- Insider voted and ranked the best movies released between 2010 to 2019.
- They include Marvel blockbusters to Korean tear-jerkers and action movies.
- “Get Out” topped our list.
- Visit Insider’s homepage for more stories
The 2010s was a roller coaster of a decade for film.
We saw Disney dominating at the box office with the rise of the Marvel Cinematic Universe, a renewed “Star Wars” franchise, live-action reboots, and the continued dominance of their animated films. But we also saw the rise of streaming and the decline of movie-ticket sales, sparking fears that cinemas are dying out. But maybe nothing defined film this decade more than the fact that movies by and large have continued to become easier and cheaper to make, resulting in more films being released than ever before.
Despite the fact that so many amazing films were produced, we did manage to narrow down our list. So without any further ado, here are our top 100 movies of the 2010s.
100. “Nocturnal Animals” (Director: Tom Ford, 2016)
Amy Adams and Jake Gyllenhaal display their supreme acting talents in this film, but the movie works because of writer/director Tom Ford’s singular vision. He takes the different textures of each period of time and story in which the film takes place, and makes them distinct while seamlessly connecting the tissue of the greater story. “Nocturnal Animals” smartly and oh-so-elegantly explores what it would be like for an author to use his life as fodder for his art. – A.C. Fowler
99. "Free Solo" (Directors: Jimmy Chin and Elizabeth Chai Vasarhelyi, 2018)
"Free Solo" provides a window into the world and mind of Alex Honnold, perhaps the best free solo rock climber to ever live. The film follows the lead-up to his attempt to free solo El Capitan (the toughest free solo ever attempted). The documentary touches on how Honnold trains and there is outrageously gorgeous footage of climbing, but the more interesting story is about why someone like Alex has the impulse to free solo and how someone who free solos maintains relationships with friends, family, and partners. - A.C. Fowler
98. "Creed" (Director: Ryan Coogler, 2015)
Director Ryan Coogler succeeded in the tall task of striking the right balance of nostalgia - connecting to the earlier Rocky films without drowning us in the past. The final fight scene in "Creed" is so incredibly engulfing with it's frenetic energy and balletic choreography that it makes you want to stand up, clap, and cheer. - A.C. Fowler
97. "Deadpool" (Director: Tim Miller, 2016)
The success of this movie rests on the fact that the film is genuinely funny. In the opening credits, the writers are called "the real heroes here" and that is 100% true - they ended with an hour-and-forty-five minutes of nearly endless verbal and visual quips. The film is a total foul-mouthed pulpy romp and doesn't apologize for it. - A.C. Fowler
96. "Interstellar" (Director: Christopher Nolan, 2014)
The film's greatest triumph is in its themes. How is love quantified? Who's to say what actions are truly selfless? Visually, it's stunning and Matthew McConaughey gives a stirring performance making the film, which is full of scientific jargon and action, yet still deeply emotional. - A.C. Fowler
95. "Take Shelter" (Director: Jeff Nichols, 2011)
"There is a storm coming!" Anyone who has seen "Take Shelter" will forever remember this line, thanks to the perfectly cast lead, Michael Shannon, as the seemingly deranged Curtis who's having visions of the apocalypse. The psychological thriller left you wondering what really happened in the end, but everyone could agree the film was fresh take on the genre and a hit with critics. - Chris Snyder
94. "Guardians of the Galaxy" (Director: James Gunn, 2014)
Who would've known that a sentient tree voiced by Vin Diesel would bring together fans across the world with three little words? Director James Gunn ("Slither") was tasked with adapting one of Marvel's most obscure alien teams, the Guardians of the Galaxy. Not only did he succeed ("GotG" became the third highest-grossing movie of 2014), but Gunn delivered one of Marvel's edgiest films by giving us a group of quirky anti-Avengers to fall in love with along with a killer soundtrack. We are Groot. - Kirsten Acuna
93. "Django Unchained" (Director: Quentin Tarantino, 2012)
Quentin Tarantino continued his revisionist history streak with "Django Unchained," in which a freed slave named Django (Jamie Foxx) teams up with a bounty hunter (Christoph Waltz) to rescue Django's wife from the brutal plantation owner Calvin Candie (Leonardo DiCaprio). It's equal parts over-the-top violent, hilarious, and shocking and proved that, 20 years into his career, Tarantino had not lost his edge. - Ian Phillips
92. "Phoenix" (Director: Christian Petzold, 2014)
"Phoenix" tells the story of a woman who returns to her estranged husband after being released from a Nazi concentration camp. Petzold gives a master class in meticulous plotting and faultless pacing. - Carter Thallon
91. "The Revenant" (Director: Alejandro González Iñárritu, 2016)
Leonardo DiCaprio's ferocious performance grounds director Alejandro G. Iñárritu's savage, yet stunning film, "The Revenant," about a frontiersmen who survives the wilderness to take his revenge on a man who killed his young son and left him for dead. The film won DiCaprio, who wrestled a grizzly bear and the forces of nature in the role, his first Academy Award. - Ashley Rodriquez
90. "Booksmart" (Director: Olivia Wilde, 2019)
"Booksmart" carefully and masterfully encapsulates all of the energy of a typical coming of age story, but infuses it with enough newness for it to feel special all on its own. More than any film I've seen in the last several years, "Booksmart" is nonstop laughter, with the two fantastic leads elevating the work of the writers. - A.C. Fowler
89. "Scott Pilgrim vs. the World" (Director: Edgar Wright, 2010)
When Edgar Wright left "Ant-Man," disappointed fans were left without a superhero movie from one of the most original directors alive. However, we still have "Scott Pilgrim vs. the World," based on the graphic novel series by Bryan Lee O'Malley. The movie is funny and inventive, making the audience feel like they're inside a video game and a comic book all at once. Come for Michael Cera's excellent against-type performance and stay for Chris Evans' scene-stealing performance as a skateboarder-turned-action star. - Ian Phillips
