Aughts, Oughts, and Ends: Playtime Presents the Best of 2000-2009
Now that the Academy has had its say on the supposed best films of 2009, we at Playtime have taken the occasion to reflect not only on the past year, but the last decade, and the best it had to offer. These lists by our contributors are anything but authoritative — we’re not experts, we’re enthusiasts — but if our survey of the decade in cinema isn’t comprehensive, it is full of conviction. The films on our lists may not be the “best of the decade,” but each of us believes that they are the best that we’ve seen. The Aughts1 were a fertile and creatively fecund ten years for filmmaking around the world, and the films offered here reflect that. Enjoy. – MS
My list is pretty standard. You won’t find many foreign language or artsy films. I watch far fewer of them than I would like. As a result this list will never be officially “finished,” since I didn’t manage to see every film made in the last decade. Somehow, I soldiered forth and was able to put together this list. I think it’s a damn good list. Lots of good films on here. Disagree with me, sorry. Where’s your list. That’s what I thought. Loser.
Children of Men (d. Alfonso Cuaron, 2006) – Not only my favorite film of the last ten years, but it is firmly planted at number four in my “Best Films of All Time” list. There were a number of times while watching it in the theater that I had to remind myself to breathe, unclench my hands, and scooch back in my seat. Regardless, minutes later I would catch myself holding my breath, clenching my hands, and sitting on the edge of the seat again. Probably the best theater experience I’ve ever had.
Zodiac (d. David Fincher, 2007), No Country for old Men (d. Joel Coen & Ethan Coen, 2007) – These two share a common bond, in that I went into both with very high expectations (No Country’s were almost unattainably high) and came out of the first viewing somehow unsatisfied. I didn’t dislike either film, nor did I think they were great or amazing. They just were what they were. Then I went on with my life, or so I thought. I kept thinking back to them, and thinking back on them. The more I thought, the more I wanted to watch them again. After months and months of waiting, I was able to finally watch them again, and was amazed by how good they were, and still spent the next couple of weeks thinking back on them…
The Assassination of Jesse James by the Coward Robert Ford (d. Andrew Dominik, 2007) – There’s nothing about this film that didn’t amaze me. A lot of people complained about the length, but I didn’t want it to end. The psyches of both the title characters were amazingly portrayed by Pitt and Affleck (the baby one, not the embarrassing, older one). You can insert whatever positive hyperbolic statement you want here about the film. I loved it.
There Will Be Blood (d. Paul Thomas Anderson, 2007) – The ending was great and exactly what it needed to be. Eat it, suckwads.
Brokeback Mountain (d. Ang Lee, 2005) – I’m not sure why I like this film so much, when I normally couldn’t care less about romance films. I just found it incredibly moving and deep, with some beautiful cinematography and a great score. Plus it has Anne Hathaway in it. And her bewbs.
American Psycho (d. Mary Harron, 2000) – This is another one of those films that was better the second time viewing. However, unlike Zodiac and No Country, I liked American Psycho a lot on the first viewing, but I needed that first viewing to ease into the movie fully. My second viewing of the film was with a number of friends who had never seen it before. While they sat horrified, I found myself cackling maniacally at the terror and absurdity unfolding on screen.
Kung fu (Kung Fu Hustle) (d. Stephen Chow, 2004) – I love the energy and cartoonishness of this film. I managed to catch it on TV not too long ago and found myself spending the next two hours with my jaw on the floor. You should know within five minutes if the film is for you or not. It’s super-stylish, bombastic, colorful and boasts all sorts of ass-kicking. If I could, I would watch this every day.
Memento (d. Christopher Nolan, 2000) – Even after the repeated viewings and the uniqueness of the gimmick has worn off, this is still a taut little film. Despite the very nature of the film being a mystery, it also delved into the nature of revenge and villainy. Now, where was I?
Mulholland Dr. (d. David Lynch, 2001) – Fuck the what? I spent an hour after seeing this the first time reading up about the theories surrounding the film. I can’t wait to show it to someone and see if they can figure out everything or anything. The film originally started out as a television project. As a result, it has a bit of a watered down feel through part of it. This adds wonderfully to the dream-like nature of the film. Plus, lesbians.
