The Best Movies of the Decade
In a bonus DYLA edition, Drew and Billy share their top 20 movies of the 2010s
With only two weeks remaining in the decade, it’s the perfect time to unveil our lists for best movies of the 2010s. We saw a ton of them over the last ten years, so ranking our top 20 was not a simple job. But just for you, dear reader, we undertook this grueling task of listing movies in order of how much we like them. You’re welcome.
Seriously, we hope you find something on here to check out or reconsider. Most of the reason we even do this newsletter is in the hope that you will seek out new or old movies to enjoy and appreciate.
So, without any more rambling, Do You Like Apples presents our Top 20 Movies of the 2010s. And, of course, please share with us the movies on your own list!
Drew’s Top 20
The Social Network (2010)
“You don’t get to 500 million friends without making a few enemies” is the flawless tagline of this essentially flawless film. If The Social Network felt zeitgeist-y in 2010, it feels even more so now. Social media and giant tech companies rule our lives in 2019; this movie charts the rise of one of those giants and the awkward Harvard kid behind it. There’s not been a better marriage of director (David Fincher), writer (Aaron Sorkin), and cast (Jesse Eisenberg, Andrew Garfield, Armie Hammer, etc.) in this entire decade. Not only does The Social Network look amazing, but it’s wildly quotable (“The Internet’s not written in pencil, Mark, it’s written in ink”) and turns topics as mundane as coding and shareholding into riveting and even thrilling art. It’s an impeccably crafted movie that also ended up defining an entire decade.
Gravity (2013)
I remember walking out of the theater in a daze after the harrowing spectacle of Gravity. And I also remember wishing I could watch it again immediately. Director Alfonso Cuaron truly cemented himself as one of the great filmmakers alive with this space survival story starring Sandra Bullock and George Clooney. Mostly shot in mesmerizing long takes, Gravity is a jaw-dropping work of beauty and terror that carries a hopeful, life-affirming message. It’s one of the visionary accomplishments of the last few decades, not just this one.
The Tree of Life (2011)
Light on plot and dialogue, but heavy on arresting visual grandeur and spiritual themes, The Tree of Life may be the most beautiful film I’ve ever seen. That’s big talk, I know, but this is a visionary and singular statement on faith and nature from a master filmmaker. Much of it seems like it was pulled directly from director Terrence Malick’s memory. This personal touch gives an intimate feel to this epic masterpiece.
Arrival (2016)
If only Hollywood could make more Arrivals. This is that rare sci-fi movie that manages to be intelligent, gorgeous, and genuinely affecting. Arrival has so many things going for it, including (but not limited to) striking and spare imagery, a poignant score, a wondrous Amy Adams performance, and an emotional knockout of an ending. It also might reward a second viewing more than any other movie this decade. (Read our recommendation here)
Silence (2016)
This was a banner decade for religious films. No, not the faith-based God’s Not Dead variety, but the nuanced and complex stories that honestly depict the wrestle between faith and doubt that is so present in the lives of many spiritual people. Martin Scorsese’s Silence is one of those stories, presenting two Jesuit missionaries (Andrew Garfield and Adam Driver) that travel from Portugal to Japan in search of their mentor that has fallen away from the Catholic faith. By no means an easy watch, Silence fully earns the path to its spiritual themes, becoming one of the most thoughtful explorations of sin, suffering, devotion, and the paradox of faith ever committed to the screen.
The Master (2012)
Paul Thomas Anderson’s movies take a couple watches to start to settle in your mind. Every time I see There Will Be Blood it becomes even better in my mind, but the first time I saw it, I didn’t even finish it. I had the same experience with The Master, his uniquely challenging drama that’s superficially about the founding of Scientology, but really is about so much more, including post-war America, masculinity, friendship, the search for meaning, and probably a few more things I will find the next time I watch it. The Master belongs to PTA as writer and director, but credit also goes to the three unforgettable performances at its core from Joaquin Phoenix, Philip Seymour Hoffman (RIP to the GOAT), and Amy Adams. How many masterpieces can you make in one career? It looks like PTA is going to find out.
