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<\/figure>\n\n\n\nOf the many great films coming out at the turn of the century, very few have had the influence of Battle Royale<\/em>. Stories like the Hunger Games<\/em> tread the same ground. Even a worldwide video game phenomenon takes its genre name from the film. Influence aside, the film is a heavy rollercoaster ride, abundant in bloodshed, terror, and social commentary. The opening classroom scene is fear-inducing, with Takeshi Kitano commanding your attention. Just the right pick to lead the new millennium.<\/p>\n\n\n\n <\/p>\n\n\n\n 2001 – The Royal Tenenbaums<\/strong><\/p>\n\n\n\n My favorite film of all time is Wes Anderson’s dramedy, The Royal Tenenbaums<\/em>. Royal is simply the greatest character Anderson\/Wilson ever created. Every time I watch, I\u2019m so enamored by the character and Hackman\u2019s performance. A layered character who is so unlikable but not in an over-the-top way, even in a movie about exaggerated character types. Every single character goes through their own arc in such a satisfying way, especially when characters\u2019 resolve blends (Chas and Eli, for example). A century defined.<\/p>\n\n\n\n 2002 – Punch-Drunk Love<\/strong><\/p>\n\n\n\n Punch-Drunk Love<\/em> wants you to take a chance on love in all of its randomness. Love can be an escape, a mission, and an unanswerable question. Barry\u2019s lived a life in the shadows of others, trapped in a vicious cycle of anxiety and stagnation. Fate brings that harmonium and Lena, and though she is connected to his sister, he goes his own path to finding her. He is no longer a husk; Lena is his motivation. With endearment comes fight, and there\u2019s something beautiful in that.<\/p>\n\n\n\n <\/p>\n\n\n\n 2003 – Memories of Murder<\/strong><\/p>\n\n\n\n A Korean mystery that excels at everything it goes for.\u00a0Memories of Murder<\/em>\u00a0is a perfectly paced movie with a balanced tone that constantly pulls you in before letting you go with its chill-inducing finale. The film occupies a unique position in cinema history, being both deeply inspired and highly influential in its own right. If you don’t have\u00a0Memories<\/em>, you don’t get\u00a0Zodiac<\/em>, and if you don’t have\u00a0Seven<\/em>, you don’t get\u00a0Memories<\/em>. I find it hard to believe Fincher wasn’t inspired when writing about an unknown murderer, who is never discovered due to circumstantial evidence.<\/p>\n\n\n\n <\/p>\n\n\n\n 2004 – Before Sunset<\/strong><\/p>\n\n\n\n A perfect film in every respect.\u00a0Before Sunset<\/em>\u00a0is remarkably efficient while focusing entirely on dialogue. Not a single line feels out of place or missing. The subtle tension is probably my favorite element. It’s almost like a race, but one that you don’t want to end, perfected by the two stars. Their conversation in the taxi cab is a perfect example. I can almost hear an alarm clock ticking. A true 21st-century classic.<\/p>\n\n\n\n <\/p>\n\n\n\n 2005 – Broken Flowers<\/strong><\/p>\n\n\n\n Bill Murray is probably my true comfort actor. His effortless blend between melancholy, comedy, and existentialism has resonated on a pretty deep level. Broken Flowers<\/em> is no exception, with Murray doing what he does best. The film takes us on a journey of possible self-discovery and asks us if we can truly change for the better. Sometimes, it feels like I’m charting the same path. <\/p>\n\n\n\n <\/p>\n\n\n\n 2006 – Children of Men<\/strong><\/p>\n\n\n\n Dystopian stories draw me in so easily. Society crumbling, moral ambiguity, survival, loneliness. These narratives typically follow down the same path. Children of Men<\/em> goes for a more political approach and is all the better for it. At times, the film gets eerily close to our reality, especially with its portrayal of detention camps and immigration. After watching, it’s almost impossible not to feel disappointed even if the film ends on a hopeful note. It was between this and The Departed<\/em>, not easy at all.