I always do this list the weekend after the Academy Awards and boy did that really draw out the 2021 film year for me. The Academy Awards honoring 2020 films were delayed, sure, but there was a big gap in the summer of 2020 of little to no new releases. Doing this list in April just feels long and way too drawn out (the Will Smith controversy seemed to add another year to the proceedings) so here's to hoping the 95th Academy Awards are in their normal slot in February. 2021 saw the return to cinemas for me as I went to the theater over fifty times. Like 2020, there are still plenty of great films to see on streaming services, but I am glad that theaters are still the most viable and prestige format to take in sight and sound, unless for some reason Pixar is making the movie. I still get chills every time the lights dim and Nicole Kidman tells me that heartbreak feels good in a place like this. Amazing. On a side note, I have renewed energy for the main Project of this blog. My pie-in-the-sky goal is to catch up to the Academy Awards by the 100th Awards, which means I'll have to average about two Best Picture nominee entries per week. My full Top 25 List per my Letterboxd is available at the link below. Alas, my ten favorite films of 2021 are:
10. Shiva Baby [Emma Seligman]
Won 0 Oscars / Nominated for 0 more
Talk about packing a punch - this film has it all. It's hilarious, it's tense, the setting is suffocating, and this is all from a first-time director. Emma Seligman masterfully combines elements from comedies with elements of horror (those eerie strings! those chilling closeups!) to create a house that becomes a claustrophobic nightmare for Rachel Sennott who sometimes puts herself in cringe-inducing moments and who sometimes is blindsided by teeth-grinding sequences. At the end of it all, she's a hot mess and the only time you can breath is when she or her family says something totally off the wall you can't help but nervously laugh. It's described as an Uncut Gems with a Jewish setting so if that sounds like a panic attack you want to experience, this is the perfect movie. And under eighty minutes to boot!
Won 0 Oscars / Nominated for 0 more
Talk about packing a punch - this film has it all. It's hilarious, it's tense, the setting is suffocating, and this is all from a first-time director. Emma Seligman masterfully combines elements from comedies with elements of horror (those eerie strings! those chilling closeups!) to create a house that becomes a claustrophobic nightmare for Rachel Sennott who sometimes puts herself in cringe-inducing moments and who sometimes is blindsided by teeth-grinding sequences. At the end of it all, she's a hot mess and the only time you can breath is when she or her family says something totally off the wall you can't help but nervously laugh. It's described as an Uncut Gems with a Jewish setting so if that sounds like a panic attack you want to experience, this is the perfect movie. And under eighty minutes to boot!
9. Drive My Car [Ryûsuke Hamaguchi]
Won 1 Oscar (Best International Film) / Nominated for 3 more (Best Picture, Best Director, Best Adapted Screenplay)
The hum of the engine, the rotation of the tires on the street, and the sound of his wife's voice on tape all roll into a uniquely deliberate pace that is equally comforting and thought-provoking. Although I was on the verge of slumber, my mind was still active and I was never in danger of actually falling asleep. In short, this was an extremely meditative experience. Be it extended dialogue sequences or just sitting with thoughts in a car, there was something about this film that got deep down in such an effortless manner. Hidetoshi Nishijima gives a performance that is appropriately blank alongside and equally distant Tôko Miura as the driver. The tragedies in the past made them this way and the film doles out not only their backstory but their willingness to share their backstories with one another. In a relatively quiet film, these moments the director and driver shared together in the car are the loudest moments from an emotional perspective. Even though we've seen the director's story in the first act of the film, it's no less devastating or powerful when he exchanges past traumas with his driver. The multilingual production of the show, while being a bit on the nose when discussing the theme of truly listening to one another, is such a fascinating concept. If there are plays like this, I would love to see one live. And that red car is on its way to live in cinematic vehicular infamy.