88. "John Wick" (Director: Chad Stahelski, 2014)
How did an action movie with a $20 million budget about a hit man avenging a dead puppy become Hollywood's best original movie franchise in ages? It helps that director Chad Stahelski is a former stuntman, and thus delivered some of the best staged action sequences imaginable. And on top of all of that, it revived the career of Keanu Reeves and turned him into arguably a bigger action star than he's ever been. We've already gotten two great sequels expanding this cinematic universe far beyond the hitman hotel. Here's to many more sequels down the road. - Ian Phillips
87. "Gravity" (Director: Alfonso Cuarón, 2013)
In the overcrowded field of space movies, Alfonso Cuarón's "Gravity" manages to separate itself from the pack within its first 13 minutes. That's the length of the opening shot - one single, uninterrupted take, made possible by the masterful cinematography of Cuarón's longtime collaborator Emmanuel Lubezki. His fluid, free-floating camerawork results in perhaps the most successful attempt at reproducing the overwhelming infinity of outer space. Stranded in the midst of all this nothingness, Sandra Bullock's character provides the emotional core of the film, as she grapples with past trauma while confronting the vast expanse of the universe. - Meredith Geaghan-Breiner
"Zero Dark Thirty" (Director: Kathryn Bigelow, 2012)
Kathryn Bigelow takes us behind the scenes to explore the decade-long search for Osama bin Laden. The raid on bin Laden's compound at the end of the movie is a powerful piece of filmmaking. - Jason Guerrasio
85. "The Conjuring" (Director: James Wan, 2013)
While many horror movies have sequels - that don't often live up to the first - it's rare that they go on to launch an entire franchise. "The Conjuring," however did just that, with a very creepy film (based on real events) that really gets under your skin, and a number of spin-offs focusing on a terrifying doll named Annabelle and a ghoulish nun. - Chris Snyder
84. "Your Name" (Director: Makoto Shinkai, 2016)
There are many reasons why "Your Name" has become the highest grossing anime in the world. But its most brilliant quality is the story that's difficult to guess as much as it is emotionally resonant. And the beautiful animation work definitely helps. - Nathaniel Lee
83. "What We Do in the Shadows" (Directors: Taika Waititi and Jemaine Clement, 2014)
"What We Do in the Shadows" is a raucous mockumentary that follows a group of vampires through all their ups and downs: sun allergies, navigating New Zealand nightlife, dealing with love lost, having a showdown with werewolves, and of course, as one character gently puts it, "The unfortunate [...] need to drink human blood." Taika Waititi and Jemaine Clement are at the height of their comedic powers, expertly flourishing their storytelling abilities and dry Kiwi wit. - A.C. Fowler
82. "Snowpiercer" (Director: Bong Joon-ho, 2013)
From writer-director Bong Joon-ho, "Snowpiercer" takes place in a dystopian future aboard the eponymous train that travels around the globe with the Earth's last remaining inhabitants, some of whom look for revolution from the class-divided cars. Bong's English-language debut thrills as it's equal parts science-fiction, action, and social commentary. Bong and Kelly Masterson's script engulfs you with every progression through the train cars. It's a ride you have to take. - Meryl Gottlieb
81. "Spring Breakers" (Director: Harmony Korine, 2012)
James Franco gives one of the best performances of the decade as aspiring rap artist/drug dealer, Alien. Harmony Korine gives the audience 90 minutes of unadulterated debauchery and ecstasy as we dive deep into the world of the Spring Break lifestyle. - Carter Thallon
80. "Room" (Director: Lenny Abrahamson, 2015)
"Room" is hard to shake. It's a gut-wrenching story of a woman who was taken captive by a predator and now lives in a cramped, single room with her 5-year-old son who was born in captivity. Director Lenny Abrahamson masterfully knows how to make the tiny setting feel more open and, alternatively, how to close in on the suffocation of the situation. But it's stars Brie Larson and Jacob Tremblay that shine above all else. Their relationship is the reason the film lingers in your mind and soul - and probably never leaves. It's beyond deserving that the role of Ma not only won Larson an Academy Award but also permanently landed her on the A-list. - Meryl Gottlieb
79. "Skyfall" (Director: Sam Mendes, 2012)
From the instantly iconic (and Oscar-winning) theme song by Adele to the breathtaking action sequences shot by cinematographer Roger Deakins to the terrifying villain turn by Javier Bardem, "Skyfall" is an all-time great Bond entry. Like "Casino Royale" before it, it fulfills the promise of Craig's Bond movies by reflecting on 007's fraught place in the modern world. Even if some of Craig's other Bond entries ("Quantum of Solace," "Spectre") were letdowns, we'll always have "Skyfall." - Ian Phillips
78. "Toy Story 3" (Director: Lee Unkrich, 2010)
"Toy Story 3" came out 15 years after the original, when it's time for Andy to go to college. For kids who grew up with "Toy Story" this meant that they were reaching this milestone in life alongside Andy. The themes of change and saying goodbye resonated with viewers in a powerful way. - Clancy Morgan
77 . "The Farewell" (Director: Lulu Wang, 2019)
Writer/director Lulu Wang's touching semi-autobiographical film "The Farewell," follows the story of Chinese-American Billi (Awkwafina) as she travels to China to say goodbye to her grandmother whose terminal cancer diagnosis is being hidden from her. The film's marvelous screenplay about family, cultural differences, and goodbyes, provides the foundation upon which the outstanding cast shines brightly. - Carter Thallon
76. "Train to Busan" (Director: Yeon Sang-ho, 2016)
