Top 101 Movies of the Decade (70-66)

70. Kiss Kiss Bang Bang (Shane Black, 2005)

A small time criminal (Robert Downey, Jr.) stumbles into a movie audition after a botched robbery, ends up winning the job and is sent to Hollywood to train with a private investigator (Val Kilmer) for his role. From there, the odd pair stumbles into a conspiracy involving the murder of an heiress. A childhood friend of Downey's character (played with humor and sex appeal by Michelle Monaghan) also contacts the duo to investigate the death of her sister. Together, the three investigate the crimes. Director Shane Black, working from one hell of a witty script, does a great job lovingly playing on film noir conventions. The film's title actually arises from an old reference to James Bond movies: it's the simplest explanation for what you see in a spy movie. The film, a core part of Robert Downey's comeback from substance abuse issues, features stellar performances from all three leads.

69. No Country for Old Men (Joel and Ethan Coen, 2007)

In a change from the brand of dark comedy they're known for, No Country for Old Men is a far more serious film from the Coen brothers. Dealing with the consequences of stumbling upon the money from a drug deal gone awry, No Country is bleak and brutal. It is gorgeously lensed by cinematographer Roger Deakins, who uses the visuals of the Mexican border to spectacular effect. While all the actors are strong here, the most enduring performance from the film is Javier Bardem's as Anton Chigurh. Chigurh is a hitman hired to recover the drug money and cuts a brutal path through the countryside with his silenced shotgun and captive bolt pistol (basically a SCUBA tank attached to an air gun that is used in the killing of cattle). His performance is also marked by a degree of icy restraint and detachment that prevent the work from ever falling into the scenery chewing or histrionic. Chigurh is, along with Heath Ledger's Joker, the most interesting villain in film of the decade.

68. Superbad (Greg Mottola, 2007)

Despite overflowing with dirty jokes and gross out humor, Superbad actually has a really genuine message about the importance of friendship. The core that makes the movie work is the bond between Seth and Evan (Jonah Hill and Michael Cera), bickering, attached-at-the-hip, best friends about to head off to different colleges. Along with nerdy cohort McLovin (Christopher Mintz-Plasse), the trio spend a day trying to get alcohol to impress their pretty classmates. The movie lags a bit in the middle, but, all told, it is the funniest and most enjoyable high school coming of age movie this past decade.

67. Insomnia (Christopher Nolan, 2002)

Thinking back on Insomnia, I sometimes wonder if it is the last great performance Al Pacino will ever get in a film (for most of the rest of the decade, he only appeared in dreg like 88 Minutes, Righteous Kill and Gigli). Christopher Nolan's second movie, Insomnia is about two LA detectives (one played by Pacino) tasked with traveling to Alaska, to a town where the summer's are filled with perpetual daylight, to assist the local police (including Hilary Swank) investigate the murder of a 17 year old girl. Robin Williams plays a crime novelist suspected of being involved in the girl's death. This, along with One Hour Photo, is one of two truly unsettling performances given by Robin Williams in 2002. With his usual manic energy under lock and key, Williams is deeply unsettling, yet magnetic, in Nolan's film. Christopher Nolan has a real knack for atmosphere in his movies and Insomnia is no exception. He uses the perpetual daylight of the Alaskan fishing town of Nightmute to stellar visual and emotive effect.

66. The Road (John Hillcoat, 2009)

The story of The Road is very simple: a man and his son travel across a desolated wasteland trying to get to the coast. The majority of the rest of the population has devolved into cannibalism and savagery. John Hillcoat, who also directed the stellar Australian western The Proposition, nails the ambiance of Cormac McCarthy's source novel and crafts a frightening, but strangely beautiful, world. Viggo Mortensen has never been better - the man's dogged determination to defend his son is heart-wrenching. The supporting players, among them Kodi-Smit McPhee, Charlize Theron and Robert Duvall, are uniformly strong. Sadly, The Road was largely overlooked in its release this past year, but I'm confident time will be kind to the movie and its estimation will grow.

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)
90: Stranger Than Fiction (Forster, 2006)
89: Old School (Phillips, 2003)
88: The Queen (Frears, 2006)
87: Garden State (Braff, 2004)
86: Miracle (O'Connor, 2004)
85: Banlieue 13 (Morel, 2004)
84: The Fall (Singh, 2008)
83: Spider-Man/Spider-Man 2.1 (Raimi, 2002/2004)
82: The Last King of Scotland (Macdonald, 2006)
81: Pineapple Express (Green, 2008)
80: Into the Wild (Penn, 2007)
79: Juno (Reitman, 2007)
78: Cast Away (Zemeckis, 2000)
77: Sweeney Todd: The Demon Barber of Fleet Street (Burton, 2007)
76: The 40 Year Old Virgin (Apatow, 2005)
75: Michael Clayton (Gilroy, 2007)
74: Friday Night Lights (Berg, 2004)
73: The Descent (Marshall, 2006)
72: In the Loop (Iannucci, 2009)
71: In the Shadow of the Moon (Sington, 2007)
70: Kiss Kiss Bang Bang (Black, 2005)
69: No Country for Old Men (Coen/Coen, 2007)
68: Superbad (Mottola, 2007)
67: Insomnia (Nolan, 2002)
66: The Road (Hillcoat, 2009)

Runners-Up
101-96
95-91
90-86
85-81
80-76
75-71

Top 101 Movies of the Decade (75-71)

75. Michael Clayton (Tony Gilroy, 2007)

Michael Clayton is the directorial debut of Tony Gilroy. Gilroy, who had previously written the Bourne movies, is more than up to the task of telling the story of a corporate law 'fixer' tasked with covering up what starts as the meltdown of a law firm partner but develops into a broader legal conspiracy. George Clooney does well subverting his star persona, playing a downtrodden, debt riddled and alcoholic attorney. Tilda Swinton does particularly wonderful work as a high powered, but desperate, in-house counsel for an agricultural company involved in the conspiracy mentioned earlier. Her character, the evil lawyer - often played in other movies with such overt malevolence that you half expect them to twirl their mustache after ordering an employee around - is, here, a nervous and doubting villain, seen mumbling a speech to herself repeatedly in a mirror until perfected. Her performance in particular brings credibility and weight to the entire story.

