We put out a poll and we got a lot of responses! Here are- according to our readers- the best films that have released since 2000. Remember, unlike our curated list of 100 Movies Every Catholic Should See, this one IS ranked! Based on the results of the Google Form we put out. Enjoy!
(Note: You may see a lot of blurbs from me down below; please note this doesn’t mean I necessarily voted for it or am placing it as I please, but rather there was no blurb given for it in the voting, so I am just filling in with a brief description - Sam)
#100: Inside Llewyn Davis (dir. The Coen Brothers)
“A somber look at the music industry through Oscar Isaac’s hapless Llewyn Davis. Phenomenal soundtrack and ensemble cast make for one of the Coen Brothers’ most slept on film.” - Sam Morales
#99: The Taste of Things (dir. Trần Anh Hùng)
“I’ve heard about this one through lists of “The Best Food Films” and this one ended up finding some love on this list as well from our readers! To quote a Letterboxd account I follow, ‘Not really a movie that's good to watch during Lent when you're supposed to be fasting. Good date movie though.’” - Sam Morales
#98: La La Land (dir. Damien Chazelle)
“This movie has just gotten better every time for me and becomes more addictive after every taste. It's incredible each time.” - Charlie Scott
#97: Cars (dir. John Lasseter)
“Listen, I’m just as surprised as you that this made the cut, but here we are. Maybe it’s just my generation though, but this movie gets unfair hate, especially when compared to the stuff Pixar has been putting out as of late. Great voice cast and soundtrack, and a memorable final role for Paul Newman as Doc Hudson.” - Sam Morales
#96: TÁR (dir. Todd Field)
“TÁR leaves a ton of room for discussion on issues and doesn't offer easy answers (except for its point that it proved about the stupidity of not listening to the masters based on modern political garbage, which was eloquently addressed in the film with brilliance). TÁR also has one of the more interesting endings that I've seen in a while from a modern film.” - Charlie Scott
#95: Coraline (dir. Henry Selick)
“One of the most beautiful films I have ever watched. So meticulously crafted, not only in the breathtaking stop motion animation, but in the construction of the plot in a tight hour and 40 minutes.” - Matt Lang
#94: Collateral (dir. Michael Mann)
“Seeing Collateral with a packed audience reinforced that this movie rocks. And that its also...funnier than I've ever realized? Top tier Cruise, Foxx, and Mann.” - Zach Smith
#93: Bridge of Spies (dir. Steven Spielberg)
“Did you know that Steven Spielberg directed a script from the Coen Brothers? That’s this film: Bridge of Spies, and it’s one of the best films the director has put out that probably has been seen by the least amount of people. Mark Rylance won Best Supporting Actor for this film as a Russian spy in captivity and it is very clear to see why after watching this.” - Sam Morales
#92: Argo (dir. Ben Affleck)
“Ben Affleck’s (yes, THAT Ben Affleck) Argo is him at the peak of his directing powers. Yes, directing. Affleck took a hard pivot in the mid-2000s back to his creative roots, resulting in a stretch that culminated in a Best Picture win for this in 2013.
Tense, thrilling, momentous, and, maybe most surprising, funny, Argo’s retelling of the Iranian hostage crisis focuses squarely on the humans involved, with Affleck filling the frame with character actor after character actor (including himself) to bring the story to life. One of the best films of the 2010s.” - Zach Smith
#91: Hail, Caesar! (dir. The Coen Brothers)
“Perhaps considered the Coen Brothers’ final true film together (The Ballad of Buster Scruggs is an anthology film and the Coens have since split for the time being), this is a fitting send-off to their legendary filmography (much of which has dominated this list). An ode to (and parody of) Hollywood, it’s an Altman-level smorgasbord of ensemble players, fantastic Roger Deakins cinematography, and witty, poignant writing that the Coens built an entire career on. It’s good stuff.” - Sam Morales
#90: Dunkirk (dir. Christopher Nolan)
“Dunkirk was a role-reversal. Those who were to be saved ended up saving the heroes. It was uniquely great. Forgot that James D’Arcy was in this! Tom Hardy is the real MVP.” - Kevin Chan
#89: Avengers: Endgame (dir. The Russo Brothers)
“This was the last superhero movie ever made. There have been none since, contrary to popular belief.” - Sam Morales
#88: Finding Nemo (dir. Andrew Stanton)
