Best movies from the 2000s?

Since we've hit 2012, I think it's finally time to take a little look back at the decade of cinema we just left behind.

What will stick with you most from this era? Who do you think emerged as the heavy hitters of the decade, and who maybe lost their touch? Did you discover any interesting international cinema during this time?
Feel free to drop a list of your absolute favorite titles from the 2000s.

While everyone usually talks about the big Hollywood blockbusters, I'd love to hear your thoughts on how American indie filmmaking evolved in the early 2000s too.

Our habits for watching movies have shifted so much lately... video rental stores are basically relics now that the internet has taken over. Even the good old days of renting a Blockbuster are officially history.

It would also be great if someone could briefly mention some of the major technological leaps in film production itself—things like new camera tech and gear—that popped up during the 2000s.

Basically, this is a broad discussion about 2000s cinema.

Just to keep our timeline straight, by "decade" I’m referring to the period 2001-2010.

It would probably be useful to summarize that Film Loungo poll regarding the best films from the 2000s.😁

Three major technological shifts have defined this decade of cinema: downloading movies online, high-end digital alternatives to film stock, and the rise of 3D technology.

The internet has effectively put global cinema at our fingertips. Suddenly, there's much more buzz surrounding the film industries in places like Korea, Iran, or Romania. While their reputations are ultimately built on wins at international festivals, the web has made their work accessible outside of official distribution channels—giving a lifeline to those of us living in the cinematic backwaters of the US. Whether this shift is permanent remains to be seen.

Major studios are trying to fight back against the internet by pushing 3D. After Avatar, it felt like 3D was the undisputed future of Hollywood, but I think the hype has largely deflated. It’s actually more interesting to watch heavyweights like Werner Herzog and Martin Scorsese take experimental dives into the 3D medium.

On the other hand, the evolution of digital filming and projection has been a massive boon for smaller film industries. Costs have plummeted, yet the quality is now catching up to traditional 35mm film. With top-tier digital cameras like RedOne or Arri Alex, indie filmmakers can produce great work, and some low-budget creators are even using high-end still cameras that deliver surprisingly solid image quality. We've already seen local productions shot entirely on stills, and an upcoming Šovagovićev project is following that same path.

I remember back on the old chat boards, we used to compile lists of the best films of the decade. You couldn't go two names without hitting Inarritu, PT Anderson, Fincher, or Coen; they were the ones who truly defined American cinema in the 2000s. Personally, I thought the Coens were at their peak earlier on, but that first trio was churning out absolute masterpieces. With Anderson, we even got one of those rare films destined to become a permanent part of the cinematic canon, There Will Be Blood. All in all, it was a strong decade for filmmaking; I don't think it was a weak one by any stretch.

Our local scene has taken a small step forward. New audio-visual centers have been established, and we're seeing a decent uptick in quality compared to the nineties. It's still a bit too early to call it a revolution, but there's enough momentum to keep hope alive.

Jacob J. Harper said:When I look back at the 2000s (2000-2009), these are the ones that stick:

A Beautiful Mind (2001)
Gladiator (2000)

The Lord of the Rings trilogy

The Pianist (2002)
Eternal Sunshine of the Spotless Mind (2004)
Requiem for a Dream (2000)
The Aviator (2004)
Monster (2003)
Dogville (2003)
Vozvrashchenie (2003)
The Dreamers (2003)
Mulholland Dr. (2001)
Hachiko: A Dog's Story (2009)
What Lies Beneath (2000)
Let the Right One In (2008)

There are plenty more where those came from, but that’s the gist for now. Honestly, the 2000s were just incredible—they hit every single mark across pretty much every genre you can think of.

Five of those bolded titles would easily land in my personal top 20 for that decade.👍

For me, the biggest win was definitely discovering American cinema from Korea. I actually saw Oldboy first—before Memories of Murder—and once I dove into that whole trilogy, I was completely hooked. Then I watched Memories of Murder, and I’ll say it plainly: I firmly believe it was the best film of the entire decade. Oh, and that Brazilian flick? I loved it. trop de elita 🙂

The nineties were solid years. They felt a little melancholic, looking back at them through a certain lens. Departure. Blockbuster... that entire cinematic universe I grew up in, the one I was absolutely obsessed with throughout my whole childhood. I still remember back in 2008 when—if I recall correctly—I rented my very last movie from a rental store. During those late-night wanders through the city, I’d always end up wandering into a shop like that, and out of pure habit, I’d scan the exact same shelf twenty times over, terrified I might miss some damn title or just looking for an excuse to strike up a conversation with the guy behind the counter. Back then, those places started clearing out their old stock at dirt-cheap prices, and I’d be there, grinning like an idiot, grabbing anything that caught my eye because, hell, I could never resist a good movie selection. I would have hauled the whole store home if I actually could. And now, sitting right here in front of me, I've got Anderson's Magnolia, Spike Lee's 25th Hour, and other absolute gems, all for next to nothing. It's almost poetic, especially since my first love is... I don't know what to tell you—it’s just dying. It’s fading out right before our eyes. I used to be so damn happy about those five-dollar movie deals, thinking I was getting the steal of the century. Looking back now? Man, I didn't have a clue what I was actually missing. Heh.

