Top 10 Action Movies of the Decade (2010 – 2019)

As we near the end of the second decade of the 21st century, it’s amazing to think how many fantastic films have graced the screen in the last ten years. Not content to do one simple Top 10 list, we here at JoBlo.com have decided to go one step further and provide our readers with several Top 10 lists spanning multiple genres, as there are far too many great films in the last decade to have only one, all-encompassing list. So, take a look at our faves below and share YOUR favorites in the comments section!

There were a lot of explosive, badass, shoot-em-up, mano y mano actioners in the last decade and we could fight just as viciously as they do in those films over which ones are the best. However, in compiling this list we faced a number of things to scrutinize, particularly the choice to keep comic book films off the list (they'll get their own) as that could potentially upset the balance and leave off some of the non-superhero action flicks that deserve to be here. When it came to franchises that delivered many times over, we had to make the call if the follow-ups/sequels merited the inclusion or not. Sometimes they did, sometimes they didn't and sometimes it's debatable. In the end, this is where we fell and we're sure that many of you will agree with some and disagree with others, which is totally cool. As with the rest of our Best-of-Decade lists, this is presented alphabetically.

BABY DRIVER (2017)

Director Edgar Wright has shown his proclivities toward action in everything from SHAUN OF THE DEAD, HOT FUZZ, THE WORLD'S END and, most notably, SCOTT PILGRIM VS. THE WORLD, but his films have been mostly known as comedies. However, in 2017 Wright went full-tilt action with BABY DRIVER, a heist-driven thriller starring Ansel Elgort, Jon Hamm, Kevin Spacey, Jamie Foxx, Eiza Gonazlez and Lily James. Like all of his films, music plays a key role in the proceedings, but the real star of the film is the absolute kinetic energy that Wright injects into the film, coupled with his brilliant, fast-cut editing style. In many ways, BABY DRIVER is the film he was working up to since SHAUN and it's an absolute rush of a ride (pun intended).

In what could've been a fairly formulaic high-speed car chase heist movie, Wright creates characters and backstory that makes everything more fun and compelling. Beyond that, like any good heist film, you never quite know who is really good and who is really bad. It's full of surprises and double-crosses, ending in an unexpected showdown that changes villain hands and presents a challenge for the protagonists that has real stakes and repurcussions. If you're going to invest in a fast-moving actioner it definitely helps to have characters you can love (or love to hate) and with Wright's signature style in full force, BABY DRIVER is one of the best wheel screechers to hit the big screen in a long time and is an extremely rewarding rewatch, likely for more decades to come. – Paul Shirey

BRAWL IN CELL BLOCK 99 (2017)

S. Craig Zahler is one of the most divisive directors to emerge from the last decade. Tough to pin down as far as his point of view goes, he makes distinctly un-P.C. movies, albeit ones that are phenomenally well-made and acted. Even the people that hate him, and there are many, respect his talent.

For my money, BRAWL IN CELL BLOCK 99 is one of the best, low-tech actioners of the decade, with Vince Vaughn iconically brutal as the anti-hero Bradley, with his bald head and tattooed head as big of a change of pace as you can imagine. This is the movie that reminded everyone that the towering Vaughn could not only be imposing, but downright terrifying if he chose, and his fight scenes are brutal and brilliant. And, like in other Zahler films, the supporting cast is spot-on, with Don Johnson as the icy cool warden, Fred Melamed, Udo Kier, and Jennifer Carpenter all now a part of Zahler’s stable of actors that go with him from film to film. Whether or not the film was a success is hard to gauge, as it didn't get much of a theatrical release, but I believe it was a rare VOD phenomenon and certainly a barometer for an all-new metric of success that's still mysterious to those of us more used to traditional box office receipts. – Chris Bumbray

FAST FIVE (2011)

It’s hard to believe that THE FAST & THE FURIOUS started as a series of schlocky B-movies. In the first movie, Vin Diesel and his crew were stealing DVD players in what was little more than a POINT BREAK rip off. Now, they’re literally saving the world. Credit is due to director Justin Lin and Universal for raising the bar in a big way starting with FAST FIVE. First, they jacked up the budget. Then, they took the films international. Finally, they added Dwayne “The Rock” Johnson, whose career as a leading man at the time was arguably in the toilet.

