosnan. Nonetheless, the series has trundled along… though I don’t want to sound like I’m doing it down too much because I’ve always enjoyed it — the second one made my first 100 Favourites list, even. But Rogue Nation is where M:I finally out-Bonds Bond. Mixing action thrills and a genuine sense of jeopardy with just-ahead-of-reality gadgets, a knowing sense of humour, and a cast full of likeable characters, it’s superb blockbuster entertainment.

Seven Samurai

1st from 2013
(previously 1st | original review)

A phrase like “three-and-a-half-hour subtitled black-and-white movie” is going to conjure up a certain experience in the minds of most viewers. That experience is most probably nothing like Seven Samurai — although it is, of course, a three-and-a-half-hour subtitled black-and-white movie. On the surface it’s about a bunch of warriors protecting a small impoverished village that can’t defend itself, and it has a lengthy action-packed climax to deliver on such promise, but it rises above that thanks to its reflective attitude towards its characters and their very existence. No, wait, I said it’s not your typical three-and-a-half-hour subtitled black-and-white movie!


3rd from 2008
(previously 5th | original review)

I’d wager most would rank Seven Samurai higher in the Akira Kurosawa canon, but I give Rashomon the edge because the form of its storytelling appeals to me. It retells the events surrounding a murder from the subjective viewpoint of each of the characters who were there, and of course their accounts differ. Its title has become a byword for such narratives, but there’s more here than just trendsetting plot construction — it’s a fantastically made film, exquisitely shot and magnificently performed.


2nd from 2008
(previously 2nd | original review)

David Fincher’s meticulous true crime thriller may be his best movie — and when we’re talking about the man who made Se7en and Fight Club, that’s certainly saying a lot. It may look like it’s a murder thriller — it is about the hunt for a serial killer, after all — but in many respects it’s more about obsession and addiction, and how such things can come to take over your life. But if you don’t want to ponder that kind of thing, there’s always chills like the basement scene to keep you viscerally engaged. (The slightly-different Director’s Cut is the better version of the film and, if we’re being specific, would be my pick here; but I watched that a couple of years later, so it was the theatrical cut that figured in 2008’s top ten.)


1st from 2012
(previously 1st | original review)

The James Bond films have always been action blockbusters, and more often than not immensely popular and successful ones. Skyfall changed the game though: by hiring Oscar-winning director Sam Mendes it was instantly booted into Prestige Picture territory — and still managed to deliver the most financially successful film in the series’ long history, the first billion-dollar Bond. But box office success is not why Skyfall is #2 on my list. It’s the beautiful cinematography; the way it adds thematic weight to the character without breaking the formula; the sense of Bond’s history without over-explicit reverence — and the way those aspects makes it both familiar and fresh at the same time. Plus it delivers on the action, larger-than-life villain, and one-liners just like a Bond film should. Its artistic success may be a case of the stars aligning and lightning striking (the lacking-by-comparison follow-up Spectre proved that), but Bond has rarely been better.

The Dark Knight

1st from 2008
(previously 1st | original review)

Eight years and three months ago, when I named The Dark Knight my #1 film of 2008, I wrote that “I’m unashamedly one of those who believe The Dark Knight isn’t just one of the best films of 2008, it’s one of the best films ever.” It’s nice to be able to stand by such a brazen assertion. And, having thought long and hard about what I would declare as my most favouritest movie from the 1,283 new ones that I’ve seen in the last decade, I clearly do stand by it. I love superhero movies, I love crime thrillers, and I love epics, so it’s no surprise that a movie which combines all three — and does them all well — would top a list of my favourite movies.

Now: what’s a good list without some statistics?

8 thoughts on “100 Favourites II — The Top 10

  1. The Dark City directors cut is great, and yeah, it is a great and under-rated movie. When I saw it at the cinema I enjoyed it much more than I did The Matrix (which might say something about me, but I don’t know what exactly, other than I rebel against things deemed ‘cool’).

    I rewatched Tin Tin the other day, funnily enough, and have been meaning to write a quick mini-review, because I thought it was pretty fantastic and was left wondering where the hell the sequel is.

    And yeah, Rogue Nation is brilliant..

    Liked by 1 person

    • I haven’t watched The Matrix in blinkin’ ages either (another trilogy to go on the rewatchathon to-get-round to list!), but, philosophical underpinnings aside, it and Dark City are very different films, and I love them both for different reasons.

      I don’t know what Peter Jackson’s up to these days, but I’m pretty sure it’s not a Tintin sequel, sadly. On the rare occasion anyone asks about it they always intimate it’s still happening (last I heard, anyhow), but they’re certainly taking their time.

      Liked by 1 person

      • Oh I thawed to Matrix on DVD and love the whole trilogy. Flawed and infuriating in places but fascinating films nonetheless- even that Animatrix tie-in was pretty cool. I’d be excited to see another ‘proper’ Matrix film from the Wachowski’s so rumours of a reboot fill me with horror. Its a terrible trend in film now and something that really alienates me.

        Sometimes its like deja-vu, as if we are slipping back into previous decades. This year we have another Blade Runner, we’ve had a Thing reboot a few years back, a Poltergeist remake, Star Trek has been rebooted, Spiderman rebooted (twice), we have Star Wars back and DC working on yet another Batman. And James Cameron threatening more Avatar films. Avatar was so long ago, surely thats done now and Cameron should just move on. I guess you could argue the same for the Alien films Ridley is busy with now. I don’t know. Its weird whats happening in film. How long can it go on?

        Liked by 1 person

        • There’ll be nothing left to reboot in a few years, so they’ll have to come up with new stuff… or just reboot again, of course. At least the Matrix one is supposedly a ‘sidequel’ rather than a full-blown reboot.


        • Ah, I suppose thats a story in the same ‘universe’ that branches off the original. Sounds horrible. Especially if its a new creative team. Just thinking about how OTT the cgi could be now- I know the Matrix films were hardly the definition of subtle, but…

          Liked by 1 person

        • I thought it was a word someone coined the other day, but apparently it’s been around for at least a decade.

          I think it just depends how good their ideas are. It’s essentially what Rogue One is, after all. Of course, the Matrix universe is much smaller than the Star Wars one.


  2. Man, I know you can’t argue taste, but one can try. And you arguably have the worst and most shallow taste in movies I’ve ever seen. You’ve an obvious inclination for the samurai thing, a few garbage horror movies, and a super hero bend. That’s okay and certainly worth a mention (which you didn’t do). Obviously, good dramas with deep characterization are not your thing, or deep movies in general it appears, especially for the top 10. No mention of “Whiplash,” “Get Out,” “The Revenant,” “12 Years A Slave,” “Leviathan,” “No Country For Old Men,” or “District 9”? Yours is a kid’s list it appears.


    • I don’t know, I think there are probably people out there who’d count things like Adam Sandler comedies or the Transformers films amongst their favourite movies, which I’d find far more distasteful. But then it’s all subjective anyway. There are certainly varied criteria for selecting what counts as great movies, and I think to say only “good dramas with deep characterization” qualify would be very reductive — there’s art and skill in making entertainment too.

      Besides, I think District 9 is little more than a sci-fi actioner dressed up with some obvious social commentary in the first act, and Get Out is more or less the same but with the horror genre and dashes of comedy. Both certainly genre movies, anyhow. 12 Years a Slave and The Revenant are great films though (the latter was in the top half of this list, in fact), though I must say I’ve always found No Country for Old Men rather overrated.


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