On the flip side, even though the internet basically killed off the local Blockbuster and turned movie theaters into a harder sell, it actually handed us everything we ever wanted on a silver platter. It bridged that gap by making content accessible in ways we couldn't have even dreamed of back in the day.

The magic of going to the movies died for me the second that pathetic, hollow "victory" went down in Zadar. I can't even remember the exact title of the last film I caught at that theater—maybe it was NCFOM or some gritty American gangster flick—but I know damn well I fucking loved it. But enough with the melodrama; let’s get down to the actual zero-sum game of filmmaking.

I honestly feel like I’ve barely even scratched the surface of all this, and frankly, that excites the hell out of me. Take Korean cinema, for instance—I’ve only just dipped my toes in, but what I’ve seen so far? Absolutely brilliant. It’s left me hungry to dive deep into their entire filmography. Same goes for the Japanese masters... and there is so much more to uncover in Romanian films too. There is an endless well of talent there just waiting to be tapped. That being said, even though I find myself constantly criticizing certain trends, I still find myself retreating back to the comfort of the good old classics from Hollywood more often than not.

If you ask me, they’ve truly defined him: Wes Anderson, with four brilliant features and one short, all pulled from that singular, gorgeous little universe of his—a cosmos where he delivers those eccentric characters we can't help but laugh and cry along with.

Alexander Payne has delivered two absolute masterpieces, and honestly, that short film *Paris, Je T'aime* was nothing short of brilliant. Then there’s *Sideways*—man, that is one of those all-time favorites. I still remember watching it in my tiny, cramped college studio apartment, practically choking because I was laughing so hard.

Cronenberg absolutely floored me with those Russian promises and that relentless history of violence. It was just one massive, glorious serving of stylized brutality—exactly the kind of visceral stuff you crave.

The Coen brothers absolutely floored me with NCFOM, and PT Anderson completely wrecked me with There Will Be Blood. To think they all dropped those masterpieces in the exact same window—likely that absolute peak era around 2007 or 2008. It was a powerhouse year. And let’s not forget, that was the same year Dominik released his absolute gem, The Assassination of Jesse James by the Coward Robert Ford. Pure cinematic perfection.

When you think about the absolute peak of cinema, one of the first things that comes to mind is that brutal showdown between Llewelyn Moss and Anton Chigurh. It’s legendary. Seeing Daniel Day-Lewis go head-to-head with Paul Dano as Eli Sunday creates a dynamic of characters that stays burned into your brain for a lifetime. And don't even get me started on Casey Affleck—the way he absolutely dismantles every single frame in that director's debut is nothing short of life-altering.

Man, *Dogville* absolutely kicked my ass. It left me completely floored. But then I finally wrapped my head around the whole Dogme 95 movement, and that led me straight down the rabbit hole of Vinterberg’s work. He basically dismantled me emotionally—first with the sheer ritualistic intensity of *The Celebration*, and then he totally enchanted me with that sci-fi fairy tale vibe in *All About Love*. Just incredible stuff.

That little masterpiece claimed a permanent spot in my heart the very second I finished watching it. It’s that tender, bittersweet story about two Americans finding each other in Tokyo—just completely lost in translation.

The guy who basically carried the entire weight of the nineties on his back—acting as both screenwriter and director—is Charlie Kaufman. Seriously, look at his work. You could take a trio of his films, like Eternal Sunshine of the Spotless Mind, Synecdoche, New York, and that adaptation he did, and drop them straight into a Top 10 list of the best films of the decade without even blinking. He’s a genius. If I had to pick one word to define him, it would be "Kaufmanesque." That's it. That's the whole man.

Even before the sun sets, those broken flowers are just two little sweethearts brightening up the early years.

Leigh’s *All or Nothing* absolutely wrecked me on an emotional level. It was one of those films that just hits you right in the gut and refuses to let go.

