2010: The Year We Make Contact
There’s a year’s-end best-of thing over at The Auteurs’ Notebook, to which I have contributed a few lines.
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shadowplay 
January 1, 2010 at 3:10 pm
http://thispigsalley.blogspot.com/2010/01/lonely-double-zeros-ten-favourite-films.html
I did a best-of-decade thing today.
January 1, 2010 at 5:20 pm
Mine (First ten in order, the following twenty runners-up in no order):
There Will Be Blood
Nobody Knows
The White Diamond (Herzog)
The Heart of the World (Maddin)
Bad Santa
In the Mood for Love
Napoleon Dynamite
Infernal Affairs
A Prophet
DIG!
Monsters, Inc
Sympathy for Mr Vengeance
Synecdoche, New York
The Man Without a Past
Mulholland Drive
End of the Century – the Story of the Ramones
Chopper
The Royal Tenenbaums
Grizzly Man
Let the Right One In
The 40-Year-Old Virgin
Innocence
Spring, Summer. Autumn, Winter….. and Spring
INLAND EMPIRE
Zoolander
Anchorman
The Host
Capturing the Friedmans
Bob Dylan: No Direction Home
Cowards Bend the Knee
January 2, 2010 at 1:02 am
sexy beast
The Lives of Others
3-Iron
Monsoon Wedding
Maria Full of Grace
Y Tu Mama Tambien
Goya’s Ghosts
Mulholland Drive
Napolean Dynamite
New York Doll
Dogtown and Z-boys
Lords of Dogtown
The Passion of the Christ
Sweeny Todd
Love Actually
Pride and Prejudice
Gran Torino
Changeling
January 2, 2010 at 1:30 am
See, that’s the trouble, I just don’t see enough films.
Goya’s Ghosts was very underrated, I think. Insofar as a lot of reviewers called it terrible, and it’s AT LEAST very interesting and unusual.
January 2, 2010 at 4:51 am
…Its like nothing else I’ve seen of late..An Epic in the old style maybe,with many twists and turns,could have been a silent movie script..Interesting unglamorous fate for Natalie Portman and I love the way Javier Bardem’s evil Priest character goes thru changes over the years ,coming full circle to his come uppence at the end..
January 2, 2010 at 12:18 pm
I like that film a lot, it had an energetic unpredicability that didn’t seem tied to any particular era or style of cinema.
January 2, 2010 at 2:04 pm
Yes, the silent comparison seems useful because they wouldn’t have been afraid of that odd, semi-rambling structure or of the darker plot elements.