3. “In America”
Jim Sheridan‘s “In America” is a deceptively simple family drama that infuses its hard-knocks story of a lower-class Irish family’s immigration to NYC with sly magical realism, hinting toward a fairy-tale that never undermines the film’s moving drama. A raging attendant (Djimon Hounsou) of the family’s dilapidated apartment complex comes to represent the story’s misunderstood “monster,” one who requires the inherent goodness of the film’s young heroines — two daughters, played by real life sisters Sarah and Emma Bolger — to cleanse him of his inner demons. Meanwhile, the film’s emotionally ravaged parents struggle to find the proper footing necessary to start a new life for their young girls; and as a couple dealing with the aftermath of grief and searching for the strength to love, Samantha Morton and Paddy Considine strike a perfect chemistry. But it’s Sheridan himself, dexterously navigating between emotional weight and buoyancy, who gives “In America” its real magic.
2. “21 Grams”
A critically ill mathematician, a grieving mother and a born-again ex-con collide in the second collaboration by writer Guillermo Arriaga and director Alejandro Gonzalez Iñárritu. Told in the now-trademark time-jumping narrative style, “21 Grams” is a look at the weight of guilt, the cost of redemption and what helps us through times of immeasurable pain. Anchored by a triumvirate of raw lead performances by Sean Penn, Naomi Watts and Benicio del Toro, “21 Grams” steadfastly refuses an easy resolution, leaving the audience with a toll on its heart far greater than the film’s title.
1. “City Of God”
Just when we thought the gangster genre had been driven into the ground, “City of God” exploded like a thousand firecrackers into cinemas. Set in the forsaken favelas of Rio de Janeiro, and focusing on two boyhood friends who take divergent paths to adulthood, the crackling picture did everything a filmmaker is not supposed to do — span decades, with a cast of hundreds, full of child actors — but arrived with an electric vibrancy common to much of the best Latin American cinema of the decade. While one turns to a life of crime as a drug dealer and merciless gangster, the other pursues his love of photography, and fate eventually intercedes. The duality that strains the childhood friendship is brilliantly captured by Fernando Meirelles and Kátia Lund, who saturate the film in deep, gorgeous colors that are jarringly juxtaposed against the often shocking and graphic violence that permeates the slums. Filmed on location in the grimy streets of Rio — rocketing back and forth in time and making room for tangents which illuminate rather than distract — and populated by amateurs and actual gang members, “City Of God” paints a bracing portrait of the allure of a gang when life gives you so few options, and the hope that beats in the hearts of those searching for something more.
Honorable Mentions:
2003 was a contentious year among the staff, not everyone was in the tank for “Lost In Translation” or “28 Days Later” (and some protested their appearance) nor was everyone on board for the excessive Gus Van Sant films (initially we gave an individual spot to “Gerry” as well), but such is life. Bumped off the list, but still of value were the first installment of Quentin Tarantino‘s kung-fu revenge homage, “Kill Bill,” David Gordon Green‘s tender, yet quirky indie love story, “All The Real Girls,” and Aki Kaurismäki‘s second installment in his serio-comic trilogy, “The Man Without A Past.” Oliver Assayas‘ “Demonlover” didn’t quite make the cut either, but it’s probably the lovely Connie Nielsen‘s strongest performance ever, outside of her work in Susanne Bier‘s “Broder.”
Props also go to Todd Phillips‘ hilarious frat comedy, “Old School,” Terry Zwigoff‘s anti-PC hand-grenade “Bad Santa,” the final installment of the “Lord Of The Rings” trilogy, and the immensely entertaining and engaging “X2,” still a high-point in comic-book movies. Alec Baldwin gets points for his performance in “The Cooler” as does Jennifer Connelly for her turn in “The House Of Sand And Fog.” Your 2003 thoughts?
— Oliver Lyttelton, Rodrigo Perez, Beau Delmore, Kevin Jagernauth, Sam Mac, Astrud Sands
Vincent Gallo\’sThe Brown Bunny, BEST OF 2003 for sure
Vincent Gallo\’s THE BROWN BUNNY is the best film of 2003.
