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Perhaps the theater going experience has altered or been limited and difficult to find a variety of films. Certainly the pandemic plays into it, but the reality is multiplexes were headed towards the direction anyway. Art always evolves and cinema has shown that in the turn of this decade, movies are finding ways to connect on personal levels - through a variety of styles. 2021 was filled with exciting new films from longtime masters - including the much awaited return of the remarkable and unique Jane Campion; as well as a delightful 70s hangout film from the great Paul Thomas Anderson. Like the lead characters in that film always running toward something (and/or perhaps running away from something), the year in films floated along with an energy that reminds us all of the lasting power of movies and moviemaking! As
of December 31st, I saw 72 new films in 2021 which is more then
the Covid restricted year of 2020, but still way below past years.
Here are 65 films I enjoyed in some way or another, along with direct
links to the imdb page for more information. |
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Recently
added (after 12/31): Notable
films yet to see: |
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The Humans is the directorial debut from Stephen Karam and its based on his play. Karam does an impressive job at making this cinematic - almost an expressionistic horror piece. I love how Karam uses sound and especially uses camera framing to express the apartment as another character. The atmosphere is heightened by the films lack of natural sunlight, overlapping dialogue and subtle sound design. There is such an unnerving sense of doom that plays alongside the anxieties/fears of the flawed characters who ultimately are striving to hold onto an unconditional love that family often provides.
Paul Thomas Anderson is my favorite current American filmmaker and this is his 9th feature. Stylistically it is an interesting follow-up to Phantom Thread but under the surface both share themes that have been reflected throughout the filmmakers masterful career. While this film is not as seemingly measured as Phantom Thread, make no mistake that Anderson is in full control of everything here. If Phantom Thread was his Vertigo, this hangout film is his Rio Bravo... but ultimately such simplifications are not fair to any of those films, all of which will stand as American treasures!
“Remember your competition”. This film is as good as I've seen in psychologically examining compulsion and obsessive desire. Directed by first time feature filmmaker Lauren Hadaway who delivers a creative design of images and sounds with a powerful leader performance by Isabelle Fuhrman.
Mike Mills film is filled with ideas and is very intelligent and honest. Credit to Mills for avoiding directions this could have gone and the result is touching, intimate and authentic, heightened by incredible performances - Joaquin Phoenix, young child actor Woody Norman and Gaby Hoffmann.
Directed with a seemingly effortless mastery by Ryûsuke Hamaguchi (one of Japan's best contemporary filmmakers) Drive My Car is patient film full of senses. Using Chekhov's Uncle Vanya as a backdrop, the film is concerned with the very idea of artistic creation or more specifically art as form of personal access and emotion. The film is best in the moments its reveals its quiet rhythm and tone shifts.
It's been 12 years since Jane Campion's last feature - 2009's masterpiece Bright Star. The Power of the Dog is another remarkable achievement. A film that features Campion's unique filmmaking style and camera framing as expression of repressed sexuality - now from the male perspective.
Mia Hansen-Løve's latest film is a lighter tone and simplistic yet incredibly rich. This is not for everyone but Bergman Island is a film-lovers film in many ways.
Come True is a great work of atmospheric horror filmmaking. It has a unsettling tone in the mode of great horror/scifi cinema. Its a film essentially detailing dreams so it offers a depth that is philosophical and thought provoking and confusing but always surreal. Maybe this wont work for everyone but this has the intended look/feel of a dream/nightmare while also thoughts and ideas it expresses and asks without simple answers.
The Velvet Underground is my all-time favorite band and Todd Haynes seems like just the right filmmaker for this material notably in how reflective the influence is on Haynes himself. Haynes like the band has a very experimental approach and one of the underlying joys of this film is how this documentary subtly shows this all while going into great detail of this greatly under appreciated band.
The Night House is a film about grief and terror and David Bruckner and it carries an underlying depth. It's visually engrossing while also providing some clever narrative directions and a topnotch lead performance from Rebecca Hall.
