“To get an Oscar would be an incredible moment in my career…But the ‘Lord of the Rings’ films are not made for Oscars, they are made for the audience.” – Peter Jackson Where does blockbuster filmmaking go moving into the 21st century? Based on what big-budget, high-grossing films have become synonymous with the 2000s, it seems that studios have shifted away from the sci-fi adventure films that defined the 1980s and 1990s and pursued fantasy and superhero stories instead.
So, without further ado, here are some of the best blockbuster movies from the first decade of this century. Harry Potter and the Sorcerer’s Stone (2001) In the mid-1990s, British film producer and founder of Heyday Films David Heyman was searching for a children’s book to adapt for the silver screen. After his staff brought up J.K. Rowling’s 1997 fantasy novel “Harry Potter and the Philosopher’s Stone,” Heyman pitched the idea to American film studio Warner Brothers. Two years later, Rowling sold the rights of the first four books in the “Harry Potter” series despite her initial hesitations about WB making their own movies in the world of “Harry Potter” not based on her stories. Steven Spielberg was in talks to direct, but his vision for an animated movie to adapt the first book in the series was turned down and he went on to direct A.I. Artificial Intelligence instead. Several other directors engaged in talks with Warner Brothers, from Terry Gilliam (Monty Python and the Holy Grail, The Fisher King) and Jonathan Demme (The Silence of the Lambs, Philadelphia) to Rob Reiner (Stand by Me, The Princess Bride) and M. Night Shyamalan (The Sixth Sense, Unbreakable). Due to his work on family films like Home Alone and Mrs. Doubtfire, Pennsylvania native Chris Columbus was chosen by Warner Brothers to direct the movie (Rowling preferred Gilliam as an admirer of his previous work). American screenwriter Steve Kloves (Wonder Boys, The Amazing Spider-Man) was hired to adapt “Harry Potter and the Philosopher’s Stone,” but Rowling retained much creative control over the film during pre-production (which both Columbus and Kloves did not mind). One of her most well-known conditions for selling the film rights to her series was that the cast be kept strictly British or Irish unless it made sense within the story otherwise. Many of the notable characters were officially cast in August, from Alan Rickman (Die Hard, Sense and Sensibility) and Maggie Smith (The Prime of Miss Jean Brodie, A Room with a View) to the three child leads: Daniel Radcliffe, Emma Watson, and Rupert Grint. After collaborating with the British government, Warner Brothers kicked off principal photography in late September of 2000. Notable filming locations include Alnwick Castle in Northumberland and Gloucester Cathedral in Gloucestershire (both served as principal locations for Hogwarts scenes), Durham Cathedral in Durham (for some additional Hogwarts scenes), and London Zoo (for Harry and the Dursleys’ visit to the zoo). After two days of shooting in Bracknell, Berkshire, the remainder of the Privet Drive scenes were moved to a constructed studio set at Leavesden Studios in Hertfordshire. Filming concluded in late March of 2001. Released in the United States on November 16, 2001, Harry Potter and the Sorcerer’s Stone received largely positive reviews from critics. Roger Ebert, for example, called the film “a classic,” while others found its many strengths overcoming some of its notable weaknesses. By the end of its initial theatrical run, the film had earned 974 million dollars on 125-million-dollar budget, making it one of the highest-grossing films ever at the time. As a result of a re-release during summer last year, the film has officially grossed a tad over one billion dollars. Furthermore, the movie received nominations for Best Art Direction, Best Costume Design, and Best Original Score at the Academy Awards but won none of them. Today, the film’s legacy was cemented by kicking off an eight-movie franchise that ended in 2011. In total, the eight Harry Potter films have grossed 7.7 billion dollars. In addition, the two films released thus far from spin-off Fantastic Beasts franchise have grossed nearly 1.5 billion dollars (with a third entry on the way next year). While not a diehard fan of J.K. Rowling’s Wizarding World, I was an avid fan of both the film and novel series as a child and love going back to the eight Harry Potter films next year in the lead-up to the third Fantastic Beasts movie. That being said, I’ll be diving deeper into my thoughts on the franchise as a whole in the future so I want to just focus on its first entry. Harry Potter and the Sorcerer’s Stone is one of the best introductions to a fantasy world in film/television of the last several decades. Chris Columbus nails the balance of whimsy, mystery, and understated danger that defines the iconic locations of the world of wizards and witches (from Diagon Alley to the various corners of Hogwarts itself). However, much of the brilliance of the film’s narrative structure is by introducing the audience to this