While the 2020s got off to a rough start—due to, well… reasons—and many movies were delayed, rescheduled, or even scrapped, the decade has still delivered plenty of fantastic cinematic experiences. From thought-provoking dramas to groundbreaking blockbusters and innovative indie gems, the 2020s have already given us unforgettable films. And with it being the halfway point of this decade we at SAW decided to present an addition to our usual “Best of” series we do each year. Several writers here at SAW turned in a list of what they thought were the best films since the beginning of the decade, the entries on the list were tallied, and then ranked to give you SAW’s 50 Best Movies of the 2020s So Far!
*Every entry was mentioned on someone’s list at least once and the more times an entry was listed, the higher that movie was ranked. However, some 2024 movies may not appear because they have not been seen by our writers yet, or it could just be they weren’t good enough to make this list. Anywho, please let us know what you think of the rankings and which films you believe should be on the list that didn’t make the cut. Enjoy the list, check out more of our Best of 2024 series, and comment down below!*
20. Killers of the Flower Moon (2023)
Marty is still the best director working. I’ve marveled at how he’s approached the stages of his career. Each movie feels slightly more intentional than the last. Every choice is as deliberate as he’s ever been. Killers of the Flower Moon is his referendum on not only his entire career but of cinema as a whole. Killers reaches a level of introspection I never thought imaginable in a film. It does ask a lot of audience members, but I think taking the time to sit with this movie has been nothing but a positive experience for me. I’ve been waiting the last few years for a movie to come around and truly shake me. Killers of the Flower Moon is that movie I’ve been waiting for.
–Raf Stitt
19. Spider-Man: Across the Spider-Verse (2023)
If it weren’t for this being a “part one” movie, it could arguably surpass the first installment in what is primed to be the best-animated trilogy since Toy Story. The animation style in Across the Spider-Verse continued to push the boundaries and the story is full of the same humor, heart, and action of the original. Where Spider-Man: No Way Home explored what would happen if Peter tried to save villains that he was destined to kill in other universes, Across the Spider-Verse smartly examines what makes Spider-Man “Spider-Man,” or “What tragedy/tragedies must happen to every Spider-Man in every universe?” In the MCU, it’s implied that Peter had to go through the loss of Uncle Ben offscreen, but then it makes Tony Stark also kind of like Uncle Ben in Far From Home, only to pull a triple whammy and make losing Aunt May his true version of the Uncle Ben scene. Ouch! For a movie series definitionally exploring the spider-man identity across universes, focusing the plot on Miles trying to save the ones he loves and defy fate makes for a compelling character study.
–Jacob Holmes
18. RRR (2022)
In cinema, there exists a rare breed of films that demand you surrender not only your disbelief but also your very sense of restraint. S.S. Rajamouli’s RRR (Rise Roar Revolt) is such a film—a blistering three-hour epic that soars on the wings of its ambition, anchored by a deep well of emotional sincerity. Set in 1920s colonial India, RRR tells a fictionalized story of two legendary revolutionaries, Alluri Sitarama Raju (Ram Charan) and Komaram Bheem (N.T. Rama Rao Jr.), who share an unshakable brotherhood amidst their individual quests for justice. The plot is an operatic concoction of historical fantasy, political drama, and superhero-like action, rendered with an unapologetic commitment to excess. Rajamouli doesn’t simply direct this film; he orchestrates it.
Every frame is designed to evoke awe—whether it’s the balletic choreography of an action sequence or the heartfelt simplicity of a friendship montage. A single shot can transition from poetic serenity to unbridled chaos, and Rajamouli delights in blurring the line between beauty and madness. What sets RRR apart from many modern blockbusters is its unabashed romanticism. Every emotion—be it love, vengeance, or patriotism—is dialed to its maximum expression. The film doesn’t aim for subtlety; it revels in grandeur. The action is a symphony of impossible physics, where heroes wrestle tigers and wield flaming arrows against entire armies. Yet, for all its bombast, RRR never loses sight of its heart. The colonial subtext gives the spectacle weight, and the characters’ sacrifices resonate because they are steeped in universal truths of friendship and loyalty. Watching RRR is like attending a carnival where each ride surpasses the last in exhilaration. It is ridiculous, audacious, and relentlessly entertaining.
–Sailor Monsoon
17. Aftersun (2022)
Aftersun is one of the best directorial debuts in cinema. Director Charlotte Wells’ use of reflective surfaces creates intricate shots with some of the best blocking you’ll find in modern filmmaking, forming an emotional palette through the film’s visuals that simultaneously amplifies and isolates Calum’s pain. His anguish is masterfully recreated by Paul Mescal, while Frankie Corio delivers one of the most believable child performances you’ll come across, where it hardly ever feels like she’s acting. In Aftersun you won’t hear internal narration or showy monologues about grief and feelings of suicidality. Anguish is almost entirely conveyed visually. It’s a bold move; the end result could have easily been skin-deep. But it’s in uncovering these key moments, and the unbearable distance that exists between Calum and Sophie, that this film gradually demonstrates its greatness.
When thinking about Aftersun I’m reminded of the final line from Alison Bechdel’s graphic novel Fun Home, another work written in retrospect by a woman about her father’s suicide: “But in the tricky reverse narration that impels our entwined stories, he was there to catch me when I leapt.” Even when looking back on this time that causes Sophie so much anguish, there is a spectral presence lodged deep in this protagonist’s memory that grasps her tightly, as people laugh and dance around her and Bowie’s ‘Under Pressure’ plays in the background. It is a moment that is both lost and infinite, a contradiction that runs in parallel with her memories of that trip and her attempts to piece together her father’s emotions during it, creating an intertwining dance that is beautifully tragic.