Regardless of the misguided 2003 Cannes crowd and Roger Ebert. I put Vincent Gallo\’s THE BROWN BUNNY at the top of the list. It\’s completely original and holds up as pure art.
Oliver Lyttelton\’s pick are obvious and so it makes sense that Vincent Gallo\’s The Brown Bunny went over his head to the point of him throwing it under the bus in this silly article. However, readers should know the film was not re-cut but instead was shown at Cannes unfinished and then released when it was finished. The final cuts had nothing to do with Roger Ebert or the fuss at Cannes. I know this because I worked for Mr. Gallo during 2002-2005. He was wonderful to work for and is an incredible smart funny and beautiful person. And there are many who believe The Brown Bunny is not only the best film of 2003 but one of the best in many years
Mmm…no love for Master and Commander: The Far Side of the World, Peter Weir\’s tour de force? Tragic.
Got this one right. City Of God was the best! An incredible cinematic experience. I also preferred Gerry to Elephant. And All The Real Girls is my favorite David Gordon Green film.
Surprised you guys didn\’t mention any of the epics like Master and Commander, Cold Mountain, Last Samurai etc.
I love that you have 21 Grams near the top. It was my number 1 that year. Followed by Master and Commander, Last Samurai, Cold Mountain, Seabiscuit, Pirates of the Caribbean, School of Rock, 28 Days Later, Old School, Laurel Canyon.
Les Triplettes de Belleville
chastain \’Jolene\’ + gaspar noe Enter The Void = Millennium Mambo
Only saw 5 of these, great lists these. I thought, City of God was 2002. My favourites –
1. The Fog of War
2. Lost In Translation
3. Elephant
4. Kill Bill vol. 1
5. Capturing the Friedman’s
6. End of the Century
7. Finding Nemo
8. Pirates of the Carribbean
9. 21 Grams
10. School of Rock
Mystic River was definitely my favorite of the year, but City of God is definitely an excellent choice as number 1. It is an outstanding film. 21 Grams, Lost in Translation, In America are also excellent films. It\’s a pity Sofia Coppola has never been able to make anything as remotely good or compelling as her first two films: Virgin Suicides & Translation. As for Mystic River, I\’m surprised not to see it here; not even an honorable mention. Regardless, I\’m loving these lists.
Lost in Translation, Triplets of Belleville, Elephant, Mystic River, Capturing the Friedmans, Kill Bill Vol 1, Saraband, Coffee & Cigarettes, Spring, Summer, Autumn, Winter, and… Spring, and Fog of War.
Sooooooo….where is The Brown Bunny on this list? Roger Ebert changed his review for it and it was featured on Cahiers Du Cinema\’s Top 10 list of 2003.
Paddy Considine\’s performance in In America is really something special. That movie floored me on first viewing and has done the same several times since. That being said, 21 Grams and Lost in Translation are damn near perfect and I\’ve loved every second of those films since the first viewings.
Millenium mambo is 2001 and The Son is 2002!
I liked Ang Lee\’s Hulk.
I would have had \’Dogville\’ in there too, but it was a 2004 release in the U.S.
Master And Commander is definitely superior to most of the films on that list, especially The Station Agent and Irreversible.
No Dogville, seriously?
I would have Kill Bill at or near the top…some titles you neglected to mention that I was very fond of were Capturing the Friedmans, Magdalene Sisters, Dirty Pretty Things, Master and Commander, Fog of War, and I know people like to slag it off but for the Merovingian alone I will always love Matrix Reloaded
Agree, Mystic River should have definitely been in this list, best film of 2003 in my opinion.
Oh yeah, and also great were: The Son and Memories of Murder.
Favorites of 2003: Mystic River, City of God, Lost in Translation, Elephant, Kill Bill Vol. I, American Splendor, In America, Monster, 28 Days Later. And two movies I didn\’t think got enough respect that year were "Big Fish" and "Northfork."
Too bad Triplets of Belleville didn’t get an honorable mention. A lot more creativity went into the making of that film than Elephant.
Good bye, Lenin!