My Top 10 best movies:
Almost Famous (Cameron Crowe, 2000) – A heartwarming coming-of-age tale with a brilliant soundtrack (I’m a big fan of that period), Crowe’s semi-autobiographical movie is the one that I would pick if I had to pick only one movie from The Aughts. Every character is cast and fleshed out perfectly and it’s a much-needed reminder that once upon a time, Kate Hudson didn’t suck (unlike her character, Penny Lane…).
Kill Bill (d. Quentin Tarantino, 2003, 2004) – A glorious pastiche of samurai, chop-socky, and yakuza films and anime with a mostly Western cast, in the hands of any other director this would have been an abysmal failure. I won’t distinguish between the two volumes, as they are meant to be enjoyed as a whole.
No Country For Old Men (d. Joel Coen & Ethan Coen, 2007) – One of the Coen Bros.’ best. By a wide margin the year’s best. Another solid Tommy Lee Jones performance, a surprisingly good Josh Brolin performance (never liked the guy before as an actor) and a downright brilliant performance by Javier Bardem.
Religulous (d. Larry Charles, 2008) – Even as a Catholic boy, I enjoyed Bill Maher’s scathing exposé on some of religion’s more extreme nutballs. It doesn’t even take much effort on his behalf. These crackpots are perfectly capable of digging the holes themselves. Hilarious.
Letters From Iwo Jima (d. Clint Eastwood, 2006) – WW2 is rarely told from a viewpoint other than the Allied Forces’. Eastwood’s decision to retell the battle of Iwo Jima focusing on the Japanese side of the conflict was a brave risk and the movie ended up a darn sight better than his meandering Flags Of Our Fathers.
The Dark Knight (d. Christopher Nolan, 2008) – The Aughts was the decade that comic book movies grew up. Not only did they finally find a massive mainstream audience, their quality transcended the comic book genre to become good films in their own right. TDK is the greatest comic book movie to date and probably one of the top five movies of 2008, period.
Ratatouille (d. Brad Bird, 2007) – Pixar can do very little wrong in my opinion. I never thought I’d be sympathetic to a rat, even one with aspirations to become a chef. The cooking sequences alone will make you salivate. According to my brother (a professional chef), it’s the most accurate description of a restaurant kitchen since Big Night. Sans rat, of course.
Ying xiong (Hero) (d. Zhang Yimou, 2002) – I picked this one over Crouching Tiger, Hidden Dragon as my favourite martial arts film of the decade. The combination of several Hong Kong legends, the striking, colour-coded visuals and the inventive, almost dance-like fight sequences place Hero at the top of the heap.
Million Dollar Baby (d. Clint Eastwood, 2004) – A very human story soberly directed by Eastwood, astonishing performances from the three main actors make the emotions resonate without resorting to schmaltzy tearjerking.
Zodiac (d. David Fincher, 2007) – A movie that gets under your skin and stays there long after you’ve seen it. David Fincher is undoubtedly one of the most talented and most consistent directors of his generation. Zodiac is right up there with Fincher’s best, Fight Club.
My Top 10 Not-Guilty Pleasures:
300 (d. Zack Snyder, 2006)- Sometimes, I just want my entertainment to be loud, covered in blood, and hacked to pieces.
Freddy vs. Jason (d. Ronny Yu, 2003) – Just the idea of these two horror icons slugging it out made me giggle with anticipation. Far greater fun than the sum of its parts had any right to be, I saw it twice in theatres and bought it on DVD the day it came out (in a country where films usually drop at least half in price after no more than two months).
Dog Soldiers (d. Neil Marshall, 2002) – Good werewolf movies are hard to come by, but this struggle between a squad of English troopers and some pretty cool werewolves (considering the budget), makes DS one of the few werewolf movies that worked.
Identity (d. James Mangold, 2003) – Solid cast and Mangold’s solid direction turn what should have been a B-movie into something a little better. Not the best of the decade’s horror, but miles ahead of the recent trend of torture porn.
Ice Age (d. Chris Wedge, Carlos Saldanha, 2002) – What can I say? Scrat made me laugh the hardest in cinemas more than any other character.
Signs (d. M. Night Shyamalan, 2002) – The logic behind the concept of aliens, who can be defeated by water, invading a planet consisting of 71% of the stuff that kills them is a bit daft. As a deconstruction of human faith, it’s a compelling journey.
