{"id":1888,"date":"2020-02-16T21:00:58","date_gmt":"2020-02-16T21:00:58","guid":{"rendered":"http:\/\/otherpeoplesmovies.com\/?p=1888"},"modified":"2020-02-19T03:07:23","modified_gmt":"2020-02-19T03:07:23","slug":"the-best-of-the-2010s","status":"publish","type":"post","link":"https:\/\/otherpeoplesmovies.com\/index.php\/2020\/02\/16\/the-best-of-the-2010s\/","title":{"rendered":"The Best of the 2010s"},"content":{"rendered":"\n
\"Rachel
Rachel Korine, Vanessa Hudgens and Ashley Benson in Spring Breakers<\/figcaption><\/figure>\n\n\n\n

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The Top 20 Movies of the 2010s:<\/strong><\/p>\n\n\n\n

The 2010s was the decade in which movies changed forever.\nHow they are now made, released, shown to and received by audiences is barely\nrecognizable to a decade or two previous when they were king of all popular\nentertainment\/art. In the 2010s, digital officially replaced celluloid at both\nthe studios and the multiplexes. Home video streaming became the preferred\nmethod to release the majority of first-run movies that didn\u2019t cost at least\n$100 million to produce. <\/p>\n\n\n\n

Movie theaters are struggling more than ever, yet the number\nof movies in production gets higher every year. People still seem to want\nmovies\u2014just not so much that they\u2019re willing to go out of their way to find\nthem. Easy access has allowed the moving image\u2019s place in popular culture to be\ntaken over by video games, episodic shows and YouTube clips. And with new\nthreats like immersive VR technology becoming more accessible every year, the\nfeature film\u2019s future is uncertain, to say the least.<\/p>\n\n\n\n

Amongst the flood of movies released in the 2010s, there\nwere many stale and tired titles to sort through\u2014major and independent alike.\nBut it\u2019s important to remember that there was also a great amount of gold.\nFeature films aren\u2019t dead yet, and the quality of movies released last decade proves\nthat. The problem is, many of them went by unnoticed or were quickly forgotten\nabout–victims of too many options available on too many platforms. <\/p>\n\n\n\n

The 2010s may or may not have been the last decade in which feature movies held significant importance–which they managed in spite of their current struggles. As for the struggles and the years ahead, we\u2019ll have to wait and see if the last ten years were a great ending or a new beginning to this ever-evolving cinematic era.<\/p>\n\n\n\n

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Selena Gomez, Rachel Korine, Vanessa Hudgens and Ashley Benson in Spring Breakers<\/figcaption><\/figure>\n\n\n\n

1. Spring Breakers (2013)<\/strong><\/p>\n\n\n\n

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Gaspar Noe’s Enter the Void<\/figcaption><\/figure>\n\n\n\n

2. Enter the Void (2010)<\/strong><\/p>\n\n\n\n

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Jessica Chastain in The Tree of Life<\/figcaption><\/figure>\n\n\n\n

3. The Tree of Life\n(2011)<\/strong><\/p>\n\n\n\n

Terrence Malick thoughtfully looks to the heavens and finds\ngrace in humanity–even in its darkest corners–with The Tree of Life<\/em>.\nHarmony Korine shamelessly looks to the trash and finds a similar grace–though\none fuelled by hedonistic depravity–with Spring Breakers<\/em>. Gaspar No\u00e9\nreaches for both ends of the spectrum and uncovers the most audaciously bipolar\nextremes imaginable with Enter the Void<\/em>.<\/p>\n\n\n\n

Consider this something of a three-way tie, though I did\nrank them according to my personal preference. These are the best films to date\nfrom three of the most visionary filmmakers of their time (Malick being a\ncouple of generations before Korine and No\u00e9). All three films\ngrandly showcase a drive to push the boundaries of modern-day filmmaking to new\nlimits.<\/p>\n\n\n\n

The Tree of Life <\/em>is\na beautiful cinematic poem that places a 1950s American family in the context\nof evolution. Enter the Void <\/em>is a\nmeditative and gorgeously excessive depiction of a drug dealer\u2019s mind as his\nlife ends. And Spring Breakers<\/em>, the\nfilm that I consider to be the best of the decade, is a no-holds-barred\nrepresentation of America\u2019s morally flattened youth told in the most\nschizophrenic and imaginative way possible. For the record, it secured its\nnumber one spot on this list because of its ingenious use of the Britney Spears\nsong Everytime<\/em> during a montage of\nviolent rampages.<\/p>\n\n\n\n

To give all due credit, the nonlinear, hand-held, liquidly edited style of all three films springs from Malick\u2019s earlier work (Badlands, Days of Heaven, The Thin Red Line<\/em>) and expands upon it. They all go their own way to be unique in their own right, however, and they all achieve greatness by boldly reaching heights never quite before seen.<\/p>\n\n\n\n

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Tom Hardy in Mad Max: Fury Road<\/figcaption><\/figure>\n\n\n\n

4. Mad Max: Fury Road (2015)<\/strong><\/p>\n\n\n\n

Cowriter\/director George Miller delivers spectacular and concise chaos with his continuation of the post-apocalyptic Mad Max <\/em>saga. Complete with car chases that showcase choreography as elegant as dance numbers and set\/costume designs that push its style into a realm of surrealism, Mad Max: Fury Road <\/em>is, to put it bluntly, the most finely crafted and carefully executed action film ever made.<\/p>\n\n\n\n

Tom Hardy seamlessly fills Mel Gibson\u2019s shoes as the title character, playing him with an appropriate internalized energy that could read as either searing menace or quiet integrity. Charlize Theron continues to prove she is the most versatile badass to ever walk in front of a camera with her portrayal of the rebel warrior Furiosa. Please <\/em>make another one, guys.<\/p>\n\n\n\n

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Carey Mulligan and Ryan Gosling in Drive<\/figcaption><\/figure>\n\n\n\n

5. Drive (2011)<\/strong><\/p>\n\n\n\n

The art-house and the grindhouse magically collide in Nicolas\nWinding-Refn\u2019s ultra-stylized, brutally violent dramatic actioner, Drive<\/em>. Ryan Gosling turns stoicism into\nhigh art, portraying one of the most complicated, quietly commanding and\nendearing action heroes in recent memory. <\/p>\n\n\n\n

The story-\u2013which centers around a stunt\/getaway driver (Gosling) who gets in deep with criminals after trying to aide his endangered next-door neighbor (a graceful and warm Carey Mulligan)\u2014isn\u2019t anything particularly special. Drive <\/em>is a movie whose greatness is almost entirely indebted to its director. The visionary length to which Refn goes in presenting the film\u2019s potentially stale screenplay is beyond remarkable. The neon-drenched, 80s soundtrack-accompanied atmosphere of the film\u2014and how it highlights the loneliness and desires of its characters\u2014is what will keep people talking about it for years to come.<\/p>\n\n\n\n