I enjoyed Gilroy's other film this decade, 2009's Duplicity, and I look forward to seeing what he constructs in the coming years.

74. Friday Night Lights (Peter Berg, 2004)

In some ways I think the growth in use of handheld 'shaky' cameras during the past decade was one of its worst innovations, but Peter Berg's Friday Night Lights is one of the handful of examples of where it really works. Berg's goal is not to tell the typical melodramatic sports story: it is to get inside the world of high school football in the South. The use of the handheld cameras helps give each scene an immediacy and presence that might be lost with more detached camera work. The movie itself is incredibly compelling (so compelling that it helped spawn a TV series that will conclude after its fifth season next year). The actors are all well cast and give believable performances. Much praise was given to Billy Bob Thornton when the film was released, but I think that praise would have been better given to the four young actors who really make the material work: Lucas Black, Garrett Hedlund, Derek Luke and Jay Hernandez. Lucas Black has a wonderful intensity as the team's quarterback. Hedlund is involved in one of the film's most powerful and affecting scenes: the night after his character had fumbled in a game, his father (a startlingly effective Tim McGraw) drunkenly tapes his son's arms to a football and taunts him while attempting to smash the ball out of his arms. The scene is chilling and all too believable. The film is particularly successful in the way it concludes, not necessarily the final 'big game' moment but in the time afterward, in the melancholy moments the players realize they must face life without high school football, without the Friday night lights.

I should also take a moment here to recognize Friday Night Lights, the TV show, as one of the best creative ventures of the decade. Despite a rocky second season (a result of studio tampering to try to up the ratings), the show has been one of the real joys on television since it began.

73. The Descent (Neil Marshall, 2006)

The Descent is, without a doubt, the scariest movie of the decade. It tells the story of an all female group of spelunkers who encounter cave dwelling creatures when they decide to venture off the beaten path. The actors do good work with the material and bring a feverish and panicked energy to each scene. Director Neil Marshall does a great job with the camera to utilize the natural darkness and angles of a system of caverns to create palpable claustrophobia in the audience. He also, wisely, chose not to use any CGI and, rather, cast ballet dancers to play the film's creatures. The dancers imbue the cave dwellers with a deeply unsettling, and inhuman, way of movement that makes them all the more terrifying.

72. In the Loop (Armando Iannucci, 2009)

In the Loop is an acerbic British political satire about the lead up to a potential Middle Eastern war (featuring The Sopranos' James Gandolfini). Armando Iannucci, directing his first feature film, has a master's sense of rhythm and comedic timing. A skill he needs in spades because every single scene in In the Loop is overflowing with humor, from subtle references to overt profane rants. Peter Capaldi, playing the Prime Minister's communication chief, gives, perhaps, the most savagely hilarious performance of the decade. Every minute Capaldi is on screen crackles with spectacular energy and constant laughs. The film has one of the wittiest and most scathing scripts I've ever seen. More than that, it has as good a laugh-per-minute rate as any movie the last decade.

71. In the Shadow of the Moon (David Sington, 2007)

In the Shadow of the Moon is a documentary about the manned missions sent to the moon in the late 60s and early 70s. The film uses the narration of nearly all the men to ever walk on the moon along with archival footage and previously unseen material from the NASA vaults to give a fresh and compelling look at the Space Race. The astronauts give candid, emotional and, sometimes, hilarious insights into the totality of the space race and into each of their individual roles and stories. If you have even the faintest interest in the Space Race or the Cold War, you owe it to yourself to see In the Shadow of the Moon.

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)
90: Stranger Than Fiction (Forster, 2006)
89: Old School (Phillips, 2003)
88: The Queen (Frears, 2006)
87: Garden State (Braff, 2004)
86: Miracle (O'Connor, 2004)
85: Banlieue 13 (Morel, 2004)
84: The Fall (Singh, 2008)
83: Spider-Man/Spider-Man 2.1 (Raimi, 2002/2004)
82: The Last King of Scotland (Macdonald, 2006)
81: Pineapple Express (Green, 2008)
80: Into the Wild (Penn, 2007)
79: Juno (Reitman, 2007)
78: Cast Away (Zemeckis, 2000)
77: Sweeney Todd: The Demon Barber of Fleet Street (Burton, 2007)
76: The 40 Year Old Virgin (Apatow, 2005)
75: Michael Clayton (Gilroy, 2007)
74: Friday Night Lights (Berg, 2004)
73: The Descent (Marshall, 2006)
72: In the Loop (Iannucci, 2009)
71: In the Shadow of the Moon (Sington, 2007)

Runners-Up
101-96
95-91
90-86
85-81
80-76

Top 101 Movies of the Decade (80-76)

80. Into the Wild (Sean Penn, 2007)

Into the Wild is the true story of Christopher McCandless (Emile Hirsch) who, after graduating college, decided to give up his material wealth and travel across the country to the Alaskan wilderness. Sean Penn's film focuses on his journey getting there and the various individuals who help shape his life along the way. The film is gorgeously lensed and helped by wonderful supporting performances along the way, including Vince Vaughn, Catherine Keener and Kristin Stewart. Special notice must go to Hal Holbrook (who received a well deserved Academy Award nomination for just 7 or 8 minutes of screen time), Holbrook's ability to act with just his face is astounding - I don't think I've ever seen such sadness in a human being's face as in Holbrook's climactic scene. The film's musical score (by Eddie Vedder of Pearl Jam) is also one of the best of the decade.