Parallel Mothers is one of beloved filmmakers Pedro Almodóvar best films in years (to me his best since 2006's Volver, which is probably my favorite Almodovar film) and Penélope Cruz gives another incredible layered perfomance in this rich melodrama.
This sequel is clever, layered and incredibly tense. Credit to filmmaker John Krasinski and this cast for a follow-up film that is able to stand on its own.
While this is Steven Spielberg's first official musical - yet in so many ways the material seems such a fit for the master (look no further then the Busby Berkeley inspired opening in Temple of Doom) and he delivers a respectful, and refreshing adaptation for a new generation. This is so well made and is made like a throwback but also feels so right for today!
If you can get on board with what visionary horror filmmaker James Wan is doing with his latest film Malignant, you'll enjoy every minute of this.
El Planeta is bittersweet comedy with a very light and free. It's authentic in emotions but stylistically its countered by a playfully made approach.
Céline Sciamma scales down to the more intimate tone of her best film (2011's Tomboy) with Petite Maman. There is an intentional childlike yet haunting vision to this film that really makes it caring.
Hong Sang-soo continues to be one of the most prolific filmmakers in contemporary cinema. The Woman Who Ran is told in three parts and it is a gentle, unforceful film that I've enjoyed as much as any of Hong's films in the last 10 years.
I adore Edgar Wright films and he's always embraced his many cinematic influences. Last Night in Soho is his take on giallo horror and it is very evident how much of a fan he is of those films. While this might not soar with the heart of Wright's very best film, Last Night in Soho is fun and pulls you into its 60s world and film influences.
So many films like this true life inspirational sports story have been made and failed, but King Richard really hits on its intended notes and even overcomes the little biopic cliches. As a huge fan of the Williams sisters from their very start I was skeptical how this would translate into a feature film but credit to the filmmakers and of course the performances.
While influences are evident, Wes Anderson truly has a style of his own. Some films work more then others and I found this one to be refreshing. Its episodic so some stories work better then others but it is the right kind of film from Anderson. I'd rank this somewhere 5th or 6th of his 10 films.
Pablo Larraín's Spencer is to me a superior film to his previous historical figure biopic (Jackie). It's a visually stunning achievement and the period details are on point. Kristen Stewart delivers in the role of Princess Diana. The films great strength is that even though not everything here is based on true events, you really feel as if you are taken into the space and you feel apart of the weekend.
The credit of the film is the way it avoids spoof and that really develops after the first 15 minutes (once they get to Vista Del Mar - a fictional Florida vacation community). There is a genuine care for these characters and it reminded me of an old-fashioned screwball comedy. It is silly but the film embraces all of its silliness and it doesn't hold back.
Macbeth has been adapted on screen in many ways by some all-time great filmmakers. Joel Coen (without his brother Ethan, who is currently taking a break from moviemaking) brings a powerful adaptation with brilliant sparse visual designs and tremendous performances (highlighted by a showstopping Kathryn Hunter as the three witches!).
Luca is a laid back coming-of-age fantasy film from Pixar (the 24th film from the studio). This one is not among the very best but I'd rank it high on the overall Pixar list which is saying alot. It is definitely a feel good film going experience.
Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy is a collection of three short films centered on real-time conversations and the intense depth of emotions provoked by them.
The Son is a slow-burn horror movie that while playing with formula still offers some clever surprises and a building the paranoid tension. I really liked this film and it has plenty to offer fans of horror.
The Worst Person in the World is the fifth feature from Norwegian filmmaker Joachim Trier. Renate Reinsve is tremendous in the lead role and the character is one that you can easily connect and relate with even in the flawed moments. The audience is truly with this character through the film and the emotions/flaws/dialogue generates an authentic dynamic. Its funny and heartbreaking and above all is daring in the way it goes against formula expectation.