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Ben Affleck and Rosamund Pike in Gone Girl<\/figcaption><\/figure>\n\n\n\n

6. Gone Girl (2014)<\/strong><\/p>\n\n\n\n

Based on Gillian Flynn\u2019s best-selling mystery novel, Gone Girl <\/em>is the funniest movie of the\n2010s. Yes, you read that correctly. The film\u2014about a flawed man (Ben Affleck)\nwho faces media scrutiny after his wife (Rosamund Pike) goes missing– is a\none-of-a-kind laugh riot.<\/p>\n\n\n\n

Flynn\u2019s world–brimming with murder, dysfunctional families and personality disorders–always seems to be aware of its own dark absurdity–though no one would ever dare call her novels comedies. In the hands of director David Fincher, however, Gone Girl <\/em>is a downright scathing and hard-biting satire that thoughtfully and hilariously targets modern-day American marriage. As wholly engrossing as the story\u2019s mystery is onscreen, its suspense and drama hold all the more weight because they ultimately serve as the set-up to a very sick and oddly profound joke.<\/p>\n\n\n\n

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Britt Robertson in Ask Me Anything<\/figcaption><\/figure>\n\n\n\n

7. Ask Me Anything (2014)<\/strong><\/p>\n\n\n\n

In Ask Me Anything, <\/em>Britt\nRobertson fully and devastatingly inhabits the character of Katie Kampenfelt: a\nyoung, reckless teenager who takes the year off between high school and college\nto explore multiple sexual relationships and blog all about them in salacious\ndetail. She is empty enough to need the attention, narcissistic enough to let\nit fuel her behavior and damaged enough to let it eat her alive.<\/p>\n\n\n\n

Screenwriter\/director Allison Burnett<\/a> (who adapted his own novel, Undiscovered Gyrl<\/em>) expertly plays with tone and expectation to deliver the perfect epiphany to his story. Ask Me Anything<\/em> strikes an emotional chord that resonates on a grand level–it is the most poignant and haunting examination of the online generation we have yet to see onscreen.<\/p>\n\n\n\n

Keep an eye out for the sequel, Another Girl<\/em>, which is to be released later this year.<\/p>\n\n\n\n

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Julia Butters and Leonardo DiCaprio in Once Upon a Time in Hollywood<\/figcaption><\/figure>\n\n\n\n

8. Once Upon a Time In Hollywood (2019)<\/strong><\/p>\n\n\n\n

Once Upton a Time In Holl<\/em>ywood<\/em> is the most thrilling and pure film that Quentin Tarantino has created since the 90s. His love letter to the 60s and good ol\u2019 fashioned toxic masculinity is the first film the pop auteur has delivered since Jackie Brown<\/em> that feels like it came from his heart rather than a fan-\/critic-\/studio-\/self-imposed obligation to unleash yet another self-aware, monologue-filled, hyper-violent, reference-laden QUENTIN TARANTINO FILM<\/em>. <\/p>\n\n\n\n

True-to-life characters, great performances (Brad Pitt and Leonardo DiCaprio both shine in lead roles) and loose, organic writing make for a human and relatable fairy tale that fictionalizes history in the most honest and satisfying manner possible. Once Upon a Time in Hollywood <\/em>finally showcases the growth (while still celebrating the above-mentioned qualities) of one of the industry\u2019s most talented\u2014yet charmingly stunted\u2014filmmakers of our time.<\/p>\n\n\n\n

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Tory Kittles in Dragged Across Concrete<\/figcaption><\/figure>\n\n\n\n

9. Dragged Across\nConcrete (2019)<\/strong><\/p>\n\n\n\n

Slow-burning, character-driven, pulpy, brutal and beautiful,\nDragged Across Concrete <\/em>packed one of\nthe biggest punches of the 2010s. Mel Gibson and Vince Vaughn portray two\n(almost comically) un-PC policemen who devise a plan to rob criminals after\nreceiving a suspension for excessive force. Both stars give natural and\nego-less performances that remind us of how great they are when in their proper\nelement. It\u2019s Tory Kittles\u2019 (season one of True\nDetective<\/em>) show, however, with his portrayal of a highly intelligent and\noddly moral criminal who finds himself in the middle of a bank heist gone\nterribly and violently awry.<\/p>\n\n\n\n

Writer\/director S. Craig Zahler (Bone Tomahawk, Brawl in\nCell Block 99<\/em>) ignores genre conventions and instead dwells on atmosphere,\ncharacter details and crackling dialogue exchanges. The racial tensions, social\ninjustices and economic struggles that haunt the film’s characters hold the\nsame weight as its narrative drive\u2014but never in a distracting or preachy manner.\nDragged Across Concrete<\/em> refreshingly lets its characters exist within\ntheir realities without judgment. It luxuriously unfolds at the steady beat of\nZahler\u2019s own drum, and the final result is the rapidly rising talent\u2019s most\nfulfilling and accomplished film to date.<\/p>\n\n\n\n

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Derek Cianfrance<\/figcaption><\/figure>\n\n\n\n

10. Blue Valentine\n(2011) \/The Place Beyond the Pines (2013) <\/strong><\/p>\n\n\n\n

When it comes to brutally honest onscreen portrayals of human damage, there is not another writer\/director more uncompromising or adept than Derek Cianfrance. Both of these titles exhibit raw, volatile emotions, effortless performances and selfless, unobtrusive filmmaking. Sensitivity balances these qualities, which further receive highlight by an intermittent poeticism that is reminiscent of Malick\u2014but also unique in and of itself.<\/p>\n\n\n\n

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Ryan Gosling and Michelle Williams in Blue Valentine<\/figcaption><\/figure>\n\n\n\n

Blue Valentine <\/em>features\ntwo of the best performances of the decade in Ryan Gosling\u2019s and Michelle\nWilliams\u2019 portrayal of a dysfunctional couple coming to terms with what could\nbe the end of their marriage. Their performances are so wholly naturalistic\nthat the film almost feels like an artistic-minded reality show. The two actors\ndeeply inhabit their characters to exhibit a devastating truth, and the audience\ncan\u2019t help but experience every heart-wrenching moment right along with them.<\/p>\n\n\n\n

Any contrivances or padding one might expect from such a film are tossed aside in favor of honest human emotion. Blue Valentine <\/em>goes places few films dare, and it succeeds because of its consistent refusal to look away.<\/p>\n\n\n\n