FAST FIVE was the one that opened the series up to a major international audience, with the over-the-top chases, including the now-iconic moment where the muscle cars drag a vault through the streets of Rio de Janeiro establishing the series as one of the most unlikely phenomenons of the decade, weathering even the loss of co-star Paul Walker in a tragic accident midway through production on FURIOUS 7. All of the films since have been good, but this is the one that made the series a global phenomenon. – Chris Bumbray

INCEPTION (2010)

While one could argue that it was the 2000’s that cemented Christopher Nolan on the A-list, it was the 2010’s that turned him into one of our most celebrated directors. THE DARK KNIGHT singled his arrival in a big way, but INCEPTION proved Nolan’s ambitions knew no bounds. This is a complicated film, but rather than be turned off by that fact they flocked to see it over and over again. The mind-bending visuals, the score by Hans Zimmer and the performances by the ace ensemble, including Leonard DiCaprio, Ellen Page, Joseph Gordon-Levitt and especially Tom Hardy made this one of the most iconic films of its era.

What THE MATRIX was to the nineties, INCEPTION was to the 2010s, and it’s worth noting that Nolan’s probably the only director that could make an $800 million-grossing action film without having to plan for a sequel. He planned it to be a singular ride, and his reputation is so sterling now that instead of asking him to revisit past triumphs he’s allowed to do pretty much whatever he wants at this point. Arguably, INCEPTION was the film that put him there. It also provided Leonardo DiCaprio a tentpole blockbuster to help establish some legit box office clout for him outside of his passion projects, and he brings the same level of commitment here that he does to everything else he's in. It all adds up to one of the best studio films of the decade and a model example of four-quadrant movies done right. – Chris Bumbray

JOHN WICK – CHAPTER 1-3 (2014, 2017, 2019)

It’s hard to believe, but JOHN WICK came close to becoming a DTV film. Keanu Reeves was coming off of a long string of flops and co-directors David Leitch and Chad Stahelski were an unknown quantity. Pre-release screenings suggested the film had breakout potential, and sure enough, it grossed a solid $86 million worldwide on a modest budget. But, it was the VOD/digital release that turned the series into a phenomenon, with JOHN WICK: CHAPTER 2 more than doubling the worldwide take, and then, even more spectacularly, the third, JOHN WICK: CHAPTER 3 – PARABELLUM, doubled the take of the second film. 

People have taken to this character, and credit is due to Reeves for committing whole-heartedly to this comeback action role, as well as Leitch and Stahelski for creating a whole mythology for him to occupy. It’s worth noting, the action is superlative, with Reeves especially dynamic in the numerous hand-to-hand scraps and close-quarters gun battles. The visual style of the films is also immediately recognizable, with Stahelski making them into beautifully lit action epics, a far cry from the usual teal and orange style favored by most. – Chris Bumbray

KINGSMAN: THE SECRET SERVICE (2014)

Having read Mark Millar and Dave Gibbons' (Watchmen) comic, I never expected that a film version would amount to much. But, once Matthew Vaughn became involved it took on a whole new life. A modern-day, James Bond-ish style tale that takes a rough-around-the-edges rebel named Eggsy (then newcomer Taron Egerton) and places him in a world he was never meant to be a part of; a top secret British spy agency. All that sounds pretty straightforward in terms of the genre, but with Vaughn and Jane Goldman's screenplay make for a far more cheeky, profane, stylish, violent take.  

All of that sounds well and good, but what really sets KINGSMAN: THE SECRET SERVICE apart (and superior to its sequel, THE GOLDEN CIRCLE) is that it goes balls-to-the-wall in every way, including a church shoot-out sequence set to the tune of Lynyrd Skynyrd's tune "Free Bird" thats by far one of the most hyperviolent, badass sequences ever made. Beyond making Egerton a star, it's also the first time we see the commonly-known thespian Colin Firth break free and deal out some serious ass-kickery (see the aforementioned Church scene), which is a sight to behold. With a catchy theme by Henry Jackman, a raunchy Bondian concept and characters that are instantly memorable, KINGSMAN: THE SECRET SERVICE is a prime example of taking what's known and spinning it into something fun and original. Manners Maketh Man! – Paul Shirey

MAD MAX: FURY ROAD (2015)

After three low-key genre entries starring Mel Gibson as the titular character, director George Miller put his focus elsewhere, all the while attempting to continue the series in between projects. Gibson's personal controversies certainly helped stall those efforts and by the time Miller got around to reviving the series he had to cast a new Max Rockatansky. Fortunately, he found a gem in Tom Hardy, who strapped on the leather jacket for 2015's MAD MAX: FURY ROAD, a sequel 30 years in the making. But, it wasn't just Hardy that would be making a massive impact with this one; Charlize Theron created her own iconic counterpart with Furiosa, a battle-hardened woman on a mission, every bit as strong and vicious as Max. After a stunning trailer debut at Comic Con, everyone wondered if there was any way the actual film could live up to such an electric tease.