V for Vendetta (d. James McTeigue, 2005) – Flawed, it’s still one of the better adaptations of Alan Moore’s work. Natalie Portman’s schizophrenic English accent distracts somewhat, but Hugo Weaving as V is a compelling protagonist and is ably supported by Stephens Fry and Rea.
Serendipity (d. Peter Chelsom, 2001) – A fairly standard rom-com, but Cusack and Beckinsale make a very cute couple. Watch out for an extended Eugene Levy cameo, from an era when such a prospect didn’t elicit groans of exasperation.
Cars (John Lasseter, Joe Ranft, 2006) – Pixar’s least well-received movie still gets more viewings in my home than other, better received movies from the animation studio.
U-571 (d. Jonathan Mostow, 2000) – Historical inaccuracies aside, it’s a tense little war movie and one of the few times Matthew McConaughey didn’t suck.
Mind Game (d. Masaaki Yuasa, 2004)
Oldboy (d. Park Chanwook, 2003)
Fong juk (Exiled) (d. Johnnie To, 2006)
The Lord of the Rings: The Return of the King (d. Peter Jackson, 2003)
The Fall (Tarsem Singh, 2006)
Naisu no mori: The First Contact (Funky Forest) (d. Katsohito Ishii, Hajime Ishimine, Shunichiro Miki, 2005)
Mulholland Dr. (d. David Lynch, 2001)
Ying xiong (Hero) (d. Zhang Yimou, 2002)
The Mist (d. Frank Darabont, 2007)
Wo hu cang long (Crouching Tiger, Hidden Dragon) (d. Ang Lee, 2000)
High Fidelity (d. Stephen Frears, 2000) – A band full of misfits that may in fact all be borderline losers work at a record store. They all claim to be elitist assholes. Which, quite frankly, they are. We find our anti-hero in a situation where he has to come to terms with being an asshole and all around not a very good person. The set-up to the film with the characters addressing the moviegoer really worked for me. This is not only my favorite film of the decade but currently my go-to number one of all time. John Cusack is perfect for his role as the likable loser, and the supporting cast around him are a pitch perfect mix of somebodies and nobodies.
Serenity (d. Joss Whedon, 2005) – Space, cowboys, Nathan Fillion, Summer Glau, Reavers, a fond send off to a show that never got a chance. I loved Firefly, but this is the movie that actually introduced me into the world of Whedon, so for that it holds a place on my list. The movie is fun and actually did what a lot of bigger-budgeted space epics tried (and failed) to do in being a great film. The cast is perfect and the pace is perfect, and whether or not you were a fan of the show, you can’t help but have a big smile on your face throughout the whole runtime.
The Life Aquatic with Steve Zissou (d. Wes Anderson, 2004) – The best revenge flick of the decade. No need for ultra-violence or actual payoff — this film is one of those films that gets better upon every revisit. It’s a Wes Anderson film, so it’s chock-full of quirk and his style. But this film works perfectly in that sense. The set pieces, the adventure and all the players involved just really convinced me that this world did truly exist. The soundtrack is pitch perfect with David Bowie numbers sung in Portuguese. Bill Murray giving us one of my favorite Murray performances of all time. Did I mention that Jeff Goldblum says crocked fuckers?
Marie Antoinette (d. Sophia Coppola, 2006) – I think there will be plenty of lists that include Coppala’s most popular title of the decade, Lost in Translation. But for me this was her masterwork of the decade. She took two things I really enjoy and mixed them together. Great music and a well done period piece that doesn’t put me to sleep. The movie is a little off putting at first because no one accents up to try and sell the period, but upon multiple viewings it actually feels like a gift. This film is one of the most beautiful looking films I have seen. Even when it’s supposed to be a dull moment the stylings of Coppala and camera work really hit the right chord. I love Kirsten Dunst in this and I think it really proved that she could act. I love that Coppola didn’t listen to all the detractors when filming this when they found out what she was doing and just made it her own.
Kill Bill (d. Quentin Tarantino, 2003, 2004) – A stylish, genre splicing, and eye opening introduction into the world that most people wouldn’t have even thought to try before seeing this film. QT makes great revenge flicks and he normally casts women in pretty strong positions. This movie is no different, he brings back Uma Thurman to be the Bride and to wreak havoc on everything and everyone for about four hours of film. QTs best work to date.
