The 25 Greatest Movies This World Has Ever Known!!

...Okay, so not really. It's actually my favorite 25 movies of this past decade. Look, I'm not arrogant enough to say these are definitively the best 25. They're simply my favorite 25... that I can call to mind. It's inevitable that I've missed some and there are countless that I haven't seen that I almost certainly should have. So in no way can I say these films are the decade's uncontested best. But they're fucking good! Fucking great!! And if there are any you haven't seen, you should definitely see them. It would be in your best interest. And really, it's not like you've got anything better to do. Stop kidding yourself. Your delusions insult us both.

And to make things a little more interesting, NONE of the films on this list have won the Academy Award for Best Picture. I figure Best Picture Oscar winners have garnered enough attention and acclaim, so giving them a home on this list would just be overkill. Truth be told, there are really only a few movies in the past decade that I'd include (Traffic, Crash, No Country for Old Men, LOTR). Nevertheless, these movies will be omitted because they've had the critical equivalent of an infinite blowjob and they really don't need the additional praise from this Joe Nobody. So there you have it.

#25: Mission: Impossible III (J.J. Abrams, 2006) - Okay... go ahead... laugh it up (cause I know some of you are). That's right, MI3 made my list of favorite movies of the decade. Yes, I took a real gamble putting this as the first movie you'd see on this already dubious list. But don't discount me! Let me explain. This movie kicks ass! J.J. Abrams is the fucking man and an exceptional director, particularly when it comes to fast-paced action. Philip Seymour Hoffman is also the fucking man and plays the part of a merciless, sadistic villain with disquieting ease and severity. Yes, in reality Tom Cruise has his head so far up Scientology's ass, he can taste L. Ron Hubbard's dead, rotting tongue. But he's also a talented actor and I do my best to separate his work on the screen from his lunatic ravings in real life. And in a decade of tame, over-stylized action movies, this big budgeter still managed a raw, visceral feel. Seriously, haters can hate, but this was one of the better action movies of the decade.

#24: I Heart Huckabees (David O. Russell, 2004) - "Fuckabees!" Need I say more? Not really, but I will anyway. Sure, I love good coming-of-age comedies and silly low-brow romps (as long as they're amusing) as much as the next person, but it's also refreshing to see a supremely original idea executed with laugh-out-loud results. And in a way, you can kind of consider this movie a coming-of-age story... in a more middle-age sense. It may seem sort of pretentious to make a self-proclaimed "existential comedy," but when it's made well and lives up to its arrogant arthouse assertion, a certain degree of pretentiousness can be tolerated. And the performances are outstanding. I really believe Russell can thank his exceptional ensemble cast for this movie's success. It's Mark Wahlberg's best role (better than The Departed!) and there really isn't an actor in the film that doesn't live up to their greatest potential. I guess this movie isn't for everyone, but I do kind of look down on those who don't enjoy it. What the fuck is wrong with you people?!

#23: Brotherhood of the Wolf (Christophe Gans, 2001) - So there are only two foreign language films on this list. The other is pretty much a no-brainer (I've seen it on almost every other "decade's best" critic list), but this one, for whatever reason, didn't quite elicit as much attention. Nonetheless, it's an extremely entertaining and beautiful movie. It boasts great action sequences, awesome fight choreography and beautiful cinematography. I also enjoy the way the script interweaves historical fiction and obscure French myth. I mean I guess you'd call if French myth. I'm not French, so I don't actually know if any of the more "fabled" aspects of the story are part of French lore. But I don't really care either. It's a really enjoyable, fairly intelligent movie and its ability to accurately recall French legends couldn't mean less to me. Additionally, the DVD version I own has some of the best language dub work I've ever seen. I almost never watch movies dubbed in English -- 99.9% of the time it looks so goddamn cheesy and detracts from the film. But this one is done extremely well and it's nice to be able to enjoy the sweeping visuals of the movie without constantly focusing on subtitles. But only after you've seen the original, subtitled version. Don't be lazy!