“Often overlooked among Pixar's successes and of the animation explosion of the 00s and 10s, Finding Nemo is one of the most heartwarming and human stories Pixar has ever made, and its about fish. Many of Disney's classic films follow a protagonist with missing parents, but this film, follows a parent with a missing child. This slight twist on the classic trope makes the father and son dynamic appeal to generations of all ages. The trauma, fear, and responsibility that weighs upon the father, the growing pains, insecurity, rebelliousness, and dreams of the son work together to create a beautiful and funny adventure film where the father faces his fears to rescue his son, and in doing so is forced to grow and challenge himself. And the son is forced to realize the father he so badly wants to get away from, is also someone he loves, misses, and should want to emulate someday, even as he is growing into his own person. The personal growth of both characters ultimately is what leads them to each other and tells a family drama far more capably than even most live action films. Its a heartwarming and gorgeous animated film that I believe is the best animated film of the 21st Century.” - Voter
#87: Shrek (dir. Andrew Adamson and Vicky Jenson)
“One of the defining animated movies of the millennial generation. Surprised and yet unsurprised this made the cut.” - Sam Morales
#86: Apocalypto (dir. Mel Gibson)
“Apocalypto is arguably the most Mel Gibson movie the great Australian auteur ever made. Not his best, but his most. This film combines the masculine warrior friendships of Braveheart and the Lethal Weapon franchise with the brutality of Mad Max and the overt spiritual warfare of The Passion of the Christ, all while warning about civilizational decline and glorifying the family. It's a haunting epic and yet remarkably small in scale, journeying through jungles, over waterfalls, and to the top of Mayan temples but taking place over a couple of days and mostly concerned with the fate of a single small village.” - Joe Wilson
#85: Tenet (dir. Christopher Nolan)
“Another movie that does not deserve the seeming hate it is receives online. It’s nowhere near Nolan’s best, but it’s still leagues above most other blockbuster fare and still induces wonder and awe for its “reverse-sequences”. I’m in agreement with a lot of other folks that John David Washington wasn’t the most charismatic choice for the role, but I feel he is properly balanced out by Robert Pattinson in this regard.” - Sam Morales
#84: The Boy and the Heron (dir. Hayao Miyazaki)
“Miyazaki's latest is a fantastic return to form for the legendary director, combining a mature coming of age story with gorgeous visuals and music and interesting and sympathetic characters.” - Joe Wilson
#83: Cinderella Man (dir. Ron Howard)
“The dream isn't glory in the boxing ring for Jim Braddock. It's having a place to call home, and his loving wife and children around him, together, fed, healthy, and secure. It's about being a good man, and having the ability, integrity, and courage to do what one ought, rather than maybe what comes easy or maybe sometimes instead of what one wants. That Braddock is a hero might seem to not fit our current 21st Century climate, but in watching the movie, we see not a boxer, but a husband, father, friend, and hard worker that fought (in a ring, yes), for what was right in all that he did, in his home, in his job, in his prayer, in his friendships, and within his own self-doubt. The depression is such an interesting historical time, because for many people, especially Americans, we can be so self-absorbed with our own current events and time, that we forget how hard things once were. Braddock understood this, took nothing for granted, and trusted in himself and in God's providence that things would get better. Its wild to think that such a standard story about a good man and underdog story isn't the popular choice for a hero in today's culture, but I think this film is probably more relevant than it was even when it came out. It's competently made for sure, but its the performances of Russell Crowe, Paul Giamatti, and Renee Zellweger that carry this great drama and script on their shoulders. For my money, the best scene in the film, isn't any boxing match, nor is it some inspirational speech from a coach to the boxer. It's a small life lesson a father (Braddock) gives to his son about stealing and morality. Its a small moment, but it showcases the character's entire code to life. Its the kind of thing that used to be generational, used to be commonplace. But somewhere in the decades since the "greatest generation" self-absorption, resentment, and bitterness have jaded us into a Hobbesian idea that mankind is inherently evil. Heroes like Braddock and films like Cinderella Man remind us that man has an inherent dignity, which makes us hope we can remember that about ourselves and one another.” - Voter
#82: Baby Driver (dir. Edgar Wright)
“The soundtrack, the car chase scenes, the comedic timing and the action as well make this so much fun to watch” - Voter
