It’s hard to look at the cinema of the 2010s and ignore what the Academy mostly ignored: the BLOCKBUSTER. Now, before the cinephiles and Oscar elitists come for me, I’m not necessarily saying every one of these films should have been considered for major Oscar nominations or added to the pantheon of the greatest films of all time. However, the 2010s were dominated by massive box-office successes—dozens of films made hundreds of millions, thirty-nine crossed the $1 billion mark, and three topped $2 billion. Ignoring the significance of the blockbuster is failing to acknowledge its rightful place in film history. These aren’t just films for highbrow critics to throw shade at for being moneymakers or tentpoles; we should step back and appreciate what they achieved and the impact they had on culture.
To be honest and transparent with you, I’m not someone who typically champions blockbuster movies. When I set out to create a dialogue about movies across different decades, I never intended to write about this subject. Some comments from last week’s article sparked this post, and after a little research I felt like it was necessary to discuss. Several commenters love big box-office films, and Sasha herself has become a voice championing films that make money and move the cultural needle for Oscar contenders.
I’m torn on the subject. On one hand, I see how the Oscars have drifted toward awarding “the best festival film nobody knows about,” while relegating box-office hits to below-the-line categories. On the other hand, just because a film makes a ton of money doesn’t mean it’s the best film—or even one of the best—of a given year. As with most things, we need balance: don’t be so elitist that we push only for “little indie films that could” and throw shade at great blockbusters; nor be so focused on money-makers that we crush the smaller films trying to find their place in history. I’m not advocating changing the Oscars or adding a new category for popular films—that’s a silly endeavor. I’m only asking that we shift our perspective to consider all films, no matter how much or how little money they make, or whether they’re international or American, when we talk about the best films and awards potential.
Finding that balance is hard, but it’s worth it. Over the last few years I’ve wrestled with this as I talk to “regular” moviegoers about the Oscars and listen to what they think. When they told me about movies I’d always considered “popcorn flicks,” I realized I mostly shoved those films to the side simply because they were made to make money and—so I assumed—had no depth. When I explained Oscar films and the buzzy titles, they would often tune me out or not even know what I was talking about. So I wondered: am I a snob about what I consider great?
I decided to deep-dive into the blockbusters I’d ignored. Surely a popcorn film wasn’t worth my time compared to prestige, emotional, Oscar-buzzy fare—right? I was astonished at what I’d missed in the 2010s while I chased Oscar bravura. I mostly skipped the Marvel and DC cinematic universes, lots of Star Wars, the Fast & Furious franchise, many Disney remakes, a lot of animated films, and way too much more. I’m annoyed I missed the “Avengers, assemble” moment in a packed theater and the ending of Rogue One when Darth Vader is on a rampage! I’m not saying all these worlds are Oscar contenders—I’m just admitting my snobbery and regretting the cultural moments I didn’t experience.
Eventually I got swept up into the Star Wars world I’d scoffed at—now my kids are obsessed (and that’s a huge understatement). I worked through the Marvel films in timeline order to see what the fuss was about; my wife and I couldn’t wait for the next one—though now I have to contend with Paul Rudd showing up in her dreams. Missing those cultural movie moments made me realize blockbusters don’t get the respect they deserve.
Here’s a question: what is the objective of movies in general? It wasn’t originally about money—someone later realized you could make money from them. The objective can be one thing or many things at once; it’s not boxed into a single perfect answer. Some movies exist simply to entertain. Others aim to offer metaphors for life or social commentary, and others hold up a mirror so we have to look inward. Can popcorn films do any of this? I think many can—Star Wars certainly does, in both films and shows. What I’m saying is we should be far more open to box-office films being just as great as the festival films we revere, and praise them for what they achieved. This is nuanced and everyone has opinions, but box-office juggernauts filled theaters and captured a generation—and that’s worth applauding and talking about.
So, in honor of the decade’s ignored blockbusters, here are my top 10 blockbuster films that should have been nominated for Best Picture at the Oscars in the 2010s (building a little suspense by going from 10 to 1):
10. Crazy, Stupid, Love.
This is the least money-making film on the list. I have expressed my love for this film over and over. If you haven’t read my raves before—here it goes: I adore this movie. It’s a masterpiece of the rom-com genre. There hasn’t been a more original and unique rom-com in a long time. The cast is phenomenal—Steve Carell, Emma Stone, Ryan Gosling, Julianne Moore, Marisa Tomei, Kevin Bacon—those are serious heavy hitters!