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Ryan Gosling and Eva Mendes in The Place Beyond the Pines<\/figcaption><\/figure>\n\n\n\n

Another emotional powerhouse of a movie, The Place Beyond the Pines<\/em> is a three-part story about lineage,\nabsent fathers and crime. Ryan Gosling portrays a motorcycle stunt rider who\nsuccumbs to robbing banks so he can provide for his newborn son–thus setting\noff a chain of events that echo throughout the film\u2019s near-two-decade timeline.\nEven though he only appears in the first third of the film, the presence of\nGosling\u2019s character (aided by his masterfully sympathetic portrayal) hovers throughout\nthe rest of the film. The ensemble also includes excellent performances from\nBradley Cooper, Eva Mendes, Ben Mendelsohn, Ray Liotta, Mahershala Ali, Emory\nCohen and Dane DeHaan. <\/p>\n\n\n\n

The Place Beyond the Pines<\/em> is an ambitious and sprawling film told in pieces that ultimately amount to an overwhelmingly emotional whole. It all comes together in its devastating last act\u2014where Cianfrance\u2019s abilities match his aspirations to result in an unforgettable masterwork.<\/p>\n\n\n\n

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Adrien Brody in Detachment<\/figcaption><\/figure>\n\n\n\n

11. Detachment (2012)<\/strong><\/p>\n\n\n\n

American History X <\/em>director Tony Kaye isn\u2019t returning<\/em> to full form\u2014he\u2019s finally given the opportunity to exhibit it\u2014with this emotionally charged and highly innovative look at the American educational system. It\u2019s nothing short of amazing what the filmmaker is able to accomplish when he is free of studio heads, accountants and Edward Norton hovering over his shoulder. By way of a flawless cast and Kaye\u2019s artistically courageous filmmaking, Detachment <\/em>succeeds as both a celebration of educators\u2019 heroism as well as an uncompromising examination of the spirit-crushing obstacles they face on a daily basis.<\/p>\n\n\n\n

Adrien Brody is fantastic as a New York City substitute\nteacher who–in spite of all his best efforts–is unable to emotionally detach\nhimself from his latest job.\nBrody\u2019s performance gets a boost from one of the most impressive\nsupporting casts (James Caan, Marcia Gay Harden, Christina Hendricks, Lucy Liu,\nBlythe Danner, Isiah Whitlock Jr., Tim Blake Nelson, William Peterson, Betty\nKaye, Bryan Cranston etc.) assembled in the 2010s or any other decade. <\/p>\n\n\n\n

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Denis Villeneuve<\/figcaption><\/figure>\n\n\n\n

12. Prisoners (2013) \/Sicario\n(2015)<\/strong><\/p>\n\n\n\n

Of the many directors who made a name for themselves in the 2010s, there isn\u2019t a more simultaneously stylish and grounded one than Denis Villeneuve. He may have received more critical and audience attention for his grand forays into science fiction last decade (Arrival<\/em> and Blade Runner 2049)<\/em>, but I responded more favorably to these two gritty thrillers (both of which were photographed by the great Roger Deakins). Villeneuve\u2019s controlled, indistinctly surreal perspective adds a layer of heightened reality to everything he does–but he’s more effective in making real-world stories feel mystical than in making fantastical worlds tangible.<\/p>\n\n\n\n

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Hugh Jackman and Jake Gyllenhaal in Prisoners<\/figcaption><\/figure>\n\n\n\n

Jake Gyllenhaal gives the performance of his career (to date) in\nVilleneuve\u2019s masterful entry into Hollywood filmmaking, Prisoners<\/em>. Portraying a detective trying to track down two missing\ngirls, there is a bleak, fascinating history on the actor\u2019s face, in his\nmannerisms and in his voice. These characteristics all reflect and further\nbring to life Villeneuve\u2019s somber, modern-noir-like style for the film. Paul\nDano and Hugh Jackman are predictably brilliant as the prime suspect and the\ngrieving father who will stop at absolutely nothing to find his daughter.<\/p>\n\n\n\n

The screenplay, written by Aaron Guzikowski, is as rich and layered with detail as Gyllenhaal\u2019s performance. It provides the blueprint for a very disturbing–yet painfully human–dramatic thriller that intelligently rises above any genre trappings. The intricacy and artistry that went into Prisoners<\/em> make it an unforgettable psychological thriller, and the best of its kind since The Silence of the Lambs.<\/em>  <\/p>\n\n\n\n

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Benecio Del Toro in Sicario<\/figcaption><\/figure>\n\n\n\n

Sicario<\/em>— a searing\ncharacter\/political drama in-disguise as an action-thriller–is just as\nmasterful and intelligent in its own right. From a detailed and brutal script\nby Taylor Sheridan (Hell or High Water,\nWind River<\/em>), Villeneuve creates a pulsating and dangerously gorgeous\ndepiction of the drug war in Mexico. Taking cues from Michael Mann and Ridley\nScott, Villeneuve approaches the subject matter with a searing, trance-like and\noccasionally ethereal style\u2014one that makes its short, sudden bursts of violence\nall the more effective and shocking.<\/p>\n\n\n\n

Emily Blunt provides the film with integrity and heart, portraying an FBI agent who is recruited by the CIA to help a Delta Force team stop the head of a drug cartel. Benicio Del Toro–in his portrayal of one of the team\u2019s mysterious associates– gives a contained, quietly commanding performance that is among his most effective.<\/p>\n\n\n\n

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Jon Hamm, Jeff Bridges and Cynthia Erivo in Bad Times at the El Royale<\/figcaption><\/figure>\n\n\n\n

13. Bad Times at the El Royale (2018)<\/strong><\/p>\n\n\n\n

A group of troubled souls intersects at a novelty hotel on the Nevada\/California border in the late-60s. Bad Times at the El Royale <\/em>doesn\u2019t follow any typical formula, it instead follows the organic, unpredictable behavior of its richly drawn and developed characters\u2014and the extreme consequences of their chance encounters. <\/p>\n\n\n\n

Writer\/director Drew Goddard\u2019s linearly fractured, multi-character noir is one of the smartest and most complex thrillers in recent memory. Jeff Bridges, Cynthia Erivo, Lewis Pullman and Chris Hemsworth stand out amongst the stellar and flawless ensemble. Goddard\u2019s filmmaking is as innovative as it is subtle. Bad Times at the El Royale <\/em>is one of the fullest and most thrilling cinematic rides of the decade.  <\/p>\n\n\n\n

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Tilda Swinton and Ezra Miller in We Need to Talk About Kevin<\/figcaption><\/figure>\n\n\n\n