–Cian McGrath
16. Tár (2022)
As someone who (unfortunately) has a music degree, a person like Lydia Tar is not unfamiliar to me. She is arrogant, brash, and limitlessly talented. Unlike my former professors though, Tar is a very compelling character. It is Cate Blancett’s performance that carries this film through the ups and downs of Tar’s life as a distinguished conductor, and even the moments that are hard to watch are so compelling that you can’t look away. I don’t want to describe anything more because, like others on this list, it’s a film that needs to be experienced. I have heard some people express disappointment at the film’s final fifteen minutes, but I honestly loved it. My jaw hit the ground at the end of this movie, and I walked away feeling like I’d seen a masterpiece. It’s not going to be for everyone, but I think it’s worth checking out.
–Valerie Morreale
15. Godzilla Minus One (2023)
When a kamikaze pilot chickens out on his suicide mission, he sees something he never expected: a kaiju destroys his entire outpost leaving him as the sole survivor. Coming back to a decimated Tokyo, he struggles with the guilt of not completing his final mission and tries to rebuild his life as a new threat looms. I love this movie, and I think it’s a shame more people missed it when it was released in theaters. At a meager $10 million budget, it’s incredible how good this movie looks. Godzilla’s threat feels unique and personal and harkens back to the parallels drawn in some of the original films between the kaiju and nuclear weapons. Shikishima is also such a sympathetic lead, and it makes even the film’s quiet and contemplative moments compelling. This is one of those rare movies that gets better on every rewatch, and I’m thankful the director is getting a chance to make more movies in this world he’s built.
–Valerie Morreale
14. Anatomy of a Fall (2023)
When Sandra’s husband dies, presumably from falling from the third-floor balcony, the police have questions. Things about the fall don’t line up, and Sandra claims she was sleeping at the time. The movie follows Sandra and her son Daniel through the investigation and court proceedings, as many wonder if her husband was murdered. I struggle to describe this movie to others because I think it is one of those movies that must be experienced. It is a legal drama, but it is not just a legal drama. It is so much more than that, as the characters feel like fully formed and complex people navigating an impossible situation. They are imperfect, cruel, caring, and kind. There were scenes during the trial where I gasped out loud watching, as my impression of a character changed for the better or for the worse. In the end, we are still left with the complexity of family life and how nothing is perfectly resolved.
–Valerie Morreale
13. Love Lies Bleeding (2024)
This lesbian erotic thriller is everything a growing boy needs and more. It’s rare when one of your most highly expected movies actually meets those expectations and then some. What I didn’t expect was for muscle mommy Katy O’Brain to steal my heart and make me a fan to see what she does next. Director Rose Glass creates a film that is raw and filled with a surreal style that is hypnotic at times while also dealing with destructive relationships. Kristen Stewart and O’Brian are a perfect match for each other oozing chemistry and workout love sweat. Ed Harris is sinister and Dave Franco in a mullet. Gotta love this damn thing.
–Vincent Kane
12. Barbarian (2022)
When two young adults find themselves double booked in a poorly-run AirBnB, they decide to make the best of it and just cohabitate for one night. In another movie, this may have been an awkward semi-cute beginning to a blossoming friendship, or even a romance. However, this is a horror movie, and even knowing that going in, it goes in a direction no one would expect. If you’re a horror fan, I recommend going in as blind as possible. It’s such a wild ride from start to finish, and it’s so well-executed. The humor is dark, but not in a way that’s patronizing or purposely edgy. It’s not going to be for everyone, but if you liked Peele’s Us and Fargeat’s The Substance, definitely give this one a watch.
–Valerie Morreale
11. The Boy and the Heron (2023)
The second this was announced, it became, for some, their most anticipated upcoming movie. Because for cinephiles (or animation nuts), this was an event. The last film from acclaimed auteur Miyazaki was reason enough to get excited and the end result didn’t disappoint. It doesn’t have the same magic of his earlier films and it suffers from an overstuffed plot like Howl’s Moving Castle, but scene to scene moment to moment, there’s so much here to recommend. The film is, in many ways, a retelling of Alice in Wonderland. A curious child follows a talking animal down a hole into a fantastical world filled with magic and danger and all sorts of weird things.
When the film hooked me, was when I realized it was going to subvert the Caroll story. The first hint of this is the introduction of the Heron. He’s the White Rabbit of this story but instead of instantly following him to the hole, the titular boy immediately makes a bow to kill it. He isn’t bewildered or bewitched by the talking creature. He sees it as a trickster demon and he ain’t having any of his silver tongue. It’s a far cry from Alice and even the protagonist of Spirited Away. He’s intelligent, resourceful, and proactive. He’s a strong character, which is rare in a children’s fantasy. His chemistry and dynamic with the Heron is great and I wish the film had more of it but the rest of the world makes up for it. You never know where he’s going to end up next and what new things you’re going to see. Miyazaki is the king at creating unique-looking creatures and beautiful landscapes and this film is filled to the gills with both. It’s also a rare instance where the dubbed and subbed versions are equally great.
–Sailor Monsoon
30-21 | 10-1
What do you think of the entries so far? Should have any have made the top 10?