Here Are The 12 Best Romantic Movies Of The 2000s That You Can Watch Right Now


Here Are The 12 Best Romantic Movies Of The 2000s That You Can Watch Right Now:

Without love, what would film be about? Several decades before Humphrey Bogart as well as Ingrid Bergman’s “Casablanca,” love has been at the heart of many famous stories, setting the stage for some of the greatest moments in movie history.

Some people will say they don’t like love movies. These people might as well admit that they’re dead on the inside, with nothing beating where their hearts used to be. You should not be their friend.

Whether it was Cary Grant as well as Grace Kelly seeing stars within “To Catch a Thief” or Meg Ryan as well as Billy Crystal making diners uncomfortable in “When Harry Met Sally,” the 20th century was full of famous movie couples that made people love movies.

Of course, most of the artists in those books were white and told mostly straight stories. This means that many of the greatest as well as most inclusive loves have come out in the last ten years.

Jab We Met:

Many people really love this simple 2007 movie by writer as well as director Imtiaz Ali, even though Indian romantic comedies are known for being big and flashy.

Two very different people, Geet and Aditya, play lead roles in the movie. They meet upon a cross-country train. They meet on the trip and start an odd relationship, but things aren’t easy because Geet has a boyfriend back home who she wants to marry.

“Jab We Met” plays with rom-com tropes while also using their best parts, especially in the characters. Aditya is quiet and, to be honest, sad. Geet, on the other hand, has a joyful personality but also a short fuse and a lot of bad language.

The music in Pritam is unlike anything else out there at the time, and it’s only one of many things that makes the movie so memorable. You’ll want to become to know “Jab We Met” right away, thanks to Ali’s story and direction, Natarajan Subramaniam’s work as photographer, and the smart, lovable acting from two of the biggest stars of the time.

500 Days Of Summer:

Marc Webb’s “500 Days of Summer” is a love comedy that is still very fresh, even though it is overly twee and annoying at times and makes a lot of mistakes.

Spry, quick upon its feet, as well as visually interesting, it tells the story of Tom and Summer’s relationship over the course of about 18 months in a smart way that doesn’t follow a strict timeline.

Some people thought it was just a celebration of the crazy pixie dream girl, but it’s actually very good at making you sad. They missed how smart it was that it was subjective and showed how we’re able to idealize those who we love.

Going On 30:

You love Big, but it hasn’t held up as well as you had hoped. Afterwards, 13 going on 30 is the easy cure for you. Jenna makes a wish that she was “flirty, 30, and thriving” after a bad teenage birthday party.

Her best friend Matt gives her magic wishing dust, and she is taken to her future, where she was flirty, 30, as well as thriving. But is turning 30 really that great? It’s no surprise that Jenna finds out the answer is no as she lives her life as a “adult” while still acting like she’s 13.

It’s so much fun to watch Garner play Jenna. She perfectly captures how teens feel, with happiness one minute and fear and sadness the next. The movie felt like a warm hug, and I really think you should see it.


The Swell Season, an album by Frames lead singer Glen Hansard as well as Czech singer-songwriter Markéta Irglová, was already out when Hansard’s old bandmate, filmmaker John Carney, asked them to make it into a scrappy musical romance about an awkward couple who find comfort in their street songs.

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That might be why the 2007 indie hit felt so personal and real. It’s like Carney got his camera between two individuals just as they were starting to figure out how their feelings could lead to a relationship and an album full of hits that everyone wants. The movie won the Indie Spirit award and was a big hit at the box office.

It stars Hansard as well as Irglová as singers and musicians who are partly based on the actors’ own selves and are having a hard time making it in Dublin. When fate brings them together, they begin a sweet trip together where they both become more open to the world and to each other.

Some parts of the movie keep things from you, but the characters are never named, and significant personal information is slowly given out over time. Even though they don’t speak the same language, the emotional and vocal chemistry between the two keeps the audience’s attention.

Featuring many instant classics, including the Oscar-winning “Falling Slowly” and the incredibly smart “Broken Hearted Hoover Fixer Sucker Guy,” this is the kind of movie that will make you sing with joy, only to remember, perhaps too late, the pain of the journey there.