#81: Mission: Impossible - Fallout (dir. Christopher McQuarrie)
“Quite possibly the best of the Mission: Impossible series. Emotional stakes for this franchise peaked here, as well as Ethan Hunt’s arc. Fantastic stunts as well as a great villain turn for Henry Cavill.” - Sam Morales
#80: City of God (dir. Fernando Meirelles and Kátia Lund)
“City of God is nothing short of incredible. It's such a personally important film for me because it was the first international film I ever watched. It helped me realize there was a whole other world outside of the US filled with some of the greatest pieces of film ever made and proved to me that subtitles should never be a deciding factor on whether to watch something or not. Grant it I saw this when I was 13ish but this is one of those few movies I can look back on and not only see something new every time but also look back and say ‘This is a movie that changed who I was, how I thought, and how I look at movies forever.’ I know it sounds a bit dramatic but it is true. In case you haven't caught on, yes, this movie is fantastic.” - Charlie Scott
#79: Short Term 12 (dir. Destin Daniel Cretton)
“Loved it. This is the Brie Larson Captain Marvel deserved.” - Zach Smith
#78: The Ballad of Buster Scruggs (dir. The Coen Brothers)
“A strange and fascinating collection. It’s like The Twilight Zone, but in the Old west. It shifts from profound to the absurd from chapter to chapter, in a way that only the Coens could get away with. I preferred the chapters in the middle to the bookends, but overall a fun experience.” - Zach Smith
#77: Drive (dir. Nicolas Winding Refn)
“There’s just something about this one...the vibes were immaculate, I guess. It transcended just vibes and crossed over into real beauty. I really dug the aesthetic, which I was unprepared for. I also very much liked the real affection that our driver showed for Benicio and Irene, I liked Bryan Cranston, and I even felt real empathy for Oscar Isaac. The characters really carried this one for me, and I didn't expect that.” - Joe Wilson
#76: Hundreds of Beavers (dir. Mike Cheslik)
“This is one of the most interesting comedies to ever exist. I love it!” - Voter
#75: Zodiac (dir. David Fincher)
“Impeccably directed and acted, amazingly dread inducing with a terrific finish” - Voter
#74: Pirates of the Caribbean: Curse of the Black Pearl (dir. Gore Verbinski)
“The first of one of the most spectacular blockbuster trilogies of all time, this one has become a certified Disney classic. They don’t make ‘em like this anymore” - Sam Morales
#73: Pride and Prejudice (dir. Joe Wright)
“Although I have not yet seen the Colin Firth adaptation (my 14 year old brother has somehow seen it and not me) this one has grown on me since my initial viewing. Seeing Roman Osin’s sumptuous cinematography on the big screen this year for its 20th anniversary was awesome.” - Sam Morales
#72: Les Misérables (dir. Tom Hooper)
“Quibbles with some craft aside, a towering and astounding film. Boggling how Catholic this is given the the paganism and humanism that pervades our culture.” - Matt Lang
#71: The Secret Life of Walter Mitty (dir. Ben Stiller)
“A comedy that was overlooked on release, it has since been gaining some much deserved respect about having the courage to step outside the fantasy world of the digital era and the prisons of our own minds and find adventure in our own lives. Who knew that looking for a missing film negative would result in such a life-changing adventure for a protagonist that previously had plenty of responsibilities, but no self-confidence and no aspirations? The character grows into someone at peace with himself and the world around him, willing to pursue the important things in life without getting lost in the fantasies of "what if." It's a comedic look at a subject matter that could have been presented in a more pessimistic fashion, but in choosing the hopeful route, it feels like a balm humanity needs. I think its a film that continues to get more relevant with each year and its optimistic look at the beauty of the world, even in everyday life and the relationships we keep makes for a heartwarming film that leaves us with a smile on our face and the realization that our lives aren't quite as out of control as we maybe thought.” - Voter
#70: Moonrise Kingdom (dir. Wes Anderson)
“Equal parts hilarious and heartwarming, with an incredible ensemble cast to top it all off. Wes Anderson forgoes his traditional visual style to capture the breathtaking landsacpes of New England while telling tales of young love, found family, and the protection of nature. It's truly THE Wes Anderson film to end all Wes Anderson films.” - Voter
#69: The Holdovers (dir. Alexander Payne)