Woody Allen has certainly had his moments... in one of his more unconventional flicks, Match Point, he really solidified his spot in my personal top ten all-time greats. Then you look at Vicky Cristina Barcelona, where he manages to win everyone over with that signature charm again—honestly, it’s just like how Bardem absolutely commanded the screen alongside Scarlett and the rest of that cast.

Watching *Gosford Park* and *Before the Devil Knows You're Dead* really drove home the point that the old masters haven't exhausted their repertoire just yet. We’re talking about two absolute gems of cinematic direction here—pure brilliance from start to finish.

The Devil's Backbone. That movie absolutely captivated me; it was one of those rare gems that hit home and reminded me exactly of the kid I used to be.

When it comes to Latin American cinema, they’ve dropped two absolute masterworks: Dogtooth and My Mom.

I also have to give credit where it's due regarding those graphic novel adaptations like Ghost World and American Splendor.

As far as comedies go, Superbad and Anchorman are leagues above anything else out there.

Finally, I can't wrap this up without mentioning a recent standout from a true documentary master—he directed what might actually be my favorite narrative feature: The Bad Lieutenant: Port of Call New Orleans by Herzog.

Anyway, that's just a little bit of my take to get things started.😁

I totally blanked on mentioning that I’ve become a massive fan of Kill Bill: Vol. 2 lately. Plus, I completely forgot to bring up one of my absolute favorite directors, Fatih Akin. His movies like Head-On and Soul Kitchen are just freaking incredible—absolute masterpieces. And that guy who stars in his films, Birol Unel, if I remember correctly? He’s easily one of my favorite actors from the 2000s. 😁

edit: Clown is also absolutely worth noting for his roles in the Coen brothers' films and his part alongside Danny Ocean. Total legend. 😁

I’ve always felt like those Latin American films, especially El Secreto de sus Ojos, belong in my personal top ten of the decade, without a doubt...

And then you have titles like Nine Queens and El Hijo de la Novia... I haven't actually gotten around to watching El Aura yet, unfortunately.

Jamie Nelson10 said:If you ask me, those Latin American filmmakers and *The Secret in Their Eyes*—that's easily sitting in my top ten for the decade. No question about it.

It’s brilliant, truly. But damn, it is incredibly difficult to just dump all of that out of your head like this. I completely blanked on *City of God* earlier—now I'm kicking myself because that was a massive oversight.
I completely blanked on Clint Eastwood and his mystical river flick—that movie is an absolute masterpiece. And don't even get me started on Fincher’s *Zodiac*; that one is a total powerhouse too. If we're talking comedies, though, *Bad Santa* is the gold standard. 😁

Oh man, I’ve completely lost it. My brain is basically mush right now—I’ve forgotten everything! I can't even remember Cloverfield, let alone anything else. And Lynch? Ugh, don't even get me started on Lynch... my mind is just a total blank! 🙂

Jamie Nelson10 said:And those damn titles are nothing but pure garbage.

Oh man, that movie is an absolute powerhouse. It’s a heavy hitter. Honestly, though, I can't even think about it without being reminded of that total disaster of an American remake they did starring Charlie. Just a complete mess.

Look, man, why don't you just sit down and write up your own damn summaries whenever you find some free time? I’m genuinely curious to see what you come up with because I know for a fact you watch way more stuff than the average person. Give us the breakdown!

It’s actually kind of tough to recall every single movie and director off the top of my head, so I guess I’m just scrolling through my IMDb voting history for a bit to jog my memory...

If I were to look at individual directors and how I’ve personally rated their work, then I’d say my absolute number one is definitely
Inarritu, mostly because since he made Babel, he hasn't really put out a bad film—though I suppose his most recent one, Biutiful, wasn't quite my favorite, whereas Babel was probably his strongest...that scene with the deaf girl in the disco, for instance, stays with me as if I had watched it just yesterday...

As for Korean cinema, it would have to be Ki Duk-kim; I’ve seen four of his films from the 2000s and there truly isn't a bad one among them...everything seems to fall somewhere between above average and just plain excellent...

Then there’s good old Scorsese, who maybe wasn't even at his absolute peak during certain eras, but he always manages to deliver a solid film at the very least...personally, I thought The Departed and Shutter Island were both fantastic...

The Romanian filmmakers were certainly good too, though alongside Lazearescu, I think Mungiu was the standout for me, along with Dupa Craciun, who doesn't get mentioned nearly enough...

I also personally really enjoyed Moccia's collaboration with Will Smith in those two American films, as well as some of his Italian movies that I happened to catch...

Eastwood had three films that I thought were just super, like Gran Torino, Unforgiven, and Changeling...