#22: Borat (Larry Charles, 2006) - I don't want to sound too over-the-top here, but Sacha Baron Cohen is a comedic genius. Borat made me laugh so hard, I cried. And sure, some of it was stupid, low-brow humor (that worked!), but some of it really made you look at certain aspects of American culture and say, "Wow... are we really all part of the same general society?" "Do people like that really exist in this country?" I guess you have to laugh, otherwise it would be utterly depressing. But social commentary aside, this movie is damn hilarious. Borat really is a lovable character. I wondered why I didn't enjoy Bruno nearly as much and I think it's largely because Bruno is a selfish, egotistical douche bag. And it's tough to have any adoration for selfish, egotistical douche bags (unless you watch MTV's Jersey Shore -- Oh!). On the other hand, it's Borat's inexperience and naivety that truly make him a likable character. Sure, he's sex-crazed and anti-Semitic, but who amongst us isn't? Juuuuuuuuust kidding! Seriously, it's cool, I dated a Jewish girl once -- I'm allowed to crack the occasional anti-Semitic joke. It's part of the contract (that I just invented).

#21: Adaptation (Spike Jonze, 2002) - Charlie Kaufman is a screenwriting god. That being said, Spike Jonze is no slouch as a helmer either. It would be unforgivable if the two of them had collaborated on a film and that film had sucked. Good thing Adaptation doesn't suck. In fact, it's awesome. I never read the book The Orchid Thief, but I'd imagine this wasn't necessarily the adaptation (you see the connection?!) that author Susan Orlean had envisioned. But fuck her -- Kaufman owns and she should feel honored that such a brilliant screenwriter would even allude to aspects of her book in his script. I mean it's a book about orchids. Or some guy that steals them. Whatever... who cares? This movie is great so I can't be concerned with its accuracy to the source material. Put that in your flower and snort it, Orlean! (FYI, that reference won't make sense if you haven't seen the movie. So see it!)

#20: Munich (Steven Spielberg, 2005) - It's about vengeance. I think. I mean that was the name of the book it was based on. Nevertheless, Spielberg wants us to see that violence begets violence, as if we couldn't just read the MSN homepage or watch the news. Still, the film is technically masterful, achingly tense and exceedingly well acted. I also really like the climate of the movie. It's somehow both consistent, yet escalating. Plus, the action sequences are superbly raw, which is pleasantly surprising for a film with such an immense production value helmed by a director known for very polished work. And this raw feel to the action totally lends itself to the film. It's one movie that really is worth the 164-minute run time (stop rolling your eyes!). I do like Spielberg (mostly), particularly his darker cinematic entries. And this is one of them.

#19: Brick (Rian Johnson, 2005) - In the ladder part of this decade, we saw a lot of movies try their hand at film noir. A large portion of them sucked. Brick was a glaring exception. In fact, if I were teaching a class about contemporary film noir, I would definitely show this movie. Of course, if I were teaching a class about contemporary film noir, I'd surely be fired after a few days because I don't really know much about it. Be that as it may, this film encompasses just about everything I'd like to see in a noir-type movie: a troubled detective, a gorgeous femme fatale, a mysterious murder and, of course, ample plot twists and backstabbing galore! Did I mention that all this takes place amongst a group of high school students? Yes, it's a very unique film and an incredibly impressive debut from writer/director Rian Johnson (even if he spells his first name like a tool). Well... IMDB does attribute an earlier movie to Johnson, but it's called Evil Demon Golfball from Hell!!! (yes, the title actually includes three exclamation points) and it's only 8 minutes long. So we'll just go ahead and consider Brick his legitimate debut.

#18: Snatch (Guy Ritchie, 2000) - Oh Guy Ritchie, what a promising career you seemed to have in front of you. And how hit-and-miss that career has become. But with the possible exception of the earlier Lock, Stock and Two Smoking Barrels, this is certainly your best. This movie is just so damn entertaining. Ritchie's earlier works seem to ooze a certain liveliness and vivacity that drew the audience into the well-orchestrated chaos. Who would have guessed a film showcasing a nearly incomprehensible Brad Pitt could be so successful? This movie really highlights everything that seemed to position Ritchie as such a budding talent: a cleverly interwoven script; raw, visceral action; witty, well-placed humor; an apparent sense of comfort with his own material; a general enthusiasm for filmmaking. Perhaps in an effort to branch out and not be pigeonholed, Ritchie went on to write and direct the doomed Swept Away starring his then-current wife Madonna. What a fucking mistake! Truthfully, he hasn't been able to fully claw his way out of the hole that film created (Revolver was abysmal and RocknRolla was totally mediocre). And I don't know about you guys, but I think Sherlock Holmes looks dubious, at best. But God, Rachel McAdams is fucking beautiful. Mmmm... Rachel McAdams.