world of magic through the eyes of its loveable protagonist. While a wizard-by-blood himself, Harry has grown up knowing nothing about Hogwarts and magic which makes it that much more effective when he learns about the ins and outs of this world in all of its hidden secrets just as we do. By the film’s end, I feel satisfied not only with the journey that Harry has gone on as a character but how the filmmaker and cast and crew have brought the world that J.K. Rowling conceived of on a train ride to life in such vivid aesthetic and enticing world-building. Admittedly, I am not an expert on the books and thus lack a strong emotional investment in how much the later films deviate from the source material. That being said, Harry Potter and the Sorcerer’s Stone might not be the best film in the franchise but it is undoubtedly one of my favorite ones. It evokes so much happiness from my own childhood and has an undeniable and wondrous allure to it that the film’s infectious charm makes me feel like I am seeing it for the first time whenever I rewatch it. ‘Nuff said. 😊 The Lord of the Rings: The Return of the King (2003) There had been several attempts to adapt J.R.R. Tolkien’s acclaimed fantasy novel “The Hobbit” (1937) and “The Lord of the Rings” trilogy (1954-55), spanning the late 1960s to the late 1970s. However, the film rights to Tolkien’s Middle-earth passed through the hands of a multitude of studios before landing in the laps of United Artists. Additionally, several big-name producers (from Samuel Gelfman to Walt Disney) expressed interest in putting the story of Bilbo and/or Frodo Baggins on the big screen. As a child, New Zealand director Peter Jackson (Heavenly Creatures, King Kong) was unfamiliar with Tolkien’s original text and was instead exposed to Middle-earth by watching the 1978 animated film directed by Palestinian native Ralph Bakshi (Heavy Traffic, Wizards). Despite being interested in adapting the books for live-action, Jackson waited until the late 1990s to seriously consider undertaking such an endeavor believing that bigger, more experienced names in Hollywood would do so and that he was out of his depth to even attempt such a feat. With the advancement of computer-generated imagery as exhibited by Spielberg’s 1993 sci-fi adventure film Jurassic Park, Jackson set out to plot out a high-fantasy story of his own. However, he and his partner Fran Walsh ended up always coming up with something so derivative of Tolkien’s work and decided to track down the current status of the film rights to “The Lord of the Rings.” After some prolongated negotiations with the holder of the adaptation rights, Saul Zaentz, (with Miramax acting as the middleman) Jackson became discouraged and took an offer from Universal Studios to film a remaking of the 1933 film King Kong. However, this remake was put on hold in 1997, and Jackson and Walsh returned to their efforts in sorting out the film rights to Tolkien’s novels. Once they both decided to turn their two-film story treatment into three films, Miramax rejected their offer. So, they cut several elements of Tolkien’s story to crunch everything back into a two-film treatment with a proposed budget of 75 million dollars and Miramax accepted their proposal. After more than a year of screenwriting, Jackson and Walsh (with some help from Stephen Sinclair and his partner Philippa Boyens) produced scripts for two films that were over 140 pages each. In addition, they had devised a 110-day production schedule which aimed for releases on Christmas of 2000 and Memorial Day of 2001. Due to the total budget quickly climbing to 150 million dollars, Miramax went to Disney and DreamWorks for help with funding but were denied and thus requested once again that Jackson combine the two films into one. After months of prolongated studio politics in which Miramax pressured Jackson into making one film, Jackson decided to begin shopping the project around to other studios. After being rejected by Sony Pictures and 20th Century Fox (the rest of the studios never even reviewed the scripts), Jackson snagged a meeting with the CEO of New Line Cinema (his friend, Mark Ordesky, was an executive there). Once Jackson picked up on the fact that New Line was quite interested in making a trilogy of films, he became enthusiastic about working with them. Thus, Jackson, Walsh and Boyens went to work on restructuring their two scripts into three which allowed them to fit more of the story in as well as prioritize satisfying story beats and climaxes over exposition. Furthermore, three scripts allowed the writers to flesh out the world and expand the battle sequences. Pre-production officially began late in the summer of 1997, involving Jackson and his team storyboarding and overseeing the design of Middle-earth for the silver screen (including, but not limited to, creating the armor, weapons, prosthetics, costumes, sets, and creatures for the films). Two years later, in October of 1999, principal photography kicked off in New Zealand. Spanning over 150 unique locations throughout the country, filming