The story is beautiful, and I don’t want to spoil the BONKERS twist I never saw coming. I can still hear the gasp from me and my two cousins—I don’t think I’ve gasped that loud at a movie twist ever. The most touching scene is when the guy who lived to bed women and the girl who just wanted to prove a point spend an entire night laughing, talking, and really getting to know each other instead of jumping into bed. That moment—intimacy and transparency in love—stuck with me. The nanny subplot hasn’t aged perfectly, but it doesn’t ruin the film’s beauty. At the very least, the Academy should have given it a screenplay nod. It was truly worthy of more.
9. Avengers: Infinity War
I can’t recall a movie that flooded the internet like Infinity War. I remember people crying, people stunned—left baffled by the brilliant and heartbreaking idea to kill off main characters and millions of people across the globe, and then make everyone wait for the next movie. It was the ultimate cliffhanger. I didn’t see it until 2022, and even knowing what would happen, I didn’t expect how devastating it would be. Spider-Man turning to ash in Iron Man’s arms—gut-wrenching. That is the best acting moment in the Marvel films, no question.
Now listen—I love Black Panther. My two favorite Marvel characters are Spider-Man and Black Panther. I think the Academy’s decision to nominate Black Panther (the only Marvel film to get a Best Picture nod) instead of Infinity War was political, and you can’t change my mind. Both are fantastic, but Infinity War was the better film, hands down.
8. Rogue One
I, Jeremy Jentzen, publicly admit I was wrong about Star Wars. I saw the first six films before the new films and series arrived. I made fun of people who liked Star Wars and considered it popcorn matinee fodder—until a close friend got me to rewatch the original six, watch the new trilogy and spin-offs, and watch the shows. Somehow it drew me in, and now I’m one with the Force. I tried not to get emotionally attached, but I did—and now my sons are complete Star Wars nerds too.
The longer I think about Rogue One—especially after watching Andor—the more I’m certain it’s my favorite Star Wars film. GASP. I know that’s controversial in Star Wars nerd circles, but it’s true. The Force Awakens isn’t far behind, I am now sure to get hate for this, but whatever. Rogue One pulls the trilogies together in a poetic, understated way. It takes you out of the “Skywalker saga” and tells a different story that bridges a gap. I loved it before Andor and loved it even more after—on rewatch it climbed to the top of my list. THE END SCENE!!!!! I really wish I could’ve experienced that in a theater. There aren’t many endings I rave about, but Rogue One is at the top.
7. Bridesmaids
Bridesmaids was VERY close to a Best Picture nomination. Nominated for Supporting Actress and Original Screenplay in what was a weak year, it certainly should have made the Best Picture lineup. It’s another cultural moment full of memes and quotes I still hear today. The Academy hasn’t been keen to nominate raunchy comedies—well, I take that back: they let one win last year, no? I guess the difference is one was genuinely hilarious, and the other was just incredibly annoying. ALL. THE. SHADE.
Bridesmaids still stands as one of the funniest movies ever in my opinion. It tackles the emptiness you feel when you’re single and watching your best friend get married, and it shows how to get back on your feet after being down. And it makes you laugh so hard you cry. I remember cheering when they called Melissa McCarthy’s name on nomination morning—a breakthrough performance for the ages. I’d have loved to be a fly on the wall during filming. Bridesmaids is easily better than several films that were nominated in 2011.
6. Zootopia
The only animated film on my list—and not just a kids’ movie. Zootopia is for everyone. It reminds us that no matter what we look like, we can pursue our goals, and it shows that hatred for those who are different helps no one. The messaging is a bit on the nose, but it’s delivered so creatively. The movie is a genius blend of a mystery with smart twists and turns, humor, and nods to classic cinema. It won Best Animated Feature, but it deserved a Best Picture nomination. I’m excited for Zootopia 2—it has a lot to live up to!
5. Harry Potter and the Deathly Hallows: Part 2
For the record: I’m a huge Harry Potter fan. I’ve read the books twice, listened to the Jim Dale audiobooks twice, I’m HIGHLY excited about the new full-cast audiobooks, and I’m OVER THE MOON about the upcoming TV series—hopefully far more faithful to the books. That said, Deathly Hallows: Part 2 would have been a perfect movie for the Academy to finally throw it a bone in the Best Picture category. What the MCU did in the 2010s, the Wizarding World did in the 2000s—they created the playbook.