#17: The Incredibles (Brad Bird, 2004) - Isn't it awesome when a movie's as smart and original as it is visually stunning? Well Pixar really is the king of style-meets-substance. And I'm sure some would be more inclined to put Up or Wall-E on a list like this, but The Incredibles is a clearer choice for me. It's a high-energy treat from start to finish. It's a feast for the eyes and the story is unique and well written. It combines the obligatory (and charming) Pixar cuteness with vigorous action scenes and a script that puts a clever spin on the super-hero genre. And how bout that Elastigirl? Raaaarrrr... she can save me any day! Uh, I mean... oh boy... this is embarrassing. (Laughs awkwardly.) I know guys, she's only a cartoon! (Sighs.) She's only a cartoon.

#16: Pan's Labyrinth (Guillermo del Toro, 2006) - Man, Guillermo del Toro is a visionary director, isn't he? And yes, that's a rhetorical question, so you idiots can stop answering. When it comes to dark, imaginative fantasy, Guillermo is pretty much the man; when dreams meet nightmares, Guillermo is right at the point of impact. Sure, his movies are incredible to look at, but it's their substance that elevates them to something more significant than your average visual feast. This is especially noticeable with Pan's Labyrinth. Mr. Del Toro (Mr. del Toro? Mr. Toro? I never know what to do with these friggin' ethnic names) mixes such disconcertingly realistic horror with a fantasy world that's equally intriguing and forbidding. Everything about the movie is both beautiful and dangerous. I guess that's part of the appeal. The film also boasts superb performances from just about everyone involved, particularly Sergi Lopez as the sadistic Captain Vidal and the young Ivana Baquero as Ofelia. The movie seems to be a fairly personal piece for Guillermo del Toro, which is likely why it succeeds so brilliantly as his best film to date.

#15: Coraline (Henry Selick, 2009) - Supposedly, when Neil Gaiman was in the finishing stages of this book, he contacted Selick to see if he would be interested in helming the film adaptation. Selick accepted and what ensued was a 4-year process to prepare this stop motion masterpiece. I guess Gaiman must have realized this, but Selick is really the perfect director to bring a Gaiman story to the screen, particularly this one. This was truly the perfect collaborative vehicle for both men. It's creepy, imaginative, suspenseful, engaging and one of the best-looking movies I've seen. I can only imagine the amount of effort that goes into creating a stop motion film like this. It must be painstaking. But clearly Selick had unwavering devotion to the material and it definitely shows. Technical aspects aside, the voice talent for this movie is also fantastic. Everything really fell into place for this one and I'd love to see another Gaiman/Selick collaboration in the not too distant future.

#14: Donnie Darko (Richard Kelly, 2001) - Director Richard Kelly inadvertently demonstrates the pitfall of making such a strong debut film: it sets a high standard for subsequent films. Unfortunately for Kelly, nothing he's put his name on has come close to this creepy, quirky, existential sci-fi/drama-thriller. And Patrick Swayze as a closet pedophile? ... I could say something here (too soon?), but I'm pretty sure it would cement my place in hell. "No dice, grandma." Anywho, you know it's a good movie when you watch it multiple times and have a different take on it every time (and those different takes aren't a result of sloppy writing or directing). Believe it or not, sometimes I do enjoy subtlety and deep thought and Kelly supports the former while fostering the ladder. You don't find too many films leaving things open for interpretation these days (writers and directors LOVE to beat you over the head to ensure you walk away with the things they want you to walk away with), but Kelly does just that. It's pretty brave and I can only hope Kelly's career didn't peak with his debut film. Way to blow your load, Richy!

#13: 28 Days Later (Danny Boyle, 2002) - Fast zombies?? Watch out! Those suckers will kill you dead! Well, they'll kill you dead... but then you'll come back to life! Hungry for flesh and brains!! Typically that's how it works, anyway. I saw this movie in London before it even came to the States (cause I'm that cool) and I was blown away. I mean c'mon... Danny Boyle + zombie flick = unprecedented awesomeness. Boyle really put society's breakdown at the forefront of this film in a way that managed to seem freshly unsettling, despite the preceding decades of social commentary through zombie films. Maybe it was the disturbing plausibility of it all. Either way, the only other serious zombie movie of the decade that could hold a torch to 28 Days Later was Dawn of the Dead, which was a remake, albeit a great one. I'm not including remakes on this list, so Boyle's 28 Days Later takes the cake as serious zombie movie of the decade.

