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.
80. X2 (2003)
I enjoyed the first X-Men film in 2000, but remember being slightly disappointed in the scale. It looked and felt smaller than I thought it should, and the special effects limitations really showed (and some of the characters got short shrift as well). I had no such reservations about X2 (aka X-Men United). Somehow this Frankenstein script (with something like 5 different writers) managed to balance character moments and special effects extravaganzas while also being an engaging story. Still one of – if not THE – best X-Men movies, there was more of everything that made the first movie work. More powers, more high stakes, more Magneto and Xavier, and – most importantly – more Wolverine. (Plus a fantastic turn by Alan Cumming as Nightcrawler.) There have been good X-Men movies since this one, but none that have managed all the elements in their best ways like this one.
–Bob Cram
79. Munich (2005)
It’s always interesting when Spielberg leans into his moodier side. Munich is one of the best examples of this. The morality all exists in the gray area. The cinematography and pacing perfectly mirror those moral ambiguities and confusion. Munich is one of those movies in Spielberg’s repertoire that reminds us that his sensibilities run deeper than being a master of grand sweeping blockbuster entertainment. He can also make intriguing spy thrillers that also double deeply emotional dramas where Eric Bana and Daniel Craig sport insanely ’70s bell-bottom jeans.
–Raf Stitt
78. Meet the Parents (2000)
Robert De Niro is probably best known for his many collaborations with filmmaker Martin Scorsese. However, a certain (shall we say, younger) generation doesn’t see De Niro as a dramatic actor. They see him as a comedic one and we have The Adventures of Rocky Bullwinkle Meet the Parents to thank for what is one of the best career transitions ever (I’d argue that Liam Neeson becoming an action star tops it).
Meet the Parents is just a damn funny comedy about a man trying to win over his girlfriend’s father. Ben Stiller, De Niro, Owen Wilson, Teri Polo, and Blythe Danner could not be better in their respective roles. While the franchise’s two sequels (Meet the Fockers and Little Fockers) have their moments, there are never quite as many laugh-out-loud moments as there are in Meet the Parents. From “I have nipples, can you milk me?” to “Jinxy cat” to the race home to every scene with Wilson in it, 2000s comedies got off on a strong note with Meet the Parents. I wish Hollywood would make comedies like this again (and release them in theaters).
–Marmaduke Karlston
77. American Psycho (2000)
A tongue-in-cheek satirical horror that is carried on the shoulders of Christian Bale’s performance. Director Mary Harron does a wonderful job of combining horror and comedy to effectively drive home the excess and self-indulgent vanity of Wall Street during the ’80s. The story follows a young New York banking executive who is wealthy and successful but not as much as some of his fellow peers. He goes through a daily charade to play the part but at night releases his hidden homicidal side by murdering people while listening to some classic ’80s tunes.
The film is very polarizing as some don’t get the satirical aspect calling it misogynistic because of the violence towards women but Harron handles the humor and horror so well that it is hard not to “get” what the movie is trying to say. Underneath all of this is a gory and violent film set in the ’80s with an incredible soundtrack and one of the greatest chainsaw kills in movie history.
–Vincent Kane
76. Hardy Candy (2004)
It feels like the indies that have huge emotional gut punches or have mind-blowing twists are the ones that get talked about the most and Hard Candy most definitely falls into the latter category. The story centers around a 14-year-old girl named Hayley Stark (Elliott Page) and a 32-year-old photographer named Jeff Kohlver (Patrick Wilson). The two meet online and decide to meet in person at a coffee shop. Despite the apparent age difference, they hit it off, and Jeff invites Hayley to his home. Once at his house, the tone of the film shifts dramatically. Hayley drugs Jeff, and he wakes up tied to a chair. It becomes clear that Hayley is not the innocent teenager she appears to be. She accuses Jeff of being a pedophile and a murderer, and what follows is a tense and psychological battle of wits as Hayley seeks to extract a confession and exact her own form of justice. Is he the monster she says he is or is there another game being played? The film tackles several heavy and controversial themes, including sexual predation, vigilantism, and the blurred lines between victim and perpetrator. It does not shy away from uncomfortable and challenging subject matter, which has sparked significant discussion and debate. Like the candies it takes its name from, it’s the kind of film that’s hard to crack but the longer you stay with it, the more it reveals itself to you.
–Sailor Monsoon
75. A History of Violence (2005)
When you think of comic book movie adaptations you think of capes and muscles, big villains, and big stakes. You think of big action. What you don’t think of is understated family drama peppered with horrible acts of violence. You don’t think of A History of Violence, to be clear. Sure enough, that’s exactly what David Cronenberg did with his 2005 Viggo Mortensen vehicle perhaps a little too early. How was he to know decades later the common refrain would be for variety when it comes to comic book flicks?
It’s fair to claim A History of Violence is not actually a comic book or even an action movie, despite having the qualifiers. But try to claim it fails in its attempt to further solidify Mortensen’s star power. Go on. Mortensen as Tom Stall, a small-town diner owner, fills out the almost idyllic pacing and dreamy backdrop of the movie with a just beneath the surface as to go under both the audience’s and his on-screen family’s radar. Only when hard men stroll into town like out of a Western and are met with a ferocity buried just beneath that charisma do we see the greatness of Mortensen in full. And when the bad men keep pouring in and Stall’s family struggles with the reality that is the patriarch does A History of Violence earn its title and a watch (or re-watch if it didn’t quite sit well with you at the time) from an audience starved for something different from “comic book flicks.”