79. Juno (Jason Reitman, 2007)

Despite a bit too quirky script, Juno is a showcase for one of the best ensemble performances of the decade. Juno, Jason Reitman's second feature length movie, is the humorous story of a pregnant high school girl. J.K. Simmons and Allison Janney are great and touching as Juno's pragmatic and loving parents. Michael Cera gives his most genuine performance as the father of Juno's child. Best of all, though, are Jason Bateman and Jennifer Garner: they play a yuppie couple Juno selects to give her child to after it's born. Both inhabit their roles with such life and genuine emotion that the movie soars when they take the screen. Garner, in particular, has a moment when she first feels the unborn child kick from within Juno's stomach that is one of the most genuine moments of the decade in film.

78. Cast Away (Robert Zemeckis, 2000)

Cast Away is about a man stranded on an island in the middle of an ocean after a plane crash. Tom Hanks clearly gives his all to the role, physically transforming from a slightly portly white collar worker to a trim haggard castaway. It takes a special sort of actor and performance to be the only human on screen for nearly two hours of a film's run time - Hanks' most frequent partner on screen is volleyball that washes up on the island from the crash he lovingly deems Wilson. Hanks is so effective in the role that the audience comes to value his emotional connection with a volleyball. Robert Zemeckis, directing his last live action movie before turning his attention to the soulless computer generated zombie-characters of The Polar Express, Beowulf and A Christmas Carol for the rest of the decade, effectively and compellingly structures Hanks' life on the island in a way that never ceases to be compelling.

77. Sweeney Todd: The Demon Barber of Fleet Street (Tim Burton, 2007)

While Sweeney Todd takes a little while to pick up steam, once it does Johnny Depp carries the film on the shoulders of, arguably, his strongest career performance. Depp plays Sweeney Todd, a vengeful serial murdering barber, who disposes of the bodies by teaming up with his neighbor, a baker named Mrs. Lovett (Helena Bonham Carter), to sell the victims in pies. This is, of course, a musical and while Depp doesn't have the greatest singing voice ever recorded he has a startling ability to act facially while singing. Helena Bonham Carter, similarly, is far from a gorgeous singer but she too sells each song with aplomb. Alan Rickman and Sacha Baron Cohen (Borat) are great in support. The mad vision of Tim Burton brings the entire experience together as one of the most curious and compelling films of the decade.

76. The 40 Year Old Virgin (Judd Apatow, 2005)

It speaks to the success in the formula of this movie that nearly every actor, then more or less unknown, has gone on to become a recognizable name. Steve Carell, Seth Rogan, Paul Rudd, Jonah Hill, Jane Lynch, Kat Dennings, Leslie Mann and Romany Malco all broke through thanks to this film. The movie is well known for its raunchy humor. But beneath all the dick jokes is an effective romantic comedy, with a pair of lead actors that are easy to care about. Steve Carell is, basically, the perfect everyman actor: he's funny, likable and clearly never takes himself too seriously. This appeal helps makes the movie click and make the audience care. Director Judd Apatow found a special mix of romance and gross out humor that makes for one of the best romantic comedies of the decade.

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)
90: Stranger Than Fiction (Forster, 2006)
89: Old School (Phillips, 2003)
88: The Queen (Frears, 2006)
87: Garden State (Braff, 2004)
86: Miracle (O'Connor, 2004)
85: Banlieue 13 (Morel, 2004)
84: The Fall (Singh, 2008)
83: Spider-Man/Spider-Man 2.1 (Raimi, 2002/2004)
82: The Last King of Scotland (Macdonald, 2006)
81: Pineapple Express (Green, 2008)
80: Into the Wild (Penn, 2007)
79: Juno (Reitman, 2007)
78: Cast Away (Zemeckis, 2000)
77: Sweeney Todd: The Demon Barber of Fleet Street (Burton, 2007)
76: The 40 Year Old Virgin (Apatow, 2005)

Runners-Up
101-96
95-91
90-86
85-81

Top 101 Movies of the Decade (85-81)

85. Banlieue 13 (Pierre Morel, 2004)

Released in the U.S. as District B13, Pierre Morel (director of Taken) crafts one of the most energetic and enjoyable martial arts movies I've ever seen. Banlieue 13 was most of the world's introduction to parkour, something of a real life Spider-Man hybrid of cross country and kung-fu, seen now in other movies like Casino Royale. The plot is a series of nonsensical excuses for parkour master David Belle and martial arts pro Cyril Raffaelli to do their thing, but Morel is smart enough not to tinker and to let the actors put on some of the most impressive displays of stunt work and athleticism ever put to film. Banlieue 13 stands with the best the martial arts genre has to offer.

84. The Fall (Tarsem Singh, 2008)

The Fall tells the story of a movie stuntman, Lee Pace of Pushing Daisies, who ends up in the hospital after a botched stunt. While hospitalized he befriends a young girl, Alexandria, and tells her a story about five heroes trying to take revenge on an evil villain. The story comes to life in the girl's mind and we see it through her imagination - and it is within Alexandria's imagination that Tarsem Singh's film comes to life. Filmed over the course of four years in at least 20 countries, Tarsem has found and filmed some of the most interesting and arresting images ever captured. Many of the images are so fascinating and beautiful that it's nearly impossible to believe they weren't aided by the use of CGI. Try to see it on the biggest screen with the highest picture quality possible - it's worth it.

