The Best Movies of the 21st Century (So Far)

Rolling Stone asked a bunch of its contributors to work on a massive list of the best films of the 21st century. Remarkably, we're already 25 years into this new century, which means a lot of good movies. As always, I didn't have any say in the final rankings, but I did some of the write-ups, including Y Tu Mama Tambien, Inside Llewyn Davis, Dogville, Burning, Uncut Gems, I Am Not Your Negro, The Souvenir and others. Dive in. 

I Was on 'The Great American Pop Culture Quiz Show'

I had a very fun time matching wits with Will Leitch and Katie Walsh on this episode. Topics included Lee Chang-dong, "When Doves Cry," Wilco, Alfred Hitchcock and MEL's "Women of Action" series. You can see how I did down below.

Art House 101: The 10 Essential Foreign-Language Films

Let's say you're someone who always wanted to find time to get into international cinema. Well, what better time than now? For MEL, I put together a list of 10 subtitled films to get you started. It was a daunting task, but also pretty fun. Hope you enjoy.

The Grierson & Leitch Podcast: The Best Movies of the 2010s

What a decade. On this week's episode, Will and I each count down the 10 best movies of the last 10 years. Will might revise his list depending on how he ranks his 2019 films, but I'm sticking with this 10. Hope you enjoy.

The Grierson & Leitch Podcast: 'The Farewell,' 'Poetry' and Some July Marginalia

Do you need reviews of Stuber or Crawl? Oh, probably not. But we discuss those two movies on this week's episode. But the good stuff comes during our conversation about The Farewell -- and, in our Reboot segment, where we look back at Poetry. The whole thing is down below.

Miles Davis - "Générique"

Reminder: Burning comes to Netflix on April 29.

My LAFCA Awards Presentation for Steven Yeun

On Saturday at the InterContinental in Century City, I was given the enviable task of presenting the Los Angeles Film Critics Association's Best Supporting Actor award to Burning's Steven Yeun. (All our winners, and runners-up, are here.) Here's what I said from the stage:

Movies teach us how to spot monsters. They’re the creatures who have horns on their head or hockey masks on their face. But in real life, they’re not so easy to recognize because they look like us. And sometimes they come bearing a smile. Even worse, they may not be monsters at all—it just depends on your perspective.

Ben, the enigmatic playboy of Lee Chang-dong’s Burning, doesn’t enter the story until the half-hour mark, but once he does, he recalibrates this magnificent film’s internal rhythms. Ben doesn’t achieve this with a machete or an evil plan. All he needs is a noncommittal grin and a slightly condescending air. 

Like so much of Burning, Ben is a bundle of mysteries, whether it’s the origins of his wealth or his intentions with Hae-mi, the film’s leading lady. Those mysteries float and linger within the character, and they’re brought to remarkable life by Steven Yeun.

Yeun plays Ben like a disguise, inviting us to project our own feelings and assumptions onto him. Jong-su, the film’s ostensible hero, views Ben as a romantic rival, and there’s something archetypal about Yeun’s portrayal: For many insecure guys, Ben represents that cooler, more confident and sophisticated man that we can’t ever hope to compete with. But is that superiority? Or is there something far more menacing behind his eyes?

Yeun seduces us in this film, refusing to give up his character’s secrets. Ben could be a psychopath or just a guy who likes torching greenhouses. He may be someone who’s never cried—or just the kind of person who says that to try to impress others. He may be Burning’s monster or maybe its most misunderstood character. Ben’s mysteries remain—but what I know for sure is that Steven Yeun is an absolute killer in this incredible film.

Ladies and gentlemen, please join me in congratulating our Best Supporting Actor winner, Mr. Steven Yeun.

To have him and director Lee Chang-dong, whose Burning won Best Foreign-Language Film (alongside Shoplifters), in attendance was a thrill. May that film continue to find its audience.

(Photo by Matt Harbicht.)

Best of 2018: The Top 10 Movies of the Year

On June 18, I was angry and depressed. This is not an uncommon state since Trump became president, but I felt it acutely that day as more information was becoming available regarding the administration's "children in cages" immigration policy. Looking back at my social media posts from the period, it's clear I'd been in a funk for days, but I was especially frustrated by how meaningless my sadness and rage were. I was furious about the country's direction, but I was also powerless. What was the point of getting so worked-up if, ultimately, I couldn't do anything about it? I'm not someone who's comfortable being angry; I don't like how it leaves me feeling out of control. As best I can, I usually try to push past those emotions in order to focus on a constructive way of handling the problem. But Trump is a toxin, and my usual workarounds were insufficient.

So that night I was sitting at home alone, utterly at loose ends, when I decided to just blurt something out on Twitter.

Being angry all the time is exhausting and corrosive. Not being angry feels morally irresponsible.

— Tim Grierson (@TimGrierson) June 19, 2018

Within 30 minutes, I could tell that something was happening. The tweet was being retweeted like crazy, helped by the fact that Stephen Kinsella, an associate professor of psychology, gave it a signal boost by cleverly noting, "Siri, describe 2018 in one tweet please." Pretty soon, Kinsella and I were being inundated by commenters, who were offering suggestions about the best way to handle my dilemma.