Inception (2010)
Inception altered what I thought big-budget blockbuster movies could be. Back at the start of the decade, Christopher Nolan’s dream heist brainchild astounded audiences on its way to a huge box office haul and eight Oscar nominations. With its sleek visuals and puzzle box plot, this spectacularly original film made Nolan the new Spielberg, giving him carte blanche to do whatever he wanted on any budget. Due to its mash-up of sci-fi, espionage, heist, and action genres, Inception also remains an incredibly rewatchable experience. The best part is they refused to make a sequel that might taint the original.
Lady Bird (2017)
If there ever was a perfect movie this decade, Lady Bird might be it. I wouldn’t change a single thing about this funny, honest, and lovely film from writer-director Greta Gerwig. Lady Bird effortlessly tells the story of an eccentric high school senior trying to figure out who she will become while she navigates her final year of adolescence. This movie is well on its way to “classic” status. (Read our recommendation here and stream it on Amazon Prime)
Moonlight (2016)
I came late to Moonlight, months after it won Best Picture at the Academy Awards, so I was half-expecting a good but overhyped indie film. What I encountered instead was a character study of rare depth and beauty. With a largely unknown cast, director Barry Jenkins crafted a gorgeous, moving, and extraordinary film about youth, adulthood, and identity. It’s the best Best Picture winner of the decade and one that easily deserved all the praise heaped upon it at the time and all the praise it will receive in the future. (Stream it on Netflix)
Roma (2018)
In describing his very personal masterpiece, filmmaker Alfonso Cuaron described the camera in Roma as a ghost from the future observing the events of the past. Throughout the film we follow a domestic worker named Cleo as she goes about her quotidian daily tasks caring for an upper middle class Mexican family. In stark black-and-white the camera patiently tracks with her as we see the suddenly dramatic events of her life, allowing us to feel as if we are silent witnesses from almost 50 years in the future. (Read our recommendation here and stream it on Netflix)
Whiplash (2014)
First Reformed (2018)
Moonrise Kingdom (2012)
The Act of Killing (2012)
Ex Machina (2014)
Inside Out (2015)
Parasite (2019)
Dunkirk (2017)
Enemy (2013)
Skyfall (2012)
Billy’s Top 20
The Florida Project (2017)
The empathetic tale of the decade. No movie this decade has created characters I care about more than the ones in The Florida Project. On the outskirts of the happiest place on earth, Disney World, is an extended living hotel where our 3 main characters live. The first two are a mother and daughter combo named Halley (Bria Vinaite) and Moonee (Brooklyn Prince). Halley is a mother that lives out her life in often selfish ways, but the love for her daughter is clear. So strong that any option to provide for her daughter is on the table. Leading to some extremely tense situations that show the darkness that pure circumstance can bring despite love trying to fight through the darkness. The next character is my favorite performance of the decade. Willem Dafoe plays Bobby, the caretaker/manager for the entire complex, cares for the families in this hotel so personally. Dafoe allows the audience to feel empathy for these characters by being the example. A necessary character that without the audience may feel no empathy towards the characters when they desperately need it. (Stream it on Amazon Prime)
Moneyball (2011)
As Bill Simmons smartly remarked, “I don’t think people realize this is probably the best sports movie. Not just of the decade, but of this century, the 21st century.” A more accurate remark has never been uttered. Before this year with Once Upon a Time in… Hollywood I would have said this was the best Brad Pitt performance ever also. Moneyball for sure has all the hallmarks of a great sports movie. The chill-inducing climax and a team we can latch on to. Where Moneyball differentiates itself is that it focuses on the behind-the-scenes of a pro sports organization, which allowed the acting and writing to shine in ways no sports movie has been able to do before. A masterclass of creating pace by allowing actors to create the conflict through conversation. That is Aaron Sorkin’s (can you believe he wrote this movie?) sweet spot.
