Top Fantasy Films of the 2010s: A Decade of Magical Cinema Experiences

Yet, the 2010s also gave rise to a host of fantasy films that, despite their artistic merits, didn’t quite capture widespread attention. These include adaptations of beloved books and projects that drew from popular mythologies. Although they garnered praise from critics, their box office results were less than stellar, hinting at a disconnect between critical acclaim and audience turnout.

While these films may not top the list of all-time fantasy greats, they certainly deserve a second look. Crafted by renowned directors and inspired by the works of acclaimed authors, these films carry meaningful themes that resonate with diverse audiences. Prepare to embark on a magical journey as we highlight some underrated fantasy films from the 2010s that merit more recognition.

One such film is “A Monster Calls,” adapted from Patrick Ness’s novel. This poignant tale centers on a young boy named Conor, played by Lewis MacDougall, who is grappling with his mother’s (Felicity Jones) terminal illness. Amidst his struggles with school bullies and his own emotional turmoil, Conor is visited by a mystical creature voiced by Liam Neeson. This monster shares stories that help Conor navigate the haunting nightmares he has about his mother.

Based on the novel of the same name by Patrick Ness, “A Monster Calls” follows tween boy Conor (Lewis MacDougall) as he comes to terms with his mother’s (Felicity Jones) terminal illness. He is struggling hard with that, and when combined with being bullied at school, Conor is not in a good place. However, a monster begins to visit him, telling him different stories (in Liam Neeson’s stately voice) in an attempt to help him work through a nightmare he has about his mom.

“A Monster Calls” isn’t a traditional fantasy movie. There isn’t a daring hero or an otherworldly being able to battle the monster Conor encounters. Rather, this is a monster that forces the young boy to confront his emotions surrounding his mother’s likely death. It’s a story about acceptance and the complexity of grief, important emotions that aren’t always portrayed in children’s films, and it’s done well.

Despite strong critics and audience reviews, an 86% and 81%, respectively, on Rotten Tomatoes, the 2016 project doesn’t get the respect it deserves. While it wasn’t entirely a box office bomb, it significantly underperformed when compared to the reviews, earning $47 million against a $43 million budget, and most of that was from the international box office. With such little attention then, it shouldn’t be a surprise that audiences don’t think about it now.

“The BFG” is an adaptation of a Roald Dahl book. Sophie (Ruby Barnhill) is kidnapped by a giant she sees in an attempt to make sure she doesn’t reveal that the creatures actually exist. However, the nice giant who takes her becomes her friend (voiced by Mark Rylance). He protects her from the other giants who want to eat her, showing her what he can do with the gift of dreams.

Stories with giants appear throughout the fantasy genre. “Harry Potter” has the notable half-giant character Rubeus Hagrid, and later introduces other giants, and “Jack and the Beanstalk” is a classic fairy tale. “The BFG” features giants in both negative and positive lights while taking audiences on a fantastical journey about friendship, kindness, and standing up for the “little” guy. Unfortunately, a competitive opening weekend likely contributed to “The BFG” being forgotten by fantasy fans.

It didn’t matter that legendary director Steven Spielberg directed the movie, that it was based on a popular childhood book, or that critics gave it a 74% on Rotten Tomatoes. Opening against “The Legend of Tarzan,” which boasts a stacked cast with Margot Robbie and Samuel L. Jackson, and the next installment of the “The Purge” franchise, in addition to “Finding Dory” still being in theaters, set “The BFG” up for disappointment, and it ended up becoming one of Spielberg’s biggest bombs. Families didn’t turn out as expected to see it, leading to the movie to be wrongfully forgotten. 

Rooted in the legend of King Arthur, “The Kid Who Would Be King” is about Alex (Louis Ashbourne Serkis), a bullied tween who pulls the sword from the stone and then gathers a child army to fight off Morgana (Rebecca Ferguson) as she rises from the underworld. He trains his fellow students on how to use a sword, pulls his sword out of a bathtub much to his mother’s surprise, and even gathers his own knights of the “round” table.

The movie is a classic epic urban fantasy. It’s the kind of story that’s perfect for kids, watching as someone finds his own inner strength and saves the world, which is always strong messaging. There’s comedy, action, interesting creatures, and tons of swords — everything it needs to be a fun family film.

While critics loved the flick, giving it a 90% on Rotten Tomatoes, audiences weren’t as favorable, leaving it at 56%. This disagreement became clear at the box office, with “The Kid Who Would Be King” only bringing in $32 million against a $59 million budget. Poor audience reactions, combined with M Night. Shyamalan’s “Glass” taking the top spot for the weekend and January generally being considered a “dump month” to release a movie in, destined a strong children’s film to obscurity when it yet deserves more.

The Norwegian film “Trollhunter” (not to be confused with the Netflix film “Troll”) follows college students making a documentary. They are hoping to make a movie about a local poacher (Otto Jesperson), but instead find the titular mythical creatures, and they are not the friendliest guys. They’re also likely behind the “bear attacks” their project was going to be about. The group meets someone who has also seen the trolls, which helps them learn more about their new documentary subject.

“Trollhunter” is a found footage fantasy film, which isn’t common. Though found footage is typically associated with the horror genre, it works well here as the students stumble into something they weren’t searching for. It makes the fantasy feels closer to home, not set in a fictional kingdom, and it’s executed well. 

Though reviews are positive, with an 83% and a 72%, respectively, from critics and audiences, on Rotten Tomatoes, it had a limited theatrical release in the United States, which impacted its reach. The darker nature of the film, combined with it being in the found footage style, might cause people to believe it’s a horror movie when they stumble across it, which would further influence the potential audience. Unfortunately, its bold choices, the very ones that make “Trollhunter” unique, kept it from the popularity it deserves as a fantasy project. 

Directed by Martin Scorsese, “Hugo” is about the titular young boy (Asa Butterfield) and his father (Jude Law) trying to fix a machine that resembles a human. However, after his father’s death, Hugo lives with his uncle (Ray Winstone), and moves on to fixing clocks in order to finish the machine. He eventually begins working for a toy store, earning the parts he needs to fix what would be his last connection to his father, and Hugo discovers the toy store owner has a hidden past in the film industry.

“Hugo” is filled with whimsy, following a boy who, despite the hardships he’s faced, hasn’t let it make him bitter. He still views the world like the child he is, which makes for something that comes across a bit lighter than other fantasy stories. Focused more on technology and machinery rather than beasts or knights, many might actually consider it to be steampunk. But at its heart, it’s a fantasy adventure that’s somehow also a love letter to movies.

Critics adored the film, awarding it a 93% on Rotten Tomatoes. Unfortunately, the positive reviews didn’t drive families to the box office. “Hugo” earned $185 million at the box office against a $156 million budget. While this initially seems good, when marketing and other expenses are considered, the project didn’t perform as well as expected at the box office, likely due to misleading trailers. Despite this, it remains a Scorsese box office bomb that everyone needs to watch at least once. “Hugo” definitely deserves more respect for how well it captures childlike wonder.