lasted over a year until December of 2000. Specific to the third entry in the trilogy, the Battle of the Black Gate was filmed at the Rangipo Desert with New Zealand soldiers hired as extras, the Mount Doom exteriors were shot at Mount Ruapehu, and the Ride of the Rohirrim was filmed in the town of Twizel. The final scene filmed was of the four Hobbits being bowed to by the inhabitants of Minas Tirith, including Aragorn himself (😊). The Return of the King, the third and final entry in Jackson’s The Lord of the Rings trilogy, was released in December of 2003. Riding high off of critical and audience anticipation following the release of The Fellowship of the Ring and The Two Towers two years and one year prior, respectively, the film grossed over 1.1 billion dollars worldwide (becoming the second highest-grossing film of all time upon its release). Both audiences and critics deemed it a massive cinematic achievement, and it garnered eleven wins out of eleven nominations at the Academy Awards, including Best Picture (tying Ben-Hur and Titanic for the most Oscars won by a single film). Today, The Return of the King remains for many one of the greatest films ever made. In the hopes of dedicating a whole blog to Peter Jackson’s film adaptation of Tolkien’s high-fantasy trilogy, I will reserve much of my specific praise for and criticism of The Return of the King for that. That being said, I found myself during my second viewing of The Lord of the Rings trilogy enjoying the third entry the most―in that respect, Jackson and his cast and crew accomplished their goal of making a satisfying conclusion to a (in my humble opinion) less-than-fulfilling fantasy story. Both times viewing The Fellowship of the Ring I was (for the most part) bored out of my mind. And while I enjoy the latter 90 minutes of The Two Towers, the rest of it (excluding Gollum’s character) is either uninteresting or flat-out revolting to get through. But The Return of the King does what it needs to do for me; provide an action-packed and exciting climax to the epic tale of Frodo Baggins, Samwise Gamgee and Aragorn while also wrapping up their storylines in a way that feels deserved and worthy of Tolkien’s legacy as an expert storyteller. That being said, I greatly respect the years of blood, sweat and tears that went into making this film trilogy. Undeniably, the director, writers, cast, and production team put everything into making this adaptation the best that it could be. But, that doesn’t make me enjoy the trilogy anymore or less. Still, The Return of the King is a solid ending to a well-crafted story that just doesn’t keep me hooked from start to finish. And I can at least relish in the fact that Jackson and his team were allowed to see their version of Tolkien’s Middle-earth through to the end. That is a rare thing in cinema history, and I appreciate it for that if nothing else. Iron Man (2008) Throughout the 1990s and early 2000s, the film rights to an Iron Man project bounced around studios, from Universal to 20th Century Fox, and various actors (notably Nicolas Cage and Tom Cruise) expressed interest in playing the genius-billionaire-playboy philanthropist. (😊) Also, such directors as Quentin Tarantino (Pulp Fiction, The Hateful Eight) and Nick Cassavetes (The Notebook, My Sister’s Keeper) were at various points in talks to helm the project. However, when Cassavetes’s deal with New Line Cinema fell through, the rights to Iron Man reverted back to Marvel. By late 2005, relatively-new film wing of the comic book company Marvel Studios began development of the film from scratch. Iron Man would become the studio’s first independently-financed feature film, as Tony Stark and his metal-clad alter-ego was Marvel’s sole major character who had not already received a live-action adaptation (á la Spider-Man and Hulk, among others). After approximately 30 writers passed on the opportunity to write a script, the studio gathered data from a multitude of focus groups in an effort to develop a plan to make the general public more knowledgeable about some of the character’s basic traits and characteristics. By spring of 2006, Marvel Studios hired Jon Favreau (Elf, Chef, The Jungle Book) to direct the film. It was Favreau who oversaw much of the character’s story being updated for modern times (i.e. Tony selling weapons to the U.S. Army in Afghanistan, not Vietnam). Initially, Favreau wanted Sam Rockwell (The Green Mile, Matchstick Men, Three Billboards Outside Ebbing, Missouri) for Tony Stark, but after seeing the screen test of Robert Downey, Jr. (Zodiac, Tropic Thunder) the director became dead-set on him playing the titular role. Favreau managed to override Marvel Studios’ trepidation about casting Downey in the lead role, as the director felt that Downey’s past struggles with addiction and his recovery in the early 2000s made him the perfect person to play Tony Stark. In an effort to ground the film even further, Favreau enlisted the talents of Oscar-winning special-effects artist Stan Winston (Aliens, Terminator 2: Judgment Day, Jurassic Park) to