Fa yeung nin wa (In the Mood For Love) (Wong Kar Wai, 2000) – “Visual candy” is usually the first thing I say to describe Wong’s style to someone that has never seen a Wong Kar Wai film. The second is that he always tells a story through the environment and through the characters. This film is my favorite of his because of the casting. I love Tony Leung and in this he is just top notch. The guy makes smoking look healthy and cool. Not to be overlooked is the lovely Maggie Chung who always brings her A game. This is just the best romance of the decade that I’m sure 80% of moviegoers have no idea it exists.
Sunshine (d. Danny Boyle, 2007) – This film has room to grow on my list. It was my favorite film of its respective year, in a year that had a bunch of powerhouse pictures. It is a prime example that money doesn’t make a picture; talent does. On a relatively small budget (compared to mainstream sci-fi films), Boyle manages to suck you into a world of isolation, desperation, obsession, and terror quite easily. The concept of god vs. science is always a touchy subject and in some senses is sprinkled throughout this film. A team of scientists tries to re-ignite the sun so that humanity can get out of solar winter. The cast of this film is a bunch of actors that no one ever talks about. The biggest surprise for me was the fact that Chris Evans showed he wasn’t just another pretty face. I love this movie and I think it’s perfect sci-fi, and I don’t care what people think about the last act.
Sen to Chihiro no kamikakushi (Spirited Away) (d. Hayao Miyazaki, 2000) – This was my second Miyazaki, but truly the film that got me into his other works. It’s a beautiful story shown in fantastic style by the master of 2d animation. It is the best 2d animated film of the decade and one of the best ever penned.
No Country for Old Men (d. Joel Coen & Ethan Coen, 2007) – I am one of the biggest Coen fanboys I know. While this isn’t my favorite of theirs it is the best film they put out this decade. It easily features one of the most memorable villians of the decade. The filming is mesmerizing and the tension is high, making it great viewing. Each time I see it I still get hooked into every scene.
Ying xiong (Hero) (d. Zhang Yimou, 2002) – Kung fu, Donnie Yen, Tony Leung, Jet Li, and many many more. What more could you want in a film that is visually amazing, not only in the fighting elements but in the style and look? The story itself is enough to merit this film a spot on this list. But with all the added bonuses that are the cast and style it really is a masterpiece.
The Assassination of Jesse James by the Coward Robert Ford (d. Andrew Dominik, 2007) – Read full review here.
Bo bui gai wak (Robin B. Hood) (d. Benny Chan, 2006) – Tastelessness reigns in this Hong Kong “Three Crooks and a Baby” comedy, wherein Jackie Chan and his thief cohorts kidnap an infant, get pee and poop flung in their faces, battle a bunch of bad guys to the death, and wind up in one of the most delirious, manipulative denouements you’re likely to see in a mainstream action film. The fight choreography is top notch, and the film demonstrates that uncommon audacity and business as usual can still walk hand-in-hand.
Children of Men (d. Alfonso Cuaron, 2006) – Perhaps the most progressive pro-life film ever made, Cuaron and his team extend a meditation on the value of human life into a postapocalyptic dystopia; an agnostic affirmation of the power of grace.
En la ciudad de Sylvia (In the City of Sylvia) (d. Jose Luis Guerin, 2007) – Read full review here.
Grayson (d. John Fiorella, 2004) – Read full review here.
Hedwig and the Angry Inch (d. John Cameron Mitchell, 2001) – Gorgeous in its kitsch-culture aesthetics, Mitchell’s anchoring performance has been called “fearless” by many critics. That’s an understatement. Balancing faith, heartbreak, joy, despair, humor, performance art, sexuality, and a host of other potentially thorny issues, poor Hedwig’s battle cry, “Without me right in the middle, baby/You would be nothing at all!” may be broken down in the end (because the film is nothing if not a call to end the us-against-the-world posturing of identity politics in favor of simply being comfortable in one’s own skin), but the film’s anger and compassion stand upright as a proud beacon. A challenge. A delight. A perfect medley of art as entertainment.
The Passion of the Christ (d. Mel Gibson, 2004) – Whatever your opinion of the film, it was probably the single biggest artistic gamble of the decade. Such a distinctly personal vision of Christ’s significance was bound to be divisive, as Jesus himself predicted his legacy would be. This is one of the few films I’ve ever seen that managed to force tears to course down my cheeks for nearly an hour and a half. Apart from perhaps John Woo’s The Killer, the redemptive potential of violent sacrifice has never been so viscerally dramatized.