<\/p>\n\n\n\n <\/p>\n\n\n\n 2007 – No Country For Old Men<\/strong><\/p>\n\n\n\n I can comfortably point to a few movies, crucial in my younger years, that made me fall in love with film. When the Sheriff recounts his dreams at the end, I was floored. No Country For Old Men<\/em> is one of those films, creating a domino effect that introduced me to the works of both McCarthy and the Coens. It simply changed my life; I probably wouldn’t be writing this article without it.<\/p>\n\n\n\n <\/p>\n\n\n\n 2008 – Ponyo<\/strong><\/p>\n\n\n\n Miyazaki films were central to my childhood, and when I discovered Ponyo<\/em>, it took me back. The film embodies childhood wonder and young romance in ways few films can. Totoro<\/em> and Spirited Away <\/em>are emotional joyrides, yet Ponyo<\/em> feels the most poignant in its journey. Every scene is drawn like a children’s book illustration, making full use of its coastal setting. That careful execution made for a beautifully framed film that I’ll eventually show my children, and hope to God they do the same for theirs. <\/p>\n\n\n\n <\/p>\n\n\n\n 2009 – Crazy Heart<\/strong><\/p>\n\n\n\n An overlooked gem. Last year, I scrolled through Hulu just looking for something to put on. I came across Crazy Heart<\/em>, stopped and said “I like Jeff Bridges” before pressing play. When the credits rolled, I sat there in silence. Someone had made the exact film I’ve always wanted to write. A human story about an aged country star, motivated by love, crushed by his own demons, learning to let go and become someone new. While I never finished a story in this vein, I’m deeply thankful someone has. <\/p>\n\n\n\n <\/p>\n\n\n\n 2010 – Toy Story 3<\/strong><\/p>\n\n\n\n 2010 was a totally stacked year for movies, but I didn’t hesitate with this selection. I loved Toy Story 3<\/em> when it came out. I was five, loved the series and Pixar as a whole. Revisiting the film again this year completely broke me. During the last 20 minutes, the emotions wouldn’t stop pouring out. It started with the incinerator sequence and climaxed when Andy plays with Bonnie. There comes a time in every boy’s life when he has to let go of his childhood. Toy Story 3<\/em> encapsulates that melancholic yet hopeful feeling in a breathtaking package. <\/p>\n\n\n\n <\/p>\n\n\n\n 2011 – Bernie<\/strong><\/p>\n\n\n\n Jack Black’s magnum opus. Bernie<\/em> is a delightful film that never takes itself too seriously or extends beyond its reach. The cast is phenomenal; however, Jack Black steals the show. His portrayal of Bernie Tiede is comedic gold and seems effortless for the actor. Simple things like his walk and facial expressions can carry entire scenes. I’ve legitimately never heard anyone talk about this movie, and I don’t know why. <\/p>\n\n\n\n <\/p>\n\n\n\n 2012 – Batman: The Dark Knight Returns, Part 1<\/strong><\/p>\n\n\n\n Frank Miller’s graphic novel of the same name is a widely regarded masterpiece. For many people, it’s the only comic they’ve read. This animated venture is my favorite way to experience the story. It feels made for film, one with incredible voice acting and animation. Fight scenes knock the wind out of you, and the score can induce chills in seconds. The pacing in particular is efficient, effortlessly flowing between sequences. It’s just so easy to sink into. Check it out.<\/p>\n\n\n\n <\/p>\n\n\n\n 2013 – Inside Llewyn Davis<\/strong><\/p>\n\n\n\n Another Coen film, one that consumed me for a month. Everything, from the music to the performances to the nihilistic questions it raises, is captivating. The scene where Llewyn makes his pitch in Chicago is especially heartbreaking. It’s the kind of movie that can either change your life or sink you deeper into a pit of self-destruction, and I love that. Honorable mention goes to\u00a0This Is the End<\/em>, since it was a tough call choosing Llewyn<\/em> over it. The two are almost completely different tonally. Llewyn<\/em> has just shaped my adult mind.