Cry Macho seems to be a reflection of many of Eastwood films yet has a gentleness in its storytelling unique from anything he’s ever done. It’s not at the level of say Million Dollar Baby (few films ever have or will be!), but this is a charming and simplistic film from a cinema icon.
Little Fish is a film that raises alot of philophical ideas of memories and its made honestly and with care. It was made Chad Hartigan and this is the first I've see from him.
Ben Wheatley’s In the Earth is a timely film that seems to effectively blend several different horror filmmaking styles.
Belfast is a crowd pleasing film that most audiences can find something to connect with. Strong ensemble cast and you can feel that it is a very personal film for Kenneth Branagh who is usually known for directing Shakespeare adaptations.
Rebecca Hall's feature directiorial debut is beautfully shot in black and white photography and deals with strong racial messages. It raises some strong conflicts and its strength is the way it avoids being preachy in its messages.
Ridley Scott's latest epic film The Last Duel is told in three points of view, which can be a bit too much but it also helps builds out lots of details with the characters. Credit to Ridley Scott for allowing the actors to speak without fake accents as often found in these films.
Paul Schrader follows up his best film (First Reformed) with another strong work here. Oscar Isaac helps propel the rhythm and intensity of the film with his strong lead performance.
Not the groundbreaking impact of the original and lacking the great action choreography that made that film so memorable, but this one does offer a surprising depth in its melodrama and romance as well as a refreshing reboot concept.
Sean Baker's follow-up to The Florida Project finds the filmmaker in another poor American community with a big money industry as the backdrop (now Texas and big oil). Baker again avoids judgment and the film features some terrific performances from Simon Rex and Suzanna Son.
The original 1992 Candyman is an underrated horror film and this remake co-written by Jordan Pelle with director Nia DaCosta. This film is not on par with the original but this film is respectfully is trying to stand on its own, specifically for a new era. DaCosta has a skillful touch with visual compositions adding a layer of mood to this film.
Taiwanese filmmaker Tsai Ming-liang made some of my favorite films of the 90s and early 00s. He's made very few feature length films in the last 15 years (though he's done many shorts). Days is a typical minimalist film from Tsai and again dealing with alienation - heightened in trademark long extended takes and minimal dialogue.
Known for some of the most bizarre films Leos Carax's latest, Annette is his first musical and it will not disappoint fans of his work. This one is also insane and challenging and completely unique. Bold performances from the always wonderful Marion Cotillard and Adam Driver. Intense and messy Annette is not a film for everyone but it is going for just that.
David Lowery's sixth feature is a fantasy epic that does a good job of taking you into its world. As expected from Lowery its a slow building film. Visually stunning, this is a film I can see having a strong audience of high praise.
Memoria is directed by the great Thai filmmaker Apichatpong Weerasethakul and this film will be enjoyed by his fans. Starring Tilda Swinton and mostly in English this is still very much in the mode of Apichatpong's distinctively unique vision - with slow, long takes and skillful sound design. Like many of Apichatpong's films I admire this but don't love it on initial viewing.
An interesting debut feature from Maggie Gyllenhaal. The Lost Daughter feels very European and its the kind of film that can probably be seen in different tones. I'm curious what I'll think on repeat viewings.
Japanese animated filmmaker Mamoru Hosoda is responsible for two of the very best animted festures (The Girl Who Leapt Through Time and Summer Wars). Belle is his eighth feature and while to me its not the level of his two best films Belle does recall much of the style and themes.
The first Don't Breathe film felt more like what it was - a great short film concept that the filmmaker tried to make a feature length. Now here with some more freedom and a different tone this sequel is probably superior to the original.
A terrific energetic lead performance from Andrew Garfield and a couple beautiful shot sequences (notably a cleverly shot scene where a pool turns into music notes). I was never invested into this fully but I respect the film as a well made/performed achievement.