Primer (d. Shane Carruth, 2004) – The very quintessence of taut construction, Carruth’s filmmaking debut maximized his limited resources, turning a tale of time travel into an essay on the perils of trust and ontology. Science fiction cinema has found a successor to 2001: A Space Odyssey’s legacy.
Ten (d. Abbas Kiarostami, 2002) – Kiarostami yokes more from an almost entirely binary camera setup than most filmmakers do with expensive, unfocused coverage. (I’m pretty sure this movie would put Paul Greengrass into a coma.) Impossibly captivated by its subjects and poetic, instead of coming off as raw, this incredibly rigorous formal experiment feels tender, intimate, and perhaps broader in scope than years-spanning epics.
Yi yi (A One and a Two…) (d. Edward Yang, 2000) – Despite its ostensibly detached, nonaggressive anti-melodramatic style, I don’t think Yi yi is “realism.” It’s a lyric, ingeniously composed and beautifully sung, bearing what could easily be mistaken as divine grace, a balm of instantly recognizable empathy for strangers wandering that strangest land of all: their home.
Read full list and commentary here.
The Lord of the Rings (d. Peter Jackson, 2001, 2002, 2003)
Letters from Iwo Jima (d. Clint Eastwood)
The Life Aquatic with Steve Zissou (d. Wes Anderson, 2004)
Jonestown: The Life and Death of Peoples Temple (d. Stanley Nelson, 2006)
The Descent (d. Neil Marshall, 2005)
Half Nelson (d. Ryan Fleck, 2006)
Brokeback Mountain (d. Ang Lee, 2005)
Waltz with Bashir (d. Ari Folman, 2008)
Bom yeoreum gaeul gyeoul geurigo bom (Spring, Summer, Fall, Winter… and Spring) (d. Kim Ki-Duk, 2003)
Vozvrashchenie (The Return) (d. Andre Zvyagintsev, 2003)
This was surprisingly difficult and surprisingly easy at the same time. It’s been a pretty special decade for movies and I feel privileged to have been a part of it. There have been a good few lasting “classics” produced but what really stood out for me was the fact that worldwide cinema distribution has improved this decade and we’ve been able to enjoy quality upon quality release from around the world. That’s not to say that American movies have been bad and three of my picks are American, but the broader choice has meant a total glut of good movies.
These choices were difficult to make because it’s genuinely impossible just to limit the decade to ten good movies. There are many more films than this that were great, and some that I’ve missed or overlooked as well as many others that I’ve not yet seen. Yet, the picks were easy because all of these movies induced a certain wow factor in me when I saw them and the experience has stayed with me – each of these movies changed my life in some small way, so, yes, the list is personal and not definitive. I know that some of these movies have huge detractors but they struck a chord with me and that’s what’s important.
Devdas (d. Sanjay Leela Bhansali, 2002) – I know so little about Bollywood cinema it’s a constant source of anguish and frustration to me. I’ve probably seen around 10 Bollywood films in my life and chances are there were better releases than Devdas this decade. However, Devdas seems to encapsulate, for me, everything that’s great about Bollywood: it’s luscious, melodramatic, sincere film-making. It has incredible production values, amazing – and gorgeous — stars, sumptuous song and dance routines, and it’s the kind of movie you just want to lay back and enjoy forever. It’s the closest that moviemaking ever got to capturing the spirit of opera.
Los abrazos rotos (Broken Embraces) (d. Pedro Almodovar, 2009) – Almodovar has had an incredible decade, but I’m probably the only person in the world who is going to pick this movie over his other entries, Talk to Her, Bad Education, Volver. Each a classic in its own right. For me, though, this movie hit an amazing note between the intensely personal and the aloof and iconic. It managed to blend noir with genuine drama and incorporate an immensely touching retrospective that in any other director’s hands would have come across as self-indulgent nonsense.
Ying xiong (Hero) (d. Zhang Yimou, 2002) – After A Touch of Zen, probably the greatest wuxia that will ever be made that heightened the reach and appeal of the genre for just a little while and delivered a movie far more complex and satisfying than Ang Lee’s twee Crouching Tiger. It’s a masterpiece: the gorgeous visuals, the amazing fight scenes, the jaw dropping cinematography and of course the gloriously coloured, distinctive different scenes make this one of the most re-watchable of movies.
