In previous articles here, I’ve submitted my candidates for the best films of the 1970s, the 1980s, and the 1990s. So the laws of natural progression compel me to move forward with the next decade. Few would argue that the 70s, 80s, and 90s had their own distinctive flavor. But can the same be said for the first decade of the new millennium? I think it can.

In some aspects, the early 2000s were a dark and foreboding period. The September 11, 2001 terrorist attacks cast an ominous shadow over the years that followed, and that gloom never quite dissipated. The Iraq Invasion of 2003, and the long occupation that followed, arguably exposed the cynical power politics of the era. American domestic culture seemed to mirror the menacing undercurrents of international affairs. The early 2000s saw the rise of social media platforms and reality television; their early utopian promises were quickly revealed to be, at best, decidedly mixed blessings. The Internet, which hovered on the margins during most of the 1990s, finally came into its own, for better or for worse, as a dominant vehicle in popular culture. In 2008, a catastrophic financial collapse in America caused by years of deregulation and greed sent shockwaves through the global economy; its net result was a massive concentration of wealth and power in the hands of the few.

All of these reverberating trends were, of course, reflected in film. But it would be a mistake to see the 2000s in a purely negative light. Like the 1970s, the troubles of the 2000s sowed the seeds of of great cinematic art. In fact, I would suggest that the 2000s were the greatest decade for film since the 1970s. Movies like The Dark Knight, the Lord of the Rings trilogy, A Prophet, Elite Squad, and 28 Days Later rewrote the rule book for their respective genres. Bold, independent experiments like Incendies, Apocalypto, and Ghost World found directors and studios willing to take the risk to make them, and audiences willing to go to the theaters and watch them. Here, then, are my choices for the greatest movies of the new millennium’s first decade. Please note that I do not list them in any particular order: no ranking is intended in their order of appearance below.

Elite Squad (2007). This gripping, tremendously influential Brazilian movie turned convention on its head by focusing on the plight of law enforcement officers, instead of offering apologetics for the actions of criminals. The result is as much a commentary on current Brazilian society as it is a crime thriller.

Downfall (2004). What was life like in Adolf Hitler’s suffocating bunker in the final days of the fall of Berlin in 1945? This movie attempts to answer that question, and does so with intelligence and historical fidelity. The characterizations and performances are brilliant, and the crushing sense of doom has to be seen to be believed.

21 Grams (2003). This movie seems to be mostly forgotten, but it shouldn’t be. The early 2000s had many movies like this, where a single event brings together a divergent set of characters, each with their own backstories. But I don’t think any of them managed to connect the dots as well as this drama. And with Sean Penn, Naomi Watts, and Benicio del Toro as the players, it’s almost impossible to fail.

Incendies (2010). This early effort by director Denis Villeneuve ranks among the very greatest of contemporary tragedies. Based on a classically-themed play by Wajdi Mouawad, the movie delivers a grim lesson on the horrors of war with the exposure of a terrible secret in its shattering final act.

The Dark Knight (2008). Christopher Nolan’s masterful tale of Batman and the Joker transcends the puerile comic-book retellings of the past with a movie that offers commentary on terrorism, personal freedom and choice, and the invasive power of technology. Not to be missed.

Mulholland Drive (2001). David Lynch’s mysterious ode to loneliness and lost love manages to be both exquisite and elusive. Like any good piece of art, the film is open to various interpretations…and of course that’s the entire point, isn’t it?

Caché (2005). Michael Haneke’s exploration of the consequences that flow from the bad acts of the past is at once frustrating and unsettling. The viewer is made to realize that we are all connected by hidden threads, and that some things, once done, cannot be undone.

Grizzly Man (2005). Werner Herzog’s documentary of a troubled man who convinced himself he was communing with dangerous wild animals is certainly one of the most philosophically incisive documentaries ever made. A profound character study that explores the hazy boundary between altruistic benevolence and ruinous self-deception.

No Country For Old Men (2007). The Coen brothers’ adaptation of Cormac McCarthy’s broodingly philosophic tale aims to instruct its viewers on the merciless randomness of events. The result is a neo-Western that fits into no easy category.

Training Day (2001). The undeniable chemistry between Denzel Washington and Ethan Hawke make you wish that these guys would make more cop-buddy movies. Even if we never see them on screen together again, this movie will stand as a testament to the power of a simple, compelling story, compellingly told.

Road To Perdition (2002). A beautifully shot and acted gangster picture that explores two different versions of a father’s love. Tom Hanks and Paul Newman interact wonderfully, while Jude Law has never looked so sinister.

Sideways (2004). How I loved this movie. Two old college friends take a road trip through California’s wine country and involve themselves in various misadventures, both humorous and poignant.

Collateral (2004). Michael Mann’s shimmering Los Angeles conceals a dark underbelly in the form of a terrifyingly lethal Tom Cruise. Like No Country for Old Men, this movie dwells on the apparent randomness of fate, with a nod toward the carpe diem theme. The plot: Los Angeles cabbie Jamie Foxx happens to take a fare who is not what he appears to be. The result is cinematic gold.

The Lives Of Others (2006). I’ve discussed this truly magnificent German film elsewhere, and need say no more about it here. My own personal choice for the greatest film of all time.

Zodiac (2007). David Fincher takes on California’s “Zodiac” killings of the 1960s and 1970s. A taut, pulse-pounding detective story, carried across the finish line by the wonderful interaction of Jake Gyllenhaal and Mark Ruffalo.