Won 1 Oscar (Best International Film) / Nominated for 3 more (Best Picture, Best Director, Best Adapted Screenplay)
The hum of the engine, the rotation of the tires on the street, and the sound of his wife's voice on tape all roll into a uniquely deliberate pace that is equally comforting and thought-provoking. Although I was on the verge of slumber, my mind was still active and I was never in danger of actually falling asleep. In short, this was an extremely meditative experience. Be it extended dialogue sequences or just sitting with thoughts in a car, there was something about this film that got deep down in such an effortless manner. Hidetoshi Nishijima gives a performance that is appropriately blank alongside and equally distant Tôko Miura as the driver. The tragedies in the past made them this way and the film doles out not only their backstory but their willingness to share their backstories with one another. In a relatively quiet film, these moments the director and driver shared together in the car are the loudest moments from an emotional perspective. Even though we've seen the director's story in the first act of the film, it's no less devastating or powerful when he exchanges past traumas with his driver. The multilingual production of the show, while being a bit on the nose when discussing the theme of truly listening to one another, is such a fascinating concept. If there are plays like this, I would love to see one live. And that red car is on its way to live in cinematic vehicular infamy.
8. The French Dispatch [Wes Anderson]
Won 0 Oscars / Nominated for 0 more
In the most Wes Anderson films of all Wes Anderson films, Wes Anderson faithfully constructs a visual magazine, complete with a barrage of art styles and blink-or-you'll-miss-it moments akin to flipping through the pages of a publication. It's hard to not be mesmerized by this intricate production design and visual variety - from the detailed sets to varied prose conveyed through narration to changing aspect ratios to stylized subtitles to the use of color and animation. On top of it all, it's funny as hell; the biggest laugh from the packed theater I saw this in came from Timothée Chalamet as he became aroused at the most neutral of comments from the author of the article. In fact, I adored all of the performances with Benicio del Toro standing out among a sea of heavy hitters.
A film that will not cease to entertain nor give your eyes a respite, Wes Anderson has gone off the deep end and we're all the better for it.
Won 0 Oscars / Nominated for 0 more
In the most Wes Anderson films of all Wes Anderson films, Wes Anderson faithfully constructs a visual magazine, complete with a barrage of art styles and blink-or-you'll-miss-it moments akin to flipping through the pages of a publication. It's hard to not be mesmerized by this intricate production design and visual variety - from the detailed sets to varied prose conveyed through narration to changing aspect ratios to stylized subtitles to the use of color and animation. On top of it all, it's funny as hell; the biggest laugh from the packed theater I saw this in came from Timothée Chalamet as he became aroused at the most neutral of comments from the author of the article. In fact, I adored all of the performances with Benicio del Toro standing out among a sea of heavy hitters.
A film that will not cease to entertain nor give your eyes a respite, Wes Anderson has gone off the deep end and we're all the better for it.
7. C'mon C'mon [Mike Mills]
Won 0 Oscars / Nominated for 0 more
C'mon c'mon c'mon c'mon. Blah blah blah blah blah.
I was floored by the performances from both Joaquin Phoenix (duh!) and young Woody Norman (best child performance since The Florida Project). The black-and-white cinematography and the headphones mute the hustle and bustle of the city to allow us to better focus on what's at hand - the way kids see the world and the way they need to express themselves. Combine this with an expertly crafted scenario that conveys what caregivers might need to do to allow for this expression and we get one deeply satisfying and enlightening film.
This is also a provocative film for those of us, like me, who don't have children. Phoenix plays an uncle (hey, that's me!) that learns so much in such a compressed amount of time. This connected with me in so many ways.
Won 0 Oscars / Nominated for 0 more
C'mon c'mon c'mon c'mon. Blah blah blah blah blah.
I was floored by the performances from both Joaquin Phoenix (duh!) and young Woody Norman (best child performance since The Florida Project). The black-and-white cinematography and the headphones mute the hustle and bustle of the city to allow us to better focus on what's at hand - the way kids see the world and the way they need to express themselves. Combine this with an expertly crafted scenario that conveys what caregivers might need to do to allow for this expression and we get one deeply satisfying and enlightening film.
This is also a provocative film for those of us, like me, who don't have children. Phoenix plays an uncle (hey, that's me!) that learns so much in such a compressed amount of time. This connected with me in so many ways.
6. The Tragedy of Macbeth [Joel Coen]
Won 0 Oscars / Nominated for 3 more (Best Actor, Best Cinematography, Best Production Design)
Any Shakespeare adaptation needs good performances and this is an embarrassment of riches in that department. Denzel Washington is the obvious highlight. He somehow manages to maintain his persona as one the biggest movie stars in the world while also defining the character of Macbeth. Washington nails those mad king fits and at the end of the day, he's still Denzel freakin' Washington. Sure Frances McDormand is also great, but two of the supporting cast were standouts to me - Alex Hassell as Ross, secretly popping out of shadows in the woods, and Kathryn Hunter as the witches. Hunter is by far the creepiest performance I've seen in a film for 2021 and hers will be the performance that will be seared into my mind. If she were to tell me I would be king, I would probably have a heart attack right then and there.