14. We Need to Talk About Kevin (2011)<\/strong><\/p>\n\n\n\n

Based on Lionel Shriver\u2019s novel, We Need to Talk About Kevin<\/em> presents us with\u2014but never dares answer\u2014the question of what makes someone do horrific deeds. The nature versus nurture debate receives rich exploration in co-writer (with Rory Stewart Kinnear) \/director Lynne Ramsay\u2019s stylishly enveloping portrait of a disturbed mother\/son relationship.<\/p>\n\n\n\n

Tilda Swinton excels at portraying a mother who, while observing her son\u2019s growth over the years, seems convinced there is something dangerously wrong with him. In turn, her behavior towards him grows cold. By the time he\u2019s a teenager (portrayed with conflicting moments of humanity and menace by Ezra Miller), there\u2019s no telling whose behavior so negatively impacted the other\u2019s to create so much pain. The film astutely and courageously presents questions that are in dire need of examination but to which there are no easy answers. Ramsay\u2019s refusal to provide them is what makes We Need to Talk About Kevin <\/em>such an unforgettable accomplishment.<\/p>\n\n\n\n

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Ellen Page and Rainn Wilson in Super<\/figcaption><\/figure>\n\n\n\n

15. Super (2011)<\/strong><\/p>\n\n\n\n

Though James Gunn has since excelled both artistically and\nfinancially in the mainstream, it\u2019s important to look back on the Lloyd\nKaufman-educated, independent-minded and sharply satirical roots that got him\nthere. Luckily for us, those characteristics are all fully realized and on\nglorious display in Super, <\/em>Gunn\u2019s\ndarkly hilarious, hyper-violent and cleverly meta love letter to all things\nsuperhero. <\/p>\n\n\n\n

Rainn Wilson gives a synchronously hilarious and heart-aching portrayal of an everyday man who\u2014after losing his addict wife to a comically sociopathic drug dealer played by Kevin Bacon\u2014decides to don a costume and fight crime. Ellen Page stands out among the stellar supporting cast (Liv Tyler, Michael Rooker, Nathan Fillion, Linda Cardellini, Sean Gunn etc.) as Wilson\u2019s lovable but dangerously insane sidekick.<\/p>\n\n\n\n

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Michael Fassbender, Lupita Nyong’o and Chiwetel Ejiofor in 12 Years a Slave<\/figcaption><\/figure>\n\n\n\n

16. 12 Years a Slave (2013)<\/strong><\/p>\n\n\n\n

Director Steve McQueen\u2019s 12\nYears a Slave<\/em>–based upon the true story of a kidnapped African-American\nman who was forced into slavery for twelve years–is a rare film that exhibits\nclass, humanity and skill. 12 Years A\nSlave<\/em> hits all the right notes for its subject matter while still\nexhibiting maturity and restraint. It never lowers itself to emotional\nmanipulation or easy solutions to its most disturbing aspects.<\/p>\n\n\n\n

McQueen\u2019s direction of John Ridley\u2019s screenplay (based on Solomon Northrup\u2019s 1853 memoir) is calculated and unobtrusive. Chimwetel Ejiofor\u2019s portrayal of Northrup is the definition of dedicated, as utterly painful to watch as it should be. Michael Fassbender is terrifying as a hopelessly self-righteous and hateful slave owner. 12 Years a Slave<\/em> is one of the best movies to have any kind of an Oscar sweep (Best Picture, Best Supporting Actress for Lupita Nyong\u2019o and Best Adapted Screenplay) in recent memory.<\/p>\n\n\n\n

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Ethan Hawke in First Reformed<\/figcaption><\/figure>\n\n\n\n

17. First Reformed (2018)<\/strong><\/p>\n\n\n\n

Paul Schrader\u2019s directorial masterwork is an exercise in perfection. From concept to execution, First Reformed <\/em>is a rare film that works on every level it aspires to reach. It succeeds both in its grand-scale themes of ecological disaster and in its smaller, intimate moments of character study. <\/p>\n\n\n\n

Ethan Hawke outdoes all of his past work with his pained, vulnerable portrayal of an alcoholic and lifeless priest falling deeper and deeper into a self-induced vortex of despair and alienation. Amanda Seyfried offers excellent support as Hawke\u2019s only hope for human connection. First Reformed <\/em>is an instant classic by one of the few remaining filmmakers of his time whose integrity and talent are still fully intact.<\/p>\n\n\n\n

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LaKeith Stanfield in Sorry to Bother You<\/figcaption><\/figure>\n\n\n\n

18. Sorry to Bother You (2018)<\/strong><\/p>\n\n\n\n

Boots Riley\u2019s writing and directing debut is one of the\nsmartest, most original and most daring American satires of this or any era. <\/em>LaKeith Stanfield stars as a young\nAfrican-American man who loses his identity while rising in the ranks of a\nwhite-dominated call center. Absurdist and spot-on observations of racism,\ncapitalism, American values and general stupidity accumulate into a conclusion\nthat is as justifiably scathing as it is unbelievably–and\ningeniously–strange.<\/p>\n\n\n\n

Sorry to Bother You<\/em>‘s innovation matches its astute awareness. The film persistently projects intelligence and reminds us that there is a very specific point to even its most insane and chaotic of events. With one film under his belt, Riley has instantly proven himself as a name to watch.<\/p>\n\n\n\n

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Javier Bardem and Jennifer Lawrence in Mother!<\/figcaption><\/figure>\n\n\n\n

19. Mother! (2017)<\/strong><\/p>\n\n\n\n

Darren Aronofsky\u2019s Mother!<\/em> may not be the most enjoyable or emotionally pleasing movie of the 2010s, but it stills deserves credit for being what it is: an inspired, aggressively absurd and darkly brilliant piece of filmmaking.<\/p>\n\n\n\n

Is it a euphemism for human destruction of the planet, an updated spin on the Bible or an emotional representation of the self-sacrifices one has to make while being married to a narcissist? Wherever your interpretation leads you, the film gets into your head, stays there and infects your entire being with every unforgettable frame of its existence. There is nothing like it before and there will be nothing like it again. Mother!<\/em> is a truly astounding accomplishment–even though I will most likely only view it once or twice more in my lifetime. <\/p>\n\n\n\n

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Evan Rachel Wood in Allure<\/figcaption><\/figure>\n\n\n\n

