{"id":502049,"date":"2026-06-20T05:42:13","date_gmt":"2026-06-20T05:42:13","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/502049\/"},"modified":"2026-06-20T05:42:13","modified_gmt":"2026-06-20T05:42:13","slug":"10-movies-from-the-last-7-years-that-are-perfect-from-start-to-finish","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/502049\/","title":{"rendered":"10 Movies From the Last 7 Years That Are Perfect From Start to Finish"},"content":{"rendered":"

The 2020s have been a great decade for film so far, contrary to popular belief. Although it can get distressing to think about the consolidation of media companies, the push to put new releases on streaming, the fragmented political reality, or the obsession with social media that has made it hard to actually attend screenings without disruptive moviegoers,<\/a> there have been more than a few instant classics that make it easy to find hope.<\/p>\n

The last seven years have seen filmmakers rising to the occasion by using new technology, modernist ideas, and creative distribution strategies to make films that are keyed into what is happening in the world today. While there will undoubtedly be many more masterpieces released by the time that the decade comes to an end, there are already so many options to choose from shows that cinema is alive and more powerful than ever before.<\/p>\n

10 <\/p>\n

\u2018The Father\u2019 (2020)<\/p>\n

\"Anthony
\n Anthony Hopkins as Anthony and Olivia Colman as Anne in The Father looking at each other.Image via\u00a0UGC<\/p>\n

The Father<\/a> is a staggering drama that explores the realities of aging<\/a> in a manner that hasn\u2019t previously been depicted in a cinematic way. Anthony Hopkins stars as an elderly man who has begun to lose his memories, and becomes increasingly confused when he realizes he no longer has control over his own thoughts. While it was adapted from the stage play of the same name, The Father feels like an accomplished and immersive piece of cinema thanks to the impressive direction from Florian Zeller, who made one of the decade\u2019s most defining debuts.<\/p>\n

The Father features one of the greatest performances ever from Hopkins, which is no small statement when considering that he has a better resume than nearly any living actor. Anyone who has ever had to deal with an aging or ill loved one will relate to this heartbreaking, painfully true dramatic masterpiece.<\/p>\n

9 <\/p>\n

\u2018Asteroid City\u2019 (2023)<\/p>\n

\"Jason
\n Jason Schwartzman and Tom Hanks as Augie and Stanley talking in ‘Asteroid City’Image via Focus Features<\/p>\n

Asteroid City<\/a> is a maturation of the themes that Wes Anderson<\/a> has been exploring throughout his entire career, as it examines how storytelling and creation can be used as a medium with which to deal with loneliness, loss, and depression. Although it\u2019s among the most sobering of Anderson\u2019s films when it comes to the subject material, Asteroid City is also brightly lit and features a fun retro futuristic design that makes it feel distinct within his impressive body of work.<\/p>\n

Anderson has rarely failed to put together an amazing ensemble, but Asteroid City might be the best performance he has ever gotten out of Jason Schwartzman; Schwartzman had his breakthrough starring in Anderson\u2019s coming-of-age dramedy Rushmore, so it is fitting that they would reunite for him to play a loving father who has to pass along lesions to his own children.<\/p>\n

8 <\/p>\n

\u2018Killers of the Flower Moon\u2019 (2023)<\/p>\n

\"The
\n The cinematography in The Killers of the Flower MoonImage via\u00a0Paramount Pictures<\/p>\n

Killers of the Flower Moon<\/a> is another masterpiece from Martin Scorsese<\/a> that signifies him as one of the few directors to have made an all-time classic in six different decades. It\u2019s a film that allows Scorsese to reflect upon his own interest in true crime by examining how the murders and hatred for America\u2019s indigenous people were covered up, allowing the nation to forget its original sins in the search of capitalist glory.<\/p>\n

Killers of the Flower Moon united Scorsese\u2019s two greatest leading men, as it was the first time that he directed both Robert De Niro and Leonardo DiCaprio in the same film, and the third time that the pair of actors had worked together after This Boy\u2019s Life and Marvin\u2019s Room. However, it is the breakthrough performance from Lily Gladstone that makes Killers of the Flower Moon such a devastating watch.<\/p>\n

7 <\/p>\n

\u2018The Green Knight\u2019 (2021)<\/p>\n

\"Dev
\n Image via A24<\/p>\n

The Green Knight<\/a> is one of the greatest adaptations of Arthurian mythology because it reinterpreted a historical text with new insights, making for a thoughtful meditation on death and fate. The brilliant independent writer\/director David Lowery<\/a> was able to use an A24 budget to make a film that felt massive in scope, and blended CGI and practical effects to create a lucious, beautiful cinematic canvas.<\/p>\n