In addition to this hallmark acting, the cinematography excels at an extremely high level. So high, there are many bird's eye shots that look straight down at a scene. The fog transitions, extreme close-ups, and rare wide shots are also visual highlights. The narrow aspect ratio mixed with this stunning black-and-white cinematography makes this feel timeless and masterful.
Won 0 Oscars / Nominated for 3 more (Best Actor, Best Cinematography, Best Production Design)
Any Shakespeare adaptation needs good performances and this is an embarrassment of riches in that department. Denzel Washington is the obvious highlight. He somehow manages to maintain his persona as one the biggest movie stars in the world while also defining the character of Macbeth. Washington nails those mad king fits and at the end of the day, he's still Denzel freakin' Washington. Sure Frances McDormand is also great, but two of the supporting cast were standouts to me - Alex Hassell as Ross, secretly popping out of shadows in the woods, and Kathryn Hunter as the witches. Hunter is by far the creepiest performance I've seen in a film for 2021 and hers will be the performance that will be seared into my mind. If she were to tell me I would be king, I would probably have a heart attack right then and there.
In addition to this hallmark acting, the cinematography excels at an extremely high level. So high, there are many bird's eye shots that look straight down at a scene. The fog transitions, extreme close-ups, and rare wide shots are also visual highlights. The narrow aspect ratio mixed with this stunning black-and-white cinematography makes this feel timeless and masterful.
5. Licorice Pizza [Paul Thomas Anderson]
Won 0 Oscars / Nominated for 3 more (Best Picture, Best Director, Best Original Screenplay)
What amazes me the most about this film is how accessible it is. No matter your experience with a romance, there is something in this story for you. And that doesn't mean your age. Alana is twenty-five and Gary is fifteen. We certainly see them act their age but we also see them act much more mature than Sean Penn's or Bradley Cooper's characters. The two leads are trying to figure out this love thing and dammit if I didn't fall for this every step of the way.
The first thing that captures the imagination is this incredibly long tracking shot that opens the movie. It has that certain visual panache that puts you at ease. From second one, you know this movie is going to look incredible and all of those running sequences prove that over and over again. The character work closely follows as we are introduced to the little hustler, Cooper Hoffman. He's so great as the confident entrepreneur who knows how to shoot his shot. Alana plays off of him so well as someone who is ten years older and understandingly has to be slowly won over by this little shit. Needless to say, by the end of the film, he's her little shit whether she wants to admit it or not.
This is the funniest PTA movie to date and contains the funniest scene I saw in a theater this year. When Alana is saying 'yes' to everything in her agent meeting, Harriet Sansom Harris delivers a few lines that had me in literal tears. "You're a goddamn fighter, aren't you?" I haven't laughed that hard in a minute.
This also contains the most harrowing sequence in a film I've seen this year. It involves Alana driving a truck and if you know, you know. Still can't believe she did that!
These unknown actors are perfect for this film and this film is perfect for these actors. Cooper's dad would be so proud. And as someone who isn't a teenager, it's a breath of fresh air to see Alana in a breakout role at her age; just like the film suggests, age is just a number.
Won 0 Oscars / Nominated for 3 more (Best Picture, Best Director, Best Original Screenplay)
What amazes me the most about this film is how accessible it is. No matter your experience with a romance, there is something in this story for you. And that doesn't mean your age. Alana is twenty-five and Gary is fifteen. We certainly see them act their age but we also see them act much more mature than Sean Penn's or Bradley Cooper's characters. The two leads are trying to figure out this love thing and dammit if I didn't fall for this every step of the way.
The first thing that captures the imagination is this incredibly long tracking shot that opens the movie. It has that certain visual panache that puts you at ease. From second one, you know this movie is going to look incredible and all of those running sequences prove that over and over again. The character work closely follows as we are introduced to the little hustler, Cooper Hoffman. He's so great as the confident entrepreneur who knows how to shoot his shot. Alana plays off of him so well as someone who is ten years older and understandingly has to be slowly won over by this little shit. Needless to say, by the end of the film, he's her little shit whether she wants to admit it or not.