"Snowpiercer" meets "World War Z" in "Train to Busan." The South Korean film follows a father and daughter on a harrowing train journey during a fast-moving zombie outbreak. With much of the action taking place on a train, you'll be on the edge of your seat, especially during the climactic and emotional final act. By the film's end, you'll be a big fan of Ma Dong-Seok who will appear in Marvel's "The Eternals." - Kirsten Acuna
75. "Coco" (Director: Lee Unkrich and Adrian Molina, 2017)
At this stage in human history, we ought to know that animated films can reach the same emotional heights as any other work of art, but for some reason it is sometimes still shocking to me that something created primarily for the entertainment of children can reduce this grown man to a blubbering fool. The way in which Disney/Pixar represents Mexican culture, the creative artistry they bring to Dia De Los Muertos, and the genuine emotion elicited by "Coco's" beautiful story is nothing short of astounding. - A.C. Fowler
74. "Sing Street" (Director: John Carney, 2016)
"Sing Street" is a film that reached out its hand, plowed into my chest, grabbed my heart, and squeezed it. My every emotion was wholly at the mercy of the movie. The songs, in the context of the visuals and this story, can absolutely wreck you, if you let them. - A.C. Fowler
73. "Avengers: Endgame" (Directors: Anthony Russo and Joe Russo, 2019)
Marvel Studios is very aware that they're in the business of delighting fans, and boy, do they do this more than ever in "Avengers: Endgame." For those who grew up reading comic books and/or grew up with this cinematic universe, seeing these films unfold and get better through the years holds a special meaning. It may seem like an over the top reaction, but I think "Endgame" has the power to access a feeling within us that we so rarely experience and is therefore so hard to explain. To accurately describe how grandiose this film is is impossible. The most that I can say is that it awakens something inside for those of us tied to the series, something that speaks to the longing of our hearts to be part of something truly magnificent, to fight for life against death, to have a purpose. And if that doesn't get you excited about the power of filmmaking, nothing will. - A.C. Fowler
72. "The Babadook" (Director: Jennifer Kent, 2014)
An already-strained relationship between a mother and her son worsens when their household becomes possessed by a monster from a bedtime story. Essie Davis is perfect as Amelia, a troubled widow struggling with depression. Full of jump scares, dread and freudian dysfunction, "The Babadook" resonated with the fears of parents around the world and put Australian director Jennifer Kent on the map. - Ju Shardlow
71. "Selma" (Director: Ava DuVernay, 2014)
"Selma" is a story so wonderfully suited for film, and what better hands could it have been placed in than Ava DuVernay's. Carmen Ejogo plays King's wife conveying an evident strength that is patiently held beneath the surface and David Oyelowo shows us another side of King by embodying the human with all his flaws and uncertainty. Selma is a deeply moving and richly emotional film experience. - A.C. Fowler
70. "Amour" (Director: Michael Haneke, 2012)
The premise of "Amour" is simple: an octogenarian couple Georges (Jean-Louis Trintignant) and Anne Laurent (career-best Emmanuelle Riva) live out the final months of their relationship. But Michael Haneke's 2-hour-7-minute film unfurls a dark, morally complex story about the ending of life. Similar to its title, "love" is tragic, brutal and necessary. - Ju Shardlow
69. "Shoplifters" (Director: Hirokazu Koreeda, 2018)
As writer, director, and editor, Hirokau Koreeda aims to redefine the meaning of family in his film "Shoplifters." After a multigenerational motley crew living in a run down shack meant for one adds one more to their ranks, a little girl from an abusive home, everyone has to adjust. The film asks its characters (and the audience) questions about love, morality, stealing, and the meaning of family. - A.C. Fowler
68. "Sorry to Bother You" (Director: Boots Riley, 2018)
Rapper-activist Boots Riley made his directing debut with the absurdist satire "Sorry to Bother You," set in a heightened-reality version of Oakland, California. Lakeith Stanfield stars as Cassius, a broke telemarketer navigating corporate America in all of its wild contradictions. What starts off as a dark comedy takes a sharp turn into sci-fi and body horror, in a bold and ultimately gratifying indictment of late-stage capitalism. - Meredith Geaghan-Breiner
67. "Logan" (Director: James Mangold, 2017)
"Logan" gave us what we had been craving for years - Wolverine going to town on some bad guys in an R-rated film. But beyond the violence is something emotional that elevates and gives this film its true power. In the past films featuring Hugh Jackman's Wolverine, we get a general sense, an allusion to this character's pain, but in "Logan" we experience it far more viscerally. The potency of his aching body and heart fills the theater. Logan's devastating brokenness is what makes the two relationships at the core of the film so moving. It's really quite an achievement that an action film at its core can be about the necessity of family, particularly for those who are different. - A.C. Fowler
66. "Spotlight" (Director: Tom McCarthy, 2015)
"Spotlight," which tells the story of the Boston Globe reporting that exposed a longtime cover-up of sexual abuse by local Catholic priests, is the kind of movie that gives us faith in justice and the importance of speaking truth to power. - Jethro Nededog
65. "The Favourite" (Director: Yorgos Lanthimos, 2018)
"The Favourite" takes a society governed by a long list of social rules and exposes the seedy, secret things beneath the surface. Both Lady Sarah (Rachel Weisz) and Abigail (Emma Stone) also see their world for what it is and use that knowledge to their advantage, all while Queen Anne (Olivia Colman) suffers as the powerful pawn stuck between two brilliant manipulators. And as funny as "The Favourite" is, there's an aching sadness that comes through in Colman's performance that helps ground the film in something deeper. - A.C. Fowler
64. "A Quiet Place" (Director: John Krasinski, 2018)