We Need to Do Something takes place in a confined space and it creates a strong claustrophobic vibe. The film just keeps throwing out more crazy madness as it goes and its a bit all over the place but I could see this film getting some cult following over time.
The Nowhere Inn is a mockumentary style film that blends all types of emotions. It is a clever film and maybe sometimes is overly clever that will not be for everyone but this is an interesting film.
Mayday is a bit heavy in its metaphor but it does a very strong job of taking you into its fantasy world.
This film is best when at it most simple, which is mostly in the first half. Its does a nice job of using landscapes and at its best moments has some of the Hitchcock wrong man vibes.
The Woman in the Window is an obvious nod to Hitchcock (especially Rear Window) and while nowhere near the depth of that layered masterpiece, this is still effective for what it is and Joe Wright is an intelligent filmmaker.
While it loses some energy towards the final act, Ghostbusters: Afterlife is a fun reboot of the franchise and its definitely nostalgic of its original.
M. Night Shyamalan's films are usually at their best when they fully embrace the silliness and Old succeeds at this more then some of his other recent films (most notably The Visit and the Split films).
Overdone a bit to me yet this film feels very personal to the filmmaker and that is admirable, and its a timely film with great setting and solid performances.
I absolutely love the 1947 original and while this has some fine qualities, it is a disappointment. Guillermo del Toro shifts a bit from his monster movies, but I think he may be too in love with the noir style he's attempting to make, because this one lacks the soul that usually define his work.
Lots of metaphors here makes this feel a bit too serious but its a good film that I may enjoy more with repeat viewings. The cast is strong.
Stylishly made film that is engrossing for much of the way but looses interest in the final act and the ending feels lazy. Its an intentionally cruel movie and I'm not sure if this films wants us to root for this protagonist (well performed by Rosamund Pike in a role the seems to be a version of her performance in Gone Girl).
Bad Trip is the latest entry in this seemingly growing new genre of improv comedy/pranks within the unsuspecting public. My expectations were very low so this surprised me with its laughs and credit to the three main actors for truly committing to these characters with bold performances. The bits don't all work for me but this will find a wide fan base for sure.
Trademark shock value from Paul Verhoeven this uneven film has some playfulness on initial viewing but I'm not sure what if any depth will come upon repeat viewings.
Many will compare this is another Tom Hanks film Cast Away but that is unfair as this is not on the same level. Finch is a charming but not a lasting film.
A mostly fun and good looking film with fine performances, but Ridley Scott's House of Gucci lacks depth and failed to ever connect.
The World to Come is a film I admire and is worth watching but I can't really say its an enjoyable film expirence.
A mixed emotional tone between first and second halves makes this a fine but shortly forgettable film. It does offer plenty of warmth which is endearing but it is at its best when we are following the young JR.
Twisted concept and is well shot to help build the atmosphere this one. Its a cold and distance film which also hurts it in some ways.
Formulaic but soild romantic comedy from Greek filmmaker Argyris Papadimitropoulos.
Trailers for this and the delay in the release due to Covid might have hurt as I went in with higher expectations. I am hopeful repeat viewings will improve.
A very (very) familiar narrative with obvious debt towards David Fincher's Seven. Its not as cinematic or as clever as a film like that and its a film that is not all that memorable once the credits roll, but I found it still watchable formula.
Unforgivable is often heavy in its message and avoids taking any daring chances with its easy cop-out ending reveal but there is some good intentions here and the melodrama is mostly effective.
I admire the first two Conjuring films but the franchise (now without its visionary James Wan directing) may be wearing thin with the spinoffs and this third entry. This is still watchable but you can see/feel the difference Wan makes.
Aaron Sorkin has penned some work but with Being the Ricardos he may have bitten off a bit too much as this feels snooty and his direction is unfocused. Nicole Kidman and Javier Bardem are strong.
Jessica Chastain shines as expected in this otherwise standard biopic. The film never is consistent in its tone but Chastain carries it along. |
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