My Two Francs On The 50 Best Films Of The 2010s
Franklin D. Roosevelt once said, “A smooth sea never made a skilled sailor.” This may as well apply to art, and in particular to films. No great films come of quiet peaceful times. Films are a reflection of our time and good films are perhaps one of the only positive by-products of living in a tumultuous era. Although by many metrics we are living in one of the best times to be alive, somehow it does not feel like it. Regardless of your views on this, there is something to be said about the prolific quality of the films produced during the 2010s. In fact, this period seems to mirror one of the greatest periods in cinema history — the 1970’s, and the similarities do not stop there.
Below you will find my two cents or better yet, my two francs, on what I consider to be the best films of the 2010s. These films made an impression on me and perhaps also a few other cinephiles. The list includes some of the usual suspects you would expect, but perhaps you will also find a few surprises within. The insanely rigorous scientific selection process in compiling this list can be the subject of another piece 😉. The list is ordered chronologically.
2010
Inception (2010), Dir. Christopher Nolan
What film do you do when you are arguably the biggest Director in the world? A mind-bending caper that is equal parts cerebral sci-fi, immersive cinematic experience, visually arresting photography, and standard-setting action filmmaking — why, of course! It appears that Nolan can do no wrong and Warner Bros. will stick by him just like they did with Kubrick. All the better for us, as we will be able to watch in wonder.
Exit Through The Gift Shop (2010), Dir. Banksy
It is a brilliant documentary by a provocative artist that makes fun of street art while simultaneously bringing it to the attention of the masses. The film is mysterious, subversive and hilarious, but what else would you expect? Ultimately, it is about celebrity and the commercialization of art; walking a tightrope between satire and exposé.
Scott Pilgrim vs. the World (2010), Dir. Edgar Wright
Edgar Wright breaks the mold of what a comic/video game movie can be and creates an exotic hybrid that can only exist due to the pastiche-laden brilliant mind of its director. Ultimately, it is a heartfelt coming-of-age that gets better with every viewing.
The Social Network (2010), Dir. David Fincher
No apter film to usher in the 2010’s and by no better collaboration than David Fincher, Aaron Sorkin, Trent Reznor, and Atticus Ross. The movie begins with a masterclass in directing, dialogue, and performance (which has become a staple of acting classes around the world) that sets the mood for what is to come. Facebook was not the behemoth it is today and I wonder what a sequel would look like.
I Saw the Devil (2010), Dir. Jee-woon Kim
It is a sadistic dark revenge thriller that dabbles as a study on the destructive power of obsession. It is not your run-of-the-mill thriller. It is the work of a master filmmaker who knows how to grab your attention from the first to the last frame. The film elicits strong visceral reactions along its journey through the darkest of human experiences. It does, it all with an unflinching eye and demented brilliance.
Black Swan (2010), Dir. Darren Aronofsky
An intense drama, that is reminiscent of Cronenberg’s body horror (like a couple on this list), but also of Aronofsky’s opera prima “Pi” (1998). The performance by Natalie Portman earned her an Oscar for Best Actress in a Leading Role and rightfully so. She could easily pass as a professional dancer, but that is only the beginning. She is raw, vulnerable, and dancing between, sometimes simultaneously, prey and predator.
2011
Drive (2011), Dir. Nicolas Winding Refn
This film that exudes cool like few others, going for broke against Steve McQueen’s “Bullit” (1968) by Peter Yates. The action is sleek and it merges with the outstanding soundtrack; an ethereal electronic-pop score composed by Cliff Martinez. Ryan Gosling anchors the film with a minimalist performance that makes him mysteriously compelling. It is surrounded by a talented cast that includes Carey Mulligan, Bryan Cranston, Oscar Isaac, and an incredibly menacing Albert Brooks. Nicolas Winding Refn struck gold with this one, hopefully, he will do it again.
