The latest buzz in the entertainment world is The New York Time’s Best 100 Movies of the 21st century list. To create this list they polled over 500 reputable directors, actors, and members of Hollywood to compile the list. Including people like Barry Jenkins, Benny Safdie, Amy Pascal, Pamela Anderson, Jason Blum, Danielle Brooks, Rachel Zeigler, and many more. I must admit – it’s a solid list, but of course I still have my own opinions and thoughts. There’s no way to compile a list where you get every single film right, and you confirm with all sides.
They got so many right, and so many wrong. Here’s my Top 10 takeaways:
Wall-E over Ratatouille is Criminal
I get that Wall-E (#33)was ahead of it’s time with it’s near-silent first act, sound design, and themes of environmental degradation. But Ratatouille’s unusual concept and central message of creativity and risk-taking in one’s life is incomparable to any other animated film on the list. It’s heartfelt and perfect for a family-friendly night. It’s Parisian setting is utterly romantic and the food (as animated as it is) actually looks good. Ratatouille is literal art on a plate. So to see it at #73? I was horrified.
I Correctly Predicted In The Mood For Love to Be in Their Top 10
While some picks were surpising, I didn’t bat an eye when I scrolled past this title at #4. Wong Kar-wai’s In the Mood For Love is a classic, timeless film that stands out in cinema. It’s known for being visually, romantically, and aesthetically comforting – I could watch the film with the sound off and still be completely enamored. Each frame and every moment is a masterclass in visual poetry. Beyond it’s artistic elegance, it’s more about what’s left unsaid rather than the words spoken between the characters. A beautiful love story that no serious list of 21st century films would ever leave out of the top 10.
They Ranked Christopher Nolan Films Wrong
Oppenheimer at 65 is crazy. Nolan has 5 films on the list (higher than any other director, which is an incredible feat) but the ranking undercuts many of his notable works. I guess it favors prestige and cinematic craft, but narrative scope and cultural impact is just as important in filmmaking (do you remember the summer of Barbenheimer?!). The NY Times list is: The Dark Knight #28, Inception #55, Memento #62, Oppenheimer #65.
My list is: Oppenheimer, The Dark Night, Memento, Inception. Added bonus? The Prestige – it’s the only way (don’t argue).
Bridesmaids at #32 Surprised Me
Comedy films are way too often overlooked and (in my opinion) the red-headed stepchild of cinema. It’s dismissed and pushed to the side in favor of boring dramas and visually-exploited films. So I was more than shocked – but utterly delighted to see Bridesmaids at #32 – higher than many other “critically acclaimed” films. It was a defining film in comedy – an all female cast (with incredible chemistry), beyond-accurate portrayal of wedding culture, remarkable performance for Kristin Wiig, and raw, honest depiction of female friendships. This film is perfection, and at #32, I’m happy it’s gotten all the hype it so deserved.
Everything Everywhere All At Once Should’ve Been in top 50
Everything Everywhere All At Once being #77 (not even cracking the top 50) it feels like an oversight. A multiverse film on an independent budget. Not only did this film sweep the oscars, it completely shattered expectations around the type of films audiences would support. On paper, this film shouldn’t work (the hot dog fingers alone would’ve had me side-eyeing the script), but it does – beautifully. I got to attend a panel of The Daniels at SXSW when they explained everything from the concept to the day it opened in theaters, and man.. what a risk. They created an incredible universe of characters highlighting intergenerational trauma that results in healing, love, and honest depiction of fragmented familial relationships.
My idea for the low placement would be timing (this film premiered in 2022). Films from 2020-present can be shortchanged on lists like this becasue we haven’t had the time to fully grasp their cultural impact. Had this film come out in the early 2000s, there’s no doubt in my mind, it would’ve gotten the placement it deserved – top 50.
Boyhood at #23 Makes Me Smile
Seeing Boyhood ranked so high at #23 made me genuinely happy. My favorite Linklater film, and the biggest risk I’ve seen any filmmaker make in the history of cinema. A film shot over the course of 12 years would make any studio turn it’s head in the opposite direction – and that’s what a lot did. It’ a gamble that could’ve easily fallen apart but instead, it became one of the most intimate, profound portrayals of a coming of age ever put to screen.
There isn’t any huge plot twists, or heart-dropping moments, the film itself is a passage of time. We watched all these characters (especially the boy) grow over the course of 12 years. Each moment more heartfelt than the last: marriages, divorces, car rides, camping, graduation, a break up. Linklater was patient and trusted the power of time, and that’s a rare confidence we don’t see in cinema today. Boyhood deserves all the love it. gets.
I’m Perplexed About The Worst Person In The World
Now, I’m not mad at all that it’s on the list – at #95 we’re lucky to have a spot at all. But The Worst Person In The World is one of my personal favorite films of all time so.. my bias needs a moment to speak.