Anybody who has a tweet go viral will soon experience the worst of Twitter, but I was pleasantly surprised by how generally positive and thoughtful the responses were. For the most part, people were letting me know that they felt the same way that I did -- and they weren't sure what to do, either. (That said, the comments I probably most appreciated were from people of color, who politely chided me for just now being aware that lots of folks have to learn to live with impotent anger.)

I write many things throughout the year: movie reviews, profile pieces, essays, lists. It is very likely that nothing I wrote in 2018 was as widely read as that tweet, which took me about 30 seconds to compose. That's an odd realization. On the one hand, I'm touched that anything I put out into the world could strike a chord with total strangers. But it's also a bit bittersweet to witness something of yours become so embraced by the culture that it stops being "yours." I've seen people online reference that tweet like it was a common expression -- it's now just something on the internet that's used as a shorthand to describe a specific mood. (I've never been to Portugal, but my words have. It's also the subject of a chapter in a forthcoming book.) And with each new global turmoil -- Brazil's election of Jair Bolsonaro, the ongoing Brexit debacle -- the tweet would find a fresh wave of visibility. My words were depressingly timely, over and over again.

Because that viral tweet has been part of my life for six months now, I've spent a lot of this year trying to figure out exactly why it resonated and what, if anything, I've learned from the experience. I'm not sure I have any good answers. All I know is I'm pleased to have heard from so many responders who essentially said, "Thank you for expressing how I've been feeling." I'm glad to have been able to help others in some small way. Futility isn't as crippling when you know there are others out there like you.

What I'm less proud about is that I haven't solved the conundrum I articulated. And by that, I mean I didn't do a lot to affect change in the world. I voted, to be sure, but compared to my incredible wife (and many of her friends), who went out and canvassed for Katie Hill, successfully flipping California's 25th district blue, I was too consumed with work to be as politically active as I should have been. I'm ashamed of that and need to do better in the future. I put out a feeling in the world, but I didn't act on it. I'm still not sure what to do with my anger.

* * * * *

Since my principal job is to write about movies, not bemoan the state of the world -- although it's funny how often those two interests intersect -- let me now offer my picks for the best films of 2018...

1. Burning
2. You Were Never Really Here
3. Annihilation
4. Widows
5. Cold War
6. Life and Nothing More
7. Roma
8. Mission: Impossible - Fallout
9. Makala
10. Let the Sunshine In

Looking at my picks, what stands out most strongly is that five of my Top 10 films are foreign-language, the highest total since 2015. And I've included links to Life and Nothing More and Makala's respective home pages since they're the two movies I imagine are the least well-known on my list. They're both remarkable, saved from distribution oblivion thanks to awards. (Makala won the Grand Prize at Cannes Critics' Week in 2017. Life and Nothing More took home the John Cassavetes Award at the Independent Spirit Awards.)

My Nos. 11-15 were almost as beloved, with each film, at one point or another, seemingly a lock for my Top 10. Alas, there just wasn't room for (in order of preference) Private Life, Hereditary, If Beale Street Could Talk, Lean on Pete and Amazing Grace. (And if The Tale had gotten a theatrical release instead of airing on HBO, it probably would have landed on my Top 10.) Why didn't your favorite movie make the list? Because I am a bad person.

* * * * *

Professionally, 2018 was a year where I did my best to be grateful for all the terrific places where I get to write. I'm extremely lucky.

Take Screen International. Once again this year, I covered Sundance, Cannes and Toronto for the publication, including getting to write about Burning after its premiere. Also at Cannes, I wore a tux to see Lars von Trier's The House That Jack Built; amusingly, my review ended up being Screen's most-read of 2018. (People can't get enough of Matt Dillon serial-killer flicks, apparently.) I adore the entire team over there, especially my wonderful editor Finn Halligan, and it's an honor to be their Senior U.S. Critic.

Over at Paste, I got to write one of my favorite annual pieces, which is a deep-dive overview of True/False. This year's festival was especially strong, and I tried to do it justice, which required more than 6,200 words.

MEL continued to see its profile rise in 2018, which makes me incredibly happy. The staff and its freelancers are writing smart things on a daily basis, and I was thrilled to cross off some bucket-list interview subjects. I got to have a long conversation with Steve James. I interviewed Frederick Wiseman from Paris while he sat on a park bench and looked back on his career. Andrew W.K. was remarkably open about his struggles with mental health. Morgan Neville and I chatted about Won't You Be My Neighbor?, and the amount of traffic that piece generated suggested just how much viewers hungered for a film like that. And I talked to a bunch of sportswriters about the legacy of Jerome Holtzman and the save stat. I am eternally grateful to my editor and friend Josh Schollmeyer for giving me the latitude to write about so many different things over at MEL. (Being given the opportunity to write about Cannes entirely from the perspective of what it's like to watch nothing but subtitled movies for a week was a real blessing.) Looking forward to seeing what transpires for MEL in 2019.