83. Spider-Man/Spider-Man 2.1 (Sam Raimi, 2002/2004)

This spot is more for the superior Spider-Man 2 than for its predecessor. Spider-Man was a fine introduction to the character, with a collection of likable performances. It is in the sequel that the characters really come to life, especially in the extended DVD director's cut (titled 2.1). Tobey Maguire was perfectly cast as Peter Parker, a high school nerd who learns the hard way that with great power comes great responsibility after the death of his uncle. Parker's struggles with the responsibility of his superpowers come to life in the sequel. Aided by the addition of Alfred Molina as the villainous Dr. Octopus, and an increased role for James Franco, Spider-Man 2 is the endearing image of the series. Blessed with exciting action sequences, particularly the aftermath of a battle between Spider-Man and Doc Ock on a moving train, a genuine emotional core and witty dialogue, Spider-Man 2 is a stellar action film.

It is best for all involved to forget that Spider-Man 3 ever happened. Considering Sony is rebooting the series from scratch (with perfectly named director Marc Webb of (500) Days of Summer fame attached to craft the project), the studio must agree.

82. The Last King of Scotland (Kevin Macdonald, 2006)

The Last King of Scotland is screenwriter Peter Morgan's third appearance on this list and director Macdonald's second. The film tells the fictional, but believable, story of a young doctor (James McAvoy) who ends up absorbed into the court of Ugandan dictator Idi Amin (Forest Whitaker). After the doctor treats Amin for a hand injury, the two form an initial friendship based on Amin's respect for the doctor's Scottish origins (and the Scottish resistance to British rule). McAvoy's character is impressed with Amin's charisma and grows to respect the man. Gradually the veil is pulled back, however, and the tension that builds between the two makes for compelling drama. Whitaker deserves all the accolades he has earned for his terrifying turn as Amin, but the film's emotional core is through the conflicted performance of James McAvoy.

81. Pineapple Express (David Gordon Green, 2008)

Set over the course 2 crazy days, Pineapple Express is the story of a process server (Seth Rogan) who goes on the run with his ever-stoned drug dealer (James Franco) after witnessing a murder. David Gordon Green deftly mixes broad laughs, stoner humor and absurdly violent action scenes to great effect. James Franco's work here is really noteworthy; it's one of the most lovably imbecilic performances I've ever seen. Every line reading is so well timed and delivered that it makes it impossible to leave the movie not liking James Franco just a little bit more than before you saw it...

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)
90: Stranger Than Fiction (Forster, 2006)
89: Old School (Phillips, 2003)
88: The Queen (Frears, 2006)
87: Garden State (Braff, 2004)
86: Miracle (O'Connor, 2004)
85: Banlieue 13 (Morel, 2004)
84: The Fall (Singh, 2008)
83: Spider-Man/Spider-Man 2.1 (Raimi, 2002/2004)
82: The Last King of Scotland (Macdonald, 2006)
81: Pineapple Express (Green, 2008)

Runners-Up
101-96
95-91
90-86

Top 101 Movies of the Decade (90-86)

90. Stranger Than Fiction (Marc Forster, 2006)

Stranger Than Fiction tells the story of an IRS auditor who, out of the blue, begins hearing a voice narrate his life. At the advice of a psychiatrist and a literary expert, he sets out to determine if his story as narrated will be a classical tragedy or comedy - all while falling in love with the woman he is auditing. Stranger Than Fiction of the quirkier love stories of the last decade and, easily, the finest performance of Will Ferrell's career. His great eccentricities seemingly corralled by director Marc Forster, Will Ferrell gives a focused and affecting performance. He is aided by a wonderfully creative and hilarious script by Zach Helm, suitably quirky direction from Forster and wonderful supporting turns from Maggie Gyllenhaal, Queen Latifah, Emma Thompson and Dustin Hoffman. Gyllenhaal, in particular, has wonderful chemistry with Ferrell that makes their love story touching and believable.

89. Old School (Todd Phillips, 2003)

On the other end of the Will Ferrell spectrum is Old School, the funniest 'dumb comedy' of the decade. Old School tells the tale of a trio of middle aged men (Ferrell, Vince Vaughn and Luke Wilson) who open a fraternity at their local university. This film served as Ferrell's mainstream breakout role as his turn as the modern day Blutarsky, Frank the Tank, made him a household name. His success was well-earned as Ferrell delivers every line with such delinquent glee that it's difficult not to grab wrapped up in his performance. Todd Phillips, who also found success this past decade with The Hangover, is a great director for this sort of material - he paces each scene in a way that keeps the humor constant but leaves enough time to appreciate each joke.

88. The Queen (Stephen Frears, 2006)

Deservedly, many of the accolades for The Queen have been focused on Helen Mirren's performance as Elizabeth II. She is, of course, every bit as wonderful as advertised. But I argue there are two overlooked elements of The Queen that make the film so successful. The first is the stellar screenplay by Peter Morgan (who also worked on The Last King of Scotland, State of Play and will work on the upcoming 23rd James Bond film). Morgan's words bring Elizabeth II to life in a way that is flawed, but understandably so. Temporally, the film revolves around the death of Princess Diana and Morgan captures the conflict the royal family went through in dealing with the death of someone who had become an outsider, but was so beloved by the general public. The other critical element is the supporting performance of Michael Sheen. Michael Sheen has become one of the finest actors working today giving great performances that defy genre or cast-typing, from the Underworld series to Frost/Nixon, Sheen is almost always the most compelling element of any movie he is in. The focus of The Queen is, in large part, on the relationship between Mirren's Elizabeth and Sheen's Prime Minister Tony Blair throughout the Diana saga. While wonderfully mimicking Tony Blair, Sheen manages to put his own touch on the character and is the necessary foil to make Mirren's performance so successful. The scenes between the two have a spectacularly compelling energy to them that forms the heart of the movie.