The strength of "A Quiet Place" is its simplicity. Director/actor Jon Krasinski certainly has us on edge of our seats the entire time, but where the film succeeds most is allowing us to experience, quite viscerally, just how much these parents love their children. It's thrilling, haunting, and beautiful. - A.C. Fowler
63. "Bridesmaids" (Director: Paul Feig, 2011)
Director Paul Feig is at his comedic best in "Bridesmaids," in which a maid of honor and a bridesmaid attempt to upstage one another to prove who is better friends with the bride-to-be. The script, by Kristin Wiig and Annie Mumolo, captures the complexities of female relationships and the challenges of balancing friendships old and new. It is complemented by a brilliant cast, including Wiig, Maya Rudolph, and Melissa McCarthy. - Ashley Rodriquez
62. "Prisoners" (Director: Denis Villeneuve, 2013)
Jake Gyllenhaal, Hugh Jackman, and a stellar ensemble cast all deliver standout performances in this movie following a detective and father trying to get to the bottom of two young girls' disappearances. "Prisoners" is a tightly wound story and a masterclass in tension, building up to one of the most stunning and horrific endings we've ever seen in a thriller movie. - Kim Renfro
61. "The Great Beauty" (Director: Paolo Sorrentino, 2013)
Journalist Jep Gambardella has long-indulged in glitzy parties and empty relationships. But his patience with frivolity wears thin on the eve of his 65th birthday. Any viewer who has already fallen in love with Rome will fall again, as Gambardella ambles through its magnificent, ageless streets in search of meaning. A surreal, whirling romp, "La Grande Bellezza" is perhaps director Paolo Sorrentino's greatest work. - Ju Shardlow
60. "A Separation" (Director: Asghar Farhadi, 2011)
"A Separation" - about a couple who splits up because they're torn over seeking a better socio-economic life for their child and a parent with Alzheimer disease, as well as a bunch of other stuff - is simply the best movie I've ever seen about how life just f---ing sucks sometimes. I think we can all relate. - Jacob Shamsian
59. "Star Wars: The Last Jedi" (Director: Rian Johnson, 2017)
Although not a perfect film, Johnson took the necessary steps in his narrative and direction to help the franchise evolve - no longer is this new iteration just a cheery homage to the original three films. The moments and sequences where Johnson and team cranked into high gear were nothing short of astounding. - A.C. Fowler
58. "First Man" (Director: Damien Chazelle, 2018)
"First Man" explores the thrilling adventure of going to the moon through the lens of the reticent Neil Armstrong. While Ryan Gosling and Claire Foy deliver knockout performances, Justin Hurwitz's score might be the real star of the film. - Carter Thallon
57. "If Beale Street Could Talk" (Director: Barry Jenkins, 2018)
There's probably no one who could translate the poetic nature of Baldwin's novel - about a young black couple so miraculously in love only to be separated by a sheet of glass because of the racism that has terrorized the United States since before it was established - better than writer/director Barry Jenkins. His style feels transcendent, infused with notes of jazz that define the version of the New York City through which the characters walk. It's as if Jenkins and Baldwin, despite the separation of time and death, are walking in tandem steps telling one story. - A.C. Fowler
56. "The Big Short" (Director: Adam McKay, 2015)
"The Big Short" literally explains to the audience how the 2008 financial crisis developed and looks at several of the financial experts who predicted that it was coming. Cutaways featuring celebrities explaining financial concepts is just one of several tactics that director Adam McKay uses to make this film punchy and entrancing. - Carter Thallon
55. "Tangerine" (Director: Sean Baker, 2015)
"Tangerine" follows a trans sex worker over the course of a day as she tries to find her boyfriend and his mistress. Come for the performances by Kitana Kiki Rodriguez and Mya Taylor, but stay for Sean Baker's editing and direction. - Carter Thallon
54. "Minding the Gap" (Director: Bing Liu, 2018)
"Minding the Gap" is a singular documentary that doesn't feel like it's trying to say any one thing. There's no thesis statement. You don't learn a very valuable lesson 10 minutes from the end. It challenges you to form your own interpretation of what you're watching, and ends up lingering in your thoughts as a result. - Tony Manfred
53. "Upstream Color" (Director: Shane Carruth, 2014)
Writer-director Shane Carruth and Amy Seimetz give amazing performances as two wounded souls who find one another. But this is far from a traditional love story, as Carruth delves into ideas about immortality and the purpose of life that will make you think about the movie long after you've watched it. - Jason Guerrasio
52. "Short Term 12" (Director: Destin Daniel Cretton, 2013)
There have been movies similar to "Short Term 12," but none quite like it. In a sea of color-by-number dramas, it stands out as one of the most magical and empathetic films of the decade that still genuinely moves you. - Nathaniel Lee
51. "Carol" (Director: Tod Haynes, 2015)
Rooney Mara and Cate Blanchette lead this bittersweet drama that explores the overwhelming emotions of falling in love and what it means to be known against the societal consequences of queer relationships in the 1950s. This film was shot on Super 16 film to give it a dreamy, soft quality and is a triumph for career collaborators director Tod Haynes and producer Christine Vachon. - Ally Giannini
50. "A Star Is Born" (Director: Bradley Cooper, 2018)
"A Star Is Born" is full of rousing musical performances and a whirlwind romance we can all believe in. In his directorial debut, Bradley Cooper proves that he has a very clear vision and the ability to execute it (along with being the immensely talented actor we already knew about). Then there's Lady Gaga who shows us that she too can do it all - revealing something about Ally with every note she sings. - A.C. Fowler
49. "The Shape of Water" (Director: Guillermo del Toro, 2017)