Up In The Air:

“Up in the Air” is the best combination of sarcasm and romance that Jason Reitman has ever shown. It is the middle part of a trio of not-quite-love stories that are the pinnacle of his work to date.

The movie may be about George Clooney’s character, an attachment-spurning termination consultant, and his relationship with his young coworker Anna Kendrick.

But the heart of the story is about his relationship with Vera Farmiga’s character, a traveling businesswoman, whom he fulfills for the occasional hotel room tumble when their travel schedules coincide. They have great energy together, and when it all comes together, it’s both a surprise and a satisfying real gut punch.

Before Sunset:

Before Sunrise’s authors never meant for it to become part of a long-running love story or series. In Vienna, two tourists, Jesse from the United States and Céline from France, spend one meaningful night together. It was a silly love story told in miniature.

People in the crowd then decide if they are going to see each other again after dawn. They agree to meet again in six months. After nine years, Before Sunset came as a bit of a surprise. Of the most beautiful kind.

Many of the questions that Sunrise left open for viewers to figure out were answered: Did either person show up at Vienna six months later? Did they make out that night? Did Jesse ever stop talking as well as start writing? In the movie, the twentysomething romantics are now thirtysomethings who are more realistic.

They know that Vienna was only a beautiful night and that they are now older and smarter. Yet when Céline shows up at Jesse’s stop on his book tour in Paris, it turns into more than just a chance to catch up. The one thing that is certain is the fact that Jesse will not be able to catch his trip back to the US after the sun goes down.

Hawke and Delpy, who also starred in and co-wrote Before Midnight, worked together again in 2013 for a darker, more serious movie called Before Midnight. This time, the characters were in their 40s.

But if you really want a warm and sunny comedy from Jesse as well as Céline, this lively walk along the Seine is the only way to go. A glass of wine during magic hour makes you feel flushed and ready for more.

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Right Now, Wrong Then:

Hong Sang-soo, a South Korean director, makes movies that tend to mix together, which is generally a good thing. His most recent movie, “Right Now, Wrong Then,” is one of the best examples of this trend. It’s basically the same movie run through twice, with only minor changes that make it more charming each time.

So many of Hong’s movies have nervous but likeable characters, and one of them is usually a director who drinks too much, fights, and obsesses over women, his job, and his creative goals.

There are a few subtle structural tricks, flashbacks, voiceovers, as well as an inaccurate narrator or two in Hong’s work, but the entertainment value stays the same for those who like it.

The director’s seemingly simple use of static cameras, which is sometimes broken up by sudden zooms or pans, hides clever storytelling techniques that are hidden in the fabric of his story.

Hong’s movies are fun to watch because of how well they are put together. Like “Groundhog Day,” “Right Now, Wrong Then” is based on the idea that people go through the same experience but do small but noticeable things differently that cause different results. We see famous filmmaker Ham Sung try to date shy painter Hee-jung and fail many times. This is similar to how Bill Murray learned how to get women to like him.

But while Murray’s Phil knew he was stuck in a loop of repeating, each version of Ham Sung’s story stands on its own. Even so, like “Groundhog Day,” Hong’s movie skillfully plays with the infinite number of options that each moment creates.


Looking at it from afar, “Brooklyn” looked like the kind of boring high-class period drama that comes out several times a year. But Nick Hornby’s movie version of Colm Toibin’s book, which was directed through John Crowley, was a delicate, beautiful, and deeply felt little thing that did very well.

It’s about Ellis, a young Irish refugee to New York who falls in love with a young Italian-American man, but she has to choose between him and a man from Ireland when she goes back. The movie has a low-key feel and a small scope, which can be off-putting.

But it’s so beautifully written and delivered, so warm, real, and swoon-worthy, that it ends up feeling including something that everyone can relate to.

The Big Sick:

Although The Big Sick isn’t the best romantic comedy about someone in a coma, it is the best movie made from a true story. Emily V. Gordon as well as Kumail Nanjiani, who wrote this smart and funny movie together, used real events from their own lives as inspiration.

