Top 21 Most Underrated Movies of Each Year (2000 - 2020)

Top 21 Most Underrated Movies of Each Year (2000-2020)

Welcome to WatchMojo, and today we’re counting down our picks for the Top 21 Most Underrated Movies of Each Year (2000-2020)

For this list, we’ll be looking at films released for each year of the 21st century — so far — that were mostly underappreciated by audiences upon release, and are still struggling to achieve the full status they deserve.

What do you think is the most underrated movie of the 21st century? Let us know in the comments.

2000: “Best in Show”

Christopher Guest in general is underrated, and “Best in Show” might be his funniest directorial outing. While Guest and co-star Eugene Levy wrote an outline, the film primarily relies on ad-libbing. Why not when you have other improv masters like Catherine O’Hara, Jane Lynch, and Fred Willard, among others? Like many of Guest’s comedies, “Best in Show” focuses on a subculture that probably eluded you. In this case, it’s competitive canine owners. Levy wasn’t sure how to make a dog show funny, and audiences apparently thought the same thing. The film not only finds the humor in dog shows, however, it makes the audience genuinely interested in them. It even helped pave the way for the National Dog Show to become an annual broadcast event.

2001: “Ghost World”

Not nearly enough people are talking about “In the Bedroom” these days, but at least that affecting drama received a Best Picture Oscar nomination. The same can’t be said about the wildly endearing and underappreciated “Ghost World.” Granted, this dark comedy did score a nomination for its screenplay, which Daniel Clowes adapted from his graphic novel with co-writer Terry Zwigoff. But where’s Steve Buscemi’s Best Supporting Acting nomination? Where’s Thora Birch’s Best Actress nomination? Accolades aside, why isn’t “Ghost World” brought up more when we talk about the best generational movies? Perhaps the film was ahead of its time. Its wit, pathos, and cynical charm feels eerily modern.

2002: “Confessions of a Dangerous Mind”

It’s rather surprising this biopic didn’t pick up more accolades. It was directed by George Clooney, written by Charlie Kaufman, and distributed by Miramax. We guess the studio was more interested in pushing its Oscar hopefuls. On top of that, Sam Rockwell was synonymous with the word “underrated” for a while. So, it makes sense that his first major film as a lead would carry an underrated moniker as well. Rockwell shines as Chuck Barris, the famed game show host and creator who claimed in his autobiography to have worked as a CIA assassin. Whether his story is mostly true, or mostly fabricated, nobody can deny that it’s fascinating. For another underrated performance from that year, we refer you to Samantha Morton of “In America.”

2003: “21 Grams”

Released the same month as the equally underrated “Master and Commander,” “21 Grams” centers on three strangers who become intertwined in a web of guilt, grief, and glimpses of hope. This gritty crime drama is the second in director Alejandro González Iñárritu’s Trilogy of Death, the other two being “Amores perros” and “Babel.” All three films take a non-linear approach with interwoven narratives, but “21 Grams” is the one that often gets lost in the shuffle. Throw in several tragically poetic twists and you have a film that was never going to be a crowd-pleasure. If you can handle the hard-hitting drama, though, you’ll find an exceptionally crafted ensemble piece carried by powerful performances from Naomi Watts, Sean Penn, and Benicio del Toro.

2004: “The Life Aquatic with Steve Zissou”

Whenever Wes Anderson comes out with a new movie, it’s almost immediately hailed as a classic in the making. “The Life Aquatic” is a rare exception. The film bombed at the box office and split critics, standing out as Anderson’s only directorial outing with a negative Rotten Tomatoes score. It’s seen by some as the black sleep in Anderson’s filmography, having followed three critical darlings. Is “The Life Aquatic” worthy of that dubious title, though? It stands out as one of Anderson’s most visually interesting efforts, although the film isn’t pure style over substance. With a twisted sense of humor, imagination, and depth, it might not be Anderson’s best film, but there’s more beneath the surface than many initially gave it credit.

2005: “Brick”

Rian Johnson’s first feature has all the makings of a classic film noir: a hardboiled detective, a dead body, a femme fatale, and an underground society. What distinguishes “Brick” is its contemporary high school setting and teenage cast. This almost gives it a student film quality, but with much more craft behind the camera and stronger performances in front. The cast is led by Joseph Gordon-Levitt, who’s still shaking his underrated status. While often overshadowed by some of his subsequent work, “Brick” remains among Johnson’s most atmospheric and sharply written films. That said, we are glad that Johnson has hit the mainstream as of late. The same can be said about Shane Black, who also made his directorial debut that year with “Kiss Kiss Bang Bang.”

2006: “Little Children”

While Michael Mann’s “Miami Vice” is thankfully gaining more of a following, the unsettling “Little Children” deserves a much bigger audience. All appears peaceful in suburbia, but behind closed doors, this neighborhood is full of lost souls. Kate Winslet’s Sarah and Patrick Wilson’s Brad seek comfort with each other in an affair. Noah Emmerich’s Larry seeks redemption by targeting a criminal Jackie Earle Haley’s Ronnie seeks a way to overcome his inner demons, only seeing one shocking resolution. “Little Children” is masterfully acted, heartbreaking, and will leave you desperately wanting to see more from director Todd Field, who also made “In the Bedroom.” For whatever reason, Field hasn’t directed a film in almost 15 years. Here’s hoping “Little Children” isn’t his last.