87. Garden State (Zach Braff, 2004)

Zach Braff, of Scrubs fame, makes a startlingly effective directorial debut showcasing a gift for capturing a fascinating image, particularly in the use of color, and for the use of music to help the emotional weight of a scene. Braff gives a wonderful performance in the lead role as a young man confused about his purpose in life after his mother's passing. Natalie Portman is lovably quirky as the woman who helps Braff move forward and find himself. Peter Saarsgard is also strong as Braff's best friend. While the story does skew a bit into self-aggrandizing nonsense, Braff's strong sense of aesthetic and pace keep the film at a high level.

86. Miracle (Gavin O'Connor, 2004)

One of the finest 'cliche sports movies' ever made. Gavin O'Connor has a firm grasp on how to create the 'chill' moments that make these sort of movies so enjoyable. A number of scenes stand out: the team doing skating drills after a game until the lights are literally turned off on them, the coach flipping a table to motivate the team, the players bonding with a snow football game as Jimmy Carter's Crisis of Confidence speech plays in the background. At the core of the movie is the superb performance by Kurt Russell as coach Herb Brooks, one of the finest roles of his career. Oft overlooked is the fine work by Patricia Clarkson as Brooks' wife. She provides an emotional grounding that helps layer the Brooks character and provides a wonderful partner for Russell's performance. O'Connor also manages to create a team of distinct characters, something not easily achieved with 21 characters dressed identically in most scenes. Above all else, though, O'Connor captures the spirit and feel of the United States at the start of the 1980s: O'Connor structures the film in a way that builds and showcases a genuine American need for hope and how the 1980 hockey team met that need.

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)
90: Stranger Than Fiction (Forster, 2006)
89: Old School (Phillips, 2003)
88: The Queen (Frears, 2006)
87: Garden State (Braff, 2004)
86: Miracle (O'Connor, 2004)

Runners-Up
101-96
95-91

Top 101 Movies of the Decade (95-91)

95. 21 Grams (Alejandro González Iñárritu, 2003)

21 Grams overcomes its overly convoluted structure (the film is told out of order in intersecting style - think Crash + Memento) thanks to the power of its performances. Telling the story of three lives brought together by a tragic accident. All three of the lead actors, Naomi Watts, Sean Penn and Benicio Del Toro, give some of the finest work of their careers. Watts, in particular, gives a fascinating and deep performance as a woman grieving for her recently lost family and struggling with the desire to succumb to her prior problems with drugs.

94. The Hurt Locker (Katheryn Bigelow, 2009)

The Hurt Locker tells the story of a squad of American soldiers in Iraq tasked with disarming bombs. Jeremy Renner gives one of the best performances of 2009 as a soldier addicted to the danger of the war. The screenplay comes from reporter Mark Boal who actually followed a crew of bomb disarming soldiers around Iraq to gain inspiration for this story. Boal's dialogue has a believable and immediate quality that always suits the moment. Aided by the great supporting turns of Anthony Mackie and Brian Geraghty, director Katheryn Bigelow creates a believable and compelling squad of soldiers. Bigelow also wisely cast respected actors (among them Guy Pearce, Evageline Lilly, Ralph Fiennes and David Moore) in small roles throughout the movie, lending a gravity and excitement to their brief scenes. Of special note is the film's opening bomb disarming attempt - it's one of the most intense and well constructed scenes of the decade.

93. Y tu mamá también (Alfonso Cuaron, 2001)

At its simplest level, Y tu mamá también tells the story of two friends, one upper class and one lower-middle class, who go on a road trip with an older woman. Complimentary to their journey is the general divide in Mexican society: the scenic beaches the trio journey toward are juxtaposed with military roadblocks and dilapidated shantytowns. The film also acts as a study of friendship and sexuality. The ending is the perfect closing moment for this story. Deservedly, this role helped springboard Gael Garcia Bernal into one of the most interesting actors in Mexican cinema. This film was my own introduction to the work of Alfonso Cuaron who is, in my opinion, one of the most interesting directors today - you can expect to see his name again on this list.

92. Breach (Billy Ray, 2007)

Breach is one of only two films on Billy Ray's resume as a director (the other, Shattered Glass, was a near-miss for this list); but he is also an accomplished screenwriter, as a writer his credits include #98 on this list: State of Play. Breach, written and directed by Ray, tells the true story of a young FBI employee (Ryan Phillippe) assigned to spy on his boss (Chris Cooper) who is suspected of being a sexual deviant. Finding no evidence of such deviance, Phillippe's Eric O'Neill begins to form a respect for the regimented lifestyle of his boss. Ray subtly and effectively ratchets up the tension as O'Neill learns his real purpose is to catch his boss in an act of espionage against the United States. Special note must go to the absolutely fascinating performance of Chris Cooper as Robert Hanssen. Cooper's resume is filled with stellar performances, but for my money this might just be the best: his Hanssen is a fascinating contradicted mix of fanaticism and self-interest. His performance, especially in the film's tenser moments, is a thing to behold. I'm very excited that Fox has hired Ray to write and direct the upcoming 24 film adaptation.

91. Away from Her (Sarah Polley, 2007)

Led by one of the finest performances of the decade, Away from Her is one of the most touching movies I've ever seen. Away from Her tells the story of how a married couple deals with Alzheimer's. Julie Christie gives an astoundingly touching and nuanced performance in the lead and shows the devastation of Alzheimer's in a way that never devolves into the maudlin sap a lesser director might produce. Gordon Pinsent, playing Christie's husband, also gives a wonderful performance. The director here is Sarah Polley who was just 28 years old when the movie was made. Polley seems to have a preternatural understanding of the workings of a long married couple.