oversee the design of the three different versions of the Iron Man suits. The Mark I suit that Tony builds in a cave was both a 90-pound wearable suit and a lighter, more durable version with only the top half visible. In addition, the “Iron Monger” worn in the film’s climax by Obadiah Stane (Jeff Bridges) was an 800-pound animatronic that required five operators at any given time. Principal photography kicked off in March of 2007 and lasted until June, spanning from the Olancha Sand Dunes and Edwards Air Force Base in California to Caesars Palace, Nevada. Notoriously, there was much dialogue improvisation during filming which was encouraged by Favreau in an effort to make the film’s character-centric scenes feel more natural. Downey and Bridges periodically rehearsed by swapping characters to see how their own improvised lines sounded. Furthermore, news of the Nick Fury cameo in the film broke onto the Internet just days after being filmed so Kevin Feige, the President of Marvel Studios, had the scene removed from all preview prints to keep the surprise. Regarding this now-famous post-credits scene, Nick Fury’s alternate take referencing “radioactive bugs” and “mutants” had to be cut to avoid legal issues with Sony Pictures and 20th Century Fox. Iron Man had its domestic theatrical debut on May 2, 2008 and became an unexpected hit at the box office, having the second-best premiere for a non-sequel (behind Spider-Man) and the fourth-biggest opening for a superhero film at the time. Not only did it end up grossing over 580 million dollars, but it also received near-universal positive vibes from critics who showered much of their praise onto Downey for his electric performance as Tony Stark. It ended up receiving two Academy Award nominations for Sound Editing and Visual Effects, but won neither. While not a massive Oscar hit, the legacy of Iron Man cannot be questioned. Not only did it help usher in a new era for comic book cinema (alongside The Dark Knight), but it also kicked off Marvel Studios’ cinematic universe filled with powerhouse superhero performances from Captain America and Spider-Man to Black Panther and Captain Marvel. To date, the Marvel Cinematic Universe (consisting of 23 films with many more on the way) is the highest-grossing film franchise having collectively raked in over 22 billion dollars (Star Wars is in a distant second place at 10.3 billion dollars). Having just rewatched Iron Man less than two weeks ago, I firmly believe that its contribution to the comic book genre and its significance to the Marvel Cinematic Universe cannot be understated. While the film in and of itself is imperfect, it offers enough charm, action, comedy, and character work to make me care more and more about Tony Stark every time I watch it. As a film, it’s not without some problems. Notably, the second hour is not nearly as strong as the first. Once Tony officially debuts the Iron Man suit to the world via saving some civilians in Afghanistan and battling two U.S. Air Force jets, the story struggles to racquet up the dramatic tension any further. Unfortunately, much of that has to do with Obadiah Stane’s very sudden transformation from a seedy corporate villain conniving behind the scenes to a flat-out cartoon embodiment of evil. It’s simply not nearly as convincing as Tony’s character arc nor the presence of the secondary characters that surround him (from Yinsen to Pepper Potts). But, I don’t want to harp on its flaws because Iron Man is such a damn good movie. The way that Favreau introduces Stark’s characters in the opening HUMVEE scene to showing us his genius play out in escaping the cave and what that leads up both thematically and emotionally for his character is some great screenwriting and story crafting. And by the last five minutes, when Tony reveals his superhero identity to the world, I am completely enraptured by Downey’s portrayal of this larger-than-life ego that has learned to be selfless while still being an eccentric, narcissistic jackass. Needless to say, Iron Man is not only a fantastic superhero origin story but has also earned its place in comic book-movie history as the literary and aesthetic foundation of arguably the most impressive achievement of a franchise in the history of cinema. Need I say more? 😊 The Dark Knight (2008) Prior to the release of Batman Begins, screenwriter David Goyer developed an idea for two sequels which centered around the iconic DC villains Joker and Two-Face. Goyer took inspiration from writer Jeph Loeb’s and artist Tim Sale’s mid-1990s limited series “Batman: The Long Halloween”. By the summer of 2006, Warner Brothers officially announced pre-production for the follow-up to Batman Begins with Christopher Nolan (Memento, Inception, Dunkirk) returning to direct. Christopher Nolan, along with his brother and co-screenwriter Jonathan, looked to the first issue of “Batman” in 1940 and Rudolf Klein-Rogge’s performance as the eponymous character in the 1933 German film The Testament of Dr. Mabuse as inspiration for writing the Joker. In addition, Nolan desired