The story - a woman falling in love with a fish-man - is both weird and wonderful and the whole film is coated in a Del Toro-esque blackness, with ocean-like greens and blues. The visuals give this paradoxical film a sense of cohesion, but the togetherness of the film goes far beyond the colors and light. It's because this bold premise is masterfully merged with this style of filmmaking. - A.C. Fowler
48. "Burning" (Director: Lee Chang-dong, 2018)
It's been a great decade for Korean cinema but "Burning" is definitely one of the standouts. "Burning" is a compelling look at social class and masculinity that reads like a mystery but looks like visual poetry. - Nathaniel Lee
47. "Brooklyn" (Director: John Crowley, 2015)
"Brooklyn" tells the story of Eilis (Saoirse Ronan), a homesick Irish girl who sailed to the United States and falls in love with an Italian plumber. Director John Crowley masterfully conveys the visceral love that is laid out in Nick Hornby's screenplay. - A.C. Fowler
46. "Gone Girl" (Director: David Fincher, 2014)
This film urges the audience to try and solve the mystery of Amy's (Rosamund Pike) disappearance as David Fincher raises the drama through his expert directing. Then your blood begins to boil and you feel the tension of the film in your whole body. There are moments when it's nearly impossible to restrict audible gasps. - A.C. Fowler
45. "12 Years a Slave" (Director: Steve McQueen, 2013)
"12 Years a Slave" is a masterclass in filmmaking. The direction, pacing, sound design, and cinematography convey the emotion of the story in a way that few films can. The iconic low angle shot of Solomon staring gives so much without saying a single word. - Clancy Morgan
44. "Once Upon a Time...in Hollywood" (Director: Quentin Tarantino, 2019)
In "Once Upon a Time in Hollywood," Tarantino spends the majority of his time getting us to care about the characters in a deeper way. This approach feels different from most of his other films (with the exception of "Jackie Brown") and seems to be a much more personal film. That being said, the film still contains all of our Tarantino favorites - sharp dialogue, pulp, situational comedy, long scenes, and those slow-burning character revelations. - A.C. Fowler
43. "Inside Out" (Directors: Pete Docter and Ronnie del Carmen, 2015)
Disney and Pixar's animated feature is a brilliant personification of core emotions Joy, Sadness, Anger, Fear and Disgust. The Academy Award, BAFTA, and Golden Globe-winning film follows protagonist Riley as she adjusts to her family's move from Minnesota to San Francisco. Its lessons about the importance of feeling and emotional health are poignant for viewers of all ages. - Ally Giannini
42. "Before Midnight" (Director: Richard Linklater, 2013)
Richard Linklater created his third romantic masterpiece with "Before Midnight," following up on the two previous entries in the series, "Before Sunrise" and "Before Sunset," starring Ethan Hawke and Julie Delpy. By filming and setting each entry nine years apart, Linklater deepened his characters in a way that digital graphics and regular editing could not. He shows how the passage of time complicates relationships, but also allows them to deepen and grow. With "Before Midnight," we see the soil-firmed roots and blossoming flowers of it all. - Jacob Shamsian
41. "The Handmaiden" (Director: Park Chan-wook, 2016)
Set in Japanese-occupied Korea in the 1930s, Park Chan-wook's "The Handmaiden" chronicles an elaborate plot between a swindler and a pickpocket to seduce and con a Japanese woman of her inheritance from under the nose of her authoritarian uncle. The film's twisting plot, elaborate characters (in multiple senses of the word), and masterful directing results in one of the best love triangle/heist/dramas ever made. - Carter Thallon
40. "Good Time" (Directors: Benny Safdie and Josh Safdie, 2017)
"Good Time" is the decade's best 'one crazy night' movie, the decade's best New York movie, and the decade's best movie in which Robert Pattinson acts like he was shot out of a cannon at a thousand miles an hour. - Tony Manfred
39. "Birdman" (Director: Alejandro Gonzàlez Iñárritu, 2015)
Alejandro Gonzàlez Iñárritu creates a fluid concept of reality in the way that the camera floats in and out of scenes in "Birdman." Relevance compounded with ego is dangerous and Iñárritu has us waiting anxiously to see what lays at the end. - A.C. Fowler
38. "O.J.: Made in America" (Director: Ezra Edelman, 2016)
"O.J.: Made in America" deftly follows the rise and fall of O.J. Simpson while also delving into the bubbling, decades-long issues between African-Americans and the Los Angeles Police Department, which flared during Simpson's murder case. - Jethro Nededog
37. "Blade Runner 2049" (Director: Denis Villeneuve, 2017)
November 2019 is the year the original "Blade Runner" takes place, which was celebrated across the internet by fans this month. Hopefully in 30 years, people will be celebrating "Blade Runner 2049" in a similar fashion. Director Denis Villeneuve delivers a sci-fi masterpiece that improves upon its predecessor, and wrestles with just what it means to be human in thought-provoking ways. - Travis Clark
36. "Moonrise Kingdom" (Director: Wes Anderson, 2012)
Director Wes Anderson captures the innocence and beauty of young adulthood in "Moonrise Kingdom," about two preteen lovers who run away from their idyllic New England homes to be together. The film's charming script - written by Anderson and Roman Coppola - elegant score, and colorful, 1960s-inspired aesthetic are accented by the whimsical performances of its ensemble cast, led by Bruce Willis and Edward Norton, whose characters form a search party for the missing children. - Ashley Rodriguez
#35. "The Wolf of Wall Street" (Director: Martin Scorsese, 2014)
Martin Scorsese's endlessly rewatchable epic of excess invites the audience to observe and even enjoy the bacchanal of bad behavior the movie simultaneously celebrates and vilifies. Eventually, the hubris of Leonardo DiCaprio's financial huckster Jordan Belfort catches up to him, his life is ruined, and the audience feels the guilt that accompanies the hangover as though we were also part of the party. - Graham Flanagan