En la ciudad de Sylvia (In the City of Sylvia) (d. Jose Luis Guerin, 2007) - It’s rare that I watch a movie knowing little about it except a few positive words from online critics and walk away as awed and puzzled as when watching this one. There are hints of Resnais and Kieslowski here and the director is every bit as competent and thoughtful as both those great directors. European cities will never be the same again. Neither will staring at girls while drinking in a cafe.
Y Tu Mama Tambien (d. Alfonso Cuaron, 2001) – Children of Men will be the popular favourite and true, its impact is more immediate but I can’t help feeling that this movie has the edge. It’s one of the first movies I ever saw that made me feel that someone understands young people, confused people, lustful people, sexually ambiguous people. People coming to terms with their own death. If that’s not enough, there’s a wonderful strain of observation throughout the movie of a political, impoverished Mexico that you’ll miss if you blink. It’s attention to colour and detail that sometimes really makes a movie like this truly great.
Kill Bill (d. Quentin Tarantino, 2003, 2004) – There’s not a lot more to be said about this movie. It’s a celebration of genre film-making. It’s a celebration of feminism. It’s a celebration of postmodernism. It worked for me on just about every level: the action, the humour, the great camerawork, the brilliant narrative construction, the characters… the list goes on. A masterpiece.
Sen to Chihiro no kamikakushi (Spirited Away) (d. Hayao Miyazaki, 2000) – So good even the Academy couldn’t ignore it, despite the fact that it’s a Japanese animation. Miyazaki hasn’t really gone on to be an influence in the West, but for me this was my introduction into the world of Miyazaki and the world of anime. I’d never seen a cartoon for children, treating children as if they were smart like adults before, or one that had messages for children like “don’t be greedy and capitalist, work hard and better yourself, create your own identity, care for others before yourself… that kind of thing,” and with a female heroine who isn’t a Barbie doll waiting for her prince to sweep her off of her feet. On that level alone this movie is extraordinary (and Miyazaki had been making these movies for years before the West caught on) but more than that, in terms of artistry, plotting and imagination Spirited Away is completely peerless.
Inland Empire (d. David Lynch, 2006) – Maybe Mulholland Dr. is the better movie? It has lesbians. But Inland Empire makes up for it by not trying to apologise for its long, dream like structure. There’s no key to unlock, no mystery, no beautiful heroines, just a long dream-like surrealistic narrative that makes no sense but total sense when you watch it so long as you leave your normal sense of logic at the door. It’s rare for this kind of movie to truly suck me in but Lynch has been building up to this masterpiece for years and years and he’s finally worked out what it is that he wants – or doesn’t want – to really say and do. A beautiful, strange, terrifying movie.
Dogville (d. Lars Von Trier, 2003) – The blending of the genius that is Nicole Kidman with the angry maverick that is von Trier creates one of my favourite movies. This is cinematically and dramatically bold, beautifully acted and has one of the most shocking of all endings with a contemporary, provocative message, unashamedly and unabashedly criticising the small town American mentality and the foreign policies and worldwide disaster that Trier sees this as going on to create. On the surface the movie looked silly and trite and it’s down to the commitment of everyone involved that it became a work of greatness.
Fa yeung nin wa (In the Mood For Love) (Wong Kar Wai, 2000) – It’s a hard movie to sum up. Impossible to put your finger on what makes it work so well beyond Doyle’s ridiculously sumptuous cinematography and the incredible acting of two great Hong Kong superstars. Yet, everyone I know who’s seen it has been completely captivated by its spell and subsequently fallen in love with the amazing Wong Kar-Wai. If any movie can define pure cinema, it’s probably going to be this one.
Frequency (d. Gregory Hoblit, 2000)
Collateral (d. Michael Mann, 2004)
25th Hour (d. Spike Lee, 2002)
Memento (d. Christopher Nolan, 2000)
The Dark Knight (d. Christopher Nolan, 2005)
United 93 (d. Paul Greengrass, 2006)
Zodiac (d. David Fincher, 2007)
X2 (d. Bryan Singer, 2003)
Casino Royale (d. Martin Campbell, 2006)
Minority Report (d. Steven Spielberg, 2002)
Edited by Matt Schneider.
- Or “Oughts,” if you prefer. Izzy. ↩