–Nokoo
74. Traffic (2000)
An adaptation of the 1989 BBC television series of the same name (well, with a C instead of K), Traffic is a gripping and intricate film that delves into the multifaceted nature of the drug trade and its pervasive impact on society. It weaves together multiple storylines, offering a comprehensive look at the personal, political, and economic dimensions of the drug war. If that sounds like a bummer of a film, you’re right. It’s not a fun topic but since it’s directed by Steven Soderbergh, it’s always compelling.
The narrative is segmented into three primary story arcs, each reflecting different aspects of the drug trade: a Mexican police officer (Benicio del Toro) caught in the crossfire of the drug war who grapples with the moral complexities of his role and the pervasive corruption within the system; a conservative Ohio judge (Michael Douglas) is appointed as the United States’ new drug czar who’s professional commitment to combating drugs is starkly contrasted with his personal turmoil as he discovers his daughter Caroline (Erika Christensen) is struggling with addiction, and the rise of a new ruthless player in the drug trade (Catherine Zeta-Jones) who navigates the dangerous underworld to protect her family’s interests.
The film portrays the drug trade as a vast, interconnected web that spans across borders and socio-economic strata. It illustrates how individuals from diverse backgrounds—law enforcement, politicians, families, and drug lords—are entangled in this global issue. It’s an unflinching look at the complexities of the drug trade that offers no easy solutions.
–Sailor Monsoon
73. Ghost World (2002)
Ghost World takes place in a world of weird but relatable characters. Every person that inhabits this world feels slightly off like they’re all flesh and blood comic book characters adapted from some obscure hipster graphic novel. Well, that’s because they are and they did. Daniel Clowes is about as niche a writer as they come and while Ghost World is one of his more accessible comics, it’s still not mainstream in any way. The man writes about weirdos living eccentric lives doing mundane things. That’s exactly what this movie is and that’s why it works. Nothing else feels like this movie. It has its own vibe as the kids say. It’s like Wes Anderson directed Napoleon Dynamite but with no money and a lot less awkward cringey quirk. I mean, the name Enid Coleslaw is not that far off from Napoleon Dynamite but that’s about where the similarities end. She’s an 18-year-old cynic just trying to find her way in life and right now, she’s just enjoying her time at this weird metaphorical (and later, literal) bus station until she can move onto her latest adventure.
–Sailor Monsoon
72. All About Lily Chou-Chou (2001)
All About Lily Chou-Chou is undoubtedly the most obscure film on this list due mostly to the fact that it’s a small foreign indie that didn’t get much attention outside of critic circles but those who’ve seen it, understand why it’s essential for a list like this. If it was an American film that dealt with the same subject matter and explored the same themes, it would be heralded as a masterpiece. The film is a poignant and visually arresting story that delves into the lives of Japanese teenagers grappling with the tumultuous journey of adolescence that might be the greatest exploration of adolescent alienation and internet culture of the 21st century. Non-linear and fragmented narratives were the soup du jour of every indie at that time but unlike others that were just chasing a trend to seem hip, All About Lily Chou-Chou uses it to reflect the disjointed and often chaotic experiences of its teenage characters and in doing so, offers a story unlike any other.
The film follows two teenagers: Yuichi Hasumi (Hayato Ichihara), a shy and introverted teenager who finds solace in the ethereal music of a fictional pop star named Lily Chou-Chou who operates an online fan site dedicated to Lily, where he connects with other fans under the pseudonym “Philia” and Shusuke Hoshino (Shugo Oshinari), a one time friend of Yuichi’s who undergoes a drastic transformation after a traumatic experience during a family trip. He becomes a bully and gang leader, perpetuating violence and cruelty towards his peers, including Yuichi. The film intertwines the characters’ real-life interactions with their online personas and communications on the Lily Chou-Chou fan site. These online dialogues, presented as on-screen text, provide insight into their inner thoughts and emotions. The film was prescient in its depiction of the Internet as a safe haven for the lonely and isolated but can also be an addicting prison that is hard to escape from. All About Lily Chou-Chou is a timeless exploration of youth and the search for connection in an increasingly disconnected world.
–Sailor Monsoon
71. Snatch (2000)
Guy Ritchie had an unenviable job when he was tasked with writing and directing a follow-up to his debut smash Lock Stock and Two Smoking Barrels. Snatch’s plot is just as full of twists and turns, with an unbelievably satisfying finale. It also features one of the greatest soundtracks of all time, with a wide variety of artists including Oasis, Madonna and The Stranglers. Every piece of music complements the film perfectly.
It has an eye-catching ensemble cast, but casting Hollywood A-lister Brad Pitt as Irish bare-knuckle boxer Mickey was a bold move by Ritchie. And also a genius one. When Mickey talks, it’s practically impossible to decipher what he’s saying due to an extremely thick Irish accent and unintelligible regional dialect. Yet he still manages to steal the entire show. An endlessly rewatchable classic.
–Lee McCutcheon
90-81 | 70-61
What do you think of the selection so far? What are some of your favorite movies from the 2000s? Maybe they will show up further on the list!