34. "Black Panther" (Director: Ryan Coogler, 2018)
"Black Panther" is a film worth praising for its celebration of black people and strong black women, all the while also being a fantastic movie. "Black Panther," despite holding on to the Marvel formula in some way, manages to be the freshest film the Disney/Marvel machine has churned out. It's a smart, sleek superhero story that's grounded in traditions and folklore that feel centuries old. Director Ryan Coogler and his team managed to build a world on par with the greatest science fiction and fantasy series. It's this level of complexity that we should expect if we want to begin demanding more of popcorn entertainment. - A.C. Fowler
33. "The Act of Killing" (Director: Joshua Oppenheimer, 2012)
This gripping documentary tracks down former Indonesian death squad leaders and has them reenact their mass-killings. The result is one of the most incredible pieces of non-fiction you will ever see. - Jason Guerrasio
32. "La La Land" (Director: Damien Chazelle, 2016)
"La La Land" is a film divided. It's partly a sobering look at a romantic relationship, grounded in real emotions and hardship. It's partly a dreamlike and colorful musical - a true musical where characters sing for no apparent reason. Beyond an examination of love and love lost, it's a joyride of emotion brought to you by writer/director Damien Chazelle, an artist with a clear vision for the story he's created. - A.C. Fowler
31. "Phantom Thread" (Director: Paul Thomas Anderson, 2018)
"Phantom Thread" has everything you'd expect from a work of cinematic art: great characters, excellent performances, gorgeous cinematography, a perfectly matched score, and a genius director (Paul Thomas Anderson) at the helm. But what really makes this film incredible is the story. About halfway through, "Phantom Thread" takes a turn from a decadent story about troubled love toward something a bit weirder. It's an unexpected pivot, but that's why it's so perfect. "Phantom Thread" is about people who seem incapable of loving, and just to what extremes they're willing to go to experience it, even if that means love as we know it becomes unrecognizable in their context. - A.C. Fowler
30. "Arrival" (Director: Denis Villeneuve, 2016)
When mysterious spaceships arrive in 12 locations around the world, linguist Louise Banks (Amy Adams) heads the investigation for the United States as she and her team attempt to find a way to communicate with the extraterrestrials. From the opening moments, "Arrival" challenges the mind to a race to put all the pieces together. Director Denis Villeneuve sets the pace perfectly, mirroring the anxiety the characters must feel. It all amounts to an exceptionally smart sci-fi movie as well as a beautiful experience that is utterly exhilarating. - A.C. Fowler
29. "Hereditary" (Director: Ari Aster, 2018)
In "Hereditary," there's a sense of terror that's beyond traditional horror thrills and scares. Throughout this film, we feel the growth of something dark and terrible approaching, and when we finally find out what it is, it has the ability to leave us with jaws agape. Writer/director Ari Aster has made something sordidly devastating, and Toni Collette leads the way in convincing us in the moment that this something is real. - A.C. Fowler
28. "Parasite" (Director: Bong Joon-ho, 2019)
"Parasite" follows the poor Kim family living in a rundown basement flat doing whatever menial work they can get to survive. Not only is it a comparison of two families from distinct worlds, but about how each of them survives in the world they have to inhabit together. It's a story about society, survival, and symbiosis. - A.C. Fowler
27. "Whiplash" (Director: Damien Chazelle, 2014)
Whiplash" tells the story of a determined young drummer (Miles Teller) and his ruthless teacher (J.K. Simmons). Damien Chazelle's deft direction and J.K. Simmons' explosive performance makes for a thrilling ride you can't take your eyes away from (even though the film dares you to do so). - Carter Thallon
26. "Paddington 2" (Director: Paul King, 2017)
While the first "Paddington" movie (the story of an orphaned bear trying to find a home) was lovely, its sequel transcended the family-friendly genre. The film is often visually compared to Wes Anderson's whimsical, pastel-laden style, and it's the cinematic equivalent of sinking onto a comfortable couch after a stressful day. "Paddington 2" was the start of a movement in both film and TV towards more wholesome, soothing narratives, and we couldn't be more grateful for this kind bear and his story. - Kim Renfro
25. "Ex Machina" (Alex Garland, 2014)
Writer/director Alex Garland's "Ex Machina" is an artificial intelligence/philosophy 101 lecture presented as a gripping sci-fi thriller (and I mean that in the best way possible). The script expertly reveals just the right amount of new information to constantly make the audience second guess everything they know about the characters, all the while exploring the question of what it means to be human. - Carter Thallon
24. "Inception" (Director: Christopher Nolan, 2010)
After delivering two "Batman" films that crushed at the box office, Christoper Nolan convinced Warner Brothers to back his big-budget original idea that likely had executives scratching their heads in the pitch phase. The gamble paid off, resulting in a mind-bending action-epic that lured viewers back for repeated viewings in the hopes they would crack the movie's complex code of dreams. - Graham Flanagan
23. "Drive" (Director: Nicolas Winding Refn, 2011)
"Drive" isn't just one of the best movies of the decade, but it features one of the best opening scenes of the decade, a quiet but tense getaway sequence that perfectly sets the tone for the rest of the film. Ryan Gosling's anonymous Driver lays out the rules: his client has a five-minute window to get in and get out ... anything outside of that, they're on their own. Nicolas Winding Refn's "Drive" is, for long stretches, a meditative movie unconcerned with bombastic action sequences. But it will suddenly blindside the viewer with bursts of violence that ensure we are never perfectly comfortable with what we're seeing on screen. - Travis Clark