Leave No Trace (2018)
Director Debra Granik has launched the career of the biggest star of the decade in Jennifer Lawrence and I think she is doing the same with Thomasin Mackenzie (Tom), who gives the best child performance of the decade. Here we follow a father and daughter who are homeless by choice and are forced back into a “normal” community after being arrested for living in a state park outside of Portland. Leave No Trace differentiates itself from similar storylines by making their homelessness look appealing. Then while they get back into a more normal situation is when their lives start to derail. Ben Foster (Will), who is one of our greatest actors, is forced to address his PTSD from being in the military and how it affects his daughter. The viewpoint then changes and for the first time in Tom’s life she has the desire to be independent. The normal life is attractive to her because of the community she is exposed to for the first time. The community brings security, young love, and friendship. All of which leads to an ending that is hopeful while also being heartbreaking. (Read our recommendation and stream it on Amazon Prime)
Mission: Impossible – Fallout (2018)
This is the best action movie of the decade and we also got the best movie trailer of the decade. “Your mission should you choose to accept it. I wonder, did you ever choose not to?” A simple quote that sets up the only conflict needed to make the movie work. In so many action movies there is no questioning the hero. What they’re doing is good so why question it? Director and writer Christopher McQuarrie clearly has us rooting for Ethan Hunt (Tom Cruise), but for the first time his methods are questioned. Throughout the great characters there are beautifully staged set pieces. All of which seem to be styled differently so that the viewers’ attention is never lost. Learning about the behind the scenes of this movie, and all Mission: Impossible movies, make the movie experience so much more exciting. Cruise is doing almost, if not all the stunts and that brings real danger. A necessary element for any great action movie. Thank you Mr. Cruise and Mr. McQuarrie for showing respect to the summer blockbuster genre by creating a movie that delivers action to quench our thirst while writing dialogue that respects the audience's intellect. (Read our recommendation and stream it on Amazon Prime)
Whiplash (2014)
The most violent movie of the decade. Violence does not have to be gory. All the tension is built up through vicious interactions that stems from wanting to be the best and having someone pushing his students further than he probably should. But occasionally, he thrusts someone into greatness. J.K. Simmons as Fletcher stands out with his all-time supporting performance. It is not often that an Oscar statue is so certain. Simmons’ performance facilitates an incredible back-and-forth between Miles Teller’s character Andrew. Andrew is immensely talented, but one of the few performers from Fletcher’s band that stands up to him. In most situations a teacher would not want this combative relationship, but Fletcher is pushing for it because he thinks it makes a person better. The tension boils into one of the best endings of all-time. It is exciting, but most importantly, the two main characters finally have a moment of peace, Andrew finally living up to his potential and Fletcher finally getting his Charlie Parker. I imagine the peace will be short-lived, though. None of the pressure put on Andrew by Fletcher and himself will lead to much positivity outside of his career. A darkness looms in the end.
Edge of Tomorrow (2014)
Groundhog Day, but with aliens. There is honestly not much to say about Edge of Tomorrow besides that it is two hours of some of the most fun anyone can have while watching a movie. Tom Cruise has been mentioned enough already so let’s switch focus to Emily Blunt. Has any actor ever surprised audiences more than Emily Blunt in Edge of Tomorrow? At no point in her career before this point showed she could be an iconic action character. Emily Blunt brings such a stoic intensity through the exhausting (in a good way) premise of having a character die and come back to life repeatedly. Her certainty of victory allows the audience to survive the exhaustive nature. That feeling is why the movie works so well. At first thought the idea of immortality is appealing, but by the end of Edge of Tomorrow it is clearly a curse. Turn this on when you get a chance because it is too much fun not to be seen, and too many people have not seen this.