Memento (2000). A circular, troubling, yet powerful noir film that feels like a nightmare. You won’t be able to get Joe Pantoliano’s face out of your mind.

Irreversible (2002). Director Gaspar Noé explores the consequences of a brutal rape in Paris. I hesitated to include this film in my list, due to the extremity of some of its scenes. I want to make it clear that this movie is not for everyone. But if we wish to be consistent and honest, we must acknowledge that art sometimes has to push certain boundaries. Each viewer must decide for himself or herself where those boundaries lie. Directors who take risks should be commended, as long as those risks are in the service of sincere artistic expression. Monica Bellucci deserves much praise for her willingness to take on a project that many lesser actresses would shy away from.

The Departed (2006). Martin Scorsese’s tale of a Boston gangster and the city police force, each of whom has a mole inside the operation of the other. No one does these kinds of movies better than Scorsese. Jack Nicholson is arguably miscast here, but that’s a matter of opinion that detracts in no way from his screen presence or performance.

There Will Be Blood (2007). A tale of the rise and fall of an early 20th century oil tycoon. Daniel Day-Lewis’s performance is so hypnotic that you simply cannot take your eyes off the screen.

Michael Clayton (2007). This 1970s-esque corporate drama just gets better with the passing of each year. Like all great movies, it manages to transcend its genre to convey greater and deeper messages. And here, those messages revolve around integrity, courage, and self-sacrifice. George Clooney’s best performance to date. Sydney Pollack nearly steals the show with his portrayal of a senior partner at a prestigious law firm.

The Lord Of The Rings trilogy (2001-2003). Even if you are not a fan of J.R.R. Tolkien’s epic fantasy, you should take the time to watch The Lord of the Rings (2001), The Two Towers (2002), and The Return of the King (2003). A labor of love for director Peter Jackson, these films have been crafted with great care and deference to the original books.

Casino Royale (2006). Has there ever been a remake that so reanimated a moribund franchise? I think not. Daniel Craig plays the role he was born to play. The result achieves that rarest of outcomes: a remake that feels both contemporary and classic at the same time.

Donnie Darko (2001). It is opaque in places, meandering, and the 1980s nostalgia feels cutesy and forced. But…there is just something about this movie. We owe Drew Barrymore much gratitude for ensuring that this strange little movie ever saw the light of day. Look for Patrick Swayze in an unlikely cameo role as a motivational speaker.

28 Days Later (2002). Before this movie, the standard film wisdom, dating back to 1968’s Night of the Living Dead, was that zombies had to be slow and plodding. But 28 Days Later changed everything, and re-wrote the rule book by making its zombies–products of a global contagion–terrifyingly fast. Endlessly imitated, 28 Days Later has proven to be extremely influential in the horror genre.

Cloverfield (2008). I always loved monster movies as a kid, and could not help my affection for this diamond in the rough. The plot: a group of hapless millennials is trapped and desperate when a gigantic monster rampages through New York City. I know that it sounds derivative, and that is because it is. Yet even oft-told tales can sparkle with the right measure of magic dust.

Rec (2007). Another entry in the “found footage” horror genre that was so popular in the 2000s. This time we are transported to Spain, where a group of people is trapped in an apartment complex under government lockdown orders. Unfortunately for them, an unspeakable evil is also there with them, and it has ideas of its own.

Capote (2005). If you ever had any doubt about how great an actor Philip Seymour Hoffman was, this movie will dispel that doubt. He so dominates every second of screen time, that it doesn’t even matter what the movie’s plot is.

Ghost World (2001). This is one of those zeitgeist movies. Two girls, recently graduated from high school, try to plan out their next life moves. One of them (Enid) keeps self-sabotaging, while the other (Rebecca) is both coy and passive-aggressive. The plot doesn’t matter as much as the dialogue, the scenes, and the depiction of how people can be unintentionally cruel to each other. A real gem of a movie.

Apocalypto (2006). No one has ever presented the pre-Columbian Mayan civilization on screen with such scrupulous attention to detail as did Mel Gibson in his 2006 masterwork. Every frame shows the meticulous research and preparation that went into the making of this work of art. In doing so, Mr. Gibson recreated a world that is to us both alien and, in many ways, unexpectedly familiar. The plot: a young Mayan man, captured in a raid and marked for human sacrifice, escapes and attempts to return to his family.

Master And Commander: The Far Side Of The World (2003). If there was ever a movie that could serve as a model of heroic leadership under duress, this is it. Like all great historical dramas, Master and Commander recreates the lost world of the days of sail, while at the same time presenting us with characters and situations we can relate to on a visceral level. This is the literal purpose of cinematic art. Russell Crow’s best role.

3:10 To Yuma (2007). Sometimes, you just need to watch a fantastic Western. This riveting tale should rank high on any list of the classics of the genre.

A Prophet (2009). This French masterpiece by director Jacques Audiard remains one of the all-time greatest crime dramas. The story traces the rise of a street criminal (Tahar Rahim) to become lord of a drug distribution network. The story and acting are fantastic. Praise must also be given to Niels Arestrup, who turns in an unforgettable performance as a Corsican mafia boss.

Let The Right One In (2008). This is another one of those movies that straddles genres. Part horror and part drama, the story follows a young boy living in a suburb of Stockholm, Sweden, in the early 1980s. He is approached and befriended by a young girl, Eli, who is definitely not what she seems. What follows is a touching tale of friendship and loyalty. Yet the final scenes leave us with deeply conflicted feelings. See and judge for yourself.