20. Allure (2018)<\/strong><\/p>\n\n\n\n

Evan Rachel Wood\u2019s performance in Allure<\/em> should have been as celebrated as Ethan Hawke\u2019s in First Reformed<\/em> when both films were\nreleased in 2018. <\/em>It\u2019s just as\ncommitted and every bit as devastating to witness. Wood portrays a troubled\nhouse cleaner who seduces the teenage daughter (Julia Sarah Stone) of one of\nher clients, then proceeds to hold her physically and emotionally captive.  <\/p>\n\n\n\n

Writers\/directors Carlos and Jason Sanchez deliver an unforgettable debut. Easy escapism it is not, as Allure <\/em>refuses to pull any punches. The film takes its subject matter very seriously, refusing to succumb to the cheap thriller formula its premise might suggest. It is a brutally honest film about the cycle of abuse in which Wood\u2019s character is as much the victim as she is the predator. The terror she inflicts on others and the horror she experiences while discovering what she\u2019s capable of is painfully, nakedly depicted by the actress–who never ceases to amaze with what she is capable of achieving onscreen.<\/p>\n\n\n\n

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Frances McDormand in Three Billboards Outside Ebbing, Missouri<\/figcaption><\/figure>\n\n\n\n

The Top 20 Movies That Were Very Painful To Leave Off The Top Twenty Movies of the 2010s (AKA, Top Twenty, Part Two):<\/strong><\/p>\n\n\n\n

1. <\/strong>Three Billboards Outside Ebbing, Missouri, <\/em>2. <\/strong>Bone Tomahawk<\/em>\/Brawl in Cell Block 99<\/em> (tie), 3. <\/strong>The Lobster<\/em>\/The Killing of a Sacred Deer <\/em>(tie), 4. <\/strong>Mandy<\/em>, 5. <\/strong>Jojo Rabbit,<\/em> 6. <\/strong>Young Adult,<\/em> 7. <\/strong>Neon Demon\/Only God Forgives <\/em>(tie),<\/em> 8. <\/strong>The End of the Tour,<\/em> 9. <\/strong>Little Women,<\/em> 10. <\/strong>Trainwreck, <\/em>11. <\/strong>Moonlight,<\/em> 12. <\/strong>Dolemite Is My Name,<\/em> 13. <\/strong>The Florida Project,<\/em> 14. <\/strong>Guardians of the Galaxy, Vols. 1 and 2 (tie),<\/em> 15. <\/strong>The Skeleton Twins,<\/em> 16. <\/strong>Prometheus,<\/em> 17. <\/strong>Silver Linings Playbook,<\/em> 18. <\/strong>Shame,<\/em> 19. <\/strong>Cold in July,<\/em> 20a. <\/strong>Snowpiercer,<\/em> 20b. <\/strong>Anomolisa<\/em><\/p>\n\n\n\n

Looking at this particular list is a painful reminder of all the great titles I had to excise from my top twenty of the 2010s. There were too many to name.<\/p>\n\n\n\n

I will re-watch Bone Tomahawk, Three Billboards Outside Ebbing, Missouri, The Lobster, Young Adult, Snowpiercer, Mandy, Dolemite Is My Name, Prometheus, Cold in July, Trainwreck, Shame,<\/em> Brawl in Cell Block 99<\/em> and many films that didn\u2019t make either list far more times than I will re-watch over half the titles I selected for the top twenty. But re-watchability doesn\u2019t always outweigh a film\u2019s overall accomplishment. As great as it is to come across a movie you can repeatedly enjoy and rediscover, there\u2019s something to be said for a film that gets its point across and sticks in your head after a single viewing.<\/p>\n\n\n\n

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Michael C. Hall and Sam Shepard in Cold in July<\/figcaption><\/figure>\n\n\n\n

The 20 Most Underrated Movies of the 2010s:<\/strong><\/p>\n\n\n\n

1.<\/strong> Ask Me Anything<\/em>, 2.<\/strong> Detachment<\/em>, 3.<\/strong> The Place Beyond the Pines<\/em>, 4.<\/strong> Bad Times at the El Royale<\/em>, 5.<\/strong> Allure<\/em>, 6.<\/strong> Cold In July,<\/em> 7.<\/strong> Mean Dreams,<\/em> 8.<\/strong> Knives and Skin,<\/em> 9.<\/strong> Mr. Nobody,<\/em> 10.<\/strong> The Perfection,<\/em> 11. <\/strong>Black & Blue,<\/em> 12.<\/strong> Zoe<\/em>, 13<\/strong>. The Glass Castle,<\/em> 14.<\/strong> Filth,<\/em> 15.<\/strong> Assassination Nation,<\/em> 16.<\/strong> Under the Silver Lake,<\/em> 17.<\/strong> Love & Mercy,<\/em> 18. <\/strong>Upgrade,<\/em> 19.<\/strong> Rampart,<\/em> 20. <\/strong>Destroyer<\/em><\/p>\n\n\n\n

This could have easily been a Top 100 list. There were so\nmany great movies that fell by the wayside in the 2010s that the subject deserves\nits own standalone piece. Countless filmmakers–seasoned and budding\nalike–made bold and original films that never caught on with mainstream\naudiences but easily could have with the right timing and marketing. <\/p>\n\n\n\n

Needless to say by now, I cannot shut up about Ask Me Anything <\/em>and its intricately\nsimple greatness. Detachment <\/em>is one\nof the most emotionally raw films I have ever encountered. I\u2019ll never fully\nunderstand how The Place Beyond the\nPines, Zoe, The Glass Castle,<\/em> Love\n& Mercy <\/em>and Bad Times at the El\nRoyale <\/em>weren\u2019t audience and award darlings. <\/p>\n\n\n\n

Mean Dreams, Cold In\nJuly, The Perfection, Upgrade, Destroyer, Rampart <\/em>and Black and Blue <\/em>are all wonderful thrillers that put a unique and\nunforgettable spin on their genre. <\/p>\n\n\n\n

Movies like Knives and\nSkin<\/em>, Allure, Under the Silver Lake,\nFilth, Mr. Nobody <\/em>and Assassination\nNation <\/em>all took great artistic risks that creatively paid off– but none of\nthem had enough attention to create any kind of impact.<\/p>\n\n\n\n

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Hugh Dancy and Mads Mikkelsen in Hannibal<\/figcaption><\/figure>\n\n\n\n