Harry Potter holds a special place in my life (as it does for many others’). It brings people together and will always be culturally relevant. That final film wrapped things up beautifully and ended a universe that deserved more love. Twelve Oscar nominations across eight films and zero wins—such a shame. Here’s hoping the new TV series gets awards attention! If any of my UK friends want to house me and my Potterhead buddy for a filming-site tour, hit me up—it is a bucket list vacation for us. ***Also, this Potterhead buddy of mine lurks in our comment section, 100 points to your House Team if you can find him!***
4. Skyfall
I consider Skyfall the best Bond film ever—much to the dismay of Casino Royale fans. It’s a near-perfect action film: edge-of-your-seat thrills plus drama and all the typical sexiness that comes with a Bond film. Dame Judi Dench and Javier Bardem give performances that elevate the whole film. And we can’t forget, Adele, delivering what I consider the best Bond song ever—making her an Oscar winner in the process!
Bardem and Dench being snubbed by the Academy, felt like a gut punch. I remember being so disappointed—after they got recognition at BAFTA, Critics’ Choice, and SAG—only to be overlooked by the Oscars. Skyfall deserved more than just below-the-line nominations. No other Bond film has stayed with me like Skyfall.
3. Gone Girl
Sasha has said everything that needs to be said about Gone Girl. The Academy really messed up. David Fincher delivered a slow-burning masterpiece centered on one of the best performances of the decade by Rosamund Pike, anchored by a tightly written screenplay adaptation by Gillian Flynn of her own novel. And what was nominated? Pike—which she did deserve—but she lost to Julianne Moore’s career Oscar. It hurts when a movie is both a box-office hit and a masterpiece and still fails to land among the Best Picture lineup. I could go on and on about Gone Girl’s brilliance—it deserved better.
2. Avengers: Endgame
I almost put this at number one, but I wanted a little suspense. Endgame was the event of the decade—a film that had been slowly building for more than ten years and finally delivered. Everyone and their cousins showed up to watch Endgame—unfortunately, except me. I watched it recently, and I was bummed I didn’t see it in theaters. There’s something beautiful about witnessing film moments that will stand the test of time—“Avengers, assemble” will always be one of those. Watching YouTube reaction videos filled me with regret for ignoring these movies out of smugness. It was the perfect way to cap a decade of storytelling. If Marvel had left it at that high point, it might’ve remained untarnished—unfortunately, they didn’t.
2019’s Oscar slate could easily have made space for Endgame if they weren’t so snooty. This snub is a black mark for the Academy and part of why some people find the Oscars irrelevant—and to a degree I don’t blame them, because Endgame would have been a fine Best Picture nominee.
1. Interstellar
Haters can hate all day; I don’t care. Interstellar is Nolan’s masterpiece—I said what I said. Nolan makes great films, but Interstellar surprised me in ways I didn’t expect. Frankly, I don’t care whether every bit of the science was perfectly accurate—it doesn’t affect what was delivered to me. People don’t question the science in superhero films and accept it; why can’t Interstellar be taken the same way? Enjoy what you’re given; don’t take it so literally. It’s a SCI-FI film; it’s not a documentary trying to prove the science. Full stop.
Matthew McConaughey delivered one of his best, most deeply felt performances. It didn’t feel like Oscarbait that wanted compensation; it felt honest. The visual effects, especially in IMAX, were spectacular. This is the Nolan I want more of—not Nolan reaching for Oscars but Nolan trying to make a great film from start to finish. I’m excited for Nolan’s Odyssey project, but it will be hard to top Interstellar in my book.
We who follow the Oscars know the Academy rarely gets everything right when picking winners, and they have a history of snubbing movies that might be just as deserving—or more so—than their choices. They can’t rewrite the past, and no new “popular film” Oscar will magically fix everything. What the Academy—and some of us—need to remember is that we can’t be blind to popular films and miss the ones that are truly great and worth championing; nor should we punish a film simply for making money. Somehow, some way, there’s a balance to be found; if we don’t find it, we’re not being honest film critics, lovers, or Oscar prognosticators. All great films need cheering—from tiny indies to big money-makers, from biopics to horror to SCI-FI to romance!
So, if you’ve made it this far, here’s your challenge in the comments: rank the box-office hits you feel should have been Oscar Best Picture nominees or winners—and let’s talk cinema!!!
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By: Jeremy Jentzen
Title: Let’s Talk Cinema: The 2010’s
Sourced From: www.awardsdaily.com/2025/08/13/lets-talk-cinema-the-2010s-2/
Published Date: Wed, 13 Aug 2025 04:05:20 +0000