to avoid telling the origins of the Joker in order instead to emphasize the “absolute” nature of his presence in the story. Overall, the sequel aimed to escalate the emotional and stakes established in his first Batman movie as well as develop Bruce Wayne into more of a detective character. Principal photography spanned April to November of 2007 on location around the world, from Chicago and London to Hong Kong. Due to Nolan’s desire to take on the challenge of shooting in IMAX, this film became the first mainstream movie to shoot partially in IMAX 70 mm cameras. Notably, Nolan used this technology to shoot Joker’s introduction (part of the total 28 minutes of IMAX footage in the final product). On set, actors such as Aaron Eckhart and Gary Oldman noted how special the late Heath Ledger’s performance as the Joker was going to be (long before Ledger earned his well-deserved accolades for his portrayal of the Joker). One of the more intimate and powerful special effects from the movie is Harvey Dent’s scarred face. Nolan sought to ground the look to make it more real and, therefore, horrifying. Akin to the motion-capture of Andy Serkis as Gollum in the Lord of the Rings trilogy, it is one of the best computer-generated special effects in film from the 2000s and achieves much of what the desired effect is. Upon receiving its wide domestic release on July 18, 2008, The Dark Knight grossed 997 million dollars worldwide during its initial run. Adamant for the film to cross the one-billion-dollar mark, Warner Brothers re-released it early the next year (which pulled off the milestone). Furthermore, the film became universally praised by critics and audiences alike, cementing a legacy of one of the best films of the 2000s and one of the best comic book movies ever made. Of everyone in the film, Ledger’s performance as the Joker undoubtedly received the most praise. Ultimately, Ledger was posthumously awarded the Oscar for Best Supporting Actor. Last year, The Dark Knight was selected for preservation by the Library of Congress for its cultural, historic, and/or aesthetic significance. Having been incredibly impressed by Nolan’s first superhero flick, 2005’s Batman Begins, I was somewhat pessimistic that the follow-up could match―let alone exceed―that level of accomplishment. And, to be perfectly honest, I was not in during the first hour of the film. While the Joker’s introduction was cool, it wasn’t until Batman saving Harvey Dent (Aaron Eckhart) from Joker’s ambush of the convoy that I saw what everyone else sees in this movie: pure cinematic genius. And then it just got better and better. Once the film centered around Joker’s manipulation of Batman via putting the lives of both Dent and Rachel Dawes (Maggie Gyllenhaal) at risk, I was sold on The Dark Knight being a masterpiece of both storytelling and visual art. The way that Nolan keeps the drama and tension heightened by playing Batman and Joker off of each other to explore the virtues of order and chaos and their “yin-yang” relationship is so fascinating to be swept up into. And it was clear from there on out that so much attention was paid to making the audience care about every single main character involved in this insane yet gripping story of corruption and insanity. For me, however, it is the tragic downfall of Harvey Dent (pulled off so well by Eckhart) that makes the film as compelling and powerful as Ledger’s performance as Joker makes it heart-pounding and horrifying. The humanity exhibited by Dent from his firm commitment to order and how the loss of Dawes turns him assuredly into a misguided anti-hero is such an underrated aspect of this film in light of Ledger’s Oscar-winning performance. So, praise for Eckhart and the attention paid by the Nolan brothers to Dent’s character arc and how important it is for the film’s overall story. Without question, The Dark Knight will go down in history as one of the best films of the 21st century and one of the best superhero films of all time. It deserves this praise, and I can only hope that another expertly-crafted piece of cinema on its level will be brought into the world in my lifetime. Avatar (2009) In 1996, two years after writing an 80-page story treatment inspired by science-fiction and adventure novels from his childhood, director James Cameron (The Terminator, Aliens, Titanic) partnered with the Los Angeles-based visual effects company Digital Domain to make his movie with computer-generated actors. However, as the technology necessary to achieve his vision was not up to his standards, Cameron temporary shelved the project. By 2006, Cameron returned to actively developing the project due to the advancements in CGI reflected in characters such as Gollum, King Kong, and Davy Jones. In addition to filming a proof-of-concept clip with ten million dollars from 20th Century Fox, Cameron spent months writing a script, developing the culture of the aliens in the story, and overseeing designing of the alien homeworld. He also sought out USC linguist Dr. Paul Frommer to create the aliens’ language (inspired