Zoe Kazan, who is played by Ruby Sparks, plays Husband-to-Be Nanjiani’s past self and was put into a medically prescribed sleep when they were first dating. Kumail gets to know Emily’s parents while she’s in the hospital. It’s funny, sweet, and has a wicked edge that you’ll enjoy.

Michael Showalter, who made Search Party, directs a great comedy group from a well-written story that feels new and modern. Ray Romano as well as Holly Hunter play Emily’s parents.

A Star Is Born:

Everyone gets the “Star Is Born” version they deserve, yet the Millennials, Gen Z, and Zoomers didn’t seem like they were ever going to receive theirs after spending almost a decade in development hell as well as going through an impressive number of linked talent. Then Bradley Cooper came along.

The famous actor really went all out for his first movie as a director. He put everything he had into playing the rough-and-tumble Jackson Maine, and he did the same for the whole movie.

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He got Lady Gaga as well as Sam Elliott to show up. He sang all of his own songs while making them sound good with Gaga’s powerful voice. He found new levels of visual skill and real sadness in a story that was meant to make him feel those things over and over again.

Best Picture, Best Actor, Best Actress, as well as Best Supporting Actor were among the eight awards the movie was nominated for at the 91st Academy Awards.

It did really well at the box office and showed how good Cooper is as a director and how good Gaga is as an actress. But those big-name things aside, what really makes Cooper’s “Star” stand out are the songs as well as the feeling.

Gaga’s raw “awww—awww—awww!!!!” gave me chills down to my bones.Starting with “Shallow,” the sad last song that Gaga sings to a group of her peers, the movie imagines a fully realized musical world where the characters figure out what’s going on in their lives.

Yet, the movie also lives and passes away through its smaller moments: Gaga’s look at Cooper when they first met, Elliott’s barely hidden frown when he saw Cooper for the last time, and a lovingly made last meal. “A Star Is Born” fills in the blanks with music, even when there is no sound. Life may not always be worth singing about.

Keep The Lights On:

Ira Sachs is going to produce a movie one day that makes him famous to more people and gets him awards. We want him to keep making movies like “Love Is Strange,” “Little Men,” and this one until then. They are consistently great, well-written, and well-acted independent plays that helped him become a major force on the independent scene.

Based on Sachs’s relationship with writer and literary agent Bill Clegg, the story is about Erik, a Danish director, who falls in love with Paul, a good-looking New York lawyer who is having trouble with drugs.

People have tried to put this movie into a more tidy story box, but it doesn’t work. Instead, it feels more moving and powerful because it’s so obviously real.

Crazy Rich Asians:

By the end of the 2010s, Hollywood companies were making fewer and fewer romance comedies. Which is strange, since people continue to enjoy them, especially when they’re as good as Crazy Rich Asians, which was a summer 2018 hit at the box office.

Jon M. Chu’s adaptation of Kevin Kwan’s book of the same name has a beautiful throwback to the kind of romances Hollywood utilized to make all the time during its golden age. It’s also a great chance for Asian-American as well as East Asian actors who aren’t usually given chances by American studios to show off their skills.

This is a big, fluffy dream that loves the wish-fulfillment of, yes, high-finance living. Its top world is full of funny, strange people who are all very different from each other. But this time, the main characters aren’t having a crazy weekend in Manhattan. Instead, Rachel Chu is going to Singapore to visit her studly-perfect boyfriend Nick for a week.

Sadly, Nick’s otherwise perfect boyfriend forgot to mention that his family is crazy rich. His mother is very demanding and wants Nick to marry into wealth rather than marrying the immigrants Chinese American daughter of a suffering immigrant mother.

Crazy Rich Asians shows the problems and difficulties of globalization in the 21st century and how it interacts with family customs and ideals from the past. But mostly, this is merely a feel-good comedy with a lot of real laughs. It also has a shiny travelogue sense of showmanship as it hangs out with Southeast Asia’s rich and famous.