Top 10 Most Significant Movies of 2006

Every columnist, film critic and Internet hack in a "Star Wars" t-shirt is going to be compiling a Top 10 Movies of 2006; this is inevitable. But when the smoke clears, there's more to a film than a film itself; there's the effect it has on the moviegoing climate around it. 2006 was as busy a year for cinema as it was for any other form of art or discourse; what are the significant movies to look at for a sort of cultural zeitgeist, or a shorthand glance at what the film industry's into? Sure, "Pirates of the Caribbean 2" was fun and it made a lot of money, but, for good or ill, did it make a splash anywhere but the wallet?

Here, in alphabetical order, are ten films that 2006 will be remembered for.

"Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan"

Sure, giving a comedian a movie based on one of his wacky characters is nothing new, but a film of this type that goes to Cannes and gets approving nods from both critics and cultural theorists-that's a rarity. This film blends silly comedy with a real look at America through innocent and somewhat confused eyes, and serves as a social touchstone of where we are, right now.

"Clerks II"

Proving that the independent model can work if you let it, the first big financial success (in relative terms) from the new Weinstein Company cost five million-practically chump change-and made back its money in multiples before even leaving its domestic theatrical run. You don't need big budgets or fancy effects to clear a good rate of return on a movie.

"The Departed"

Where some remakes of Japanese films (and there's more and more each year) sputter, this soars-and scores. It will be noted as a high point for Martin Scorsese, and a film that once again put his name on everyone's lips in the run-up to the Oscar race. With no Best Director statue yet on his shelf, the buzz only gets louder each year.

"The Fountain"

A Darren Aronofsky head-scratcher that dares to say something. What, some aren't certain, but that's what future discussion is for.

"The Nativity Story"

Genuine attempt to bring spirituality to the multiplex, or shameless grab at cash in the wake of "The Passion of the Christ", boiled down to family-friendliness? And how about young Keisha Castle-Hughes announcing her pregnancy right as the flick's about to premiere? Did that influence Pope Benedict's decision not to attend the premiere? And finally, what's it say about the Christian movie trend when Catherine Hardwicke, most noted for the decidedly secular "Thirteen", helms a movie about the Virgin Mary? Christianity is the big thing at the box office-this is 2006's entry.

"A Prairie Home Companion"

A meditation on death from beloved director Robert Altman, who we lost too soon; his last film by virtue of its timing alone will find its way into the history books.

"Rocky Balboa"

It ain't over till it's over, indeed. We're going to find out if Stallone's still got it, and rest assured, the reaction will be one of two extremes-nothing tepid about it. The sequel we joked for years about is finally here this Christmas… what's gonna happen? Don't even pretend you aren't interested.

"Snakes on a Plane"

The Internet phenomenon that sprung up around this film never quite translated into real life, but New Line's attempt to create a cult classic out of whole cloth-complete with a campaign to turn it into a "Rocky Horror" style audience participation experience-will be looked back on as a key moment in the rising trend of user-participated media, and the strange nexus where movies and moviegoers collide… the wild and woolly world of what's online. How will studios look at online fan bases now?

"Superman Returns"

Disappointing box office numbers on an unusually somber film raise cause for question about the superhero movie trend-if the return of the Man of Steel can't bring in the bucks, are we looking at the downward spiral of a fad? Or was the underperformance here just a case of one brush with Kryptonite?

"United 93" / "World Trade Center"

Can you really discuss one without the other? Five years after 9/11, we get our first major narrative feature films on the subject, but presumably not the last. A sign of shifting trends of thought in how America views the dark day? Or was it too much, too soon?

Whatever 2007 brings, we know that these important movies will influence what comes, hopefully for the better. See you at the movies!