We ranked every movie of the decade, including Moonlight (No. 6), The Social Network (No. 26), and Sex and the City 2 (No. 5,235)
From celestial collisions to man-eating aliens to human centipedes, here’s to another decade at the movies.* Photo: Ari Liloan Want to feel old? In 2010, the No. 1 movie at the box office was Avatar. Hypercool indie darlings Robert Pattinson and Kristen Stewart were the coupled-up stars of a lucrative supernatural teen romance. Netflix, which is likely to be competing with itself at the Oscars this year, was just starting to stream in Canada.
2. Mad Max: Fury Road Maybe movies were invented to capture life as we know it in motion. And maybe they were invented to show a man shooting flames out of an electric guitar while heading up a fleet of mutant vehicles riding to battle across a burnt-out desert wasteland. Mad Max: Fury Road is one of the greatest action movies ever made. It’s also a long-in-coming installment of a series that started in a recognizable future and that stretched itself into territory that’s nearly mythological.
5. A Separation Asghar Farhadi’s divorce drama came out in 2011, and, with apologies to Noah Baumbach, there has been no more finely wrought film about the dissolution of a relationship since. A Separation begins with an upper-middle-class couple from Tehran battling in front of a judge about whether their marriage is over, then builds into so much more — a spellbinding two-household tragedy that encompasses themes of class, faith, generational obligations, and the flight of human capital.
9. Spider-Man: Into the Spider-Verse The best superhero movie of the Superhero-Movie Decade wasn’t part of the MCU or the DCU but rather this dazzling animated adventure in which Brooklyn teen Miles Morales becomes the new Spider-Man with a little help from a cavalcade of Spideys across multiple universes, each with his or her own style of animation and even formal and narrative logic.
13. Hell or High Water David Mackenzie’s haunting drama is the greatest Western of our post-financial-collapse era. It features bank robbers, rangers, cowboys, and Indians, but the time is the present and the West — here, West Texas — is a different place: The frontier that gave birth to symbols of “rugged individualism” is now a home for the collectively dispossessed, with Native Americans and white people who once upon a time took their land in the same sinking boat.
17. Cameraperson Kirsten Johnson, who shot some of the most important documentaries of the last three decades — including films like Laura Poitras’s Citizenfour and The Oath, and Kirby Dick’s Derrida — uses discarded snippets and scenes from those previous efforts to put together this marvelous memoir.
21. Winter’s Bone Ozarks 17-year-old Ree Dolly embarks on a bloody, nightmarish odyssey to locate her lost father to keep the bank from foreclosing on the house in which she lives with her young siblings in Debra Granik’s harshly beautiful adaptation of Daniel Woodrell’s “Ozark noir.” The film achieves a mythical intensity, building to a midnight boat ride on what might be the River Styx — and to a silent scream that will echo forever in your mind.
24. The Villainess Director Jung Byung-gil’s The Villainess opens with one of the most dazzling fight sequences in years, all shot from the point of view of our lead, Sook-hee . It’s bloody and exhilarating, with the camera swinging and serving with dancerly grace. The action in this South Korean spectacle is undergirded by an intriguing, moving tale of control, power, and trauma anchored by Kim’s tremendous performance. —A.J.B.
28. This Is Not a Film On one level, the title of This Is Not a Film is an extremely dark joke — Jafar Panahi made it with his co-director, Mojtaba Mirtahmasb, while on house arrest, after having been sentenced to a 20-year ban on filmmaking by the Iranian government, and it was smuggled out to its Cannes premiere on a flash drive hidden inside a cake.
32. Once Upon a Time in Anatolia A sprawling nocturnal procedural that turns into a metaphysical reverie before making a sharp turn into harsh daytime realism, Turkish director Nuri Bilge Ceylan’s masterpiece is a murder mystery unlike any other. It’s less about guilt and violence and obfuscation — the traditional material of the crime drama — and more about how our mundane lives are constantly influenced by the dreamlike forces of symbol, myth, and romance. —B.E.
36. The Favourite A dark, delectable comedy involving two distant cousins: the formidable Lady Sarah and the wily, on-the-make Abigail , each vying to be the favorite of the ailing Queen Anne . There’s so much to marvel at in this film — its sharp script by Deborah Davis and Tony McNamara, the lush costume design by Sandy Powell, Yorgos Lanthimos’s sharp direction that sets aflame even minute moments with intrigue, sexual and otherwise.
40. Mother The decade’s greatest bookends are the first and last scenes of Mother, which feature the nameless main character, a widow played by Kim Hye-ja, dancing. The first is a deadpan lark, the second absolutely devastating, and how the film navigates from one to the other is a testament to the electric unpredictability of director Bong Joon-ho’s tonal shifts.
