Some of the most memorable movies in pop culture history debuted in the 2000s, but not all of them have stood the test of time.
Of course, there are plenty of movies from the era that remain beloved classics, yet others feel painfully outdated because of cringeworthy plot lines, themes, or jokes that would leave modern audiences wincing.
Here are 10 movies from the 2000s that haven't aged well (and maybe should stay in the past).
Scroll to see which 2000s movies that definitely didn't age well...
Paramount Pictures
This film follows a charming but egotistical man, played by Mel Gibson, who gains the ability to hear women's thoughts, only to realize they're not as enamored with him as he thought.
While the premise is intriguing, the film relies on outdated gender stereotypes. Moreover, Mel's character is too easily redeemed, particularly by his daughter, who sees him as an absent father until he makes one grand gesture. As if that erases years of neglect.
Beacon Pictures
Bring It On may be a favorite among teens, but a lot of the film's choices don't hold up in hindsight. It's packed with promiscuous portrayals of teenage cheerleaders (and even flashing), casual use of offensive language, and a central conflict about cultural appropriation that doesn't get the depth it deserves.
The rivalry between the predominantly white and Black cheer squads does touch on an important issue. Still, Bring It On doesn't explore the deeper implications.
Touchstone Pictures
This plot follows three fraternity brothers who disguise themselves as women and infiltrate a sorority only to (shockingly) realize that treating women like garbage actually hurts them.
Sorority Boys is packed with fat-shaming, misogyny, and crude feminist stereotypes. On top of that, it includes an unsettling subplot where one character unknowingly falls for his own sibling.
Universal Pictures
Love Actually continues to be a holiday go-to watch for many, but it's riddled with problematic ideas about women and relationships. Emma Thompson's character is heartbreakingly mistreated, and she's still forced to endure her cheating husband.
Then, there's the bizarre fixation on Natalie's weight. And overall, the film reduces most of its female characters to love interests. Love Actually barely scrapes by the Bechdel test, with the only meaningful female-to-female exchange being between Karen and her young daughter.
Disney
This teen comedy features a mother and daughter who magically switch bodies and are forced to navigate each other's lives. While Freaky Friday felt funny and fresh for its time, one of the more uncomfortable aspects of the film involves covert age gap relationships.
Anna, played by Lindsay Lohan, has a crush on Jake. However, since Anna's mind is trapped in her mother's body, it creates awkward moments where Jake is unknowingly flirting with an adult woman inhabited by a teenager.
Eden Rock Media
This was meant to be a raunchy workplace comedy about the chaos of working in a restaurant, but looking back, much of its humor is cringe-worthy and uncomfortable.
Harassment is treated casually, with multiple scenes featuring male employees hitting on younger female staff members (including an underage hostess). The film also leans on homophobic slurs and misogyny, with many jokes revolving around degrading women.
20th Century Fox
With over-the-top high school drama and revenge plots, John Tucker Must Die is the epitome of 2000s teen comedy. But even though the movie tries to position itself as a feminist takedown of a serial womanizer, it actually ends up making John Tucker look more desirable.
Similar to Bring It On, many scenes also feel like they're designed for the male gaze rather than female empowerment.
Paramount Pictures
Freedom Writers follows a white teacher who steps in to "save" a group of underprivileged students. It falsely suggests that one determined teacher can single-handedly overcome systemic issues like racism and educational inequality as long as they're willing to sacrifice everything else in their life.
Sure, Erin Gruwell's real-life dedication is admirable, but the movie focuses on a feel-good narrative where personal effort alone is enough to fix deeply rooted social issues.
Warner Bros. Entertainment
This film is one of the most glaring examples of Hollywood's white savior complex. Despite being marketed as an inspiring true story, it reduces Michael Oher to a passive character in his own journey and portrays him as helpless until a wealthy white family takes him in.
The Blind Side focuses far more on Sandra Bullock's character and her supposed heroism than Michael's actual experiences.
Warner Bros. Entertainment
Finally, The Hangover Part II is remembered as a wild comedy hit. Still, it has some problems, most notably when Ed Helms' character, Stu, discovers the woman he slept with is actually a trans woman.
The scene is played for laughs as both Ed and Bradley Cooper's characters react with disgust. It's a tough watch today and serves as a reminder of how many 2000s films used outdated or offensive humor for shock value.
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