Top 20 Films Of 2021: Part 1 (20-11)
Well it’s that time again, time for me to throw out my favourite films of the year list months after everyone else has. I never got the chance to see everything but if I waited until then this list wouldn’t be out until July so fuck it, it’s a solid bunch of 20 so I’m happy to post this now.
Honourable mentions go to; The Harder They Fall – A familiar Western elevated by the style and charisma of a great cast.
Black Widow – Some story issues sure, but Scarlett’s final outing is a fun spy romp and the added family dynamic does wonders. Also Yelena is best girl.
The Many Saints of Newark – It did need to be a much longer miniseries, but I loved seeing this world again and how easily they recaptured that signature Sopranos style.
Censor – A psychological disaster that examines the effects of a constant barrage of senseless violence on a fragile mind. One of the most claustrophobic and oppressive horror films I’ve seen in a long time.
WandaVision – Trust me, this could’ve made the top 10, maybe even 5 if I wanted to include it. Marvel’s examination of grief through coping with the perfectly crafted lens of decades of sitcoms, building mystery and intrigue alongside humour and romance. All of it came together with phenomenal performances from Olson, Bettany and Hayn to create one of the most interesting miniseries in years and one I still hold in high regard.
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20: Malignant
I am so happy Malignant made the cut for the Top 20 because after years of watching James Wan do slow-burn horror with Insidious and The Conjuring franchises, having him throw a fucking wrench into the works with this absolute madness has been a joy to watch. Malignant is not high-art, in fact it’s debateable to even call it a good film, but what it is, is a wonderful love letter to Italian Giallo Films complete with the most batshittery excuse for a third act twist I have seen in a long time but it leans into that insanity so well that I just went along for the ride and I left this film having no idea what to think but enjoying that all the same.
19: Petite Maman
Celine Sciamma made Number 1 last year with Portrait of A Lady On Fire, and while Petite Maman doesn’t have the same kick of perfection it’s still a film that confirms her as a director to keep an eye on. While the story is born from the death of main character Nina’s grandmother and the effect it has on her and her mother, it actually takes a different turn through the introduction of neighbour Marion and the friendship her and Nina build to understand grief and loss on a level both girls are too young to comprehend. It’s a very small, very personal film, but it tackles a mature subject through a youthful eye and doesn’t let down either side in how it approaches the topic of death.
18: Tick, Tick... BOOM
2021 had a number of Musicals and I enjoyed a fair amount of them, Tick, Tick... Boom did something different by taking the existing stage musical developed by Jonathan Larson and adapting that into a biopic for the final days of his life. Both Garfield and director Miranda keep this ever present tension towards the inevitable conclusion as they takes us through the highs and lows of Larson’s life, from his starving artist beginnings to his bittersweet release from pressure, all with pain, sarcasm, fear and regret. It’s a special kind of biopic that captures everything about why its subject matter was so beloved, but never failing to show their shortcomings, and all through Larson’s own works to add that personal flair to the whole thing.
17: Bo Burnham: Inside
2021 had a number of Musicals and I enjoyed a fair amount of them, Inside did something different by placing itself around the anxious breakdown of its creator during the covid lockdown of 2020. On the songs alone, Burnham earns a spot on this list with hilarious hits like Comedy, White Woman’s Instagram, Bezos and the best Disney villain song of the year with Welcome To The Internet alongside self-reflective numbers like 30, That Funny Feeling and All Eyes On Me. But it’s in the context of Bo’s mental breakdown and how he, and millions like him, were NOT handling it very well and lacked an avenue for help that solidifies why this film is as great as it is. Through all the funny skits and songs, there is a deeply persona but relatable story of anxiety, depression and getting paid to be funny and it is a fantastic to see through.
16: Godzilla Vs Kong
Ok, so it’s littered with pseudo-science, it legitimises some conspiracy theories, it’s dumber than a bag of hammers and about half the film with Eleven, Ricky Baker and Paper Boi is rendered obsolete when they add nothing to the story that couldn’t have been replaced with dumb luck. BUT... it’s two pitch-perfect Titans in a multi-stage, world-wide brawl that embraces the absolute ridiculousness of its concept and just has fun with it.
It’s a monkey fighting a lizard, the fuck more do you want from me? Sometimes that’s enough.
15: Licorice Pizza
Paul Thomas Anderson seems to do his best work in the 70s and Licorice Pizza is no exception, a funny, bittersweet romance between Gary and Alana as they traverse the highs and lows of 70s counter-culture. Only Gary is a teenager, Alana is a directionless under-achiever and the 70s is rife with racism, psycho celebrities, oil shortages and enough Adult problems that whatever doomed romance is between Gary and Alana, it’s clearly a coping mechanism for the true scum-ridden mess of this time-frame. Anderson’s ability to mix a genuine romance film with the stripped back veneer of an overly-romanticised era, and with two fantastic performances from first time actors Hoffman and Haim, all comes together to create a film that does so much when it’s about absolutely nothing.
14: Pig
Nicholas Cage has made a name for himself as an absolute madlad, turning in one brilliant bonkers performance after another. Pig is not that, Pig has Cage at his most subdued and pensive and is all the better for it. What starts as a revenge quest for a truffle hunter to find his stolen pet pig evolves into an examination of social standing, the pain and delight of memory, melancholy and the balance between simplistic pleasures and pretentious extravagance. This is one of the quietest films of the year but it means that whenever it has something to say you listen and I listened intently, bloody brilliant film and one of his all-time great roles for Cage.
13: No Time To Die
It took some time getting here with Craig’s personal issues with the role, then director problems, then Covid, but we finally got Daniel Craig’s final outing as 007. And while there are some glaring problems with the story and its villain – Malik being creepy but otherwise neutered – the heart and soul of this film belongs to Craig. After almost 60 years with the character, No Time To Die gave us the most development Bond has had since On Her Majesty’s Secret Service and it’s through Craig’s bitter, emotional and heartfelt performance that the film finds an unexpected heart, all while Fukunaga employs his True Detective skillset to make the action hit in all the right ways, be it silly fun or gut-punchingly harsh.
I’ll miss Craig’s Bond, but he gave the best finale any agent could’ve hoped for.
12: Nobody
Coming from the brains of the John Wick guys, Nobody is the best Dad-Movie of the year because it taps into that fantasy that every guy has, where when push comes to shove he can be the ultimate badass. The casting of comedian turned dramatic powerhouse Odenkirk is perfect with his Hutch being the right amount of drab to fit in with his lazy suburban lifestyle, but not so much that it’s wholly unbelievable when he kicks it to the fucking wall. It’s a phenomenal blend of hyper-stylish violence and realistic middle-aged issues but above all, it’s a film that never forgets how to apply The Rule Of Cool and I would love to see more from this world in the future.
11: Last Night In Soho
Edgar Wright’s first foray into horror proved to be a success with this twisty-turny-timey-wimey ghost story. It’s suitably creepy, surprisingly intense and unfortunately harsh in how dreams of stardom lead to false promises and heartbreak, and while that might sound like a familiar concept, Wrights tackling of the subject through the lens of a ghost story and a murder mystery gives it a new breath of life amongst all the death and carnage. Anchored by a two stunning performances from the emerging talents of McKenzie and Joy as well as a fantastic final role for Queen of Thorns herself Diana Rigg and this is a film that proves not only can Wright move away from comedy, but if he can do it this well then he’ll have no problem experimenting with other genres in the future.