Payne really knocked it out of the park with his three films, while Aronofsky will always be remembered by me for Black Swan; Lynch filmed the most confusing thing ever with Inland Empire and then that masterpiece Mulholland Dr., and we can't forget Ritchie's Snatch, which is just one of those movies you can always rewatch...

Ugh, I don't really feel like thinking about this anymore...

But I suppose I might try to put together a completely different kind of list now, maybe focusing on some mediocre films by directors who aren't even that well known...

Richard Johnson42 said:And finally, lest I forget, I have to mention the master of documentaries who also happens to have directed what might be my favorite narrative feature: Herzog's The Bad Lieutenant: Port of Call New Orleans.

I find Herzog incredibly fascinating in his later years. Even if he isn't quite at his creative peak anymore, he’s finally starting to reach a broader audience. It's a strange trajectory—arriving in the US at 60 and suddenly working with the Hollywood A-list, even dipping his toes into 3D, all while remaining that one-of-a-kind, brilliant Werner Herzog.

neonsurfer6 said:Herzog is absolutely fascinating to me in his later years. Even though he isn't at his creative peak anymore, he's finally starting to reach a wider audience. This guy rolls into the US at 60 years old and starts working with the Hollywood A-list, even shoots a 3D movie, yet he manages to stay that one-of-a-kind, brilliant Werner Herzog.

Herzog is incredibly interesting, not just as a director, but as a human being. That whole persona of his—it's truly unique and inspiring. Naturally, that carries over into his films, which I personally find to be nothing short of sublime.

I stumbled upon his statement regarding the role of facts in filmmaking a few weeks back:

If we are paying attention about facts, we end up as accountants. If you find out that yes, here or there, a fact has been modified or has been imagined, it will be a triumph of the accountants to tell me so. But we are into illumination for the sake of a deeper truth, for an ecstasy of truth, for something we can experience once in a while in great literature and great cinema. I’m imagining and staging and using my fantasies. Only that will illuminate us. Otherwise, if you’re purely after facts, please buy yourself the phone directory of Manhattan. It has four million times correct facts. But it doesn’t illuminate.

Since you brought up 3D, check this out:

I have a dictum: Yes, shoot a porno film in 3-D. But not a romantic comedy.

😁

I still haven't seen Aguirre or that one about the death penalty, but I am seriously intrigued.

Since the OP suggested we all share our favorite movie lists, I guess I’m okay with those kinds of posts. But, maybe there's a little catch—if you're going to list them, please include a few sentences about why you liked that decade or whatever. Otherwise, I might have to clear them out. Honestly, just straight-up lists are probably the most boring thing on this forum, and we already have way too many of them.

When you talk about the cinematic landscape of the 2000s, you can't ignore how much pressure it faced from the small screen. Television in the States evolved into this massive creative powerhouse during that era. Personally, I found myself completely hooked by shows like The Wire, Breaking Bad, and The Office. Even looking across the pond, you have guys like Ricky Gervais, who arguably hit his stride more on TV than in film, or that brilliant American-style anthology vibe seen in Black Mirror.

I’m not going to waste my breath on highbrow "art" films, nor am I interested in mindless junk like Quentin Tarantino and his crowd.
The 2000s were basically defined by the massive explosion of CGI—it was everywhere. Movies started getting bigger, aiming for that epic scale where you just can't have the story without heavy visual effects. You look at stuff like The Lord of the Rings, the newer Star Wars entries, or Narnia, plus The Matrix and Avatar, which really pushed the tech to its limits. But then you get the bad side of it too—movies where the effects feel totally hollow and exist just for the sake of showing off, like Harry Potter.
Another huge hallmark of that decade—specifically the 2000 to 2009 stretch—was the sudden dominance of comic book adaptations. We went from the first X-Men back in 2000, through Spider-Man and the Batman reboots, all the way to Superman and eventually the whole Marvel Cinematic Universe.
We also saw a major wave of franchise revivals, whether they actually worked or not—think Die Hard, Indiana Jones, or Star Trek, specifically referring to their 2009 outing.

neonsurfer6 said:Look, when you're dissecting the landscape of 2000s cinema, you absolutely cannot ignore the fact that movies were facing brutal competition from the small screen. In the United States, television transformed into this massive, powerhouse hub for creative talent,

It’s the truth—HBO completely raised the bar through sheer production value. The raw creativity coming from the writers during that era finally had a platform to explode, and the end result was a string of absolute masterpieces.

Personally, shows like The Wire, Breaking Bad, and The Office really blew me away.

I'm right there with you; those three are top-tier. 🙂 But if I'm picking my own all-time favorites, I'd have to throw in Curb Your Enthusiasm and one of the newer ones—Bored to Death. And don't even get me started on Freaks and Geeks; sure, it's only one season, but that single season alone was enough to cement it as one of the greatest achievements of the entire decade.