#12: Inglourious Basterds (Quentin Tarantino, 2009) - Yes folks, after a few disappointing entries, Quentin is back! I guess there are some that would argue Kill Bill vol. 2 and Deathproof didn't suck, but I wouldn't be one of them. Well, maybe "suck" is a strong word, but I was thoroughly let down by both those films. Anyway, in my opinion Inglourious Basterds may be his best work since Pulp Fiction. We have Quentin's distinctive and engrossing dialogue thrown into a period and backdrop that's new to him as a filmmaker. And man, does he make it work. We also have the great Brad Pitt supporting said dialogue with a hardened yet almost playful John Wayne-type characterization. Honestly, I had a tough time not grinning any time Pitt opened his mouth to speak. But the real star of this film (besides Tarantino's expert direction and writing) is Christoph Waltz as the pleasantly sadistic Colonel Hans Landa. If this guy doesn't get one of those stupid little gold dudes for his work in this film, the Academy should just explode. Seriously, for this performance they should throw in a blowjob from Megan Fox too. I mean that'll be the closest Ms. Fox gets to an Oscar anyway. (Sorry Megan, you know I love you.) And yes, this movie is long, but the pacing and dialogue are executed in a way that makes every scene either wonderfully amusing or exceedingly tense. It's also really violent. But would you want anything less from a movie about killing Nazis? Isn't it cathartic to watch a Nazi get beaten to death with a baseball bat? I mean I think we can all agree that Nazis suck balls. Big floppy donkey balls. So it's fun to watch them get bludgeoned to death. And, in my opinion, Tarantino is the perfect person to oversee the carnage. "Say auf wiedersehen to your Nazi balls!"

#11: Memento (Christopher Nolan, 2000) - Chris Nolan's a fucking master. I'm fairly confident that if this movie were made tomorrow (instead of ten years ago), whatever tempered hack was directing it would almost certainly find a way to fuck it up. It just seems that when a movie is highly conceptual or gimmicky (for lack of a better word), no matter how promising the concept is, the film relies too heavily on said concept and generally comes up short as a result. Not the case with Memento. The film fully relies on its concept as a storytelling device, but the story is as intriguing as the concept itself. It's also exceptionally well written and skillfully structured. This is a film where execution was either going to make or break the screenplay (which was also written by Nolan and his brother). Fortunately, they had the right man in the director's chair.

#10: Requiem for a Dream (Darren Aronoksky, 2000) - Anyone feeling thoughts of suicide? Well watching this movie will probably push you over the edge. Then again, it may bring you back. You can always watch it and say, "Well, at least my life isn't that shitty." Yes, it may be a depressing piece of cinema. But it's also a brilliant one. It's daring, artistic, brutal and ugly. Although the performances are exceptional (Marlon Wayans' talented portrayal is a pleasant surprise; Connelly and Leto are exceptional; Ellen Burstyn is simply jaw-dropping), Aronofsky really makes this film. It's tough to imagine this picture invoking the same realistic horror under the headship of a different director. This movie is all about vision and he brings it to life with a plausible misery that's so effective, any curiosity you may have towards drugs (particularly intravenous ones) will almost certainly be curbed, to say the very least. Aronofsky doesn't bother with redemption, nor does he pander to the audience. The film is gutsy and unflinching; the kind of movie that makes sweet, unassuming girls skip classes the day after watching it because they "just didn't see a reason to get out of bed." (True story!)

#9: The 40 Year Old Virgin (Judd Apatow, 2005) - I don't think I've ever laughed so hard in a movie theater. Maybe for Superbad, but that's the only comparable theatrical side-splitting experience I can recall. Besides, this list wouldn't really be complete without some kind of Apatow-associated movie. It's been the decade of Apatow! Or at least the half-decade. And this movie really is a comic gem. It's hilarious, heartfelt and perfectly cast. Steve Carell is just impeccable as a middle-aged virgin and his support is equally hysterical. Not to mention the developing talent we got to see on display in this film: Paul Rudd, Seth Rogen, Jonah Hill, Elizabeth Banks -- it's a veritable who's who of the current funniest faces in Hollywood. And Apatow has emerged as one of the premiere names in comedy, whether as a writer, director or producer. Truly, it would be hard to picture the past five or six years of comedy without him.