“To me this feels like a modern equivalent to It’s A Wonderful Life. The characters move you, their relationship grows all while it’s Christmas.” - Voter
#68: Past Lives (dir. Celine Song)
“Perhaps the most introspective film on my list, where the film's beauty lies not only in the artistry but the normalcy of the stories being told and empowered - and contrasted with its protagonist's rich inner life.” - Voter
#67: Unbreakable (dir. M. Night Shyamalan)
“M. Night Shyamalan at the height of his powers. Features some of Samuel L. Jackson’s best acting. One of the most powerful superhero movies ever made” - Sam Morales
#66: Once Upon a Time… in Hollywood (dir. Quentin Tarantino)
“Tarantino's funniest movie, and somehow simultaneously his most restrained and most self-indulgent. I love it.” - Joe Wilson
#65: Midnight in Paris (dir. Woody Allen)
“Equally a love letter to nostalgia while also a self-aware critique of its dangers. Paris has never looked better.” - Sam Morales
#64: In Bruges (dir. Martin McDonagh)
“I think Colin Farrell and Brenden Gleason are two of the most underrated actors working in film today, and they both shine here, along with this always fantastic Ralph Fiennes. This is really an actor's movie, and the acting is superb.” - Joe Wilson
#63: Mr. Turner (dir. Mike Leigh)
“I confess, I’ve never seen a Mike Leigh movie but have become more and more intrigued by him as films like this one seem to pop up on lists as such as these every now and then. It’s placement on the list is definitely a cue for me to check this one out” - Sam Morales
#62: True Grit (dir. The Coen Brothers)
“Gorgeous cinematography, brilliant dialogue, memorable performances, and a truly amazing story combined together make this masterpiece of a movie.” - Will Hyland
#61: Certified Copy (dir. Abbas Kiarostami)
“Another surprise contender for this list that I haven’t heard of. I did enjoy Kiarostami’s Close-Up, so I will definitely have to check this one out” - Sam Morales
#60: Vermiglio (dir. Maura Delpero)
“Ditto what I said above for this one as well”- Sam Morales
#59: Moneyball (dir. Bennett Miller)
“Sports movies aren’t hugely my thing but Moneyball provided a refreshing angle beyond the predictable sentimentality and melodrama. I know next to nothing about baseball but the film managed to balance the sports jargon with laymen’s terms to keep it accessible. Sorkin’s screenplay and Pitt’s charisma are able to make even the Excel sheets seem interesting! The film could’ve have benefited from a further trim off the final 20 minutes which felt rather weak. But, overall, an enjoyable experience.” - Cameron DeLaFleur
#58: Inglorious Basterds (dir. Quentin Tarantino)
“This was my first Tarantino movie and I think to this day is still my favorite. A tour de force of tension and dialogue. Quentin was right in saying ‘I think this might be my masterpiece’” - Sam Morales
#57: Dune (dir. Denis Villeneuve)
“The score, the visuals, stunning; it vibrates right through you. A gorgeous and wonderful experience.” - Matt Lang
#56: Dune: Part Two (dir. Denis Villeneuve)
“Incredibly immersive. Denis is the man. Hans Zimmer is the man. You can definitely see seeds of this in some of his earlier movies - the moral ambiguity of Sicario, the unique sci-fi visuals reminiscent of Arrival and Blade Runner 2049. This definitely benefitted from the set-up of the first so that it could go from one propulsive action scene to the next.” - Mitch McCurren
#55: The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (dir. Andrew Adamson)
“While Greta Gerwig may have her own interpretations on the series, we will always have the Andrew Adamson Narnia films, and this one will always be the best of the two. The franchise may have never evolved into the Harry Potter competitor that Disney wanted it to be, but it still stands as a faithful adaptation and an epic worthy of The Lord of the Rings films which it shares a lot of DNA with” - Sam Morales
#54: WALL-E (dir. Andrew Stanton)
“The closest Pixar has ever come to making a silent film. Wonderful sound design by Ben Burtt, serving as something of a swan song for his long and influential career in Hollywood. Andrew Stanton never topped this.” - Sam Morales
#53: Almost Famous (dir. Cameron Crowe)
“Beautifully chronicling the decadent and predatory music industry through the eyes of a 15-year-old experiencing the world for the first time, it is definitely Cameron Crowe's most honest film.” - Voter
#52: Oppenheimer (dir. Christopher Nolan)
“In the wrong hands, this would simply be another Theory of Everything. But in Nolan’s, Oppenheimer becomes the thrilling, propulsive, haunting blockbuster that only he is capable of making this century. I am in awe at how he was able to take the entire life of J. Robert Oppenheimer and those in his orbit and turn what is basically theater into the event of the year.