This is the funniest PTA movie to date and contains the funniest scene I saw in a theater this year. When Alana is saying 'yes' to everything in her agent meeting, Harriet Sansom Harris delivers a few lines that had me in literal tears. "You're a goddamn fighter, aren't you?" I haven't laughed that hard in a minute.
This also contains the most harrowing sequence in a film I've seen this year. It involves Alana driving a truck and if you know, you know. Still can't believe she did that!
These unknown actors are perfect for this film and this film is perfect for these actors. Cooper's dad would be so proud. And as someone who isn't a teenager, it's a breath of fresh air to see Alana in a breakout role at her age; just like the film suggests, age is just a number.
4. Summer of Soul (...or, When the Revolution Could Not Be Televised) [Questlove]
Won 1 Oscar (Best Documentary Feature) / Nominated for 0 more
I typically don't rank documentaries this high, but this is a film I haven't stopped thinking about or recommending all year long. Everybody knows about Woodstock and the cultural impact that was for music and the 1960s counterculture. But one look at the Woodstock crowd and you might notice something. But there was another music festival that summer. One in the heart of Harlem and one that should have been just as culturally impactful all these years later. Questlove rights the ship as he assembles a coherent music concert film interspersed with interviews of people that were there as well as highlighting the dichotomy of the 1960s culture taught in schools and the sentiments of Black people at the time (look no further than the moon landing in 1969). To top all this off, the music is so powerful, so much so that it had me in tears multiple times throughout even the first twenty minutes. And the spider web of historical anecdotes, the background of Harlem and Black culture, and the interviews with attendees and performers alike always came back to the music. The music is the epicenter of this beautifully restored and masterfully edited footage. The music wasn't everything; but where would we be without the music?
Won 1 Oscar (Best Documentary Feature) / Nominated for 0 more
I typically don't rank documentaries this high, but this is a film I haven't stopped thinking about or recommending all year long. Everybody knows about Woodstock and the cultural impact that was for music and the 1960s counterculture. But one look at the Woodstock crowd and you might notice something. But there was another music festival that summer. One in the heart of Harlem and one that should have been just as culturally impactful all these years later. Questlove rights the ship as he assembles a coherent music concert film interspersed with interviews of people that were there as well as highlighting the dichotomy of the 1960s culture taught in schools and the sentiments of Black people at the time (look no further than the moon landing in 1969). To top all this off, the music is so powerful, so much so that it had me in tears multiple times throughout even the first twenty minutes. And the spider web of historical anecdotes, the background of Harlem and Black culture, and the interviews with attendees and performers alike always came back to the music. The music is the epicenter of this beautifully restored and masterfully edited footage. The music wasn't everything; but where would we be without the music?
3. The Souvenir, Part II [Joanna Hog]
Won 0 Oscars / Nominated for 0 more
This Part II takes place immediately after The Souvenir and the pair should really be watched as one film, or spread across two consecutive nights like I did. Joanna Hogg and featured actress Honor Swinton Byrne do so much groundwork in the first film and it pays off immensely here.
Seeking a semblance of closure after the tragic events of the prior film, Byrne's Julie changes her graduation film school project to "something she knows," advice I always hear for young filmmakers. One of her confidants who knew her deceased boyfriend tells her to make a memorial, but I think the process of creating a story that mirrors the events of Part I allows Julie and the audience to conclude our collective emotional arc. Witnessing Julie's grieving process and investigation through her creative process is enlightening and it just feels complete.
Actually seeing the filming take place always captures my attention. Not going through film school myself, it always fascinates me to see the collaboration, struggles, roadblocks, frustrations, and egos coalesce into something so beautiful. Although movies are my passion, it's always been a passive one so I always take to these behind-the-scenes sequences. Seeing samples of the various film school projects is so fun as Hogg is able to showcase each of the mainstream aspect ratios to differentiate the assorted types of pictures.
As a stand-alone film, this probably wouldn't work well to the uninitiated. As a double feature or with a back-to-back evening schedule for the pair, you can't ask for anything more in this medium.