#8: O Brother, Where Art Thou? (Joel Coen, 2000) - Of course there's a Coen Brothers movie on the list! How could there not be?! And with No Country ruled out by my own self-imposed criteria, O Brother takes the slot. This movie expertly showcases the filmmakers' ability to fuse their often-playful nature with intelligent, witty and emotionally resonant material. And how bout that cinematography? Of all the potential backdrops for a re-imagining of Homer's Odyssey, the American Deep South during the 1930s probably wouldn't be the first to come to mind. But it works beautifully. All the colorful characters we meet along the way (John Goodman!) are just so enjoyable and George Clooney is perfect as the rather unconventional embodiment of a semi-contemporary Odysseus. The whole film is just so freaking entertaining. It may be lighthearted, but that doesn't make it any less poignant. The Coens are cinematic wizards and O Brother does a great job of illustrating their impressive range.

#7: Closer (Mike Nichols, 2004) - For a movie full of beautiful people (Julia Roberts excluded), this film is ugly. And I love that about it. The film shows, with honesty, just how nasty, brutal and ugly people, relationships and people in relationships can be. It's all here -- the lovesick, the competition, the winners, the losers, the vindictiveness, the misplaced infatuation and, to a lesser extent, the legitimate affection. The performances really drive the film. Everyone is fantastic, even Julia Roberts, who I typically want to punch in her stupid, gap-toothed face. I mean when Clive Owen tells her to "fuck off and die," it just gives me goosebumps. I'd imagine it can be pretty difficult to turn a theatrical play (and a fairly minimalist one) into a film and maintain the same intimacy and connection an audience feels. But director Mike Nichols does so with assured confidence and the result is one of the best performance-driven films of the decade.

#6: Shaun of the Dead (Edgar Wright, 2004) - Remember when I said there wasn't a serious original zombie movie that could hold a torch to 28 Days Later? Well, I don't consider Shaun of the Dead a serious zombie film. Why? It's just too much fun. Serious zombie films should be disconcerting and bleak. I suppose this movie has bleak, unsettling points, but overall it's just an amazingly fun film. I don't know if I'd necessarily call it a parody because it does take itself seriously as a horror-comedy (if that makes sense). But that's the beauty of it: it fuses the best elements of good zombie flicks with side-splitting comedy and the obligatory buckets of blood. Wright finds an impeccable tone for the movie and keeps it consistent throughout, which isn't easy to do for a horror-comedy -- a genre that, by nature, sort of contradicts itself. Plus, Simon Pegg (who co-wrote) and Nick Frost are the ideal leading actors for this movie. They execute Wright's proposed tone to perfection.

#5: Planet Terror (Robert Rodriguez, 2007) - Ditto the above first few sentences for Planet Terror. This flick is just good, gore-soaked mayhem. From the opening scene, it's abundantly clear the movie isn't going to take itself seriously. Its purpose is to make you laugh, make you cringe and make sure you're thoroughly entertained from gruesome start to gruesome finish. And boy, does it succeed! Every time I watch this movie, I'm floored by just how much I enjoy it. And *spoiler alert* I give Rodriguez a lot of credit for having his own son shoot himself in the face in the middle of daddy's movie. Now that's dedication! Plus, Rose McGowan as a stripper with a big fucking gun for a leg -- brilliant! It almost seems wrong to have this much fun watching a movie.

#4: The Dark Knight (Christopher Nolan, 2008) - Seriously, this movie rocks. Sure, you can attribute much of its success to Heath Ledger's uncanny transformation into one of pop culture's most renowned and revered villains. But let's not shortchange Nolan, who not only created the film's appropriately dark, brooding atmosphere from the director's chair, but also co-wrote the detailed and layerd script with his brother. This isn't just a comic book movie. Chris and brother Jonathan have created such a meticulously deep Gotham City, the likes of which has never been created for a Batman film. If you take away the seemingly incorruptible costumed hero and the maniacal clown hell-bent on anarchy, you still have a screenplay filled with social commentary, political turmoil and a plethora of relational dynamics. Of course, none of those things show much reason for existing in Gotham without the aforementioned protagonist and antagonist, but you get my point. Even the interworkings of the criminal enterprises are more comprehensive than you'd ever imagine. Will we see the Nolan boys returning for a third installment? Let's fucking hope so. Because the only other name that comes to mind is Mr. Aronofsky and, frankly, his schedule is looking pretty full. Just keep Joel Schumacher away... far, far away.