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)
95: 21 Grams (Iñárritu, 2003)
94: The Hurt Locker (Bigelow, 2009)
93: Y tu mamá también (Cuaron, 2001)
92: Breach (Ray, 2007)
91: Away from Her (Polley, 2007)

Runners-Up
101-96

Top 101 Movies of the Decade (101-96)

101. Big Fish (Tim Burton, 2003)

Tim Burton captures the magic of a great novel while instilling it with his own unique style and visual zest. The image above is one of many insane, but beautiful, ideas that Burton captures - right on for a story about the power of story telling and imagination. Ewan McGregor is the perfect leading man for this sort of story as he works to derive fact from fiction in the stories he grew up hearing from his father. The ending, as well, strikes a perfect note.

100. State of Play (Kevin Mcdonald, 2009)

Almost entirely overlooked in its theatrical release thanks to a horrid marketing campaign, Kevin Mcdonald's follow-up to Last King of Scotland is an incredibly well acted and tense thriller. Ben Affleck is at his best as a smarmy senator with some baggage. Russell Crowe finds a motivation and purpose in his performance that stands with his best work in The Insider, L.A. Confidential and Gladiator. Helped by a witty script from Tony Gilroy (the Bourne movies, Michael Clayton), the movie also serves as a fitting reminder to the power of the print media in a time when newspapers are forced out of business at a frightening rate. Good supporting turns from Helen Mirren, Rachel McAdams, Jeff Bridges and Jason Bateman all help make for one of the best thrillers of the decade.

Fun fact: Originally Brad Pitt and Edward Norton were attached to play the Crowe and Affleck roles - I can't imagine the movie being nearly as effective with that combination.

99. Marley & Me (David Frankel, 2008)

This is a movie that, by all rights, should have been unbearable. But, thanks to a fun script, great acting and effective direction, the movie becomes a great symbol of why people love pets. The movie is not simply the 'crazy dog flick' the previews suggested, but rather is a study of a family growing through life and how a dog is a part of that. Career best performances from both Owen Wilson and Jennifer Aniston help make the film incredibly emotionally effective. Wilson and Aniston make for a believable and likable couple who deal with the struggles of life in ways that make sense. [Spoiler] One scene of particular note is following the miscarriage of the family's first attempt at a child. When the young couple returns home and Mrs. Grogan (Aniston) is understandably devastated, habitual hellion Marley provides the perfect support she needs. Sensing her sadness the dog simply rests his chin on her knee and sits with her, calmly, lovingly. It's the perfect encapsulation of why human beings love pets. [End spoiler]

98. The Curious Case of Benjamin Button (David Fincher, 2008)

Benjamin Button tells the story of the life of a man born as a child in the body of an old man whose body ages backwards - more importantly it tells the story of the love of that man's life. Everything about the movie is gorgeously constructed. From the subtle and effective CGI to the evocative score by Alexandre Desplat, Benjamin Button is one of the most sumptuous experiences of the decade. But at its core is a touching love story that manages to overcome a potentially unsettling premise. Pitt and Blanchett are well paired as the time-crossed lovers and Fincher's direction creates the perfect tone.

97. Sunshine (Danny Boyle, 2007)

Director Danny Boyle reunites with his 28 Days Later... writer, Alex Garland, for this science fiction-horror movie. Tasked with preventing the Sun from expiring, a team of 8 astronauts is launched into space as a last hope. A strong multinational cast, including Michelle Yeoh, Cillian Murphy, Cliff Curtis, Rose Byrne and Mark Strong, is led by the stellar performance of Chris Evans. Known for likable but unremarkable performances in movies like Fantastic Four, Cellular and Push, Evans does truly great work here as the rather unhinged engineer of the space shuttle Icarus. Of even more note are the stellar visuals: presented with a budget of under $40 million Boyle and cinematographer Alwin Kuchler create some startling and impressive space imagery.

96. 8 Mile (Curtis Hanson, 2002)

While the movie is also responsible for one of the best rap songs of the decade, Lose Yourself, it also serves as a hell of a good character drama. Coming off of the stellar Wonder Boys and L.A. Confidential, Curtis Hanson's choice to make a rap drama, including the acting debut of the controversial Eminem, was somewhat curious. But Hanson brings great performances out of his actors, particularly Eminem who, despite the autobiographical underpinnings of the work, actually acts. There is genuine emotion behind his performance, particularly in the scenes with Brittany Murphy. The two strike a believable chemistry. Finally, the rap 'battles' are every bit as exciting as the game scenes in most sports movies.



Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima (Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)
101: Big Fish (Burton, 2003)
100: State of Play (Macdonald, 2009)
99: Marley & Me (Frankel, 2008)
98: The Curious Case of Benjamin Button (Fincher, 2008)
97: Sunshine (Boyle, 2007)
96: 8 Mile (Hanson, 2002)

Runners-Up

Top 101 Movies of the Decade (Runners-Up)

Runner-Up. Blood Diamond (Edward Zwick, 2006)

Blood Diamond tells the story of a Rhodesian diamond smuggler (Leonardo DiCaprio) whose life is changed by his interactions with an American reporter (Jennifer Connelly) and a Mende fisherman (Djimon Hounsou). As usual, director Edward Zwick crafts compelling action sequences, gets great performances from his actors and constructs a variety of gorgeous and lasting images. DiCaprio is convincing and forceful here, but the most resonant performance is Djimon Hounsou. Hounsou's character is motivated to find and recover his son who has been captured and absorbed into the RUF - the raw emotion and potency of his performance is a thing to behold. His is one of the great supporting performances of the decade.