Won 0 Oscars / Nominated for 0 more
This Part II takes place immediately after The Souvenir and the pair should really be watched as one film, or spread across two consecutive nights like I did. Joanna Hogg and featured actress Honor Swinton Byrne do so much groundwork in the first film and it pays off immensely here.
Seeking a semblance of closure after the tragic events of the prior film, Byrne's Julie changes her graduation film school project to "something she knows," advice I always hear for young filmmakers. One of her confidants who knew her deceased boyfriend tells her to make a memorial, but I think the process of creating a story that mirrors the events of Part I allows Julie and the audience to conclude our collective emotional arc. Witnessing Julie's grieving process and investigation through her creative process is enlightening and it just feels complete.
Actually seeing the filming take place always captures my attention. Not going through film school myself, it always fascinates me to see the collaboration, struggles, roadblocks, frustrations, and egos coalesce into something so beautiful. Although movies are my passion, it's always been a passive one so I always take to these behind-the-scenes sequences. Seeing samples of the various film school projects is so fun as Hogg is able to showcase each of the mainstream aspect ratios to differentiate the assorted types of pictures.
As a stand-alone film, this probably wouldn't work well to the uninitiated. As a double feature or with a back-to-back evening schedule for the pair, you can't ask for anything more in this medium.
2. Dune [Denis Villeneuve]
Won 6 Oscars (Best Cinematography, Best Production Design, Best Film Editing, Best Original Score, Best Sound, Best Visual Effects) / Nominated for 4 more (Best Picture, Best Adapted Screenplay, Best Costume Design, Best Makeup and Hairstyling)
Going into this, the only thing I knew about Dune was that David Lynch adapted it in the 1980s and it might have been confusing to understand. This made me a bit trepidatious but seeing Denis Villeneuve's director credit put me at ease, knowing that I would at least like looking at it for two and a half hours. Can confirm, I liked looking at it. But it has a damn intriguing story as well. I thought it might venture into Pocahontas/Avatar territory, but there are enough twists and backstabs along the way to veer off that course. The narrative is structured in a way that grabs your attention at a particular plot point, then it does a great job at explaining what that means to everybody involved over the course of the next scene. Perhaps it might be annoying to Dune veterans, but I was very grateful for the repeated use of planet and House names. The conflict is always clear and the motivations are known, yet there is so much room to expand on the backstory of these Houses and the politics of this universe. I assume this is all covered in the book franchise, but it makes it endlessly intriguing to us Dune neophytes that are just now experiencing these worlds.
The movie also does a tremendous job at explaining and showing the copious amounts of tech. The suits, the ships, the shields, the weapons - there is always something that is being introduced and it's all constructed so thoughtfully. The phrase "lived-in" gets used a lot when talking about world-building, especially in science fiction, but that phrase is totally appropriate here.
I watched this in IMAX and the immersion of the larger screen and the 1.9:1 aspect ratio (I'm nowhere near those true 1.43 IMAX theaters) had me in awe throughout. The first time we see the sandworm gave me chills. That hasn't happened in the cinema for me in quite some time.
I haven't even mentioned the powerful Hans Zimmer score (complete with potent bagpipes and instruments he had to construct to create sounds we've never heard before), the star-studded cast that had me pointing at the screen whenever someone new popped up, and the seamless visual effects that make it seem like aircraft that can lift up enormous machinery via air balloons came from a documentary. Simply put, this is one of the feastiest of visual and aural feasts - one that deserved all those "below the line" technical Oscars.
Won 6 Oscars (Best Cinematography, Best Production Design, Best Film Editing, Best Original Score, Best Sound, Best Visual Effects) / Nominated for 4 more (Best Picture, Best Adapted Screenplay, Best Costume Design, Best Makeup and Hairstyling)
Going into this, the only thing I knew about Dune was that David Lynch adapted it in the 1980s and it might have been confusing to understand. This made me a bit trepidatious but seeing Denis Villeneuve's director credit put me at ease, knowing that I would at least like looking at it for two and a half hours. Can confirm, I liked looking at it. But it has a damn intriguing story as well. I thought it might venture into Pocahontas/Avatar territory, but there are enough twists and backstabs along the way to veer off that course. The narrative is structured in a way that grabs your attention at a particular plot point, then it does a great job at explaining what that means to everybody involved over the course of the next scene. Perhaps it might be annoying to Dune veterans, but I was very grateful for the repeated use of planet and House names. The conflict is always clear and the motivations are known, yet there is so much room to expand on the backstory of these Houses and the politics of this universe. I assume this is all covered in the book franchise, but it makes it endlessly intriguing to us Dune neophytes that are just now experiencing these worlds.