The Top 20 Television\/Streaming Series of the 2010s:<\/strong><\/p>\n\n\n\n

1.<\/strong> Hannibal,<\/em> 2<\/strong>. True Detective,<\/em> 3.<\/strong> Eastbound & Down\/Vice Principals\/The Righteous Gemstones<\/em> (tie), 4.<\/strong> The End of the F****ing World,<\/em> 5.<\/strong> Black Mirror,<\/em> 6. <\/strong>Too Old To Die Young,<\/em> 7.<\/strong> Mindhunter,<\/em> 8. <\/strong>The Mandalorian, <\/em>9. <\/strong>Breaking Bad, <\/em>10. <\/strong>Sharp Objects, <\/em>11.<\/strong> Watchmen\/The Leftovers <\/em>(tie),<\/em> 12<\/strong>. Escape at Dannemora, <\/em>13. <\/strong>Barry, <\/em>14.<\/strong> Stranger Things, <\/em>15. <\/strong>Love, Death and Robots,<\/em> 16.<\/strong> American Crime Story,<\/em> 17.<\/strong> Roseanne Reboot\/The Conners <\/em>(tie), 18. <\/strong>Rick and Morty, <\/em>19. <\/strong>Bojack Horseman, <\/em>20. <\/strong>Sherlock<\/em><\/p>\n\n\n\n

Television and streaming series essentially became the new\ncinema in the last ten years. That\u2019s where the most complex characters seem to\nlive and breathe onscreen, and where the most intoxicating stories are able to\nintricately unfold at their own pace. <\/p>\n\n\n\n

Comedy developed into something not so easy to categorize, with shows like Barry, End of the F***ing World, Bojack Horseman<\/em> and Eastbound & Down<\/em> shifting tones between absurd humor and blunt dramatic reality on a regular basis. Disney+ started strong right out of the gate with their excellent Mandalorian <\/em>series\u2014<\/em>by far the greatest Star Wars <\/em>entry since the original trilogy.<\/p>\n\n\n\n

Dramatic stories intended for adults benefited the most from the episodic format\u2014far better than feature films. Shows like True Detective, Breaking Bad, The Leftovers, Watchmen <\/em>(don\u2019t mistake it for a comic book show) and American Crime Story<\/em> all developed substantial followings for their rich storylines and relatable, realistic characters. <\/p>\n\n\n\n

Top directors like Ben Stiller and Nicolas Winding-Refn were given full creative freedom and delivered miniseries (Escape at Dannemora<\/em> and Too Old to Die Young<\/em>) with styles and subject matters too bold for today\u2019s large screen. A show like Hannibal\u2014<\/em>Bryan Fuller\u2019s surreal and gorgeously brutal adaptation of Thomas Harris\u2019 Hannibal Lecter novels\u2014could have only existed during a time when filmmakers turned to the small screen to take the largest risks.<\/p>\n\n\n\n

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Harmony Korine and Gaspar Noe<\/figcaption><\/figure>\n\n\n\n

The Top 20 Directors of the 2010s:<\/strong><\/p>\n\n\n\n

1.<\/strong> Gaspar No\u00e9, 2. <\/strong>Harmony Korine, 3.<\/strong> Nicolas Winding-Refn, 4. <\/strong>S. Craig Zahler, 5. <\/strong>Denis Villeneuve, 6.<\/strong> Terrence Malick and Martin Scorsese (tie), 7. <\/strong>Steve McQueen, 8.<\/strong> Derek Cianfrace, 9.<\/strong> Bong Joon-ho, 10.<\/strong> James Gunn, 11.<\/strong> Jordan Peele, 12.<\/strong> Greta Gerwig, 13. <\/strong>Yorgos Lanthimos, 14.<\/strong> Ryan Coogler, 15. <\/strong>Paul Schrader, 16.<\/strong> Lynne Ramsey, 17.<\/strong> Sean Baker, 18. <\/strong>Patty Jenkins, 19.<\/strong> George Miller, 20<\/strong>. Barry Jenkins<\/p>\n\n\n\n

Many great filmmakers delivered impressive works in the last ten years. The ones who seemed to make the most impact or who delivered the most individualistic bodies of work are the ones who made this list, however. For every filmmaker mentioned here, there are at least three others who were doing something just as special in their own right. <\/p>\n\n\n\n

Terrence Malick, Martin Scorsese, Paul Schrader and George\nMiller all deserve a spot for being old-school guys who put Quentin Tarantino\u2019s\n\u201cdirecting is a young man\u2019s game\u201d theory to the test. <\/p>\n\n\n\n

James Gunn brought his unique sensibilities to the mainstream with his Guardians of the Galaxy <\/em>entries. Patty Jenkins (Monster<\/em>) went from being a strong independent voice to setting a record for being the first female director behind a blockbuster superhero movie with Wonder Woman<\/em>. Ryan Coogler set similar records and gave us the first blockbuster superhero movie featuring an African-American-dominated cast with Black Panther<\/em>. <\/p>\n\n\n\n

Nicolas Winding-Refn, Steve McQueen, Yorgos Lanthimos, S. Craig Zahler, Bong Joon-ho, Jordan Peele, Greta Gerwig, Lynne Ramsey, Sean Baker and Barry Jenkins all contributed works that make them some of the most identifiable auteurs working today.<\/p>\n\n\n\n

Harmony Korine and Gaspar No\u00e9 were the two most exciting (and polarizing) directors of the 2010s, however, with their audacious and excessively innovative cinematic ambitions.<\/p>\n\n\n\n

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Charlize Theron in Mad Max: Fury Road<\/figcaption><\/figure>\n\n\n\n

The Top 20 Performers of the 2010s:<\/strong><\/p>\n\n\n\n

1.<\/strong> Charlize Theron,\n2.<\/strong> Ryan Gosling, 3.<\/strong> Mahershala Ali, 4. <\/strong>Amy Adams, 5.<\/strong> Patricia\nArquette, 6.<\/strong> Jennifer Lawrence, 7.<\/strong> Tom Hardy, 8.<\/strong> Idris Elba, 9.<\/strong>\nMichael Fassbender, 10.<\/strong> Jessica\nChastain, 11.<\/strong> Joaquin Phoenix, 12.<\/strong> Ethan Hawke, 13.<\/strong> Bill Hader and Kristen Wiig (tie), 14<\/strong>. Cynthia Erivo, 15.<\/strong> Michelle\nWilliams, 16.<\/strong> Michael B. Jordan, 17.<\/strong> Benedict Cumberbatch, 18.<\/strong> Evan Rachel Wood, 19.<\/strong> Octavia Spencer, 20.<\/strong> Kumanji Nijanisk<\/p>\n\n\n\n

The 2010s gave us a plethora of acting talent onscreen\u2014whether\nthe individuals were just coming into prominence or already established.<\/p>\n\n\n\n

