The New York Times decided to make a list of the one hundred best movies from this current century. As there have only been twenty-five years to date, this task might not appear to be all that daunting. Yet when you consider such an extensive range and vast assortment of cinema created over this period, this project might be more of a challenge then it would seem. So to help decide which films were selected and ranked, five hundred filmmakers, actors, influential insiders and fans were asked to each vote for their personal top-ten favorites that were released since January 1, 2000. Then these votes were complied to create this listing of best movies which were revealed twenty at a time over five days that began on June 23rd.
Please click below for the complete list of films selected as the best of this current century:
I have seen ninety-three films from list and below are the trailers of my ten favorites from this selection of one hundred best movies of the twenty-first century (not in ranking order). This was extremely difficult to narrow down and I never would have been able to finish if I had added some great movies that didn't actually make it on this list:
Where & When: AMC The Grove, Los Angeles, CA. June 14, 2025 3:30 PM
The filmmaker, Celine Song dazzled us with her debut feature, "Past Lives", a compelling drama lightly inspired by real events in her life which went on to be critically acclaimed and awarded, receiving two Academy Award nominations including Best Picture.
With her follow-up, "Materialists", Song has once again focused on a love triangle, this time involving a woman who struggles between the familiar comfort of her financially struggling, former boyfriend and the enticing qualities of a handsome, extremely wealthy financier. This dramatic romance offers enlightened observations on the complications in trying to find love and intimacy in today's money-driven world. Yet "Materialists" is strangely designed like a romantic-comedy without actually using the formula, leaving us puzzled by what exactly is this film trying to be?
Lucy (Dakota Johnson) is a professional matchmaker who works for the dating service, Adore. And while she's very good at her job, Lucy is perfectly content being single herself with no interest in a relationship, having decided that if she ever marries, it will be to a man with a lot of money. During the wedding of her ninth successful match, Lucy meets Harry (Pedro Pascal), the groom's brother. Rich, attractive and captivating yet still single, Lucy only sees a potential new client. But Harry wants to go on a date with her which she promptly declines. After managing to get Lucy to go out with him, Harry seduces her with his considerable charm and financial assets that leads them to a romantic connection.
Also at the wedding, Lucy runs into her ex-boyfriend, John (Chris Evans), a struggling actor who is working as a caterer at the reception. They hadn't seen each other in some time since they broke-up and as they reconnect, the attraction is still quite palpable. During their five years together, Lucy and John were both trying to be actors yet she gave up on that profession and the relationship, deciding she no longer wanted to struggle and fight about money. And while this still remains true for Lucy, she begins to consider that money might not be the only solution to a perfect partnership.
I have heard some refer to "Materialists" as a romantic-comedy yet there's not a single joke nor comedic moment to be found in the film. What I think might lead people to believe this drama could be labeled as a rom-com is "Materialists" delivers the familiar trappings of the genre; ridiculously attractive people with a vast amount of wealth who are unable to find love with the ideal match, living in a New York presented with a glossy sheen (shot by Shabier Kirchner who also filmed Song's debut feature) that anyone who has ever been to the city knows does not exist. In fact, Carrie Bradshaw and her pals would fit quite comfortably in this world. This film would have actually benefited with a few pointed laughs and greater sense of fun, with the story at times becoming overwrought and far too somber. There is one disturbing, traumatic moment that happens to one of Lucy's clients, shifting the tone enough that nearly derails the film. But "Materialists" manages to recover enough to get us back on track to it's main objective with a stern yet light-hearted examination of love connections.
I have previously expressed my thoughts on the performative abilities of Ms. Johnson but I will just say that while the actress does deliver a serviceable performance here, she does not display the magnetic presence required that would have us believe that these two men would do almost anything to win her over. Evans and Pascal have built their careers as actors who captivate with their considerable charms and they do not disappoint here, creating some sense of chemistry with the woman in the middle.
"Materialists" might be a somewhat, dark drama in rom-com clothing yet still captures the difficulties of dating and relationships in these modern times with a light hearted touch. The film offers thoughtful and thought-provoking views about the contractual nature of marriage and calling out the silly notion that monetary comfort is not that important in a relationship as long as you have love. It reveals that because men don't want to marry a woman over thirty and a woman won't even consider dating a man under six feet tall is exactly why there's so many lonely, single people out there misguided in feeling that the use a matchmaker will actually help them find a potential partner.
Film at Lincoln Center and Cinecittà have teamed-up for a special presentation to bring long overdue recognition to one of the great performers of Italian films and world cinema: Monica Vitti. A striking beauty with a magnetic presence, Vitti has been hailed as an actor who transformed the screen with a modern sensibility as film shifted from glossy spectacle to gritty realism during the 1960's.
Born in Rome in 1931 as Maria Luisa Ceciarelli, she took her mother's maiden name when deciding to become an actress, getting bit parts on stage and in films before earning a significant role in "Le dritte", directed by Mario Amendola in 1958. Two years later, Vitti met filmmaker, Michelangelo Antonioni who cast her in "L'Avventura". This film about the disappearance of a young woman during a boating trip in the Mediterranean with the woman's lover and her best friend (played by Vitti) coming together to search for her went on to win the Jury Prize at the Cannes Film Festival and would make Vitti an international movie star. From this notable success, an artistic partnership began between Antonioni and Vitti with them going on to make three more groundbreaking films together: "La Notte", "L'Eclisse" and "Il deserto rosso (Red Desert)".
This is the first North American retrospective dedicated to the remarkable career of Vitti with fourteen of her essential films to be screened, several with new 4K restorations.
Please click below for the complete list of films, to purchase tickets and additional information:
