The 2000s were a transformative decade for cinema, marked by technological advancements, diverse storytelling, and a blend of genres that pushed the boundaries of filmmaking. From groundbreaking visual effects to compelling narratives and unforgettable characters, the films of this era left an indelible mark on the industry and audiences alike. It didn’t feel like it at the time but it was most certainly a mixture of the best elements of the previous two decades. Some of the best films of any genre were produced during this period and it was the last time movies felt like they were made by artists, not products cranked out by a money-hungry machine. This list celebrates the greatest movies of the 2000s, highlighting those that defined the decade and continue to influence the art of cinema today. Whether it’s epic blockbusters, poignant dramas, or innovative indies, these films represent the best of what the aughts had to offer.
These are the 100 Greatest Movies of the 2000s.
20. In Bruges (2008)
The debut feature from playwright Martin McDonagh brought his sharp, dark sense of comedy to the big screen in a big way. Colin Farrell and Brendan Gleeson prove to be a great pair of actors working opposite each other as a couple of assassins waylaid in the beautiful and historic city of Bruges after a botched hit. The chemistry between the two Irish actors is so strong, McDonagh reunited them again in 2022 for the Oscar-nominated Banshees of Inisherin. McDonagh has a gift for vulgar yet insightful—and hilarious—dialogue that is perfectly delivered by Gleeson and Farrell as well as Ralph Fiennes in a terrific turn as the pair’s boss. One of the highlights of the film is McDonagh’s ability to let the plot breathe and explore interesting narrative nooks and crannies—maybe alcoves. Is that the word, alcoves? Anyway, delightfully human flourishes in the midst of the mayhem.
–Jacob Holmes
19. Love Exposure (2008)
It’s weird. It’s perverse. It’s politically incorrect. But my goodness, Love Exposure is also four hours of immense entertainment. As the main character Wu dresses up as a female in order to get close to the love of his life, inadvertently convincing said girl she is a lesbian, he battles with everything from his family to his strict Catholic upbringing to achieve his goal.
As mad as this sounds, the romantic arc of the film has some genuinely emotional beats. Love Exposure won’t be for everyone. It’s an overwhelming and exhilarating experience. But those who do manage to make it through the extensive runtime will have a uniquely unforgettable experience.
–Lee McCutcheon
18. The Lord of the Rings: The Two Towers (2002)
In 2002, Peter Jackson released the second installment of his ambitious Lord of the Rings trilogy. Following the incredible critical and commercial success of The Fellowship of the Ring would be no easy fete. But The Two Towers did anything but disappoint; in fact, it could very well be one of the rare sequels that is actually better than its predecessor. In The Two Towers, the fellowship is broken, and the story continues with the beloved characters separated and following separate paths. Sam and Frodo continued their harrowing journey to Mount Doom, picking up the treacherous Gollum as a guide. At the same time, Aragorn, Legolas, and Gimli found themselves battling Sauron’s rising dark forces, seeking to overtake Middle-earth. The movie expanded J.R.R Tolkien’s fantasy world and introduced new characters we all came to love – and hate – while maintaining the poignant storytelling and improving on the already impressive action sequences of the first film. Some would argue that The Two Towers is the best film of the trilogy, and they would probably be right.
–Romona Comet
17. Memories of Murder (2003)
How many more movies does Bong Joon-ho have to make before we declare him one of the best of all time? His filmography is so strong, his weakest film is Okja, which I once described as “E.T. for the 21st century.” He’s dipped his toes into every genre and like Kubrick before him, nailed it every time but his thrillers are his best work. Parasite showed everyone unaware of his work how strong he is at tense thrills but those in the know already knew just how good he is at making you stressed because of Memories of Murder.
Based on the true story of South Korea’s first recorded serial murders in the 1980s, the film transcends the typical crime thriller to become a profound exploration of human nature and systemic failure. Set in a rural South Korean town, the film follows two detectives, Park Doo-man (Song Kang-ho) and Seo Tae-yoon (Kim Sang-kyung), as they investigate a series of brutal murders. Park, a local cop with questionable methods, and Seo, a detective from Seoul with more modern investigative techniques, form an uneasy partnership. Their pursuit of the killer is fraught with frustration, missteps, and escalating desperation. The film’s atmosphere is meticulously crafted, with Bong’s direction capturing the oppressive mood of the era. The cinematography by Kim Hyung-koo is haunting, using the rural landscapes and dimly lit interiors to create a sense of foreboding and claustrophobia. The recurring motif of rain, often present during the murders, adds to the film’s chilling tone. The film’s pacing maintains a careful balance between the procedural aspects of the investigation and the psychological unraveling of the detectives while also providing Zodiac levels of suspense. In short, it tells a human story while also scaring the shit out of you.
–Sailor Monsoon
16. Memento (2000)
“How am I supposed to heal if I can’t feel time?” I’m a sucker for identity stories, particularly ones involving amnesia. Is who you are simply a result of all your experiences? Or is there something else, a deeper core to your personality that would assert itself, even in the absence of those particular moments? Would you, in fact, be a better person without all of that baggage? Or a worse one? The thing about Memento‘s main character, Leonard, played with grace and heart by Guy Pearce, is that he doesn’t have that sort of amnesia. Instead, he has anterograde amnesia – the inability to form new memories. He can’t really remember much since the death of his wife. But the notes he’s written – and the tattoos on his body – document the search for the man who killed her. The narrative structure of the film as written by director Christopher Nolan from a story by his brother Jonathan, unfurls both backwards and forwards in time as we learn why Leonard has killed a man and how he came to that point. We also learn about Leonard and how his heart is broken every day. He knows his wife is dead, but no time has passed since that moment. Revenge is something that often occurs to someone when a bad thing happens to them, but time blunts that rage. Leonard doesn’t have that luxury. He can’t make new friends, or watch new films, or heal his heart. We want him to, though. We want to so badly that even the ending can’t turn us against him. We don’t want to believe what Teddy (Joe Pantoliano) says – and after all, Leonard keeps a photo of the man that says “don’t believe his lies” on the back. I don’t want Leonard to be any more hurt and broken than he already is. That’s how well Guy Pearce makes us feel for him.