<\/p>\n\n\n\n <\/p>\n\n\n\n 2014 – Dawn of the Planet of the Apes<\/strong><\/p>\n\n\n\n Possibly sci-fi at its peak. The Planet of the Apes <\/em>franchise was so intriguing as a kid, and after watching Rise<\/em>, I was completely sold. Dawn of the Planet of the Apes<\/em> improves upon just about everything that worked with its predecessor. The film boasts strong character dynamics, powerful emotional performances, and a deep look into the psychology of the main character, Caesar. The battle sequences are impressive as well. At one point an ape dual-wields machine guns while riding a horse. It’s unbelievable in the best way. Watching it again this year only solidified its placement on this list.<\/p>\n\n\n\n <\/p>\n\n\n\n 2015 – The Witch<\/strong><\/p>\n\n\n\n Robert Eggers is my favorite director to emerge from the 2010s. The Witch<\/em> is a near-perfect debut and one that will stand the test of time. At an efficient 92 minutes, you are completely immersed in this 1600s folktale. The atmosphere is thick, the dialect is riveting in its accuracy, and the slow descent into horrific madness is hypnotic. This won’t be the last of Eggers on this list.<\/p>\n\n\n\n <\/p>\n\n\n\n 2016 – Manchester by the Sea<\/strong><\/p>\n\n\n\n Wow, another emotionally exhausting meditation on failure and letting go of the past! See a trend? This go around, the narrative is heavier, depressive, and grieved. However, Manchester by the Sea<\/em> still leaves room for self-understanding and hope. The performances are stellar across the board. Moments between Casey Affleck and Michelle Williams can say a lot, even in silence. Their faces are able to visualize entire thoughts. Every time they share the screen, my heart tenses up. The film just kills me, then it brings me back, and I’m alive again. <\/p>\n\n\n\n <\/p>\n\n\n\n 2017 – The Florida Project<\/strong><\/p>\n\n\n\n I’ve visited Orlando, FL, on many occasions. Every drive, I would look out the window at the cheap, off-brand, often themed motels and wonder what life was like inside. That area feels almost uncanny at times, with places advertising discount tickets or merchandise, and the occasional knockoff Disney mascot in the windows of storefronts. The Florida Project<\/em> takes you through the life of a young girl living in one of those motels. Her story says something about life, specifically how the cards we are dealt interfere with our upbringing without having to define it. The film’s empathy is unlike anything I had seen before and, frankly, have seen since. <\/p>\n\n\n\n <\/p>\n\n\n\n 2018 – BlacKkKlansman<\/strong><\/p>\n\n\n\n Spike Lee’s 2018 crime drama-comedy\u00a0BlacKkKlansman<\/em>\u00a0was a frequent watch for my family and me. Even with the film’s heavy themes taking center stage, the comedic elements land at an extraordinary rate. The chemistry between the two leads is impeccable, rife with one-liners and precise timing. Never will the line “Show me your dick- are you circumstanced?” not be hilarious. The film is also larger than its comedy when turned serious, and the subject matter is affecting and unfortunately still relevant in today’s age. Not much else to say; I just need a rewatch soon.<\/p>\n\n\n\n <\/p>\n\n\n\n 2019 – Parasite<\/strong><\/p>\n\n\n\n I almost had an aneurysm deciding between Parasite<\/em> and The Lighthouse<\/em>. Both films are total favorites of mine and hit harder on a second watch. I give the Parasite<\/em> the slight edge simply because Eggers will be back on the list later and Bong Joon-Ho is just so damn cool. Parasite<\/em> surprises me every time, since it’s creative, risky, and erratic, but completely accessible. Everyone can enjoy this movie; putting it on is almost a guaranteed hit in a group setting.<\/p>\n\n\n\n <\/p>\n\n\n\n 2020 – Soul<\/strong><\/p>\n\n\n\n Everyone remembers this time, but for the film world, it’s kind of a dud. Nonetheless, Pixar’s Soul<\/em> is an overlooked treasure. The film is a very mature story with a children’s story facelift. The top-of-the-line animation is worthy enough of a watch. Rewatch incoming.<\/p>\n\n\n\n <\/p>\n\n\n\n 2021 – Spider-Man: No Way Home<\/strong><\/p>\n\n\n\n Legitimately, I have not seen many movies from 2021. It’s the Spider-Man movie with all the previous Spider-Man actors. I had a fun time watching this in theaters, even if it’s not that great.<\/p>\n\n\n\n <\/p>\n\n\n\n 2022 – Nope<\/strong><\/p>\n\n\n\n How is this not Jordan Peele’s best movie? Nope<\/em> is the culmination of every one of his films before. His comedy, suspense, horror\/sci-fi synchronization, are all doubled down and at their best. Everything from the alien flying overhead, to the commentary is so mystical, one watch is not enough to take it all in. Sitting in a packed theater on opening night, was something special. Rewatching it a few months later, was something else entirely.<\/p>\n\n\n\n <\/p>\n\n\n\n 2023 – Oppenheimer<\/strong><\/p>\n\n\n\n Christopher Nolan can be pretty hit or miss for me. With some of his films, I’m rolling my eyes; with others, I’m on the edge of my seat.\u00a0Oppenheimer<\/em>\u00a0felt like the culmination of everything he was working towards in his career thus far. It was ambitious in scale, fuzzy in its morality, and a cultural juggernaut that year. All of those facets clicked, while also giving us a strong lead, arguably Nolan’s best. That final conversation between Oppenheimer and Albert Einstein was something else. You just had to be there.<\/p>\n\n\n\n <\/p>\n\n\n\n 2024 – Nosferatu<\/strong><\/p>\n\n\n\n Somehow,\u00a0Nosferatu<\/em>\u00a0isn’t talked about that much? It was simply an awesome time in the theater. While yes, it’s a remake, and no, it doesn’t do anything\u00a0too<\/em>\u00a0ambitious, the film still proved able to stand on its own feet. Eggers went simpler, yet stayed large in scale. The performances were top-notch, the cinematography blended right with the atmosphere, and the effects were ugly in the best ways. The film also has the best score of any Eggers film so far, just so dark and grim. Told you he’d be back.<\/p>\n\n\n\n <\/p>\n\n\n\n 2025 – Bugonia<\/strong><\/p>\n\n\n\n Sadly, I didn’t watch\u00a0Bugonia<\/em>\u00a0in theaters. Watching the film recently, I found plenty of things to love and was thoroughly entertained. Emma Stone is electric, while shifting between what feels like two different people. She is obviously one of film’s greatest modern actresses, constantly elevating herself with each performance. During her interrogation sequence, I couldn’t picture anyone else in the role. Jesse Plemons is also fantastic, but that’s almost a given as well. The two-hour runtime is brisk, giving us a solid conspiracy thriller with timely, albeit obvious, social commentary. I enjoyed Yorgos Lanthimos’\u00a0Poor Things<\/em>, and\u00a0Bugonia<\/em>\u00a0is an excellent successor.<\/p>\n\n\n\n <\/p>\n\n\n\n 2026 – The Invite<\/strong><\/p>\n\n\n\n The year is not over yet, but I believe this placement won’t change.\u00a0The Invite<\/em>\u00a0is a stellar exercise in contentious dialogue. Arguments shift naturally, and the characters expose their insecurities while setting up little dichotomies with one another. The cast has undeniable chemistry, never\u00a0forcing<\/em>\u00a0confrontation. Even with all this vitriol, the film surprisingly ends on something hopeful, but that’s up to you to decide.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Twenty-six years, twenty-six great films. Growing up in a great era for filmmaking, I’ve fortunately been exposed to some legendary movies. Some connected with me from a young age, others I’ve only now come around to. Here are my favorites from each year. Trust me, this was tough. 2000 – Battle Royale Of the many […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-277","post","type-post","status-publish","format-standard","hentry","category-essays"],"_links":{"self":[{"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/posts\/277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=277"}],"version-history":[{"count":5,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/posts\/277\/revisions"}],"predecessor-version":[{"id":338,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=\/wp\/v2\/posts\/277\/revisions\/338"}],"wp:attachment":[{"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/evanehrenberg.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/evanehrenberg.com\/wp-content\/uploads\/2026\/10\/image-2-edited.png\")
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