#3: Being John Malkovich (Spike Jonze, 2000) - Okay, so IMDB has this movie listed as 1999, but I don't think it premiered in the States (in some places) until 2000. So I conferred with your mom and she gave me the go-ahead to throw it on the list. God bless your mom! Wow... another Kaufman script directed by Spike Jonze. Honestly, these guys work beautifully together. This was the first Kaufman/Jonze film I ever saw, before I even knew who either of them were (my man-crush on Kaufman didn't really bud until junior year of college). And the first time I watched it, I may have been coming down off some kind of illicit drug. Regardless, it blew my fucking mind! Even upon subsequent viewings -- in more "legal" states of consciousness -- it still blows my fucking mind! How the hell do you come up with a story like this? Do you really just sit down one day and say, "Hmmm, I wonder what it'd be like if there was a portal into John Malkovich hidden behind a filing cabinet on the seventh-and-a-half floor of an office building in New York City"? The first time I saw it, I couldn't really believe what I was watching. How does that idea evolve? And how do you even begin to turn it into a coherent, cohesive screenplay, much less a brilliant one? It boggles the mind! But Kaufman did it somehow and Spike Jonze envisioned it wonderfully. In my humble opinion, this is certainly the most original screenplay of the decade. In fact, I can't really think of any other script ever written that manages to make such a unique idea work so flawlessly.

#2: The Royal Tenenbaums (Wes Anderson, 2001) - Truly, if perfect films exist, this is one of them. There are really only two other films I've seen that I'd classify as perfect. You'll find one of them below and the other is Pulp Fiction. As far as Wes Anderson films go, I guess you either love 'em or hate 'em. Like most people, I love them. And this is, by far, my favorite (although I have not seen Bottle Rocket or The Fantastic Mr. Fox yet). The film does a flawless job of combining quirky humor with eccentric family drama. The Tenenbaums are a superbly peculiar family and it would seem incomplete to only show their comical moments without showcasing their more heart-wrenching and trying times. And that's not an easy undertaking. To create an even movie that fluctuates between comedy and drama is never a simple task. It takes an incredibly skilled director to craft the volatile balance found in Tenenbaums. *Spoiler Alert* Any film that can seamlessly merge the understated comedy of Owen Wilson, Ben Stiller, Bill Murray and Gene Hackman with an affecting, stomach-turning scene of attempted suicide (set to the tune of Elliott Smith), well don't you just have to give that movie a lot of credit? The drama doesn't detract from the comedy and the comedy doesn't detract from the drama. Rather, they complement each other and make the other that much more effective. As an audience, we feel for the Tenenbaums. We laugh with them and cry with them. Even if their problems seem more unconventional than our own, it shouldn't make it any more difficult to relate to them. After all, what's a family without unconventional problems?

#1: Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004) - Yup, three Charlie Kaufman screenplays on a single list. And one of them takes top honors. Who woulda thunk it?

Really, first place was a shootout. Eternal Sunshine inched out Tenenbaums for the (somewhat dubious) #1 honor due largely to the emotional impact it generates for me personally. And I'd imagine I'm not the only one. I feel it's difficult to watch this movie and not contemplate your own "one that got away." How can you watch this film and not consider that person and the hypothetical trip to Lacuna that you would or wouldn't take? In that sense, the film addresses more than relationships and emotional scarring. We're forced to ponder the morality and questionable selfishness involved in erasing someone from a life -- not only as the eraser, but as the erasee and the mutual associates of both parties as well.

Of course, for those familiar with the pain of heartbreak, this film also inevitably forces you to think about the relational missteps and shoulda, woulda, couldas that accompany any meaningful romantic connection gone awry. As a result, the film can be emotionally draining, nostalgic and kind of depressing. But in the end, what does it really do? It recalls all those beautiful, awful, surreal and inescapable memories that the technicians at Lacuna would be working so hard to wipe from your brain. Ironic? Maybe. Intended? Possibly. But when the film's over, don't you feel kind of reassured? Isn't it a relief that you still have all those memories safely stored away? Isn't it nice to be able to look back on the experiences that helped shape you -- the good with the bad, the picturesque with the dreadful? Isn't it better to have loved and lost than to have never loved at all?

No??

Yeah... maybe your right.