The Skin I Live In (2011), Dir. Pedro Almodóvar
A bizarre, macabre and clinically-detailed film by Pedro Almodóvar; it is like nothing we have seen before. Cannot really say it is unexpected, as Almodóvar has treaded some of these themes repeatedly throughout his career. Nevertheless, this one is out there, but the craftsmanship in it is peerless. Like a couple of films on this list, this one is not for everyone.
We Need to Talk About Kevin (2011), Dir. Lynne Ramsay
To new parents, this movie can be a real nightmare and that was my case. The movie plays in fragments, vignettes, and is full of startling and evocative images built around a tour-de-force performance by Tilda Swinton. It will linger in your mind for weeks and months. This is the first of two deservedly appearances in this list by Director Lynne Ramsay.
Moneyball (2011), Dir. Bennett Miller
The movie around sabermetrics and ultimately made the mainstream case for big data, especially when defying conventional knowledge. Obviously, it helped that Aaron Sorkin wrote the screenplay. The film is ultimately a classic tale about sticking to your ideals and succeeding against all odds.
Kill List (2011), Dir. Ben Wheatley
It is almost like two distinct films stitched together, but once it is done you understand why it had to be done this way. The crime portion of the film is filled with mysteries planting the seeds for the horror portion of it and its shocking and bizarre ending. Yes, the ending is on par with that of “The Wicker Man” (1973).
The Raid: Redemption (2011), Dir. Gareth Evans
A simple plot that leaves you wondering about its complex choreography, the safety of its performers, and its stunt doubles. The film serves as an antithesis of the style popularized by Paul Greengrass through Bourne Supremacy and that has been copied ad-nauseam by Hollywood. In The Raid, the kinesis is inside the frame and frequently it is captured in one take. It is an exhilarating rush and a cinematic breath of fresh air.
2012
Django Unchained (2012), Dir. Quentin Tarantino
Tarantino revisits the American myth, as charted through his cinematic memories to create his first Western. In the process he gives life to Django, a slave turned bounty hunter that stands toe to toe with Zorro, aka the first American cinematic superhero. Foxx, DiCaprio, Waltz, and Washington deliver great performances, but it is Samuel L. Jackson’s Uncle Tom-like Stephen that steals the show.
American Mary (2012), Dir. Jen Soska and Sylvia Soska
A body-horror that inevitably calls back to Cronenberg, but creates something uniquely bizarre and memorable along the way. The overall story is punctuated with small vignettes à la Nip/Tuck, but without television censorship. For sure, it is unconventional, but with a perverse and passionate vision behind it.
Sinister (2012), Dir. Scott Derrickson
A truly chilling film that makes masterful use of sound and a disturbingly eerie atmosphere permeating every scene, unfortunately, it does not get enough recognition as it should. The gruesome Super 8 silent footage that opens the film is just one of many unsettling and intense sequences at the hand of “Bughuul,” a certified nightmare-inducing horror icon.
2013
The Wolf of Wall Street (2013), Dir. Martin Scorsese
Tarantino said that he will quit directing films after his 10th because according to him directing films is a young people’s game. He should look at Scorsese and George Miller, and perhaps he will change his mind. Scorsese was around 71-years when he directed this. It is vibrant, energetic, and wild. The film that catapulted Margot Robbie to the stratosphere, also, it feels accurately prescient of where the world would go.
Before Midnight (2013), Dir. Richard Linklater
It is the last film in the bitter-sweet trilogy by Linklater. The film breathes with long takes and great emotionally rich dialogues written by Hawke, Delpy, and Linklater. It does not strip away the idealism of the first two films, but its nuanced approach traces the evolution from the “Now or Never” into a “Now and Forever”.
2014
It Follows (2014), Dir. David Robert Mitchell
The premise for this film is so great; it is surprising that it had never been done before. The opening scene of the film draws you in and never lets you go for the rest of the movie. The score is haunting and engrossing reminiscent of classic John Carpenter’s scores, and not only because of the use of synths. The only problem with the film is that the end seems to ignore some of the basic rules it sets up. Nevertheless, the gamble paid off; David Robert Mitchell shot for the moon, but landed among the stars.