Jennifer Lawrence became America\u2019s darling with The Hunger Games <\/em>and Silver Linings Playbook<\/em>. Michael B. Jordan became a household name with Creed <\/em>and Black Panther <\/em>after proving his chops with Fruitvale Station<\/em>. Mahershala Ali made himself known with a vengeance, exhibiting abilities few actors possess. Jessica Chastain, Michael Fassbender, Amy Adams, Benedict Cumberbatch, Idris Elba and Tom Hardy also became household names in the 2010s, each creating a body of work that exhibited range, skill and intelligence.<\/p>\n\n\n\n

Bill Hader and Kristen Wiig proved that former Saturday Night Live<\/em> cast members could still go on to have substantial careers portraying complex characters. Kumanji Niganisk entered the scene with a dry, lovable and sharply timed wit that is quickly making him a \u201cgo-to\u201d for strong comedic characters with heart.<\/p>\n\n\n\n

Those already well-known also had opportunities to exhibit their talents. Joaquin Phoenix lived and breathed a comic book character to create a stunning portrayal of mental illness in Joker<\/em>. Ethan Hawke didn\u2019t always make the best choices, but also pulled off what might have been the performance of the decade with his painfully committed work in First Reformed<\/em>. Ryan Gosling managed the most eclectic resume of the decade, holding out to work with only the boldest and most celebrated directors (Refn, Cianfrance, Villeneuve, Malick, Shane Black, Adam McKay, Damien Chazelle, George Clooney) of the 2010s. <\/p>\n\n\n\n

Charlize Theron, however, takes the top spot for further proving her limitless versatility. In the 2010s, she was a Disney villain (Snow White and the Huntsman<\/em>), a complete badass (Atomic Blonde, Mad Max: Fury Road, The Fate of the Furious<\/em>), a hilarious comedienne (Long Shot, A Million Ways to Die in the West<\/em>) and a wholly committed dramatic actress incapable of portraying a false moment (Young Adult<\/em>, Tully, Bombshell<\/em>). There is not another prominent actor from the 2010s\u2014male or female\u2014who can match her fearlessness, talent or eye-and-heart grabbing onscreen charisma.<\/p>\n\n\n\n

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Jared Leto in Mr. Nobody<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2010:<\/strong><\/p>\n\n\n\n

1. <\/strong>Enter the Void<\/em>, 2. <\/strong>Blue Valentine,<\/em> 3.<\/strong> Mr. Nobody,<\/em> 4. <\/strong>Dogtooth<\/em>, 5.<\/strong> Scott Pilgrim vs. The World<\/em>, 6.<\/strong> Black Swan<\/em>, 7. <\/strong>Boy<\/em>, 8.<\/strong> Inception<\/em> and Shutter Island<\/em> (tie), 9.<\/strong> 127 Hours<\/em>, 10.<\/strong> The Town<\/em><\/p>\n\n\n\n

A solid year to start the decade, filled with an exciting amount of great films. Mr. Nobody<\/em> technically was only released in Canada this year and didn\u2019t get an official U.S. release until 2013, but I count it here. I\u2019ll give a two-way tie to Machete<\/em> and The Expendables<\/em> for self-aware action cheese greatness as an alternate number 10 if you want to get picky, though.<\/p>\n\n\n\n

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Charlize Theron in Young Adult<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2011:<\/strong><\/p>\n\n\n\n

1.<\/strong> The Tree of Life<\/em>, 2<\/strong>. Drive<\/em>, 3.<\/strong> We\nNeed To Talk About Kevin<\/em>, 4.<\/strong> Super<\/em>, 5.<\/strong> Young Adult<\/em>, 6.<\/strong> Shame,<\/em>\n7.<\/strong> The Skin I Live In,<\/em> 8.<\/strong> Melancholia<\/em>, 9.<\/strong> Hugo, <\/em>10. <\/strong>Hesher\nand 50\/50 <\/em>(tie)<\/p>\n\n\n\n

Looking back, there weren\u2019t a lot of great films beyond this list in 2011, but the ones that made it were all pretty much instant classics. The Tree of Life <\/em>and Drive<\/em>, in particular, paved the way for and influenced a lot of great movies in the years to follow.<\/p>\n\n\n\n

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Ridley Scott’s Prometheus<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2012:<\/strong><\/p>\n\n\n\n

1.<\/strong> Detachment<\/em>, 2. <\/strong>Prometheus, <\/em>3. <\/strong>Silver\nLinings Playbook<\/em>, 4.<\/strong> Moonrise Kingdom<\/em>, 5.<\/strong> Seven Psychopaths<\/em>, 6<\/strong>. Django\nUnchained<\/em>, 7.<\/strong> Rampart<\/em>, 8.<\/strong> Looper<\/em>, 9.<\/strong> Frankenweenie<\/em>,\n10. <\/strong>Cloud Atlas<\/em><\/p>\n\n\n\n

Sorry, but I loved Prometheus <\/em>and Cloud Atlas.<\/em> There may have been \u201cbetter\u201d movies that deserved to be on this list, but I can forgive these titles\u2019 faults for their attributes and ambitions.<\/p>\n\n\n\n

<\/p>\n\n\n\n

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Ryan Gosling in Only God Forgives<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2013:<\/strong><\/p>\n\n\n\n

1.<\/strong> Spring Breakers<\/em>, 2.<\/strong> The Place Beyond The Pines<\/em>,\n3. <\/strong>Prisoners<\/em>, 4. <\/strong>12 Years a Slave<\/em>, 5.<\/strong> Only God Forgives<\/em>, 6.<\/strong> Don\nJon,<\/em> 7. <\/strong>August: Osage County<\/em>, 8.<\/strong>\nSaving Mr. Banks<\/em>, 9.<\/strong> Captain\nPhillips,<\/em> 10<\/strong>. The Wolf of Wall Street<\/em> <\/p>\n\n\n\n

A fantastic year for movies filled with far too many greats for one list. For me, however, 2013 was and will always be the year where everything was Spring Breakers <\/em>and nothing hurt.<\/p>\n\n\n\n

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Lee Pace and Chris Pratt in Guardians of the Galaxy<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2014:<\/strong><\/p>\n\n\n\n

1.<\/strong> Gone Girl<\/em>, 2.<\/strong> Ask Me Anything<\/em>, 3.<\/strong> Guardians\nof the Galaxy, <\/em>4.<\/strong> Snowpiercer<\/em>, 5.<\/strong> The Skeleton Twins<\/em>, 6.<\/strong> Cold\nIn July<\/em>, 7.<\/strong> The<\/em> Grand Budapest Hotel,<\/em>\n8. <\/strong>Interstellar<\/em>, 9.<\/strong> Boyhood<\/em>, 10.<\/strong> Life Itself<\/em><\/p>\n\n\n\n