2007: “Timecrimes”

There’s no shortage of 2007 movies we’ve could’ve highlighted, including “Zodiac,” “Walk Hard,” and “The Assassination of Jesse James.” While you’ve probably at least heard of those underrated gems, “Timecrimes” is still waiting for cult status. A man with bandages around his head, a pair of scissors, and a time machine… by the half-way point of this Spanish sci-fi thriller, you may think you how these elements are all connected. By the end, though, you’ll find that this puzzle is far more intricate and morally challenging than anyone could’ve realized. Every twist feels earned, and every detail holds a greater purpose. It’s a film that demands to be viewed multiple times, but many haven’t even watched it once.

2008: “In Bruges”

Director and playwright Martin McDonagh might not be as iconic as Quentin Tarantino, but he might deserve to be. Likewise, hitmen Ray and Ken aren’t as well-known as Vincent and Jules, but they’re every bit as interesting. Colin Farrell and Brendan Gleeson star in this uproarious buddy picture about redemption, revenge, and sightseeing. As quotable and hilarious as the film is, it throws several dramatic curveballs. It accumulates to an ending that blends humor with tragedy in ways we haven’t quite seen before. Although the title isn’t the most attention-grabbing, everything else about “In Bruges” is. At least the film got a Best Original Screenplay nomination. Speaking of which, why wasn’t “Synecdoche, New York” up for that award as well?

2009: “Moon”

Another Sam Rockwell movie, “Moon” may’ve marked the actor’s finest performance at the time. Duncan Jones’ directorial debut is practically a one-man acting showcase for Rockwell. Actually, we suppose you could call it a two-man showcase, seeing how Rockwell shares the screen with himself. Sam Bell is an astronaut whose three-year mission is winding down. As matters get increasingly surreal on the lunar station, Bell comes face to face with his clone… or is he the clone? The original’s identity is just one of the twists that make “Moon” such a compelling watch. At its core, the film is about isolation and what it means to be human. Rockwell’s performance overflows with relatable charm, solidifying him as one of the early century’s most underrated talents.

2010: “Buried”

Like “Moon,” “Buried” is largely carried by its lead, Ryan Reynolds. Although Reynolds is widely known for his comedic chops, he gives his most intense performance here as Paul Conroy, an American who’s buried alive in a wooden coffin. This concept could’ve gotten old fast, but “Buried” is consistently harrowing. Reynolds makes the audience feel every ounce of desperation, paranoia, and fear that Paul experiences. Although the space is limited, the direction, editing, and cinematography make for a more visually varied film than one would anticipate. Chris Sparling’s script is full of surprises as well. This unsettling ride will leave the audience gasping to catch their breath until the final scene. For something a tad more lighthearted, check out an underrated comedy like “MacGruber.”

2011: “Take Shelter”

We feel like “Take Shelter” would’ve done much better if it came out in, say, 2020. Tell us if this sounds familiar: A man senses that a disaster of epic proportions is looming, motivating him to build a shelter for his family. Although his wife and fellow townspeople think he’s gone mad, our protagonist remains resolute that they need to prepare. If the film was released nowadays, you’d swear it was a thinly veiled commentary on the coronavirus outbreak. The great thing about “Take Shelter” is that it can be applied to any real-world crisis, from global warming to nuclear accidents. As such, Jeff Nichols’ film will always be relevant, which makes it all the more distressing. Again, let’s lighten the mood with comedy. “Bernie,” maybe?

2012: “Dredd”

“Dredd” still doesn’t have the broadest audience, but everyone who sees the film asks the same question. Why didn’t this do better in theaters? The most obvious explanation is that people came to associate “Judge Dredd” less with the original comics and more with the Sylvester Stallone bomb. The fact that “Dredd” didn’t have a brand like Marvel or DC backing it is another possible factor. What we know for sure is that this movie is awesome. The action is excellent, the darker tone is warranted, and Karl Urban was mastering the faceless antihero act long before a certain Mandalorian. While there has been talk of continuing the story in some capacity, we may never be able to describe “Dredd” as mainstream.

2013: “Prisoners”

Director Denis Villeneuve has risen to international fame in recent years with films like “Blade Runner 2049.” His first English-language feature, however, is also his most underappreciated. On the surface, “Prisoners” may seem like a straightforward thriller about two little girls who are kidnapped. They’re not the only prisoners in this layered story, though. Hugh Jackman’s Keller is chained down by alcoholism, guilt, and despair, leading him to take extreme measures. Jake Gyllenhaal’s Detective Loki is a prisoner of loneliness, although he may not realize it. Jackman and Gyllenhaal both should’ve been in the Oscar conversation, although Roger Deakins’s chilling cinematography thankfully was nominated. Those who did see “Prisoners” in the cinema immediately knew Villeneuve was a filmmaker to watch.