Interstellar (2014), Dir. Christopher Nolan
This is Christopher Nolan throwing his hat into the ring of space films on his way to fully take up the torch from Stanley Kubrick. The film is epic, but rooted in the love of a father and daughter through time and space. It is cerebral, like everything Nolan does, but optimism and hope permeate through it.
Gone Girl (2014), Dir. David Fincher
A psychological thriller directed by the genius David Fincher channeling Alfred Hitchcock (not that he hasn’t in the past). The film constantly shifts perspectives, keeps reversing expectations and raises disturbing questions about the state of modern marriage. The performance by Rosamund Pike should have cemented her at the top of the pecking order for actresses in her generation.
Ex Machina (2014), Dir. Alex Garland
Alex Garland in his directorial debut delivers a razor-sharp, thoughtful and sophisticated-looking film that balances between character drama, sci-fi, horror, and a salacious exploitation movie. In a parallel universe, this is the sequel we all wanted to The Social Network.
Captain America: The Winter Soldier (2014), Dir. Anthony Russo and Joe Russo
It is the audition film that handed the Russo brothers the reigns of Infinity War; also the one where Marvel films found their footing. Before this one, Marvel was making superhero films, starting with this one they verged into exploring other genres that by happenstance seem to include superheroes. This being a ’70s paranoid thriller works as a perfect vehicle for Captain America — one of the pillars of the Marvel Cinematic Universe.
John Wick (2014), Dir. Chad Stahelski and David Leitch
This film revolutionized American action films and made them cool again. Who would have thought that killing a puppy would unleash an unabashedly fun action fest and give Keanu Reeves his second iconic trilogy-worthy character? “Bill & Ted Face the Music” (2020) might deliver his third one.
2015
Mad Max: Fury Road (2015), Dir. George Miller
If there is one film that should be the best one of the decade, this is it! Although I enjoyed the previous Mad Max films, I did not know I needed this film. And yet, I am immensely grateful that it exists. A masterclass in filmmaking that is filled with energy and delivers jaw-dropping set-pieces after set pieces that will not be topped for ages. Ah, Charlize Theron delivers an iconic performance.
The Witch (2015), Dir. Robert Eggers
An opera prima is that announced the arrival of a very talented filmmaker. The film goes to painstaking efforts to recreate a time period. Do not be put off by the use of seventeenth-century English; it adds to the magic. All the pieces add up to achieve the viewers’ full immersion. “Wouldst thou like to live deliciously?” has never sounded more menacing.
Amy (2015), Dir. Asif Kapadia
Amy Winehouse’s journey into becoming a jazz and soul legend, including her tragic death. It is all chronicled through personal photos, videos, and letters. Kapadia traces her life using Amy’s songs and paints a portrait of an extremely fragile, passionate, and incandescent human and artist that left us too soon.
Sicario (2015), Dir. Denis Villeneuve
The drug trade has been explored by many films, but few with this level of dexterity on all fronts. The score by late Jóhann Jóhannsson ranks up there as one of the most haunting, heart-pounding, and energetic pieces. The music meshes in perfect harmony with the images concocted by Roger Deakins. All the lead performances are on point, but Benicio Del Toro’s Alejandro is one of the most brutal, menacing, and commanding presences ever put on screen.
Inside Out (2015), Dir. Pete Docter and Ronnie Del Carmen
Pixar has always made great movies, but even in the pantheon of its great hits, this one stands out. The film is based on a brilliant premise and delivers an emotional rollercoaster in an imaginative, audacious, and joyous fashion. Inside Out builds a world that is a delight for everyone to explore.
The Invitation (2015), Dir. Karyn Kusama
It is an eerie and intriguing film that constantly defies expectations. It goes from your average dinner filled with meandering conversations to menacing and life-threatening. It’s bloody finally appears to be the end of a nightmare, but then you realize there is a bigger nightmare at play.