I really liked Birdman<\/em> and Inherent Vice<\/em>\u2026 I just liked other movies more in 2014.<\/p>\n\n\n\n

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Richard Jenkins, Kurt Russell and Matthew Fox in Bone Tomahawk<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2015:<\/strong><\/p>\n\n\n\n

1<\/strong>. Mad Max: Fury Road<\/em>, 2.<\/strong> Bone Tomahawk<\/em>, 3.<\/strong> The\nEnd of the Tour<\/em>, 4<\/strong>. Trainwreck,<\/em> 5. <\/strong>Love & Mercy<\/em>, 6.<\/strong> Predestination<\/em>,\n7.<\/strong> De Palma<\/em>, 8. <\/strong>The Martian,<\/em> 9.<\/strong> Carol<\/em>, 10. <\/strong>Creed<\/em><\/p>\n\n\n\n

This was the year of the return to Star Wars<\/em>\u2014not a bad movie, just the beginning of a very messy but entertaining new trilogy that did not warrant all the hype. Mad Max <\/em>deserved its attention and box office, however, and Bone Tomahawk <\/em>brought us a new, bold voice to genre movies in S. Craig Zahler.<\/p>\n\n\n\n

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Colin Farrell and Rachel Weisz in The Lobster<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2016:<\/strong><\/p>\n\n\n\n

1.<\/strong> The Lobster,<\/em> 2. <\/strong>Neon Demon,<\/em> 3.<\/strong> Moonlight<\/em>, 4.<\/strong> Anomolisa, <\/em>5.<\/strong> Silence<\/em>, 6.<\/strong> The Nice Guys<\/em>, 7.<\/strong> Nocturnal Animals<\/em>, 8.<\/strong> Elle<\/em>, 9.<\/strong> Triple 9<\/em>, 10.<\/strong> It Follows<\/em><\/p>\n\n\n\n

This was an interesting year that seemed to be full of underrated cult movies. The Lobster<\/em>\u2019s deadpan humor and surrealistic satire took me a couple of years to fully appreciate. I wouldn\u2019t have named it my favorite film of the year at the time of its release. In fact, all the above titles need at least two viewings to be fully appreciated. It just goes to show you that no list is ever finished\u2026<\/p>\n\n\n\n

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Colin Farrell and Barry Keoghan in Killing of a Sacred Deer<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2017:<\/strong><\/p>\n\n\n\n

1.<\/strong> Mother!,<\/em> 2.<\/strong> Three Billboards Outside\nEbbing, Missouri,<\/em> 3.<\/strong> Killing of a Sacred Deer<\/em>, 4.<\/strong> Brawl\nin Cell Block 99<\/em>, 5<\/strong>. The Florida Project<\/em>, 6.<\/strong> Dunkirk,<\/em> 7.<\/strong> Mean\nDreams<\/em>, 8.<\/strong> Una<\/em>, 9.<\/strong> Thor: Ragnarok <\/em>and Guardians of the Galaxy, Vol. 2<\/em> (tie), 10.<\/strong> Detroit <\/em>and Molly\u2019s Game <\/em>(tie)<\/p>\n\n\n\n

This was the year of the return to the return of Star Wars\u2014<\/em>the sequel that everybody seemed to strongly like or dislike for reasons that had nothing to do with the movie itself. Mother!, <\/em>on the other hand, was universally beloved by all\u2026 In my mind.<\/p>\n\n\n\n

<\/p>\n\n\n\n

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Nicolas Cage in Mandy<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2018:<\/strong><\/p>\n\n\n\n

1.<\/strong> Bad Times at the El Royale<\/em>, 2.<\/strong> First\nReformed<\/em>, 3.<\/strong> Sorry to Bother You<\/em>, 4.<\/strong> Allure<\/em>,\n5.<\/strong> Mandy,<\/em> 6<\/strong>. If Beale Street Could Talk,<\/em> 7.<\/strong> Tully\n<\/em>and The Front Runner<\/em> (tie), 8. <\/strong>The\nFavourite<\/em>, 9.<\/strong> Leave No Trace<\/em> and Galveston <\/em>(tie),10. <\/strong>Assassination\nNation<\/em><\/p>\n\n\n\n

A year of underappreciated films that took some great risks. Mandy<\/em>\u2019s colorful heavy metal insanity just keeps getting more brilliant every time I watch it. First Reformed <\/em>is an exercise in perfection. Allure <\/em>cuts me to the bone and Sorry to Bother You <\/em>is easily one of the best American satires of the last thirty years. I will forever scratch my head as to how Bad Times at the El Royale <\/em>failed to strike a chord with audiences and critics.<\/p>\n\n\n\n

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Roman Griffin Davis and Taika Waititi in Jojo Rabbit<\/figcaption><\/figure>\n\n\n\n

The Top 10 Movies of 2019:<\/strong><\/p>\n\n\n\n

1.<\/strong> Once Upon a Time in Hollywood<\/em>, 2.<\/strong> Dragged\nAcross Concrete<\/em>, 3.<\/strong> Jojo Rabbit<\/em>, 4.<\/strong> Little Women<\/em>, 5. <\/strong>Dolemite\nIs My Name<\/em>, 6.<\/strong> Climax<\/em>, 7.<\/strong> Parasite,<\/em> 8.<\/strong> The\nBeach Bum<\/em>, 9.<\/strong> Knives and Skin<\/em>, 10a.<\/strong> Uncut Gems<\/em>, 10b<\/strong>. Just Mercy<\/em> <\/p>\n\n\n\n

The perfect closing to the cinematic decade, filled with far\ntoo many great movies to list. The return to the return to the return of Star Wars <\/em>was a bit quieter this year\n(though still not a bad movie), which allowed for other movies to fill\naudiences\u2019 headspaces a little more evenly.<\/p>\n","protected":false},"excerpt":{"rendered":"

The Top 20 Movies of the 2010s: The 2010s was the decade in which movies changed forever. How they are now made, released, shown to and received by audiences is barely recognizable to a decade or two previous when they were king of all popular entertainment\/art. In the 2010s, digital officially replaced celluloid at both […]<\/p>\n","protected":false},"author":2,"featured_media":294,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9,8],"tags":[],"class_list":["post-1888","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-columns","category-feature"],"_links":{"self":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1888","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/comments?post=1888"}],"version-history":[{"count":95,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1888\/revisions"}],"predecessor-version":[{"id":2019,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/posts\/1888\/revisions\/2019"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media\/294"}],"wp:attachment":[{"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/media?parent=1888"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/categories?post=1888"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/otherpeoplesmovies.com\/index.php\/wp-json\/wp\/v2\/tags?post=1888"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}