22. "Roma" (Director: Alfonso Cuarón, 2018)
Master filmmaker, Alfonso Cuarón, crafts a beautiful portrait of someone who goes unseen. Cleo (Yalitza Aparicio Martínez), the domestic worker for a well-to-do family in Mexico, lives life bearing the burden of so many. She does this with grace and strength, all but knowing she'll never be recognized for what she's able to accomplish. Adding to her pain, she's often mistreated by the family she works for and by people in her personal life. - A.C. Fowler
21. "Mother!" (Director: Darren Aronofsky, 2017)
The polarized reactions to "Mother!" didn't come as much of a surprise to its director, the often divisive Darren Aronofsky. After all, he described writing the script in the throes of a disturbing fever dream. Onscreen that experience translates into a two-hour assault on the senses, capturing the destructive effects of an artist's vanity and the psychological horror of violated boundaries. The dizzying spectacle is grounded in a showcase performance from Jennifer Lawrence, who plays the devoted homemaker trapped in Aronofsky's nightmare. - Meredith Geaghan-Breiner
20. "The Grand Budapest Hotel" (Director: Wes Anderson, 2016)
When you combine an excellent ensemble cast, a central European dreamscape, and Wes Anderson, you get the genre defying Grand Budapest Hotel. The film features a masterful use of story framing as reflected by the use of three different aspect ratios. We follow the hilarious and heartfelt adventures of Zero (Tony Revolori/ F.Murray Abraham) and M. Gustave (Ralph Fiennes) as they run for their lives and solve a murder. - Ally Giannini
19. "First Reformed" (Director: Paul Schrader, 2018)
The film's conversations about depression and the irreversible effects of climate change brings on a deep sadness that's uncomfortable to sit with. Ethan Hawke, as a lonely, dying pastor, crafts a quiet and powerfully engaging character. We see how one person's despair is transferred like a debt to another, and how despair leads to something more extreme. - A.C. Fowler
18. "Nightcrawler" (Director: Dan Gilroy, 2014)
Read into "Nightcrawler's" deeper themes however you want. At its face value, it's a thrilling ride with Jake Gyllenhaal who plays Louis Bloom, a petty criminal at first, only to become what can only be described as pure evil. Bloom films car crashes and crime scenes and sells the tapes to a local news station, and as time goes on, his appetite for gruesome footage becomes more powerful than anything he can control. The film is both sleek and gritty - it's hard to take your eyes off the screen, both because it's absolutely gorgeous and because you're afraid you're going to miss something that only Bloom can see. - Sydney Kramer
17. "Dunkirk" (Director: Christopher Nolan, 2017)
The first thing that arrests the audience is just how visually and audibly astounding "Dunkirk" is. Nolan captures such moving and intense images that give us a window into the Second World War, with remarkable beauty. What makes "Dunkirk" work, though, is that Nolan has written a film that captures not just the horrors of war, but the range of emotions that come between the moments of wartime conflict. - A.C. Fowler
16. "Black Swan" (Director: Darren Aronofsky, 2010)
In "Black Swan," Darren Aronofsky created one of the best psychological horror movies in recent memory against one of the most unimaginable backdrops: ballet. Natalie Portman deservedly won her first Oscar as a dancer driven mad by ambition, obsession, and jealousy. Aronofsky proved himself a master of the genre by creating a work that made you see the world a little differently when you left the theater. - Graham Flanagan
15. "The Tree of Life" (Director: Terrence Malick, 2011)
It's not easy to make a movie that has both the scale of a single human lifetime and of the age of the universe. But Terrence Malick has shown us how they can be the same thing. "The Tree of Life" is a roving, gorgeous look at how people grapple with infinity without falling into the traps of narcissism. - Jacob Shamsian
14. "Her" (Director: Spike Jonze, 2013)
"Her," a movie about the love affair between a man and an AI, does an amazing job of capturing humanity's growing dependence on tech, and the deep distance it has created between people. And because of that, we the viewers could understand how this unnatural love could occur. - Jethro Nededog
13. "Inside Llewyn Davis" (Directors: Joel Cohen and Ethan Cohen, 2013)
The Coen Brothers constantly vacillate between the silly ("Burn After Reading") and the serious ("No Country for Old Men"), but what they always seem to have in common is never letting their characters get away safe. That is also the case for the melancholy "Inside Llewyn Davis," the story of the rise and fall of a folk musician in 1960s New York, that's all the fall and none of the rise. It's an authentic look at artistry with Oscar Isaac giving one of the great performances of the decade. And as a bonus, it has a soundtrack you'll want to listen to on loop. - Ian Phillips
12. "The Master" (Director: Paul Thomas Anderson, 2012)
"The Master" is both loud and quiet, beautiful and terrifying. It follows Freddie Quell (Joaquin Phoenix) as he attempts to acclimate to life after World War II and finds cult leader Lancaster Dodd (Phillip Seymour Hoffman). The pair's strange relationship is tumultuous, to say the least, and the audience is taken on a journey that some interpret as being an account of the beginnings of Scientology. Whatever its true meaning, all three lead actors (Phoenix, Hoffman, and Amy Adams) received Academy Award nominations for their performances and it's no doubt one of the decade's most interesting screenplays about trying to find yourself in the world. - Sydney Kramer
11. "Frances Ha" (Director: Noah Baumbach, 2012)
Written by Greta Gerwig and Noah Baumbach, Frances Ha is half "Catcher in the Rye," half "Broad City." Gerwig plays Frances Halladay, a 20-something struggling to make ends meet in New York, on top of managing the kinds of strained relationships that come with not quite feeling like an adult, but instead, feeling like an old teenager. As you age, you have to come to terms with reality and "Frances Ha" does a great job of exploring this with dark humor that only makes you feel a little depressed, but in a good way. - Sydney Kramer