Victoria (2015), Dir. Sebastian Schipper
A 138-minutes single-take film that is truly immersive. It is anchored by a mesmerizing performance by Laia Costa, but the whole film exudes emotional authenticity. At the midpoint, it bridges genres with an uncommon degree of grace. The virtuoso cinematography delivered by Sturla Brandth Grøvlen deserves special mention.
2016
Arrival (2016), Dir. Denis Villeneuve
If you were expecting a straightforward film, this is not it. It is a complex, slow-burn film that fits right into our starkly divided times. It tackles the importance of communication in perceiving and shaping our reality, as well how language has consequences. This film announces Denis Villeneuve as a visionary filmmaker and arguably the best director of the 2010s.
La La Land (2016), Dir. Damien Chazelle
A joyous bittersweet modern musical that has faced a bit of backlash since Damien Chazelle’s Best Director Oscar — nested in between five consecutive awards to Mexican directors. The lead performances by Emma Stone and Ryan Gosling and their chemistry jump out of the screen, making you nostalgic for the golden age era of musicals.
Raw (2016), Dir. Julia Ducournau
Raw is a coming-of-age story about addiction and the transcendent between families. The story is shocking, but with plenty of layers underneath it; you just need to dig beyond the incredibly graphic and disturbing images to uncover it. This is Julia Ducournau’s first film, which she also wrote. Hopefully, she has plenty more stories to tell.
Elle (2016), Dir. Paul Verhoeven
Paul Verhoeven took Hollywood by storm in the late ’80s and early ’90s. In his later reinvigorated period in Europe, he is showing no signs of slowing down and has delivered some of his finest work. Isabel Huppert is outstanding in this psychodrama; extending Verhoeven and Huppert’s long career of pushing boundaries.
The Handmaiden (2016), Dir. Chan-wook Park
Park Chan-Wook’s voluptuous, perverse, carnal and violent take on the Gothic horror/romance films à la Hitchcock’s “Rebecca” (1940), but cranked to 11. The film is often surreal, but masterful in its use of characters, performances, and overall narrative construction. There are easier films to make, but why make those if you are Park Chan-Wook at your apex level.
2017
Baby Driver (2017), Dir. Edgar Wright
On the heels of La La Land, Edgar Wright delivers a film that is equally indebted to the olden days’ musicals as well as George Lucas’ “American Graffiti” (1973) via heist films. Several stand-out sequences choreographed to perfection to on-point needle drops that would not amount to much if it was not coupled with an all-star cast and a winning love story at its center.
You Were Never Really Here (2017), Dir. Lynne Ramsay
It took me a while to watch this even though it was on my to-do list. Joaquin Phoenix has become one of the most exciting actors working today. I was looking forward to seeing what he would do under the direction of Lynne Ramsay for an arthouse interpretation of Taken. The film is a breezy 89 minutes if you do not mind the brutal exploration of a traumatized mind.
Get Out (2017), Dir. Jordan Peele
Jordan Peele made his name in comedy, so his foray into horror was a surprise. Nevertheless, the film exudes a mastery of the genre and it strikes the perfect balance between suspense, a dash of horror, and social commentary about race. It is an impressive opera prima that has proven to be highly influential in film and culture.
Phantom Thread (2017), Dir. Paul Thomas Anderson
Paul Thomas Anderson is arguably the best director working right now and here he is at the top of his game on this one. It is an elegant, sophisticated, and subtle piece that counts with the last onscreen performance of Daniel Day-Lewis. He has since announced his retirement, but this role is a welcomed addition to the pantheon of great characters he has played. Vicky Krieps holds her own and then some, delivering a mesmerizing performance.
The Breadwinner (2017), Dir. Nora Twomey
It is an animated film that tackles complex socio-cultural themes, confronts straightforwardly chauvinism, and misogyny in a war-torn Afghanistan. Exceptionally powerful filmmaking that tells the story of a resourceful heroine while at the same time bringing attention to the brutality of the Taliban regime.