2014: “A Most Violent Year”

Two of this year’s most underrated crime dramas were also among the most unconventional. In “Nightcrawler,” the crime scenes are every bit as disturbing as the stringer profiting off them. “A Most Violent Year” takes a white-collar approach to the organized crime genre. Abel Morales isn’t Michael Corleone or Tommy DeVito. Despite his unlawful connections and activities, violence isn’t the first solution that pops into Morales’ head. Of course, his wife is far more trigger-happy. Although Morales tries to keep his hands as clean as possible, there will always be some blood on them. If you go in expecting the next “Scarface,” you might be disappointed. If you’re open to a more nuanced crime story, though, “A Most Violent Year” is most stimulating.

2015: “Anomalisa”

With a lot of the movies on this list, we can’t help but speculate why there weren’t immediate hits. “Anomalisa” is an open and shut case, however. A general audience was really never going to embrace a stop-motion character study that mixes surreal comedy with psychological horror, but we adore every frame of the film. If you’re a fan of adult animation and Charlie Kaufman, you’ll share the same sentiment. Directed by Kaufman and animator Duke Johnson, “Anomalisa” centers on a customer-service expert who feels detached from the rest of humanity. On a business trip, our protagonist spontaneously falls for a woman named Lisa. Love at first sight isn’t always what it seems, though, and neither is this hauntingly beautiful film.

2016: “The Nice Guys”

They say Hollywood doesn’t make quality comedies anymore. The truth is that they’re out there, but audiences aren’t seeking them out. In 2016 alone, they neglected “Popstar” and “The Nice Guys.” The latter film, in particular, warrants comparison to the best buddy comedies. Had the film come out in the same era as “Midnight Run” or “48 Hrs.,” it’d likely be regarded as a classic today. Audiences apparently weren’t interested in a throwback in 2016, but “The Nice Guys” is draped in style, funny as hell, and enormously entertaining. At the forefront is a spot-on dynamic between Russell Crowe and Ryan Gosling, although the film’s cleverest crimefighter is Angourie Rice as Gosling’s young daughter. With a Christmas backdrop, this film needs the “Die Hard” treatment.

2017: “Good Time”

The Safdie brothers are gaining a reputation for redeeming actors. For many years, Robert Pattinson was generally written off as the “Twilight” guy. After seeing “Good Time,” you’ll be like, “Edward who?” Pattinson escapes into the role of Connie, a crook who tries to bust out his developmentally disabled brother after a robbery goes wrong. Following another trope that’s common in the Safdie’s films, Connie makes one misguided choice after another. The Safdies are experts at turning New York into a maze where the walls are constantly closing in on the protagonist. There’s no escape, but Connie keeps running away from trouble while also digging himself deeper into it. “Good Time” isn’t exactly a good time, although it is a nail-biting, adeptly made one.

2018: “Under the Silver Lake”

Andrew Garfield’s Sam has a brief flirtation with a woman who suddenly vanishes, inspiring him to play detective. That sounds simple enough, but nothing can prepare you for how bonkers this neo-noir mystery is. Don’t believe us? Well, without giving anything away, the trail of clues Sam follows includes dogs, cereal boxes, and an elderly songwriter. How are these elements related? You just need to see it to believe it. A film this bizarre was bound to divide audiences and critics, but “Under the Silver Lake” is amassing a following with some admirers who believe the picture contains hidden messages. Much like “The Shining,” which was misunderstood in its time, we think people will continue to discover this film and analyze it further.

2019: “Queen & Slim”

“Queen & Slim” is every bit as enthralling as “Bonnie and Clyde,” but the titular characters belong in a different category. Whereas Bonnie and Clyde chose to become outlaws, Queen and Slim are forced to go on the run when a racist cop abuses his power. Although they just met, their fates become forever intertwined when the officer dies. They inadvertently emerge as symbols, which has effects beyond their control. All they can do is try to escape the clutches of a corrupt justice system, finding love in the process. “Queen & Slim” was relevant when it came out in 2019, but likely would’ve sparked more conversation had it been released a year later. Given recent developments concerning law enforcement and racial profiling, it’s essential viewing.

2020: “I’m Your Woman”

2020 had too many worthy Best Actress contenders to count. We would’ve loved to have seen Radha Blank in the mix for her breakthrough performance in “The 40-Year-Old Version” or Rachel Brosnahan for her transformative work in “I’m Your Woman.” Directed by Julia Hart, the latter possesses echoes of great 1970s crime dramas. Instead of high-level crooks or mob bosses like the aforementioned Michael Corleone, though, the focus shifts to the spouse of a criminal. Brosnahan couldn’t feel more natural as a mother who’s forced to step up in her husband’s absence, discovering what she’s truly capable of. It mirrors Brosnahan’s own transition from comedy to heavy drama. Stylized, thrilling, and powerfully acted, it’s a wonder why this one is still awaiting a wider audience.