43. Inside Llewyn Davis What starts off as an immersive, loving re-creation of the American folk-rock scene in the 1960s becomes, in the Coen brothers’ hands, a kind of anti-Odyssey. Following the travails of a promising but way too abrasive and strident folkie who has too much integrity to sell out, and not enough talent or charisma or luck to break out big, they give us a journey of failure masquerading as triumph.
48. My Happy Family Long story, but this Georgian masterpiece never actually saw the theatrical light of day after premiering at Sundance, garnering wild acclaim and getting picked up by Netflix — who promptly buried it deep in their lineup with little announcement or fanfare or screenings or anything.
53. La La Land Weirdly, Damien Chazelle’s exuberantly original, medium-budget romantic musical ended up standing in for the white Hollywood Establishment against the outsider indie Moonlight, when any other year it might have been hailed as the closest thing since The Umbrellas of Cherbourg to what might be called a “unified field theory” of music and film.
35 and Ticking | 350 Days - Legends. Champions. Survivors. | 36 Saints | 360 | 42 | 42nd Street: The Musical | 44 Inch Chest | 47 Meters Down | 47 Meters Down: Uncaged | 47 Ronin | 5 Broken Cameras | 5 Days of War | 5 Flights Up | Beware of Mr.
Some Rom-coms The 2010s did not kill the romantic comedy. Here’s but a sampling of the titles that avoided death, which is reportedly still imminent? Stay safe out there, rom-coms.
2,639: Draft Day If we had to choose one, the most medium movie of the decade is probably Ivan Reitman’s Draft Day. It stars Kevin Costner as a general manager who’s trying to get the most of his team’s No. 1 draft pick. It’s not really an NFL procedural; if it were devoted to the nitty-gritty of the business, it’d be more interesting. But instead it just is. If middling had a face, it’d be someone’s from Draft Day. —A.W.
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Singh is Bling | Singh Saab The Great | Singham | Singham Returns | Singularity | Sinister | Sinister 2 | Sister | Sister Code | Sisters | Six Dance Lessons in Six Weeks | Skate Kitchen | Skateland | Skid Row Marathon | Sky on Fire | Skyline | Skyscraper | Slack Bay | Slamma Jamma | Slaughter Creek | Slaughterhouse Rulez | Slayer: The Repentless Killology | Sleeping Beauty | Sleepless | Sleepwalk with Me | Sleight | Slender Man | Slow Learners | Slow West | Slut in a Good Way | Small Group |...
Some Best Picture Winners These eight films won Academy Awards in the 2010s, but never once did we consider them as contenders for the Best portion of this list. C’est la vie! The King’s Speech | The Artist | Argo | 12 Years a Slave | Birdman or | Spotlight | The Shape of Water | Green Book 5,231. I, Daniel Blake Sometimes we hurt the ones we love, and sometimes they hurt us back by making a movie that’s didactic to the point of feeling like it might actually loathe its viewers for presumably requiring tactics this ham-fisted.
5,235. Sex and the City 2 For months after I first saw Sex and the City 2, I couldn’t get Kim Cattrall’s delivery of the phrase “Lawrence of my labia!” out of my head. She sings it, “Lawrence of my labiaaaaaaaaa,” as though the line were not, in fact, the stuff of nightmares, and instead a piece of writing too good not to be drawn out as long as possible.
5,239. The Bourne Legacy The Bourne Legacy epitomizes the trend of franchise continuum — even after the loss of crucial members. In this case: Matt Damon as Jason Bourne and Paul Greengrass as a director. Here, Tony Gilroy takes the helm and Jeremy Renner takes his turn as the star. I’ve loathed Renner’s acting style since first seeing him in a 2000 episode of Angel.
5,242. Nutcracker 3D Andrei Konchalovsky’s adaptation of Tchaikovsky’s ballet reduces the dance to about 45 seconds, axes most of the score, and appends lyrics to what’s left, mostly iterations of “Dance of the Sugar Plum Fairy.” The title character is now a cursed boy prince who joins the little heroine to take on the black-clad fascist Rat King and his mouse storm troopers. The movie has so many terrible ideas that the terrible execution is almost irrelevant.
5,245. Ocean’s 8 Combine Hollywood’s desire to sell tickets to women with its insistence on recycling old ideas, and what you get is the gender-flipped remake, which asserted itself with a vengeance this decade. It’s a concept that, in theory, could work, but so far the results have ranged from the underwhelming to the dire to Ocean’s 8, which felt … a little insulting? The cast was phenomenal, but the production featured a half-baked heist and barely-there motivations.
5,248. Gangster Squad Ruben Fleischer’s period thriller about L.A. cops who throw away the rule book to nail Mickey Cohen plays like an untalented 12-year-old’s imitation of Brian De Palma’s The Untouchables. Do noble ends justify ignoble means? Only in movies, where bogus good-guy vigilantes sustain the paranoid fantasies of real-world gun nuts. The film puts a hit on your soul.
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