The movie also does a tremendous job at explaining and showing the copious amounts of tech. The suits, the ships, the shields, the weapons - there is always something that is being introduced and it's all constructed so thoughtfully. The phrase "lived-in" gets used a lot when talking about world-building, especially in science fiction, but that phrase is totally appropriate here.
I watched this in IMAX and the immersion of the larger screen and the 1.9:1 aspect ratio (I'm nowhere near those true 1.43 IMAX theaters) had me in awe throughout. The first time we see the sandworm gave me chills. That hasn't happened in the cinema for me in quite some time.
I haven't even mentioned the powerful Hans Zimmer score (complete with potent bagpipes and instruments he had to construct to create sounds we've never heard before), the star-studded cast that had me pointing at the screen whenever someone new popped up, and the seamless visual effects that make it seem like aircraft that can lift up enormous machinery via air balloons came from a documentary. Simply put, this is one of the feastiest of visual and aural feasts - one that deserved all those "below the line" technical Oscars.
1. Spencer [Pablo Larraín]
Won 0 Oscars / Nominated for 1 more (Best Actress)
Spencer is a film that examines Princess Diana's relationships with everyone and everything - her sons, her husband, the Queen, the staff at the estate, the public, but most importantly, it examines her relationship with herself. In a series of surreal moments that sometimes lay the metaphors on thick, Kristen Stewart is the perfect conduit to express what is really going on in Di's head. Her insecurities, her nostalgia, her isolation, her jealousy - it's all on display and Stewart conveys all of these feelings so aptly, never overdoing it. She is the true Best Actress of 2021.
Throughout the film, I kept wondering why this felt so much like a PTA movie. To partly answer my question, it hit me in the credits - scored by Jonny Greenwood. His jazz compositions provide a unique energy, different from a typical melancholic piano tune that could have been inserted. Instead, upright bass and trumpets, still a but on the sadder side, enables one to further get into her headspace. I also adore every time diegetic music melds into the score, especially the organ at the church.
Stewart's performance and Greenwood's score might overshadow what I think is the most important element in this - the camerawork. I checked to see how many women have been nominated for Best Cinematography and only one has! Claire Mathon didn't get nominated for this, and that's a total bummer. This looks so incredible with the filmy look of the Super 16 and the composition of each shot, be it close-up or Princess Di walking the grounds; I shed a tear at how beautiful the shot is when the moon is directly overhead as Stewart is heading to her old house. I can't wait to see this again, just to admire each shot.
Won 0 Oscars / Nominated for 1 more (Best Actress)
Spencer is a film that examines Princess Diana's relationships with everyone and everything - her sons, her husband, the Queen, the staff at the estate, the public, but most importantly, it examines her relationship with herself. In a series of surreal moments that sometimes lay the metaphors on thick, Kristen Stewart is the perfect conduit to express what is really going on in Di's head. Her insecurities, her nostalgia, her isolation, her jealousy - it's all on display and Stewart conveys all of these feelings so aptly, never overdoing it. She is the true Best Actress of 2021.
Throughout the film, I kept wondering why this felt so much like a PTA movie. To partly answer my question, it hit me in the credits - scored by Jonny Greenwood. His jazz compositions provide a unique energy, different from a typical melancholic piano tune that could have been inserted. Instead, upright bass and trumpets, still a but on the sadder side, enables one to further get into her headspace. I also adore every time diegetic music melds into the score, especially the organ at the church.
Stewart's performance and Greenwood's score might overshadow what I think is the most important element in this - the camerawork. I checked to see how many women have been nominated for Best Cinematography and only one has! Claire Mathon didn't get nominated for this, and that's a total bummer. This looks so incredible with the filmy look of the Super 16 and the composition of each shot, be it close-up or Princess Di walking the grounds; I shed a tear at how beautiful the shot is when the moon is directly overhead as Stewart is heading to her old house. I can't wait to see this again, just to admire each shot.