And that question was answered with a resounding "hell yeah!" MAD MAX: FURY ROAD isn't just one of (if not THE) best action films of the decade, it's a technical marvel that also manages to not only be well-acted, but contains a story that's fairly simple, yet replete with unique and compelling characters, from Max and Furiosa to the armada of villains and good guys. It's a visual powerhouse that leaves you energized and shaken with awe, wondering how much of what you're seeing is practical vs. CGI, often beckoning the question, "How did they do that?" Brilliantly edited and with a pulse-pounding score by Junkie XL, MAD MAX: FURY ROAD is the total action package and a film that holds up on repeat viewings, which hopefully are happening on the biggest, loudest home theater you can find. Witness! – Paul Shirey

MISSION: IMPOSSIBLE – GHOST PROTOCOL (2011)

The MISSION: IMPOSSIBLE franchise has been an absolute beast since it debuted, transitioning star Tom Cruise from a talented dramatic actor to a bonafide badass as Ethan Hunt, the IMF superagent that seems to run (literally) on high-octane adrenaline and sheer fiery intensity. From Brian DePalma's inventive caper in 1996 to John Woo's bullet-ballet-fest in 2000 to JJ Abrams' slick spy actioner in 2006, it was unclear where the franchise would go from there. Enter Pixar director Brad Bird, who injected an intensity, energy and absolute bonkers stuntwork to the franchise with MISSION: IMPOSSIBLE – GHOST PROTOCOL, the most fully-realized of the franchise and one that pays homage and builds its story on the narrative of previous films to make a perfectly evolved MISSION: IMPOSSIBLE film.

Now, some of you are up in arms over how both of Christopher McQuarrie's entries, ROGUE NATION and FALLOUT, deserve to be here as well. And, maybe you're right, but when it all boils down, GHOST PROTOCOL stills has the edge. A pitch perfect supporting cast, including Paula Patton, Simon Pegg, Alec Baldwin and Jeremy Renner with great villains in the form of Lea Seydoux and the late Michael Nyqvist, the stakes, the missions, the stunts, the locales, the fast-paced, nonstop energy and clever set pieces make this a perfect MISSION: IMPOSSIBLE film. Thankfully, the franchise remains in good hands under McQuarrie's watch and his films deserve an honorable mention in the least and we've still got two more on the way. Long live Tom Cruise on the run! – Paul Shirey

THE RAID: REDEMPTION (2011) / THE RAID 2 (2014)

THE RAID series is responsible for both one of the lowest and highest points of my movie reviewing career. The first had to be the lowest, as I opted to skip this Indonesian action movie no one had heard of when it made its TIFF debut, only for it later to become a classic. Thus, I missed the world premiere of one of the greatest action films of all time. Naturally, it went on to become a phenomenon, and I caught THE RAID: REDEMPTION a few months later at sundance, where my jaw rested flat on the floor throughout most of the running time. 

While neither film was a box office sensation in North America, they've had a huge impact on everything from STAR WARS to JOHN WICK, making them perhaps two of the most iconic films of the decade. So if missing THE RAID: REDEMPTION's world premiere was my low point, what was the high point? Easy. I got to be there for the debut of the sequel, with star Iko Uwais and director Gareth Evans in attendance. In my mind, Uwais arguably the greatest martial arts movie icon to emerge since Jet Li, although Chinese audiences might make a strong case for Wu Jing, who I'd love to see turn up in a third film if one is ever made. Of the two, THE RAID 2 is my favorite with it probably the greatest action sequel since TERMINATOR 2: JUDGEMENT DAY. The car chase with the transfer from the car-to-car is astounding action directing., and one of the decade's setpiece highlights. I don't think action gets any better than this. – Chris Bumbray

SKYFALL (2012)

In 2006 we welcomed a new Bond into the fold in the form of Daniel Craig, a very different-looking prototype for the character, being a bit more rough around the edges and sporting blonde hair, rather than the traditional brunette. Doubters were soon assuaged, however, when Craig proved to be up to task with CASINO ROYALE, a strong new entry in the Bond franchise. Two years later came QUANTUM OF SOLACE, which was met with lackluster critical reception and made many wonder if Craig's first foray was a fluke. After a four year hiatus, SKYFALL was delivered, welcoming Craig back to the fold in one of the most refined, stylish and badass Bond flicks to come out of his 50 plus year history. Director Sam Mendes, known mostly for his dramatic fare at the time, delivered a take that brought to life everything we love about Bond and brought it into the modern era.

With an amazingly cool and creepy villain, played by Javier Bardem, Bond not only has to contend with an antagonist that is his match, but also has to deal with his checkered past and the ties that bind him to it. In rare form, we get to peel back the layers of a beloved character, while still getting to enjoy all the things that we expect from him. With a smooth sailing pace, inventive, striking action and stakes that feel very real for Bond, SKYFALL is what happens when everyone involved in a major franchise really understand what they're working with and how best to bring it to audiences. – Paul Shirey