Runner-Up. Open Water (Chris Kentis, 2004)

Director Chris Kentis paid out of pocket to make this movie on weekends over the course of a year, telling the story of a couple left behind by their boat on a SCUBA diving trip. The couple are played by unknowns (Blanchard Ryan and Daniel Travis), but they bring a panicked believability to their roles. The longer the couple is left in the water, the more panic begins to overtake them and Kentis does a magnificent job crafting palpable tension. Eventually, the couple attract the interest of various sea creatures, in particular the sharks, making for one of the most harrowing and intense film going experiences of the decade.

Runner-Up. Cinderella Man (Ron Howard, 2005)

Cinderella Man tells the true story of Bayonne, NJ native boxer James Braddock. Braddock had been a middling fighter in the time leading up to the depression, but he gets the opportunity to get back in the ring and makes the best of it. Paul Giamatti and Renee Zellweger are effective in support, but the soul of the movie is in Russell Crowe's stirring and authentic performance as Braddock. He has the look and physicality of a prize fighter, but brings a humanity to the role that makes the film so effective.

Runner-Up. Tigerland (Joel Schumacher, 2000)

Joel Schumacher, best known for junk like Batman & Robin, The Lost Boys and 8mm, crafts his most effective story about the infantry training at Ft. Polk, LA during the Vietnam war. One of the best performances of his career sees Colin Farrell play a ne'er-do-well compelled to serve in the army. Farrell is incredibly believable and magnetic in the role as a soldier resistant to his training and the film is aided by strong supporting turns from Cole Hauser, Clifton Collins, Jr. and Matthew Davis. One of the better boot camp movies ever made, Tigerland has been tragically overlooked.

Runner-Up. Best in Show (Christopher Guest, 2000)

Christopher Guest's mockumentary style is pitch perfect in this satirical look at dog shows. Led by hilarious turns from Guest himself, Jane Lynch, Parker Posey and Eugene Levy, Best in Show is certainly the best dog show movie ever made. Special note goes to the uproarious dog show commentary by Fred Willard - one of the funniest performances of the decade.

Runner-Up. Letters from Iwo Jima (Clint Eastwood, 2006)

Eastwood takes on a brave experiment in attempting to tell the battle of Iwo Jima from both perspectives in 2006 pair of Letters from Iwo Jima and Flags of Our Fatehrs. While the American side (Flags) is muddled by some strange editing issues and some sloppy acting, the Japanese side is where Eastwood seems to have found his stride. Led by stellar work from Kazunari Ninomiya and Ken Watanabe (of The Last Samurai and Batman Begins), Letters really takes life. Ninomiya's performance is perfectly understated and has some real emotional impact, especially in the last moments the character spends with his wife before being sent to war.

Runner-Up. Saw (James Wan, 2004)

And right about now you're wondering what on Earth I could be thinking with this selection, but hear me out. The first Saw, which is now overlooked because of 5 messy sequels (and a 6th coming this Halloween), is actually a damn fine horror movie. Nowhere near as exploitative as the series, and the torture porn genre it inspired, have become, director James Wan masterfully manipulates the audiences comfort level and tension throughout the movie. Thanks to strong work from Tobin Bell as the villainous Jigsaw and Cary Elwes as a trapped doctor, Saw builds tension throughout the entire film up until its effective twist ending. Wan, unlike future Saw directors, allows the tension of the horror trap situation to build for over an hour before reaching a startling climax. One of the best horror movies of the decade...

Runner-Up: Blood Diamond (Zwick, 2006)
Runner-Up: Open Water (Kentis, 2004)
Runner-Up: Cinderella Man (Howard, 2005)
Runner-Up: Tigerland (Schumacher, 2000)
Runner-Up: Best in Show (Guest, 2000)
Runner-Up: Letters from Iwo Jima(Eastwood, 2006)
Runner-Up: Saw (Wan, 2004)

Forthcoming: Top 101 Movies of the 2000-2009 Decade

Coming soon will be my posts for the Top 101 movies of the decade, expect 5-10 movies posted per day. I'll also include some honorable mentions and guilty pleasures after the series is finished. Enjoy...

2008 Movie Review List

2008 Top 10 (so far):
Honorable Mention: Hellboy II: The Golden Army
10. Visitor, The
9. Gran Torino
8. Revolutionary Road
7. In Bruges
6. Iron Man
5. Frost/Nixon
4. Defiance
3. Rachel Getting Married
2. Wall-E
1. Wrestler, The