Logan (2017), Dir. James Mangold
This is the swan song of Hugh Jackman as Wolverine. It steers away from the modern superhero films and veers into western sci-fi territory; all in all, it is just a great movie for any genre. This film feels like the hinge between two eras. It opens the door to new possibilities in approaching the genre by expertly deconstructing the modern superhero film.
Blade Runner 2049 (2017), Dir. Denis Villeneuve
The original “Blade Runner” by Ridley Scott is a classic, although it took years to be considered as such. “Blade Runner 2049” delivers on its promises with stunningly elegant images, as it delves deep into philosophical questions about the human experience. It is definitively a classic in its own right.
Coco (2017), Dir. Lee Unkrich and Adrian Molina
Another of the highlights of Pixar! This time around they take on Mexican culture and its traditional “Día de Los Muertos”. The real “Día de Los Muertos” is closer to this than the Mardi Grass-like spectacle in “Spectre” (2015) (not that I have anything against one of Bond’s best opening sequences). The love and respect for Mexican culture are palpable in every frame and this translates into a universal story of family’s enduring love for each other. The in-movie scenes with Ernesto de la Cruz are pitch-perfect and seem directly lifted from the Golden Age of Mexican cinema.
2018
The Night Comes For Us (2018), Dir. Timo Tjahjanto
Just when you thought “The Raid: Redemption” (2011), this proves us all wrong. Timo Tjahjanto has been working on action, horror, and sci-fi and the mélange of these seem to blend perfectly in “The Night Comes For Us.” The fight sequences are inventive, brutal, jaw-dropping, and then some. It is supposed to be the first one in a trilogy of mayhem. Can’t wait.
Hereditary (2018), Dir. Ari Aster
Ari Aster’s opera prima hints at a great new voice in cinema and in this one he swings for the fences. The film will get under your skin and give you nightmares for months to come. A tour de force for everyone involved, but especially for Toni Collette who delivers an Oscar-worthy performance; unfortunately, she was ultimately snubbed by the Academy.
Mission: Impossible — Fallout (2018), Dir. Christopher McQuarrie
The sixth film in the franchise should not be this good! When other franchises follow the inevitable law of diminishing returns, the Mission: Impossible franchise seems to be getting better and better. The HALO jump, the bathroom fight, the rooftop chase, and the helicopter chase… Where do I even begin? Tom Cruise has at least two more of these coming up, but if they are as good as this he should continue forever.
Ready Player One (2018), Dir. Steven Spielberg
Spielberg has been populating best film lists for the best part of four decades and it looks like he will continue well into the next decade. Although his adaptation of the Ernest Cline novel makes several changes to the story, the heart and sentiment behind it remain intact. The film leans into a language he almost single-handedly created in the ’80s and ’90s, but does it in vibrant fashion. This is pure unadulterated entertainment done at its best.
Mandy (2018), Dir. Panos Cosmatos
It is outrageous over the top death-metal home invasion revenge epic that delivers one of the wildest Nicolas Cage performances to date. Where to even begin? Perhaps you should just stop reading this and go watch it immediately! It is uncompromising, stylish as hell — probably because it literally goes into the fiery gates of hell. All of this would not work if it were not for the tender love story at its core.
2019
Midsommar (2019), Dir. Ari Aster
After two films, Ari Aster has quickly become one of the most exciting working Directors. Midsommar is certainly a horror film, but it is unlike anything you have seen before. The film is hauntingly beautiful, carefully crafted, and loaded with symbolism. If you look carefully, its eerie paintings foreshadow the whole story. You definitively do not want to miss this rare cinematic experience.
Once Upon a Time … in Hollywood (2019), Dir. Quentin Tarantino
The most recent film by Tarantino is one that has been in the making for years. It is a slice-of-life hangout story, which is a love letter to films and Hollywood of yesteryear. The film is pretty much violence-free, except for the end. Cliff Booth’s visit to Spahn Ranch is one of Tarantino’s finest sequences, even though there is no staple Tarantino dialogue; the long-sustained suspense sequence leaves the viewer with an impending sense of doom while ultimately bucking expectations.
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