This week we conclude our look at the top films of the decade.

Andy: Number two on my list may come as a surprise to some people. 2003’s Lost in Translation (R) stars Bill Murray as an American actor filming a commercial in Japan. He meets a young American woman (Scarlett Johansson) who is experiencing similar emptiness and isolation. What really makes Lost in Translation stand up after repeated viewings is the way the director Sofia Coppola beautifully shoots the Tokyo landscape. Several of the scenes play out with the haunting soundtrack playing over the electric cityscape as the characters wrestle with their loneliness.

Murray gives what is likely the most powerful performance of his storied career. He brings disillusionment and mendacity to his performance that is still tempered with the decades of humor that are lying just underneath his every word, gesture, and look. For her part, Johansson also gives a performance that she’s spent the last seven years unsuccessfully trying to match. Her outward youthful innocence is betrayed by a much deeper restlessness that makes for a very complex performance. But the real star here is Coppola, who coaxes these amazing performances out while making the setting a crucial character in the story.

Ryan: Rounding in at number two on my list is Paul Thomas Anderson's There Will Be Blood (2008). The movie came in at number three on Andy's list and when he profiled the film he made several key points. One There Will Be Blood is a beautiful film. It's certainly a terrifying beauty but there's no doubt that from a purely aesthetic standpoint There Will Be Blood is one of the most artistically shot films of the decade. Anderson constructs every scene like it's the film's most important scene and that attention to detail sets his movie's apart. Anderson's body of work is top notch but There Will Be Blood clearly shows him at the top of his game.

A second point that Andy alluded to is that There Will Be Blood “does not have much fun about it.” It's not that it's a difficult to film to watch or grasp. But it's a movie with a stark view of human nature. It's not a good-guy versus a bad-guy type film. It's more of a bad guy versus an even worse guy. Paul Dano's character, Eli Sunday is a religious hypocrite and Daniel Day Lewis character, Daniel Plainview, has been seduced by greed. When these two characters interact the results are far from pleasant. Let's just say that the title of the movie is aptly put.

It's impossible to talk about this movie without paying due respect to Daniel Day Lewis. He justifiably earned an Oscar for his performance and I would go even further and argue that it's the best performance of the decade. The power of the performance is that one is still captivated with his character even though he's clearly on a downward spiral into an emotional emptiness. One can't take his eyes off of him. It's a transcendent performance that makes There Will Be Blood a truly memorable film.

Andy: My number one movie of the decade is 2004’s Eternal Sunshine of the Spotless Mind (R). One thing that propels this movie to the top of my list is the fact that I have probably seen this movie four times in the past six years, and it continues to get better with each viewing. The complex plot structure, written by Charlie Kaufman, the best screenwriter of the decade, is a key element of the movie’s success. A couple (Jim Carrey and Kate Winslet) who have their memories erased after a bad break up. We see the love story in reverse, as the two try to piece together the shadow of memories that exist.

Part of what makes it work is the superb supporting cast that includes Tom Wilkinson, Mark Ruffalo, Kirsten Dunst and Elijah Wood. All put in great performances, but the real stars here are the leads. Jim Carrey has always been vastly underrated as a serious actor, and this is the best performance he’s ever given. Not to be outdone, the best actress of the decade, Kate Winslet, absolutely owns her performance. Director Michael Gondry pieces it all together in a movie that is entertaining, uplifting, tragic and interesting all at once. For my money, it’s the closest this decade came to movie perfection.

Ryan: In this modern media age when one is a movie lover one can't help but to get geared up for new releases. It's almost always the case that one goes into just about every movie with a certain set of expectations. Unfortunately more times than not those expectations are not entirely met. But every so often a movie meets those expectations and sometimes--in those rare instances--a film will even surpass those conceptualized notions. And when that happens one knows that they have a true gem on their hands. With that said, my number one film of the decade is Christopher Nolan's The Dark Knight (2008).

This revelation might not surprise some people. Being a life-long Batman fan certainly does call into question my objectivity. But I feel confident--as a fan and as a critic--to label The Dark Knight as the film of the decade. Nolan's take on Batman (and that includes Batman Begins as well) is the definitive cinematic take of the Caped Crusader. As a Batman aficionado I can positively say that those movies brought to life in the most authentic manner the Batman mythos.

But I can also take a step back from fandom and see why The Dark Knight became such a cultural phenomenon. Not only is it an extremely well made film that is highlighted by the iconic performance of Heath Ledger (as the Joker) but it captured the zeitgeist of the nation upon it's release in the summer of 2008. The themes in The Dark Knight of good versus evil is as timeless as it gets but there was something so contemporary with it's manifestation of the battle that it instinctively struck the right chord with moviegoers. In an uncertain time while facing an unexplainable evil, an incorruptible yet ruthless hero was needed. Batman personified the type of hero that audiences were looking for. In this decade comic book movies dominated cineplexes but the relevant escapism of The Dark Knight propelled it to the top of my list.

Now that our lists are complete, we will begin to look at this year’s Oscar hopefuls starting next week.