The Trinity test, what everything in the marketing is built around? It’s just as remarkable as you would expect - but it’s not even the best scene of the movie. Nolan was on something for this one. Amazing what a bit of fury at your old studio will do.” - Zach Smith
#51: Calvary (dir. John Michael McDonagh)
“Calvary is a slow-burning masterpiece. The movie deals masterfully with themes of sin, its consequences, repentance, and forgiveness. But I think the heart of the movie comes down to this: sin begets sin. The only way to break this vicious cycle is to forgive. Every single supporting character in the movie exemplifies this in some way. They are all hurting from some sin in their past, and instead of forgiving and letting the hurt go, they hold on to it, perpetrating further sin.” - Joe Wilson
#50: Drive My Car (dir. Ryusuke Hamaguchi)
“Maybe the film bar none about the power of art” - Voter
#49: Memento (dir. Christopher Nolan)
“Nolan’s first Hollywood movie has his most complex plot yet the most simple execution: it features a small, effective cast and has none of the sweeping epic imagery that was to come in the decades since its release. There’s something special about Nolan working such a high concept on a small scale. Also it’s sad that Chris doesn’t work with Jonathan as much anymore on his films, because their collaborations always result in some of his best work.” - Sam Morales
#48: How to Train Your Dragon (dir. Chris Sanders & Dean DeBlois)
“In terms of sheer beauty, I think that 3D Animation peaked with the How To Train Your Dragon series.” - Sam Morales
#47: Minority Report (dir. Steven Spielberg)
“An effective and chilling sci-fi noir thriller with a compelling balance of intelligence and emotional tug. Spielberg continues to impress me with the breadth of his capabilities, effortlessly moving from genre to genre. This film tackles the idea free will vs. determinism through an eerily not-so-far fetched dystopian world of mass surveillance. Spielberg resisted the temptation of extravagant world building, choosing to stick to a setting that was familiar and scientifically plausible, adding to its overall sense of realism.” - Cameron DeLaFleur
#46: Blade Runner 2049 (dir. Denis Villeneuve)
“Possibly the greatest legacy sequel of all time” - Voter
#45: A Quiet Place (dir. John Krasinski)
“One of the best thriller/horror movies in the past few decades in my opinion. The suspense is nerve-wrackingly fantastic” - Voter
#44: Inside Out (dir. Pete Docter)
“One of the last great Pixar films. Pete Docter was never allowed to make something like this again, and probably never will as long as he’s forced to run Pixar.” - Sam Morales
#43: Puss in Boots: The Last Wish (dir. Joel Crawford)
“Simply incredible. Bone-chilling depiction of Death that placed me right in Puss’s boots (ba dum tss) every time he appeared on screen or you heard the whistle. The action was top-notch, it was funny and heartwarming, the stakes felt real.” - Ross Gilliland
#42: Yi Yi (dir. Edward Yang)
“An Ozuian modern masterwork.” - Voter
#41: Up (dir. Pete Docter)
“One of Pixar’s finest films from an era where instead of pandering to the TikTok generation, they made movies for adults that kids could also enjoy, the true secret to their two-decade run of non-stop hits. Absolutely deserving of its Best Picture nomination” - Sam Morales
#40: Everything Everywhere All At Once (dir. Daniel Kwan & Daniel Scheinert)
“I ugly cried the last 20 minutes of this movie. I’m not sure if anything has really moved me sense then.” - Voter
#39: Parasite (dir. Bong Joon Ho)
“I did not expect to like Parasite as much as I did. After watching it, I immediately saw it again the next day, and then again a few days later. Brilliant writing, brilliant cinematography, brilliant story.” - Alejandro Uribe
#38: Star Wars: Episode II - Attack of the Clones (dir. George Lucas)
“I'm not joking. Watching this movie for the first time was the single greatest experience I have ever had in a theater.” - Voter
#37: Prisoners (dir. Denis Villeneuve)
“Villeneuve’s haunting work is one of his most slow-burn in terms of pacing, allowing Jackman and Gyllenhaal ample time to flex their acting chops. Paul Dano, Terrence Howard, and Viola Davis round out the cast in a subtly terrifying family drama all framed by Roger Deakins’ fantastic cinematography. Villeneuve never should’ve stopped working with Deakins.” - Sam Morales
#36: The Pianist (dir. Roman Polanski)
“Great historical films convey the experience of events through the eyes of their characters. Using multiple storylines and too many wide-angle shots purely for cinematic embellishment often diminishes emotional resonance and a sense of realism. For the nearly three-hour runtime, Polanski almost exclusively stays with Szpilman, allowing events to unfold from his perspective and resisting the urge to jump to other parts of the city to show the war unfolding. The ill-fated Warsaw Uprising of 1944 is seen entirely through the window of the flat Szpilman was hiding in at the time. We hear explosions and shouts in the distance and see people running and shooting in the streets just as Szpilman does. We learn about the war’s progression through the snippets of conversation Szpilman has and the newspaper clippings he is able to read. In short, we experience the events as he does, allowing us to be fully immersed in his experience.” - Cameron DeLaFleur
#35: O Brother, Where Art Thou? (dir. The Coen Brothers)
“Visually and stylistically impressive, this comedy Adventure film by the Coen Brothers is my personal favorite film of the 21st Century. It's got the Coen Brothers charm and style, its pure Americana, but it's also an adaptation of the Odyssey, only set in the Deep South in the 1920s. With its themes of redemption, fatherhood, and brotherhood, there's a depth to the film that goes beyond its comedic surface and makes it enjoyable for a broad audience. It has everything we want in a comedy, even finding ways to take bleak subject matter like the KKK and criminals that make up this period of American history and do them justice while still making the audience smile. It doesn't avoid the heaviness of the era, but at its heart is a hopeful and inspiring story about a man trying to do the right thing despite being a bit of a scoundrel for most of his life. (And the friends one makes along the way). Cannot recommend enough.” - Voter
#34: Lady Bird (dir. Greta Gerwig)
“Gerwig's coming of age story is just bursting with heart and is perfectly crafted. I don't think I can really add a whole lot to the massive pile of praise it already has but it does seem that while Gerwig is not a practicing Catholic, she seems to remember the time and her relationship with the church as a young adult very fondly. Seeing a film so perfectly capture the Catholic school's vibe that I grew up in with fondness was so refreshing and nostalgic.” - Charlie Scott
#33: Whiplash (dir. Damien Chazelle)
“Damien Chazelle has never topped this film. I’ve seen it close to six or seven times at this point and despite this I’m still on the edge of my seat every time I revisit it. J.K. Simmons is electric and fully deserved the Oscar.” - Sam Morales
#32: The Social Network (dir. David Fincher)
“Some of the best writing, directing, and acting put on screen this century” - Voter
#31: Spirited Away (dir. Hayao Miyazaki)
“Every world Miyazaki conjures is a pure delight to the senses, from the kaleidoscopic visuals to the menagerie of fantastical characters. A heartfelt story with compelling characters elevates this from the plain of pure eye candy.” - Cameron DeLaFleur
#30: Hacksaw Ridge (dir. Mel Gibson)
“Andrew Garfield as Desmond Doss is really excellent. The pure innocence he displays as a devout Christian who refuses to carry a firearm and instead, while his brothers are firing at the enemy, tries to put a little bit of the world back together as a combat medic saving the wounded is some of the most endearing things I’ve seen in a war film.
Will some consider it cheesy? Sure, I guess. I found the character, the ideal, and the attitude toward the wrongdoings against him and the mission at hand to be real beacons of light, and it works for this movie very well.” - Kevin Chan
#29: Spider-Man: Into the Spider-Verse (dir. Bob Persichetti, Peter Ramsey, and Rodney Rothman)
“A superhero movie has to be included in this era and it has to be this one. It’s unique way of animation and great storytelling make it the GOAT.” - Voter
#28: 1917 (Dir. Sam Mendes)
“Amazing cinematography. Amazing acting. Just like Saving Private Ryan and Band of Brothers, it captures the horrors of war. But also, and more importantly, respectfully portrays the heroism of young men who’ve had to grow up so fast within a minimal amount of time.” - Kevin Chan
#27: Children of Men (Dir. Alfonso Cuarón)
“I think this might be the best post-apocalyptic film of all time.” - Voter
#26: Star Wars: Episode III - Revenge of the Sith (Dir. George Lucas)
“A powerful epic fully deserving to be on this list, it’s hard to think of a more creative vision that has come forward since in cinema that has been executed on such a massive scale. A perfect ending to the saga, despite attempts to create a new ending going forward.” - Sam Morales
#25: The Departed (Dir. Martin Scorsese)
“Takes the twin stories of the costs of (1) choosing evil; and (2) fighting evil and intertwines them, while weaving a spellbinding narrative of dramatic cinema with two near-Everyman characters, themselves each others’ foils.” - Voter
#24: The Wind Rises (Dir. Hayao Miyazaki)
“This movie is incredible. In Studio Ghibli fashion, every aspect of this film is perfect.” - Voter
#23: Ratatouille (Dir. Brad Bird)
“A perfect film. No notes.” - Sam Morales
#22: The Incredibles (Dir. Brad Bird)
“Ditto to the above.” - Sam Morales
#21: Silence (Dir. Martin Scorsese)
“Silence asks many difficult questions that are well worth pondering. It’s not often we see the concepts of persecution and martyrdom so viscerally displayed on screen. It’s a film that will stop you in your tracks and really make you think. Amidst, Scorsese’s slick cinematography and deft use of wide angle lenses, a rather desaturated and hopeless sense of faith emerges. The film teeters on the brink of nihilistic sense of despair, offering few easy answers. Gone is the sense of joy and heavenly love from yesterday’s watching of The Mission. What it does achieve is a fair amount of balance, treating both sides with a certain amount of respect.” - Cameron DeLaFleur
#20: Fantastic Mr. Fox (Dir. Wes Anderson)
