2021 was another strange and challenging year for the big screen. We saw a slow rollout of film's delayed from 2020 with mixed results.
Comic book film still rule the box office roost for the most part and helped soften the hit from some big name projects that just couldn't gain any traction.
Ultimately, I reviewed 76 films this year with some surprises and letdowns along the way. This top ten reflects my favorite films which may or may not be reflective of my original grade.
Some of these films stuck in my mind long after I'd seen them while others left an immediate impression.
So without further adieu, here are my ten favorite films of 2021 in no particular order.
Saint Maud
Rose Glass' debut film is an efficient and affecting slow burn of a psychological horror film. It all hinges on a haunting performance from Morfydd Clark which culminates with a final act that will leave you shaken.
The Night House
Rebecca Hall is the type of performer that's capable of delivering stellar turns when she's given the right material (See 2016's Christine). The Night House is a meditation on grief and loss in the guise of a horror film. Hall elevates the film with her singular turn as the widowed wife.
Nightmare Alley
Guillermo del Toro's remake of Nightmare Alley is lavish but dense film which is no rush to get anywhere quickly. Anyone with a short attention span is likely to hate it but those that stick with it will find a beautifully macabre morality tale. Del Toro's style radiates through each meticulously constructed scene. Bradley Cooper plays against type with great effect but Cate Blanchett own the back half of the film.
The Eyes of Tammy Faye
This film is a prime example of performances being better than the actual film. Jessica Chastain has gotten a lot of buzz for her turn and it's justified but Andrew Garfield is just as good. They make this paint by the numbers biopic far more watchable than it deserves to be.
Belfast
Kenneth Branagh puts down Poirot's mustache to deliver a personal, moving and heartwarming film. Regardless of where you grew up there are universal themes that come through the film's narrative making it an uplifting experience.
Last Night in Soho
Edgar Wright's latest film is a dazzling technical marvel especially in its stellar first half. Anya Taylor-Joy and Thomasin Mckenzie both deliver engaging performances in this kaleidoscope of a film which takes you on a journey and features the late Diana Rigg's cinematic swan song.
The Tragedy of Macbeth
Joel Coen's The Tragedy of Macbeth is a striking minimalist adaptation of Shakespeare's legendary play. The visuals leave a lasting impression with their stark staging which linger in your memory long afterward. Denzel Washington and Frances McDormand provide one of the best Macbeth and Lady Macbeth in recent memory.
The Last Duel
Ridley Scott's The Last Duel is a period piece with some heavy subject matter. Scott delivers a well constructed adult drama utilizing a Rashômon approach to the events in question. Its a difficult watch in parts but the film is populated with excellent actors (excuse Affleck's boyband hair) delivering engaging performances about a timely subject matter.
The Suicide Squad
Apologizes to Spider-Man: Far from Home but James Gunn's gonzo The Suicide Squad was far and away the most fun I had with a comic book movie this year. It's vulgar, over the top but also has enough heart (and daddy issues) to make you care about the characters. The set pieces are great fun but nothing tops Harley's compound escape with poetic mayhem.
Cruella
I'd be lying if I said I went into Disney's latest live action redo with any sort of expectation. Most have been so-so money grabs but at least Cruella had Emma Stone who typically make most things better. The biggest surprise here wasn't that she was great but that the film itself was worlds better than it deserved to be. Its an edgy mash up of Tim Burton's sensibility with Lady Gaga's fashion sense, kudos to Disney for letting them make this film.
Honorable Mentions
Dune
My main take away from David Lynch's 1984 Dune was a floating fat man. Needless to say I didn't have any deep affinity or affection for Dune onscreen or as a book. Denis Villeneuve's new take was visually arresting and engaging even though it hit on plenty of origin story beats. There's a geeky joy watching a sci-fi story treated with such reverence and care.
Titane
Some films work to subtly unleash hints of insanity before unleashing it full bore onto the audience. Julia Ducournau's Titane doesn't bother with any pretense and lets its freak flag fly in the first ten minutes of its runtime. You're either all in or out of business with it midway through the first act. The story goes is unexpected, bizarre directions occasionally recalling some of Cronenberg's early work. Regardless of what you think of the film as a whole, you aren't going to forget it for a longtime.
Lamb
A24 continue it's string of delivering some of most interesting "horror" films in recent memory. Lamb doesn't play like a straight up horror film instead it feels more like a long forgotten folktale anchored by a fantastic turn from a fully committed Noomi Rapace.
West Side Story
This remake from Steven Spielberg has no reason being as good as it is. Spielberg pulls off an impressive bit of cinematic alchemy by making a classic musical fresh with minor tweaks, amazing dance numbers and memorable performances. Hopefully more audiences will take the time to see this film and truly appreciate what Spielberg pulled off.
Werewolves Within
Who would have thought a good videogame adaptation would have popped up without any fuzz or fanfare. Loosely based on the game of the same name, Werewolves Within takes 1985's Clue premise and adds in a tad bit more gore and fangs. Excellent performances from the ensemble is sure to make this a cult classic in the years to come.
Special Mention
Zack's Snyder's Justice League
It's the film that should have come out in 2017 and it only saw the light of day because of dedicated fans. Snyder's DC opus does everything right that the theatrical cut got wrong. Snyder's cut is beefy and surprisingly character centric which gives the film heart that was sorely from the theatrical cut which was cobbled together like a cinematic Frankenstein.