–Bob Cram
15. Shaun of the Dead (2004)
I think what helps Shaun of the Dead stand out above the rest of comedy zombie “spoofs” is that it feels more like a love letter to the sub-genre as opposed to making fun of it. Simon Pegg and Edgar Wright wrote and directed a tight horror comedy that is full of laughs, horror, and genuine character drama. There are plenty of homages to zombie features of yesteryear, coupled with Wright’s vibrant storytelling and pop culture references. There is laugh-out-loud comedy, but you also feel these real characters and the stakes at hand that help Shaun feel more soulful than most horror comedies.
Pegg plays the titular character, who is a likable, albeit going nowhere, young man whose life is flipped upside down by the zombie apocalypse. With his crass and foul-mouthed best friend, Nick Frost, by his side, Shaun tries to reunite with his estranged girlfriend and sort out issues with his mom all while trying to survive and keep his group alive as well. Shaun of the Dead is one of those horror fans and people who don’t care for horror can all relate to and enjoy.
–Vincent Kane
14. Yi Yi (2000)
A poignant and richly textured exploration of contemporary life through the lens of a middle-class family in Taipei, Yi Yi masterfully interweaves multiple narratives to paint a comprehensive picture of the challenges, joys, and sorrows that define human existence.
The story follows the Jian family: NJ, the father, Min-Min, the mother, Ting-Ting, the teenage daughter, and Yang-Yang, the young son. Each family member grapples with personal struggles that reflect broader societal issues. NJ is disillusioned with his career and faces the reappearance of a former lover, Min-Min experiences a crisis of identity, Ting-Ting deals with the guilt of her grandmother’s stroke, and Yang-Yang seeks to understand the world around him through his camera lens.
One of the film’s most remarkable achievements is its ability to convey profound themes through the seemingly mundane. Yang’s direction is subtle and deliberate, allowing the audience to immerse themselves in the characters’ lives. The cinematography, characterized by long takes and static shots, emphasizes the ordinary yet beautiful aspects of daily life, making every scene feel like a carefully composed photograph. It’s a slice-of-life story that provides a gentle portrait of a family gaining small epiphanies through various difficulties filled with impeccable performances that looks absolutely stunning. Its contemplative pace and intricate storytelling make it a film that lingers in the mind long after the credits roll, solidifying its place as one of the most profound films of its generation.
–Sailor Monsoon
13. The Departed (2006)
I’m a big fan of Asian cinema. Over the years we have seen numerous Hollywood remakes of classics from the region. And every single time they haven’t failed to disappoint. That is until we got The Departed. It takes just the right amount from its counterpart (Infernal Affairs) and is still able to put its own unique spin on proceedings. Every actor seems to want to outdo each other in portraying their larger-than-life characters. The plot is full of unexpected twists and turns, with some that really punch you in the gut. Hard. If you’re a fan of Infernal Affairs you will love The Departed. If you’re not a fan of Infernal Affairs you will love The Departed. It’s a rare example of a remake bettering its already excellent source material.
–Lee McCutcheon
12. City of God (2002)
City of God is an electrifying and unflinching portrayal of life in the favelas of Rio de Janeiro. Based on the semi-autobiographical novel by Paulo Lins, the film captures the brutal reality of poverty, crime, and survival through a visceral and dynamic narrative. The story is told through the eyes of Rocket (Alexandre Rodrigues), an aspiring photographer who grows up in the Cidade de Deus (City of God) favela. Rocket’s journey from childhood to adolescence is juxtaposed with the rise of his childhood acquaintance, Li’l Zé (Leandro Firmino), who transforms from a petty thief into a ruthless drug lord. The film spans several decades, capturing the evolution of the favela and the escalating violence within it. One of the film’s most striking features is its visual style. Meirelles and co-director Kátia Lund employ rapid editing, handheld camera work, and vibrant colors to create a sense of immediacy and chaos. Cinematographer César Charlone’s work is particularly notable for its kinetic energy and raw authenticity, immersing viewers in the frenetic pace of life in the favela. The performances are outstanding, with much of the cast consisting of non-professional actors from the actual favelas. This casting choice lends an authenticity to the film that is both powerful and poignant. Alexandre Rodrigues as Rocket provides a compelling and relatable anchor for the audience, while Leandro Firmino’s portrayal of Li’l Zé is chillingly convincing. Even if the rest of the film was just ok, Li’l Zé is such a strong and unforgettable villain, he singlehandedly makes it a masterpiece.
–Sailor Monsoon
11. Spirited Away (2001)
Studio Ghibli is often regarded as the Disney Studios of Japan. Unfortunately, this distinction takes away from the singularly masterful quality of the films Ghibli has produced. The best from Ghibli, and acclaimed director Hayao Miyazaki, is Spirited Away. This is among the most charming movies of all time. The heart absolutely jumps off of the screen. You could watch this with the sound off and still be absolutely amazed. However, if you do choose to watch as intended with the sound on, you’ll be equally, if not more amazed. Like many great films, Spirited Away operates on a myriad of thematic levels. All readings are more interesting than the last, but the one reading that we can all take is that this is among the best movies ever made. (BTW please watch this subbed, not dubbed.)
–Raf Stitt
30-21 | 10-1
What do you think of the selection so far? What are some of your favorite movies from the 2000s? Do you think they’ll show up in the Top 10?