And David Fear remains such a pleasure to work with over at Rolling Stone. I started the year spending time with Sebastián Lelio and Daniela Vega to discuss A Fantastic Woman, which ended up winning Best Foreign Language Film at the Oscars. (I was so glad I asked Lelio about that Alan Parsons Project song.) From there, I praised Annihilation and our era of trippy sci-fi films, and then proceeded to hang out with Lynne Ramsay and Joaquin Phoenix (during an earthquake) to talk You Were Never Really Here. (I'll always treasure the moment Phoenix introduced me to Ramsay by saying, "He didn't like our movie." You damn liar, Joaquin.) Other highlights: speaking with F. Murray Abraham after the passing of Milos Forman; dissecting the themes and allusions in Janelle Monae's Dirty Computer film; losing my mind over the Academy's brief flirtation with Best Popular Movie; interviewing Tilda Swinton and Olivia Colman (not at the same time); and revisiting Dogville.

My old pal Will Leitch and I spent another year hosting our weekly film podcast. Our collaboration didn't end there: We very much enjoy doing Debate Club over at SyFy when we're not contributing epic lists for Vulture. (We have a couple coming out in 2019 that are especially major and will definitely not elicit any argument online.) And don't forget: We even have a shirt.

I was tickled to contribute to the Los Angeles Times in 2018, examining the strange case of Bohemian Rhapsody, The Other Side of the Wind and The Nutcracker and the Four Realms: three movies with muddled directorial authorship. (If we had waited a little longer, I could have included Amazing Grace in there as well.) And over the Thanksgiving holiday weekend, I spent some time with John Cho to talk about fatherhood and Searching.

In terms of unexpected treats, AM New York asked me to write about the significance of Paul Simon's farewell tour, which gave me an excuse to interview smart music writers about the man's legacy. Oh, and there was the time John Carpenter sorta did an interview with me for Revolver. (He was more interested in the Brett Kavanaugh hearings.) And I did some Q&As I was pleased with, including speaking to the Boy Erased team and Morgan Neville for his other documentary, They'll Love Me When I'm Dead.

And that's enough. I hope you all have a great 2019. Thank you for reading what I write. And may someone look at you the way Kristen Stewart looked at Cate Blanchett at Cannes this year.

We're a couple weeks away from knowing what will win the Palme d'Or, but right now this seems like a lock for best picture. #Cannes2018 pic.twitter.com/h6wNy4gYmb

— Tim Grierson (@TimGrierson) May 8, 2018

The Grierson & Leitch Podcast: 'Burning,' 'Suspiria,' Notable New Documentaries and 'Primer'

This week's episode is largely devoted to Lee Chang-dong's wondrous Burning. But I also take a little time to talking about Suspiria ... and Shirkers, On Her Shoulders and Monrovia, Indiana. Then, Will and I go back in time to discuss 2004's Primer. That movie gets better each time I watch it. Hear the whole thing down below.

Cannes 2018: The Wrap-Up and the Rankings

Those who predicted that this year's Cannes Film Festival was going to be underwhelming can stuff it. If it wasn't my all-time favorite -- this is my fifth -- it was filled with highlights, including a pretty strong Competition slate.

Before I get into my rankings, here's a piece I wrote at the halfway point for MEL, in which I talk about the experience of seeing nothing but subtitled films for a week, and what I learned in the process. If nothing else, this year's Cannes reaffirmed my appreciation for the idea that cinema is actually a global phenomenon -- and I don't mean "global" in terms of how much Deadpool 2 earns in China.

With that said, here's how I'd evaluate the festival. Links lead to individual reviews/articles...

37. Knife + Heart
36. The Man Who Killed Don Quixote 
35. The Great Mystical Circus 
34. Treat Me Like Fire
33. Fahrenheit 451
32. Pope Francis - A Man of His Word
31. Ayka
30. The House That Jack Built
29. Rafiki 
28. The Trouble With You
27. Sorry Angel 
26. Whitney  
25. Birds of Passage
24. Climax
23. Yomeddine
22. Everybody Knows
21. Happy as Lazzaro
20. Dogman 
19. Wildlife
18. The Image Book
17. BlacKkKlansman
16. 3 Faces
15. The Spy Gone North 
14. The Wild Pear Tree
13. Solo: A Star Wars Story
12. Capernaum 
11. Summer
10. Donbass
9. Long Day's Journey Into Night
8. Mandy
7. Leave No Trace
6. Ash Is Purest White
5. Shoplifters 
4. Under the Silver Lake
3. At War 
2. Cold War
1. Burning 

I was sad Burning walked away with no awards, although it was the clear winner of Screen's critics jury. (It also won the Fipresci prize.) As for Hirokazu Kore-eda's Shoplifters, which took home the Palme d'Or, it's probably my favorite film of his since Nobody Knows, so I'm not going to complain too loudly.

I'm looking over my rankings right now; there's a lot of happy memories attached to those films, even the ones I didn't like that much. A Cannes with very little "Oscar buzz" is a perfectly good Cannes to me. 

Cannes 2018: 'Burning' Review

There are still a couple days left at Cannes. But I doubt I'll see a better film here than Lee Chang-dong's terrific new drama. I raved about Burning over at Screen International.