The Green Knight is a deeply spiritual drama about coping with mankind\u2019s inherent flaws and the pressures of mortality, but it’s also a riveting adventure that features the greatest performance of Dev Patel\u2019s career. The 2020s have seen many adaptations of public domain properties, but The Green Knight actually has something new to say about the stories of King Arthur, and is able to draw from its greatest influences whilst making the material feel more timeless than ever.<\/p>\n

6 <\/p>\n

\u2018Marty Supreme\u2019 (2025)<\/p>\n

\"Timoth\u00e9e
\n Timoth\u00e9e Chalamet as Marty Mauser playing a game of table tennis in Marty Supreme (2025)Image via A24<\/p>\n

Marty Supreme<\/a> is perhaps the most purely entertaining film of the decade so far,<\/a> as it is rare for a new release that is over 150 minutes long to not feature a single dull moment. Although Josh Safdie did an incredible job recreating the 1950s and filling it with period-specific details, Marty Supreme does not feel weighed down by its historical components, as it tells a story about striving for ambition that feels pitched to today\u2019s generations.<\/p>\n

Marty Supreme solidified Timothee Chalamet\u2019s status as the definitive movie star of his generation. Although he had proven that he could portrayal historical figures like Bob Dylan, make the role of Paul Atreides in Dune his own, and offer a fun reinterpretation in Wonka, Marty Supreme is a film that allowed him to create a character from scratch that has already proven to be a cultural icon.<\/p>\n

5 <\/p>\n

\u2018The Banshees of Inisherin\u2019 (2022)<\/p>\n

\"Barry
\n Barry Keoghan as Dominic, carrying a gardening tool through the countryside in The Banshees of InisherinImage via Searchlight Pictures<\/p>\n

The Banshees of Inisherin<\/a> is just as bleak and hilarious as one would expect from Martin McDonough, the singular Irish playwright-turned-filmmaker who can write sharp dialogue, complex characters, and morally nuanced situations like no one else working today. The Banshees of Inisherin is a film that is entirely reliant on strong characterization; that the plot is minimal is part of the point, as the film is still completely enthralling because of McDonaugh\u2019s razor-sharp observations about male fragility.<\/p>\n

The performances in The Banshees of Inisherin are exceptional, with Colin Farrell in the single best role of his career.<\/a> Kerry Condon adds the heartfelt empathy that the film needed to work emotionally and Brendan Gleeson makes for the perfect nemesis for Farrell, but it was the heartbreaking performance from Barry Keoghan that turned The Banshees of Inisherin into a devastating, beautifully effective tearjerker.<\/p>\n

4 <\/p>\n

\u2018One Battle After Another\u2019 (2025)<\/p>\n

\"One
\n Image via Warner Bros. Pictures<\/p>\n

One Battle After Another<\/a> is one of the Best Picture winners ever, as Paul Thomas Anderson managed to get a \u201ccareer trophy\u201d for making the actual best film of 2025. One Battle After Another is a brilliant take on the divisions that haunt modern America, which both explores the confined failings of revolutionaries whilst also expressing hope that the next generation will be able to achieve something greater.<\/p>\n

One Battle After Another includes the quirky humor, needledrops<\/a>, and magnetic performances that Anderson has always been able to feature, but it’s also a compulsively watchable thrillride that has better action than a vast majority of the more traditional blockbusters released this decade. Between Sean Penn\u2019s terrifying, Oscar-winning role as the ruthless Colonel Lockjaw, Leonardo DiCaprio in his most versatile part yet, and the breakout performance from Chase Infiniti, One Battle After Another has an impeccable ensemble.<\/p>\n

3 <\/p>\n

\u2018Oppenheimer\u2019 (2023)<\/p>\n

\"Oppenheimer
\n Image via\u00a0Universal Pictures<\/p>\n

Oppenheimer<\/a> is the type of immersive, all-consuming historical epic that only Christopher Nolan would be capable of, as it’s an intently-researched expose on one of the most important moments in human history that also functions as a highly entertaining thrill ride in which three hours fly by.<\/p>\n

Oppenheimer taps into the destructive power of genius with a thoughtful, subtle performance from Cillian Murphy that is strong enough to carry the entire weight of the film on his shoulders, even if he is surrounded by one of the century\u2019s greatest ensemble casts.<\/a> Although the actual nuclear testing scene is a feat of practical effects that is worth the price of admission, it\u2019s the reveal of Lewis Strauss\u2019 (Robert Downey Jr.) longstanding feud against Oppenheimer in which Nolan\u2019s non-linear narrative device justifies itself in an act of cinematic bravura that demands to be seen on the big screen.<\/p>\n

Collider Exclusive \u00b7 Oscar Best Picture Quiz
\n Which Oscar Best Picture
Is Your Perfect Movie?
\n Parasite \u00b7 Everything Everywhere \u00b7 Oppenheimer \u00b7 Birdman \u00b7 No Country<\/p>\n