10. "Call Me by Your Name" (Director: Luca Guadagnino, 2017)
The mood of "Call Me by Your Name" mirrors the hot and relaxing Italian summer days that are depicted in the film. Set in 1983, "Call Me by Your Name" tells the story of the slow-burn romance between two young lovers, Elio and Oliver. Luca Guadagnino's stylized direction is entrancing, as are the performances by Armie Hammer and Timothée Chalamet. "Call Me by Your Name" is a realistic depiction of young love that is amplified by a divine score from Sufjan Stevens. All in all, any movie that can forever change the way that society looks at peaches is a film worth celebrating. - Carter Thallon
9. "Eighth Grade" (Director: Bo Burnham, 2018)
Seeing life itself play out with such specific detail can be scary. And that's what we get with "Eighth Grade." In his script, writer/director Bo Burnham has somehow captured something both individual and universal. The film is of its time - Kayla (Elsie Fisher) deals with social media, technology, and changing social attitudes. Burnham smartly makes the story one that is distinctly Kayla's by not only tying it to her generation, her culture, and her gender, but also her individual personality. Even without living your own middle school life in the time of YouTube videos or the pervasive use of the internet; without experiencing the joys and pains of American girlhood firsthand; without having a similar sort of loosey-goosey relationship with one's parents, at the heart of the film is an experience that we all can relate to. - A.C. Fowler
8. "Spider-Man: Into the Spider-Verse" (Directors: Peter Ramsey, Bob Persichetti, and Rodney Rothman 2018)
"Spider-Man: Into the Spider-Verse" fully delivers on story, which is a tough challenge for any film, but especially a film released in this context - we've seen far too many iterations of Spider-Man in less than two decades and frankly the zeitgeist is a bit fatigued by the constant reboots. Additionally, the animation is the wild combination of the uber-saturated 2D comic-book look, with it's grid-like color cells, and computer generated animation that, quite simply, is like nothing we've ever seen before. - A.C. Fowler
7. "The Florida Project" (Director: Sean Baker, 2017)
"The Florida Project's" brightly colored cinematography contrasts with the heavy nature of the film's subject matter to create a darkly beautiful film about childhood. The film is about Moonee (Brooklyn Prince), a 6 year old girl living with her struggling mother in one of the motels surrounding Disney World. The fully realized characters are the heart of this film and are elevated by the amazing performances by Willem Dafoe and the rest of the cast (which is especially impressive considering that no one in the film besides Dafoe had ever acted before in a film). Like in his previous film "Tangerine," Sean Baker acts as writer, director, and editor, proving that he is a master of his craft. - Carter Thallon
6. "The Social Network" (Director: David Fincher, 2010)
On a surface level, "The Social Network" is about the rise of Mark Zuckerberg and Facebook, but the film is much more interested in the human aspect of the story. David Fincher brings Aaron Sorkin's neo-Shakespearean screenplay to life - perfectly balancing a dozen characters, time-skips, and intertwining narrative arcs. And Jesse Eisenberg delivers his best performance ever. When you put all of that together, you get an outstanding film that hopefully will outlive Facebook itself. - Carter Thallon
5. "Lady Bird" (Director: Greta Gerwig, 2017)
Greta Gerwig and Saoirse Ronan are a match made in indie Hollywood heaven. "Lady Bird" carries the same wit and tone we've seen in films Gerwig has starred in, but with her at the reigns, we get a window into her soul as she shows us the painful and endlessly funny roller coaster that is the life of a teenage Catholic school rebel. - A.C. Fowler
4. "Mad Max: Fury Road" (Director: George Miller, 2015)
Set in the not-so distant dystopian future, "Mad Max: Fury Road" has a fairly straightforward plot - Max and Imperator Furiosa attempt to outrun and escape the warlord Immortan Joe and his caravan of deadly vehicles. Technically, the film is flawless - its acting, directing, stunts, editing, and choreography are all top notch. Additionally, the film's stripped-down plot allows room for the action to really shine. "Mad Max" has more memorable moments in one five-minute action sequence than other action movies have in their entire runtime. The film is wild, immersive, and hardly ever slows from its full-throttle action insanity. - Carter Thallon
3. "Boyhood" (Director: Richard Linklater, 2014)
The plot of "Boyhood'" is simple, it's about the day to day life of a boy, Mason (played by Ellar Coltrane), from age 6 until 18. One of the many things that makes "Boyhood" exceptional is that it was filmed over an 11 year period - a herculean filmmaking achievement. Linklater created a fulfilling narrative, slowly piecing it together as they filmed every summer from 2002 to 2013. A totally unique approach to creating a film, combined with Patricia Arquette, Ethan Hawke, and Linklater at the height of their powers created this stellar one-of-a-kind film. - Carter Thallon
2. "Moonlight" (Director: Barry Jenkins, 2016)
From director Barry Jenkins, "Moonlight" follows Chiron, a boy living in the projects of Miami, as he grapples with his harsh home life and his sexuality. The film's earnest script is complimented by a dreamy pastel color palette, an aching score from Nicholas Britell, and an outstanding cast from top to bottom (including an Academy Award-winning performance from Mahershala Ali). - Carter Thallon
1. "Get Out" (Director: Jordan Peele, 2017)
Writer/director Jordan Peele announced himself as an auteur with "Get Out," which is a mystery/thriller and a spot-on commentary about race in America. The movie is both intense and funny, but more than anything it's an incredibly sharp critique of white liberalism and the lie of a post-racial America. - A.C. Fowler