10 Great 2010s American Movie Classics You Probably Haven’t Seen

The 2010s has been undervalued as a wonderful decade for cinema. The introduction of digital cameras meant that filmmakers no longer needed the backing of large Hollywood studios to finance film development.

This allowed for many talented artists to express their voice without permission. New auteurs like S. Craig Zahler, Jeremy Saulnier and Mickey Keating became visible, overshadowing the dwindling efforts of mainstream movies with their artistry. This list will explore ten 2010s movies of different genres to recommend to cinephiles.

1. Blue Ruin (2013)

Dwight Evans (Macon Blair) embarks upon a journey to kill the man responsible for his parents’ murder.

Innumerable revenge movies have been produced across cinema history and Blue Ruin is arguably the greatest. What is noticeable about Blue Ruin is its taut, spare and professional storytelling. The writing is exemplary as a consummate linear, three-act story, structured to perfection. Eschewing subplots, Blue Ruin is sharply focused upon its protagonist’s emotional plight.

It plays with the audience, attaining pathos for Dwight’s grief, yet unflinchingly depicting the tragic ramifications of violence. Another way Blue Ruin is triumphant is through its maintenance of tension, keeping the audience hooked from start to finish. Additionally, it favours a rural Virginia and Delaware regionality, over a more glamourised location, contributing to its realism.

2. St. Vincent (2014)

Single mother Maggie (Melissa McCarthy) employs her neighbour Vincent (Bill Murray) to babysit her son Oliver (Jaeden Martell). A friendship blossoms between the mismatched personalities.

St. Vincent is an excellent use of Bill Murray’s supreme comedic talent. Like the film itself, his character is cranky and crude on the surface, yet compassionate at-heart. The narrative sees his character complete an arc from isolation and misanthropy towards greater connectedness. Resultantly, St. Vincent is an uplifting, inspirational movie, which encourages greater sensitivity and kindness in audiences. Much of the comedy is sourced from the hero’s inappropriate humour and seedy lifestyle, contrasting with the innocence of the child he is caring for.

3. We Are Still Here (2015)

A grieving couple (Barbara Crampton, Andrew Sensenig) move into a new house. They discover it is haunted by spirits residing in the basement.

Firstly, We Are Still Here is one of the best haunted house movies and horror movies of the 2010s. This is strengthened by the casting of the genre’s icons: Barbara Crampton, Lisa Marie and Larry Fessenden. Essential to a successful horror, the film gradually engenders a brooding, creepy atmosphere. This is achieved through the elegant cinematography of the snowy New England landscape and an incremental increase of unsettling details around the house.

Furthermore, We Are Still Here flourishes because it effectively delivers upon a simple story. Taking influence from Lucio Fulci, director Ted Geoghegan absorbs the mastery of ‘70s and ‘80s horrors, reflected by the film’s period setting. The appearance of the ghosts are additionally original and impactful, further distinguished by their sympathetic backstory.

4. Pod (2015)

Lyla (Lauren Ashley Carter) and Ed (Dean Cates) travel to their family lake house in Maine to stage an intervention for their brother Martin (Brian Morvant). He claims that he has captured a monster in the basement.

Pod is proof that good writing can trump a large budget and an A-list cast. It is as much a significantly character-driven family drama, as it is a contained, suspenseful sci-fi horror. Pod is thematically thought-provoking, addressing PTSD in and the marginalisation of military veterans, as well as the stigmatisation of mental health issues. Whilst reminiscent of Signs (2002), Pod is worth watching for its more emotional, dramatic approach to sci-fi, whilst many of the genre’s titles are merely plot-centric.

5. American Made (2017)

Whilst flying for the CIA, pilot Barry Seal (Tom Cruise) starts working as a drug smuggler for the Medellín Cartel.

The best thing about American Made is Tom Cruise’s performance. He crafts a more comedic portrayal than usual, evidenced by his charismatic character’s redneck bravado. As a qualified pilot, Cruise performed the daring aeroplane stunts which punctuate the movie. Meanwhile, the fascinating Caleb Landry Jones supplies another dangerously unhinged turn, expanding upon his work in War on Everyone (2016). American Made’s Scorsese-esque rise and fall narrative offers a different perspective on the Pablo Escobar story, comically indulging in 1980s decadence. Moreover, the screenplay delves into governmental corruption and complicity with criminality.