Five Oscar Best Picture winners. Five completely different visions of what cinema can be \u2014 and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.<\/p>\n

\ud83e\ude9cParasite<\/p>\n

\ud83c\udf00Everything Everywhere<\/p>\n

\u2622\ufe0fOppenheimer<\/p>\n

\ud83d\udc26Birdman<\/p>\n

\ud83e\ude99No Country for Old Men<\/p>\n

\n FIND YOUR FILM \u2192\n <\/p>\n

01<\/p>\n

What kind of film experience do you actually want?
\n The best movies don’t just entertain \u2014 they leave something behind.<\/p>\n

\n ASomething that pulls the rug out \u2014 that makes me think I’m watching one kind of film and then reveals I’m watching another entirely.
\n BSomething overwhelming \u2014 funny, sad, absurd, and genuinely moving, all at once.
\n CSomething grand and weighty \u2014 a film that makes me feel the full scale of what I’m watching.
\n DSomething formally daring \u2014 a film that pushes what cinema can even do.
\n ESomething lean and relentless \u2014 pure tension with no wasted frame.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

02<\/p>\n

Which idea grabs you most in a film?
\n Great films are driven by a central obsession. What’s yours?<\/p>\n

\n AClass, inequality, and what people are willing to do when desperation meets opportunity.
\n BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart.
\n CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back.
\n DEgo, legacy, and the terror of becoming irrelevant while you’re still alive to watch it happen.
\n EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

03<\/p>\n

How do you like your story told?
\n Form is content. The way a story is shaped changes what it means.<\/p>\n

\n AGenre-twisting \u2014 I want it to start in one lane and migrate into something completely different.
\n BMaximalist and genre-blending \u2014 comedy, action, drama, sci-fi, all in one ride.
\n CEpic and non-linear \u2014 cutting between timelines, building a mosaic of cause and consequence.
\n DA single unbroken flow \u2014 I want to feel like I’m living it in real time, no cuts to safety.
\n ESpare and precise \u2014 every scene doing exactly what it needs to do and nothing more.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

04<\/p>\n

What makes a truly great antagonist?
\n The opposition defines the protagonist. What kind of opposition fascinates you?<\/p>\n

\n AA system \u2014 invisible, structural, and almost impossible to fight because it has no single face.
\n BThe self \u2014 the ways we sabotage, abandon, and fail the people we love most.
\n CHistory \u2014 the unstoppable momentum of events that no single person can stop or redirect.
\n DThe industry \u2014 the machinery of culture that chews up talent and spits out irrelevance.
\n EPure, implacable evil \u2014 a force so certain of itself it becomes almost philosophical.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

05<\/p>\n

What do you want from a film’s ending?
\n The final note is the one that lingers. What do you want it to sound like?<\/p>\n

\n AShock and inevitability \u2014 a conclusion that recontextualises everything that came before it.
\n BEarned emotion \u2014 I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess.
\n CDevastation and grandeur \u2014 an ending that makes me sit in silence for a few minutes after.
\n DAmbiguity \u2014 something that leaves enough open that I’m still thinking about it days later.
\n EBleakness \u2014 an honest refusal to pretend the world is tidier than it actually is.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

06<\/p>\n

Which setting pulls you in most?
\n Where a film takes place shapes everything \u2014 mood, stakes, what’s even possible.<\/p>\n

\n AA gleaming modern city with a hidden underside \u2014 beauty masking rot, wealth masking desperation.
\n BA collapsing suburban life that opens onto something infinite \u2014 the multiverse of a single ordinary person.
\n CThe corridors of power and science at a world-historical turning point \u2014 where decisions echo for decades.
\n DThe grimy, alive chaos of New York and Hollywood \u2014 fame as both destination and trap.
\n EVast, indifferent landscape \u2014 desert and highway where violence arrives without warning or reason.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

07<\/p>\n

What cinematic craft impresses you most?
\n Every great film has a signature \u2014 a technical or artistic element that makes it unmistakable.<\/p>\n

\n AProduction design and mise-en-sc\u00e8ne \u2014 every frame composed to carry meaning beneath the surface.
\n BEditing and tonal control \u2014 the ability to move between registers without losing the audience.
\n CScore and sound design \u2014 music that becomes inseparable from the dread and awe of what you’re watching.
\n DCinematography as performance \u2014 the camera not recording events but participating in them.
\n ESilence and restraint \u2014 what’s left unsaid and unshown doing more work than any dialogue could.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

08<\/p>\n

What kind of main character do you root for?
\n The protagonist is the lens. Who you choose to follow says something about you.<\/p>\n

\n ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure.
\n BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary.
\n CA brilliant, tortured figure whose gifts and flaws are inseparable from each other.
\n DA self-destructive artist whose ego is both their superpower and their undoing.
\n EA quiet, principled person trying to make sense of a world that has stopped making sense.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