“This is truly Wes Anderson’s greatest work. It’s quirky, sweet and shot beautifully.” - Voter
#19: Master and Commander: Far Side of the World (Dir. Peter Weir)
“One of the best naval warfare movies ever made. It’s a real shame Peter Weir has only made one movie since, but perhaps he wisely realized he could never top this one. Endlessly rewatchable.” - Sam Morales
#18: The Grand Budapest Hotel (Dir. Wes Anderson)
“Literally the most clever beautiful witty and occasionally startling movie ever. Wes Anderson’s best aside from Fantastic Mr. Fox.” - Will Hyland
#17: The Lives of Others (Dir. Florian Henckel von Donnersmarck)
“This film has been on my watchlist for a while now, and it’s high ranking on this list may mean it’s time for me to finally watch it!” - Sam Morales
#16: Gran Torino (dir. Clint Eastwood)
“Absolute masterpiece. I highly recommend to almost anyone. If you are sensitive to foul language and racial slurs, you might be turned off at first, but I certainly don't think the movie necessarily condones such behavior. Watch it all the way through. It's amazing.” - Joe Wilson
#15: Crouching Tiger, Hidden Dragon (dir. Ang Lee)
“Beautiful, sorrowful, meditative, poetic…a few words that spring to mind immediately after watching this spectacular piece of cinema. Ang Lee’s Crouching Tiger, Hidden Dragon is visual poetry, combining fluid action sequences with emotional depth. It’s something the like I’d never quite seen before.” - Cameron DeLaFleur
#14: There Will Be Blood (dir. Paul Thomas Anderson)
“Far and away the best film by Paul Thomas Anderson. Jonny Greenwood’s haunting score illustrates the perfect backdrop to Daniel Day-Lewis’ memorable performance as Daniel Plainview. Best Dracula movie ever made.” - Sam Morales
#13: Top Gun: Maverick (dir. Joseph Kosinski)
“Pure cinematic fun that brings joys and laughter along with plenty of action and amazing aerial shots” - Voter
#12: Mad Max: Fury Road (dir. George Miller)
“The greatest action filmmaking achievement” - Voter
“Simply the best action film to come out this century. Nothing comes close except for John Wick.” - Voter
#11: Gladiator (dir. Ridley Scott)
“The cinematography and costume design are exceptional, the music is outstanding and the ending moves me tears every time I watch it. (which has been many, many times!)” - Voter
#10: The Prestige (dir. Christopher Nolan)
“The Prestige is wonderfully shot and written all-around. When you have Hugh Jackman and Christian Bale starring in a film (not to mention Michael Caine), you know you’re ready for cinematic magic. I fully expected there to be a twist of sorts but not to the extent that this film shows. Simply put, it’s excellent storytelling.” - Alejandro Uribe
#9: The Dark Knight (dir. Christopher Nolan)
“If there is one movie I wish I could see for the first time again, it would be this one. I’ll never forget what it was like seeing this in a theater; the shock, the applause, the absolute stunned silence as people left. People were lined up around the block outside, and people kept asking ‘how was it?!’ Just about everyone’s response was the same: ‘wow.’ Has there ever been another movie this hyped that actually exceeded expectations?” - Zach Smith
#8: Arrival (dir. Denis Villeneuve)
“The only reason this film isn't quite as high as it might be, is it can be a heavy watch. I think the brilliance of this film is found in its central performance from Amy Adams, as she grounds the audience in what is an incredibly complicated film if you aren't prepared for it. Themes of communication, choice, love, responsibility, and evolution are some of the questions asked and answered by our lead protagonist. One of the ways we are (deceptively?) made to view her from the beginning is that of a Mother. When she is making decisions and trying to solve problems and teach or learn, we believe that the protagonist's motherly qualities are helping inform some of her decision making. In many ways, a lot of her actions are presented to the audience as that of a Mother instructing and loving her children (even if "children" is in this case being swapped for governments and extraterrestrials). It is only later we realize that she was not a mother, that her goodness and capability in making these choices, in her final choice we witness (her "yes") did not come from a past lived experience but from something good within her. This natural goodness of the protagonist is the salvation of the world from war and probably of the future too, and uplifts what was shaping to be a heavy, even potentially dour film, into one of love, life, goodness, and beauty. It's one of the films made in the last 20 years that I could talk about and debate endlessly for hours (and I have). It's worth a mention on a list of great 21st Century films.” - Voter
#7: A Hidden Life (dir. Terrence Malick)
“The best saint movie of the century” - Voter
#6: The Tree of Life (dir. Terrence Malick)