2008 Movies:
10,000 B.C.: 2/10
21: 5/10
24: Redemption: 7/10
27 Dresses: 4/10
4 Months, 3 Weeks, 2 Days: 7/10
88 Minutes: 2/10
Appaloosa: 7/10
Australia: 4/10
Baby Mama: 6/10
Babylon A.D.: 3/10
Bangkok Dangerous: 3/10
Bank Job, The: 7/10
Batman: Gotham Knight: 5/10
Be Kind Rewind: 4/10
Bigger Stronger Faster*: 7/10
Black List, The: Volume One: 5/10
Bolt: 8/10
Burn After Reading: 8/10
Cassandra's Dream: 4/10
Changeling: 8/10
Charlie Bartlett: 6/10
Chronicles of Narnia, The: Prince Caspian: 4/10
Class, The: 8/10
Cloverfield: 8/10
Counterfeiters, The: 7/10
Curious Case of Benjamin Button, The: 8/10
Dark Knight, The: 8/10
Day of the Dead: 3/10
Day the Earth Stood Still, The: 4/10
Death Race: 5/10
Defiance: 9/10
Definitely, Maybe: 7/10
Diary of the Dead: 6/10
Doomsday: 3/10
Doubt: 5/10
Drillbit Taylor: 4/10
Duchess, The: 6/10
Eagle Eye: 6/10
Expelled: No Intelligence Allowed: 1/10
Express, The: 6/10
Eye, The: 4/10
Eye of the Beast: 4/10
Fall, The: 8/10
Finding Amanda: 5/10
Flash of Genius: 7/10
Fool's Gold: 5/10
Forbidden Kingdom, The: 6/10
Forgetting Sarah Marshall: 8/10
Four Christmases: 4/10
Frost/Nixon: 10/10
Funny Games: 4/10
Futurama: Bender's Game: 6/10
Futurama: The Beast with a Billion Backs: 7/10
Get Smart: 5/10
Get Smart's Bruce and Lloyd: Out of Control: 4/10
Goal II: Living the Dream: 6/10
Gran Torino: 9/10
Hamlet 2: 7/10
Hancock: 4/10
Happening, The: 3/10
Harold & Kumar Escape from Guantanamo Bay: 5/10
Hellboy II: The Golden Army: 8/10
Horton Hears a Who!: 5/10
Hottie and the Nottie, The: 2/10
House Bunny, The: 6/10
How to Lose Friends and Alienate People: 4/10
How to Rob a Bank: 2/10
In Bruges: 9/10
In the Name of the King: A Dungeon Siege Tale: 2/10
Incredible Hulk, The: 7/10
Indiana Jones and the Kingdom of the Crystal Skull: 8/10
Iron Man: 9/10
Journey to the Center of the Earth: 6/10
Jumper: 4/10
Justice League: The New Frontier: 6/10
Kung Fu Panda: 7/10
Leatherheads: 5/10
Love Guru, The: 2/10
Mad Money: 3/10
Made of Honor: 4/10
Mamma Mia!: 3/10
Man on Wire: 8/10
Marley and Me: 8/10
Max Payne: 3/10
Married Life: 5/10
Meet the Spartans: 1/10
Midnight Meat Train, The: 4/10
Milk: 8/10
Miracle at St. Anna: 4/10
Mirrors: 4/10
Mummy, The: Tomb of the Dragon Emperor: 3/10
My Best Friend's Girl: 6/10
Never Back Down: 7/10
Nick and Norah's Infinite Playlist: 7/10
Nights in Rodanthe: 4/10
One Missed Call: 3/10
Other Boleyn Girl, The: 5/10
Outpost: 5/10
Over Her Dead Body: 3/10
Pathology: 3/10
Pineapple Express: 8/10
Pride and Glory: 5/10
Prom Night: 3/10
Punisher: War Zone: 7/10
Quantum of Solace: 8/10
Rachel Getting Married: 10/10
Rambo: 5/10
Reader, The: 5/10
Recount: 8/10
Redbelt: 5/10
Religulous: 6/10
Revolutionary Road: 9/10
Righteous Kill: 4/10
Rocker, The: 5/10
Rogue: 7/10
Role Models: 7/10
Romulus, My Father: 7/10
Ruins, The: 4/10
Run Fatboy Run: 7/10
Savage Grace: 3/10
Saw V: 5/10
Scorpion King 2, The: Rise of a Warrior: 4/10
Semi-Pro: 7/10
Senior Skip Day: 3/10
Seven Pounds: 7/10
Sex and the City: 4/10
Shine a Light: 8/10
Slumdog Millionaire: 8/10
Smart People: 5/10
Speed Racer: 4/10
Spirit, The: 1/10
Star Wars: The Clone Wars: 5/10
Starship Troopers 3: Marauder: 3/10
Step Brothers: 7/10
Step Up 2 the Streets: 4/10
Stop-Loss: 4/10
Strangers, The: 6/10
Street Kings: 5/10
Superhero Movie: 3/10
Teeth: 5/10
Traitor: 8/10
Transporter 3, The: 6/10
Tropic Thunder: 7/10
Twilight: 6/10
U2 3D: 7/10
Untraceable: 7/10
Valkyrie: 7/10
Vantage Point: 3/10
Vicky Cristina Barcelona: 7/10
Visitor, The: 9/10
W.: 5/10
Wackness, The: 7/10
Wall-E: 10/10
Wanted: 8/10
What Happens in Vegas...: 6/10
Where in the World Is Osama bin Laden?: 4/10
White Noise 2: The Light: 5/10
Wrestler, The: 10/10
X-Files, The: I Want to Believe: 7/10
Yes Man: 7/10
You Don't Mess with the Zohan: 6/10
Zack and Miri Make a Porno: 7/10
Zombie Strippers: 2/10

007 Rankings

Having now seen Quantum of Solace for the second time I finally feel comfortable unveiling my revised James Bond film rankings:

1. Casino Royale (2006)
2. Goldeneye (1995)
3. Goldfinger (1964)
4. From Russia With Love (1963)
5. On Her Majesty's Secret Service (1969)
6. Dr. No (1962)
7. For Your Eyes Only (1981)
8. The Spy Who Loved Me (1977)
9. Thunderball (1965)
10. Quantum of Solace (2008)
11. Tomorrow Never Dies (1997)
12. The Living Daylights (1987)
13. Live and Let Die (1973)
14. You Only Live Twice (1967)
15. Never Say Never Again (1983)
16. The World is Not Enough (1999)
17. Die Another Day (2002)
18. Licence to Kill (1989)
19. Diamonds are Forever (1971)
20. The Man with the Golden Gun (1974)
21. Moonraker (1979)
22. Casino Royale (Climax!) (1954)
23. Octopussy (1983)
24. A View to a Kill (1985)
25. Casino Royale (1967)

Best Bond:
1. Sean Connery
2. Daniel Craig
3. Pierce Brosnan
4. George Lazenby
5. Timothy Dalton
6. Roger Moore
7. Barry Nelson
8. David Niven (et al from '67 Casino Royale)