This isn’t your typical film that survives these kinds of rankings. A funny thing, independent films/character studies don’t normally find themselves on lists like this. Of course it’s widely celebrated, even draped in recognition during award ceremonies, but when it comes to the “Greatest Films of All Time” discussions, it’s sifted to the back along with comedies and horror. It generally finds it’s place amongst niche film communities and back door Reddit Lists. It’s such an emotionally complex portrait of any woman in her mid-late 20s. Renate Reinsve’s performance is extraordinary: it’s vulnerable, funny, contradictory, and utterly unforgettable. It’s a raw, beautifully rendered humanity.
It’s the in-between moments in this film that makes you think about your freedom, your identity, and highlights the fear of wasting your own life. Absolute brilliance.
Again.. I think timing. In 20 years, we may see it listed higher. Who knows. I’m still glad it was recognized at all 🙂
Get Out + The Social Network in the Top 10 Is the Only Way
Two films that are actually on my own list of best films this 21st century, Get Out at #8 and The Social Network at #10 has me nodding in full agreement – it makes sense. Get Out wasn’t just a horror film (though dubbed at the Golden Globes as a comedy – we can’t get started on that), it was a cural event. I still remmeber hwere I was when the trailer dropped on Twitter. Excitement and confusion panned across my face as I was intrigued and also curious about Peele’s role at the director. I, like everyone else, knew him from his amazing comedic skits alongside his comedy partner Keegan-Michael Key. I was so glad I got to witness his directorial debut and how he redefined what the genre could do. His sharp and very clear social commentary through cinematic tension is unmatched. Not to mention the jaw-dropping (pun absolutely intended) performance from Daniel Kaluuya – top 10 for this film isn’t just earned. It’s essential.
The Social Network, meanwhile (my favorite script from Aaron Sorkin) is a classic that only grows more important with time. This film captured a pivotal moment in tech before we understood how much it was going to define us in the coming years. Jesse Eisenberg’s quick, sarcastic, sharp dialogue not only drives the film, but sets it apart from any other like it. Even better? A sequel is in development.
These two films represents what 21st-century cinema does best: holds up a mirror to society, makes us all squirm, and entertain us at the same time.
Parasite at #1 is “DUH”
I’ll admit, as I scrolled through the list getting closer to #1, I was nervous about what film would take the spot. Then my nerves calmed as I reached the top 10 because I just knew. Of course Parasite would land in that coveted spot. I honestly can’t imagine a better choice. Bong Joon-ho’s dark comedic tale of classism is told through perfect performances from an incredible cast. It’s central themes, tension, and thrill resonated with millions of people across different cultures. A Korean-language film winning Best Picture at the Oscars? History. It reflected our appetite as a global audience for great films – subtitles or not. Nothing else captures the sprit of 21st century cinema better than a globally-resonant, genre-defying film like Parasite. If not this film, then what else?!
Lastly – WHERE’S BARBIE?!
The tale that never grows old: a bold, wildly creative film led by a visionary director gets snubbed. Everyone knows how big a risk adapting a film from a notable figure can be. Whether it’s a biopic or an action film, it’s a gamble to take people on a journey of a story they know all too well. So when Margot Robbie approached Greta Gerwig in hopes of telling a story about the famous Mattel doll, one could imagine how bad it could go. Instead, it didn’t just go well, it was absolutely historic.
Barbie absolutely dominated the summer of 2023 (I’m dropping Barbenhemier in here again because why not?). Grossing $1.447 billion in the box office, while holding 88% on Rotten Tomatoes, winning Best Original Song at the oscars, and being a global phenomenon (I still think about the viral marketing campaign of this film) isn’t even where this movie stops. It was philosophical, accessible, and deeply entertaining all in one. A story about your identity as a female and the relationships women have – with each other, mothers, and themselves. It wasn’t a caricature, but the eye-opening truth of women in society today. It’s easy to dismiss Barbie because of it’s bright pink and unreliable nature to most people (men – I’m talking to you), but that’s why it matters. It’s one of the smartest and deeply layered film I’ve seen from a studio in years. And without a double one of the most cultral important moments of the 2020s. There’s a part of me that wished it got it’s revival from it’s Oscars sub (Best Director / Lead Actress) by landing on this list.. It’s so sad it didn’t.
A few other films left off the list: Dune, Manchester By the Sea, Three Billboards Outside of Ebbing Missouri, Time (documentary), Minari
Bonus: Though it just came out, Sinners should’ve been included. Of course we’ll be seeing it listed on the next iteration of this list – in 20 years.
Lists like these are meant to spark debate, and in that sense, the New York Times absolutely succeeded. While I didn’t agree with every choice, the conversational aspect reminds me of how powerful, personal, and evolving cinema really is. It resonates and matters to us. That’s a win in and of itself.