“Through a near fully hand-held method capturing the lives of the O’Briens and switching to a lovingly crisp nuanced depiction of space and the beginning of life that hearkens back to Kubrick’s visual style in 2001: A Space Odyssey… Malick juxtaposes the cosmic vastness of space and the mysteries of prehistoric sentience with a “home movie” type outlook on the regular American middle class. The cool aspect of it all is that such playing fields truly exist under one Divine Creator, and that fact lives and breathes in the filmmaker’s artistry. The scrapbook liturgy as written and materialized through the visionary in Terrence and his D.P. Emmanuel Lubezki expresses that not a single living creature on earth is but a minuscule speck of dust brought to life and then will eventually dissipate into the ether. Rather, every human being is on earth for a reason as dictated by a King within Heaven’s Gates. Every trial and tribulation faced is a test designed for every human. But it’s one’s choice whether to continue wallowing in despair or move on for more blessings, as beauty and glory surrounding each individual in the hierarchy designed by God will never die.” - Kevin Chan
#5: Interstellar (dir. Christopher Nolan)
“My Nolan bias may be obvious, as well as my clear preference for science-fiction but few films of the 21st Century do I think about as much as I continue to think about Interstellar. Serving as a kind of pastiche and evolution of Science-fiction films from the 20th Century, this "exodus" of humanity, with themes of resurrection, redemption, and sacrifice seems to be a grandscale epic along the lines of many of the classic sci-fi films it draws some inspiration from. However, at its core, what makes the movie work is that it is ultimately about a parent, a father, trying to save his family. What grounds the film, even in spite of the criticisms of silly philosophy of "love" or pseudo-evolution plot contrivances, is a father's love for his children. And its this theme that I keep coming back to again and again. Well worth a watch for its visual splendor alone, this optimistic view of a pessimistic future shows that humanity might not change much, but even if fear, selfishness, lies, greed, and evil exist in the future, love will too. And as long as there is love, there will goodness, truth, and beauty be as well.” - Voter
#4: No Country for Old Men (dir. The Coen Brothers)
“For my money, the best movie the Coen Brothers ever made, and one of the greatest chase movies of all time” - Sam Morales
#3: Inception (dir. Christopher Nolan)
“A science-fiction heist film that is also a beautiful testimony about the uniqueness of the human soul that no artist can truly replicate. I find this film exciting, thought provoking, and strangely uplifting in its own tragic plot. The artist and protagonist, unable to cope and separate his guilt with his grief over his wife's tragic death, discovers that the lack of control over others, the lies we tell ourselves and the fantasies we build, do not equal the beauties of reality and the complexities of another person's soul. Complicated and exciting, this is one of the most iconic and important films of the 21st century.” - Voter
#2: The Passion of the Christ (dir. Mel Gibson)
“Perhaps my Catholic background is the cause of such biased love for this film, but this independent film by Mel Gibson, often criticized for delighting in the "torture" and gore, does something many adaptations of the Gospels do not always do. It emphasizes the sacrifice of Jesus by emphasizing the pain. And, in doing so, it also emphasizes Jesus' love by showing what He was willing to endure. It's an incredible "lectio" on the Scriptures and an insight into Mel Gibson's own search for Christ. By visualizing the Passion within some proper context, we understand even more humanity's desperate need for a Savior, and the perfection of such a Savior to love and sacrifice even despite our ugliness. And in doing it this way, the tiny beautiful bits of humanity (especially visible in the scenes with Our Lady) shine as well. And it is out of love for them, as much as it is for the ugly parts, that Jesus chose to die.” - Voter
#1: The Lord of the Rings (dir. Peter Jackson)
“I know the authors of this list will certainly agree with this one. As far as book adaptations go and cinematic fantasies, its still the crown jewel. How well it does as an adaptation depends on how everyone feels about the source material, but objectively speaking its an incredible achievement that the film(s) can be as good as it is considering many thought the source material was "unfilmable." But the trilogy is compelling, entertaining, and visually splendid. Its influence will stretch beyond the next several decades to be sure.” - Voter
We hope you enjoyed partaking in (or simply reading the results of) this poll! Let us know below what you thought and if you’d like to do another decade poll and which one.
Awesome to see the results! I'm happy that my blurbs for Social Network and Fury Road made it in here. It's nice to see so many of the movies that didn't make my top ten still end up here. Coens, Nolan, and Villenueve are the reigning champs of the century so far.
Thanks for hosting this poll, gentlemen. It's an interesting cross-section of young (presumably mostly American) Catholic cinephile taste. I was expecting Nolan and classic Pixar to do well, and they did, but I was surprised to see Yi Yi and Drive My Car place so high. Biggest shock: The Tree of Life didn't crack the Top 5; I would've put money on that happening. Anyway, interesting times, and very curious to see how the trends here develop over the next several years.
Edit: Will you folks be releasing the sample size?