Get less uptight

Rightly or wrongly, in the past, I've rarely permitted myself to publish reviews on this site. Perhaps, in this new decade, I'll persuade myself to get less uptight about such things, but I'm afraid my views on the subject are a little old-fashioned: I agree that everyone's entitled to an opinion about films, books etc, but I don't agree that everyone's entitled, or qualified, to inflict that opinion on everyone else. Having said that, once a year, I revert to my twelve-year-old self and I indulge in the boyish activity of making lists. So here we go again: my rundown of my favourite films of 2009. But this time, I've gone one step further and - taking my cue from The Times and from Sight & Sound - I've also compiled a personal Top 20 of the last decade. Hopefully you'll disagree with most of my choices and we can get a dicussion going!

Top 5 of 2009 (in the order in which they were seen)

Entre Les Murs (The Class) [dir. Lauren Cantet]

Subtle, thoughtful, complex and full of moments which turn out to be much more memorable than you think they're going to be when you first watch them.

Julie & Julia [dir. Nora Ephron]

Most critics dismissed this as an unimportant souffle of a film, but I think they shot themselves in the foot with their analogy. A good souffle is devilishly hard to make and, if pulled off, it is an unforgettable gastronomic experience. Ephron's film was most certainly a delicious souffle and all the better for it.

A Serious Man [dir. Joel & Ethan Coen]

The Coens' sense of humour doesn't always work on me, but I thought they got the tone just right with this deceptively flimsy tale and its hapless protagonist.

Bright Star [dir. Jane Campion]

It's a shame the marketing people decided to sell this movie by resorting to all the predictable quotes: "gorgeous", "beautifully shot", "ravishing" etc etc. Yes, it is all those things, but it's also much more. Avoiding all cliches, it is a cinematic poem to the state of being in love, as experienced, refreshingly, from a female perspective.

The White Ribbon [dir. Michael Haneke]

Haneke is brilliant at creating an atmosphere of relentless unease, a skill which was put to superb use in this perplexing, monochrome enigma.

My 20 favourite films of the last 10 years (in no particular order)

Bright Star [dir. Jane Campion]

The White Ribbon [dir. Michael Haneke]

It may be too soon to include these two, but I did find them very impressive.

Crouching Tiger, Hidden Dragon [dir. Ang Lee]

Beautiful, unadulterated cinematic magic.

The Son's Room [dir. Nanni Moretti]

Still one of the most moving depictions of bereavement I've seen.

Spring, Summer, Autumn, Winter... And Spring [dir. Ki-duk Kim]
I think it was Kieslowski who said he'd always tried to capture the notion of a soul on film; I suspect he would've liked this meditative, unforgettable piece.

Donnie Darko [dir. Richard Kelly]

Far too clever for its own good, and surprisingly affecting.

The Queen [dir. Stephen Frears]

Some said this belonged on the small screen. I thought its televisual aesthetic was part and parcel of its effectiveness as one of the most astute pieces of social commentary I'd seen for ages.

Grizzly Man [dir. Werner Herzog]

A bizarre, thought-provoking story, told with admirable restraint.

The New World [dir. Terrence Malick]

I think I'm the only person I know who found this movie superb. Never mind. It had me eating out of the palm of its hand from the first notes of its mesmerising music.

Team America: World Police [dir. Trey Parker]

Without any doubt, my favourite comedy of the last decade. I'd happily sit through it again right now. Durga, durga...

Russian Ark [dir. Aleksandr Sokurov]

I confess I wasn't wowed by this when it came out, but eight years have passed since its release and I often find myself recalling many of its unique images. As accomplished an example of 'pure cinema' as we're ever likely to see.

Monsoon Wedding [dir. Mira Nair]

A sentimental choice, perhaps, but I've seen it about four times, and it's improved with each viewing.

In The Mood For Love [dir. Wong Kar Wai]

There's nothing like a story of inscrutably repressed emotions and this is a heart-stopping example of the type.

Code Unknown [dir. Michael Haneke]

Haneke's films are deliberately arch, but the technique worked very well in this multi-strand essay on communication.

Persepolis [dir. Vincent Paronnaud]

I'm not sure if I prefer the book or the movie, which is evidence enough of the latter's greatness.

Adaptation [dir. Spike Jonze]

A wickedly cunning, endlessly watchable little gem.

Mysterious Skin [dir. Gregg Araki]

A blistering portrayal of the effects of all sorts of abuse, especially the most potent, most common kind: self-delusion.

There Will Be Blood [dir. Paul Thomas Anderson]

 A letter published in Sight & Sound claimed that my enjoyment of this film was evidence of a misogynistic streak in me. Thankfully, S&S printed an apology, which meant that I could continue admiring this operatic behemoth of a movie with a clear conscience.

Into Great Silence [dir. Philip Groning]

Contemplative, uncompromising and genuinely unique. There will probably never be another film quite like it.

Etre Et Avoir [dir. Nicolas Philibert]

Easily my favourite documentary of the decade and an absolute must-see for anyone who has ever had any dealings with children... which basically means everyone, doesn't it.

So there you have it. If you've made it this far, thank you! A very happy new year to you. I promise I'll try to keep the self-indulgence to a minimum in 2010.