largely by Ethiopian Amharic and New Zealand Māori). Due to Fox seemingly wavering on its commitment to backing the film getting made, Cameron shopped the concept around to other studios (notably Walt Disney Studios). However, once Fox received word of this Fox ultimately made a firm commitment to the project in spite of its nerves surrounding the movie’s 237-million-dollar budget (not including 150 million dollars for marketing). Thus, by April of 2007, principal photography on Avatar began. Due to Cameron’s special-effects-heavy vision, the production became a hybrid between live-action cinematography and CGI-laced techniques of filming (i.e. motion capture). Notably, Cameron used his own version of a virtual camera system in order to direct scenes of the actors’ digital counterparts in real time. The film’s production was defined by many other advancements and innovations in visual effects, from new approaches to lighting, a massive motion-capture stage, and a custom-made camera apparatus designed to capture the actors’ facial expressions in real time and more accurately than ever before. The excessive amount of data being stored in the process required Weta Digital, the film’s lead visual effects company, to develop a brand-new cloud computing system. Ultimately, one minute of the final cut of Avatar accounts for over 17 gigabytes of storage. Released on December 18, 2009, Avatar became (and continues to be) the pinnacle of blockbuster moneymaking. Less than two months later, the film became the first in history to earn over two billion dollars worldwide during its initial run (excluding re-releases, only three other films have achieved this milestone). As of now, the film has raked in over 2.8 billion dollars at the box office. Critically, it was universally praised for its innovations in visual effects (with many comparing it to what Star Wars did for film in the 1970s). However, some critics took issue with its political and social commentary. While the film generally received for its perceived anti-war, pro-environment message, some pointed out its unbalanced portrayal of Eastern spirituality. Others, though, simply derided the film as derivative and embracing problematic storytelling tropes. While Avatar was nominated for nine Academy Awards (including Best Picture and Best Director), it only won three awards for technical achievement (Art Direction, Cinematography, and Visual Effects). It's been years since I watched Avatar, but I vividly remember seeing it for the first time in theaters. While on an indoor campout at my local mall, I saw the film with the rest of my Boy Scout troop and recall being captivated from beginning to end. It might be one of the first times I felt completely swept away by a movie theater experience. And every repeat viewing since then, my enjoyment of Avatar was never really diminished. I’m a sucker for good world-building, and I think Avatar does a great job crafting a fascinating sci-fi world with a pretty unique alien identity while still being relatable to the audience. In many respects, Cameron outdid himself as a storyteller with this film since the story of Jake Sully (Sam Worthington), Neytiri (Zoe Saldana), and the various humans and Na’vi surrounding their burgeoning romance is both universal and intimate. Of course, Avatar’s biggest achievement is in its use of special effects to craft the world of Pandora. The performance capture for the actors, military vehicles and native creatures on the planet remain stunning and show that the film is more than deserving of its Oscar accolades for being a watershed moment for visual effects in cinematic history. All that being said, however, I am somewhat hesitant to comment too much on Avatar as I have not rewatched it in some time. Sometime next year, I plan on writing my thoughts on all of James Cameron’s directed films and am very excited to rewatch the film then. Will it hold up? I guess I’ll have to wait and see. As with the 1980s and 1990s, there are plenty of other blockbusters from this decade worth talking about. Notably, the first two entries in Jackson’s The Lord of the Rings trilogy grossed a combined 1.8 billion dollars. Additionally, the latter entries of the Harry Potter franchise grossed anywhere from 797 to 942 million dollars. And the lesser-known but equally-profitable film trilogy of the decade was none other than the Johnny Depp-led Pirates of the Caribbean films; released from 2003 to 2007, this swashbuckling trilogy raked in a whopping 2.7 billion dollars. Which of these 2000s blockbuster films is your favorite? What other 2000s blockbusters that I did not mention here do you think are important? What opinions of mine do you find absolutely ridiculous? Let me know in the comments below. Until next time, this has been… Yours Truly, Amateur Analyst
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Austin McManusI have no academic or professional background in film production or criticism; I simply love watching and talking about movies. Archives
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