Arrival (2016)
The importance of language. A surprisingly poignant message that left me so optimistic for the potential of human connection. In Arrival we follow a linguist professor Louise Banks, played by Amy Adams, who is tasked with trying to communicate with aliens that have invaded earth. Her superiors are pressuring her to accelerate the communication by immediately asking for the reason they are on earth. Banks pushes back by arguing that it is important to start with the basics so that there is no miscommunication in their interactions. Director Denis Villeneuve is the director that has come out of the 2010s as the breakout star. His stoic approach to a story that is normally action-packed leads to an actionless movie that is entertaining because of the themes of human connection, empathy, and language. Understanding someone’s language and/or culture allows us to think differently, which Villeneuve forces us to do by taking a familiar premise and making it different.
The Social Network (2010)
When this came out it was already regarded as an all-time great movie, but now it has been given new life with the current controversies that Facebook and Mark Zuckerberg are involved in. The Social Network focuses on the major conflict of the social media age. How much privacy are we willing to give up? The brilliance of Facebook is that it allowed us to be seen by many people which led to a different human connection. A seductive connection that allowed people like Zuckerberg to monetize our most innate desires. Zuckerberg is played brilliantly by Jesse Eisenberg. It sadly led to him being typecast in many movies, but what he gives us may be the best performance of the decade. Director David Fincher had a desire to stick to Aaron Sorkin’s genius script without compromising anything. What was his requirement? Act and say the dialogue, but as fast as possible. Which is how I imagine Zuckerberg had to act to be the first to make this social media thing a sensation. Fincher’s unwillingness to compromise is a hilarious similarity to the story of Facebook. And for that we get one of the best movies of all-time.
Hell or High Water (2016)
Hell or High Water is a movie that I try to recommend to everyone. It has all the things that make a movie-going experience wonderful. Intensity, connection to fun characters, necessary conflict, bank heists, friendship, and so so so much more. Director David Mackenzie finessed the story into a fun ride by relying on a wonderful trio of actors. Chris Pine, Ben Foster, and Jeff Bridges. Each character has something to grasp on to that gives a different lens into the story. Pine plays Toby Howard who is an estranged father that has an opportunity to save the house he grew up in from being taken over by the bank. He brings the humanity to the story that we need. Foster plays the morally gray brother, Tanner Howard, who is willing to do anything to get some cash, which he previously had to go to jail for a previous crime. Bridges plays Marcus Hamilton who is a cop that is about to retire when his last investigation keeps him around because of the crime the two brothers commit. Each different lens allows what was once fun to be concerning. What is funny to be demented. What is thrilling to be horrific. The quick shift between each different emotion leads to one of the most thrilling bank robbery/heist movies of all-time. (Read our recommendation and stream it on Netflix)
Star Wars: Episode VIII - The Last Jedi (2017)
We talked about this last week, so I will keep this one shorter. What makes this movie so unique to the whole Star Wars saga is that there is conflict, but the conflict is more personal. Most of the consequence in big movies like this are often simple like “we must get away alive.” Where Star Wars, especially The Last Jedi, becomes more attractive is the conflict being personal. Rey is dealing with her identity. Luke must deal with the pressure of being a legend and his failure. Poe isn’t advancing into a leader like he thought he would. Finn feels alone because of his desertion of the thing he knew most of his life. All these different storylines allow the amazing special effects to have some weight. Rian Johnson brilliantly twists the all too familiar Star Wars story into a version we have not seen. This split audiences down the middle, but for people like Drew and I, it made for our most rewarding in theater Star Wars experience. (Stream it on Netflix)
The Wolf of Wall Street (2013)
Everybody Wants Some!! (2016)
La La Land (2016)
Spider-Man: Into the Spider-Verse (2018)
Under the Skin (2013)
A Star is Born (2018)
Drive (2011)
Eighth Grade (2018)
Lady Bird (2017)
Mad Max: Fury Road (2015)