I absolutely loved Deadwood. It’s such a powerhouse of a series—incredible characters, plenty of profanity, and just generally brilliant 😁

I've seen The Wire, which was equally fantastic, though I have to admit the fifth season felt a bit of a slog to me. I'm currently following Breaking Bad and it is absolutely crushing it right now. I haven't caught The Office yet. I'm not sure if any of you have seen Carnival (also on HBO), but for me, it's easily one of the best shows out there—it's a shame it got axed after just two seasons.

I completely forgot to mention NCFOM when we were talking about movies. That villain is just perfect 😍. As for superhero flicks, I'm not really a huge fan, except maybe the early Superman and Batman films, but those are older classics. X-Men is the only one that actually landed for me.

There's also this great Irish film I forgot to bring up, Dead Man's Shoes http://www.imdb.com/title/tt0419677/—definitely one of my favorites. It had a tiny budget, but between the acting, the plot, and that killer twist, it totally kills.

Joshua Jackson4 said:I think I forgot to mention an incredible indie film, Dead Man's Shoes http://www.imdb.com/title/tt0419677/ which I’d say is definitely one of the better ones out there. It had a pretty small budget, I suppose, but the acting, that sharp twist, and the overall plot really make it stand out.

I completely agree... if we're looking at British cinema, I might also suggest Boy or even Once; they both feel so wonderfully simple and sincere...

neonsurfer6 said:Personally, I’ve always been quite captivated by shows like The Wire, Breaking Bad, and The Office.

Truly one of the greatest series ever made! It really represented such a massive leap forward in television cinematography—specifically those unique camera angles and those little "interview" segments they used to bridge the scenes, don't you think? 👍

Jamie Nelson10 said:Totally... if we're talking British cinema, I’d throw in Boy and Once—they're just so simple yet incredibly sincere pieces of work...

I completely blanked on mentioning Paddy. Honestly, I'm so glad I stumbled upon his work. He's a fantastic actor—and from what I can gather, a pretty solid director too. I went ahead and watched in America and Last Resort right away. Both were absolute gems 🙂

As for Boy, it's actually been on my watchlist for a while now. I have to admit, the lead actor is a bit off-putting to me personally, even if he did an impressively convincing job with his social media presence

Richard Johnson42 said:Watching *Gosford Park* and *Before the Devil Knows You're Dead* really reminded me that the old masters still have plenty of tricks up their sleeves. Both films are absolute masterclasses in direction—true cinematic gems.

I'm with you on this one! Count me in.

Dragon007 said:Well, that’s that. 🙂 I saw where the moderator said not to make lists, but honestly, I feel like I have to anyway. If I actually started diving into any of these movies, I’d end up having to explain my reasoning for every single one just to be thorough. At that point, I'd basically just be spamming the thread, haha.

I definitely don't want to spam this thread, so I’ll take a moment to actually break down why certain films hit so much harder than others.
Look, I wasn't trying to turn this into a list of movies. I’ve always said that I can't stand lists, regardless of what we're talking about. If you're going to mention a few things, you should at least add a sentence or two of context to explain why.

Jamie Nelson10 said:The Romanians were definitely solid, though while everyone talks about Lazarescu, I always felt Marti was the standout for me—not to mention Craciun, who doesn't get nearly enough credit.

I brought him up last year, mentioning that Radu Muntean is actually my favorite director working in Eastern Europe right now. His debut, "paper wants to be blue," was incredible—he used this gritty, textured cinematography to capture his own memories of those chaotic nights back in '89 when the regime was finally falling. Since then, he’s pivoted away from the heavy social realism that used to dominate the local film scene, choosing instead to explore modern themes like the complexities of marriage in films like "Boogie" and "Tuesday after Christmas." It’s been refreshing to see him push the boundaries of cinema like that.

When it comes to Iranian cinema, there’s a clear pattern. After that massive surge in popularity during the 90s, they didn't miss a beat moving into the 2000s either.
Majida is truly a genius. After hitting it out of the park in the 90s with masterpieces like "child paradise" and "color paradise," they kept that momentum going through the 2000s with incredible films like "Baran," "Willow Tree," and "song of Sparrows." Then, in the mid-2000s, we saw Asghar Farhadi burst onto the scene, capturing global attention with his 2004 film "Beautiful City." That movie was such a sharp look at how male stubbornness and a desire for revenge can play out, all while offering a subtle, biting critique of how major institutions function.

@People Can Fly

Nice work on this post. It's clear, concise, and hits the nail on the head!