09<\/p>\n

How do you feel about a film that takes its time?
\n Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.<\/p>\n

\n AI love a slow build when I know the payoff is going to be seismic \u2014 patience for a devastating reveal.
\n BGive me relentless momentum \u2014 I want to feel breathless and emotionally spent by the end.
\n CEpic runtime doesn’t scare me \u2014 if the material demands three hours, give me three hours.
\n DI want it to feel propulsive even when nothing is technically happening \u2014 restless energy throughout.
\n EDeliberate and unhurried \u2014 I want dread to accumulate in the spaces between the action.\n <\/p>\n

NEXT QUESTION \u2192<\/p>\n

10<\/p>\n

What do you want to feel walking out of the cinema?
\n The best films leave a mark. What kind of mark do you want?<\/p>\n

\n AUnsettled \u2014 like I’ve just seen something I can’t fully explain but can’t stop thinking about.
\n BMoved and energised \u2014 like the film reminded me what actually matters and gave me something to hold onto.
\n CHumbled \u2014 like I’ve been in the presence of something genuinely important and overwhelming.
\n DExhilarated \u2014 like I’ve just seen cinema doing something it’s never quite done before.
\n EHaunted \u2014 like a cold, quiet dread that stays with me for days.\n <\/p>\n

REVEAL MY FILM \u2192<\/p>\n

The Academy Has Decided
\n Your Perfect Film Is\u2026<\/p>\n

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.<\/p>\n

Parasite<\/p>\n

You are drawn to films that operate on multiple levels simultaneously \u2014 that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that \u2014 a film that rewards close attention and punishes assumptions, right up to its devastating final image.<\/p>\n

Everything Everywhere All at Once<\/p>\n

You want it all \u2014 and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point \u2014 because the feeling of being crushed by infinite possibility is exactly what it’s about.<\/p>\n

Oppenheimer<\/p>\n

You are drawn to cinema on a grand scale \u2014 films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important \u2014 to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.<\/p>\n

Birdman<\/p>\n

You are drawn to films that foreground their own construction \u2014 that make the how of the filmmaking part of the what it’s about. Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else \u2014 a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.<\/p>\n

No Country for Old Men<\/p>\n

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil \u2014 implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.<\/p>\n

\n \u21bb RETAKE THE QUIZ\n <\/p>\n

2 <\/p>\n

\u2018The Brutalist\u2019 (2024)<\/p>\n

\"Adrien
\n Adrien Brody and Guy Pearce in The Brutalist.Image via A24<\/p>\n

The Brutalist<\/a> is an instant American classic that was made in an old-fashioned manner of independent ingenuity, as Brady Corbet managed to finance and envision a surprisingly low-budget film that has the scale and scope to feel like an Old Hollywood epic. It\u2019s a fictional story that ties into the realities of Jewish immigration in the aftermath of World War II, crafting a message about artistic integrity that questions whether the journey or destination is more important.<\/p>\n

The Brutalist features the performance of a lifetime from Adrien Brody, whose comeback performance showed why his commitment and emotional gravity made him feel like the next coming of Marlon Brando. Felicity Jones is also heartbreaking<\/a> in a quiet, yet pivotal role, and the haunting performance by Guy Pearce is among the most effective, terrifying depictions of greed that has been seen in quite some time.<\/p>\n

1 <\/p>\n

\u2018The Fabelmans\u2019 (2022)<\/p>\n

\"Sammy
\n Gabriel LaBelle as Sammy Fabelman looking to the distance while standing beside a projector in The FabelmansImage via Universal Pictures<\/p>\n

The Fabelmans<\/a> is an autobiographical masterwork from Steven Spielberg<\/a>, who returned to his own story of his childhood after making many classics about broken homes, troubled youths, and divided marriages. Although The Fabelmans allowed Spielberg to express revelations about the realities within his parents\u2019 marriage that he did not fully process until he was an adult, it also allowed him to admit how he had relied upon filmmaking itself as a tool in which to avoid ever going to therapy.<\/p>\n

The Fabelmans contains the craftsmanship and energy that only Spielberg can do, with another great score by John Williams and a brilliant finale that includes a cameo intended to appease any cinephiles in the audience. Spielberg has made two other great films this decade with Disclosure Day and his better-than-the-original remake of West Side Story, but The Fabelmans is a personal passion project that is worthy of being listed within his hall-of-fame.<\/p>\n","protected":false},"excerpt":{"rendered":"The 2020s have been a great decade for film so far, contrary to popular belief. Although it can…\n","protected":false},"author":2,"featured_media":502050,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[146,85,46,397],"class_list":["post-502049","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-entertainment","tag-il","tag-israel","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/502049","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/comments?post=502049"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/posts\/502049\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media\/502050"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/media?parent=502049"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/categories?post=502049"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/il\/wp-json\/wp\/v2\/tags?post=502049"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}