Let's get onto the good stuff finally. I am not going to do any honorable mentions, this is it, my top 20 of 2021, and while the title of this list states that these are the "best" films of 2021, that is not really the case, these are my "favourite" films of 2021. Alright, enough talk, lets begin with my:
TOP TWENTY BEST FILMS OF 2021
20. THE KILLING OF TWO LOVERS
This was a wonderful and surprising little indie drama, that was about a father, Dave, trying to keep his family together whilst navigating his separation from his wife. Whilst the two of them have not yet given up on getting back together, they mutually agreed that during their separation they could both see other people. However when his wife does start seeing another man, Dave finds it hard to cope and starts to see his life spiral dangerously out of control. There is so much to love about this film, but the thing I loved most was the fact that it did not go where I thought it would. From the title of the film and the opening image of a man standing over a bed, pointing a loaded gun at the inhabitants sleeping within it, I was expecting a much different film, but was pleasantly surprised when “The Killing of Two Lovers” turned out to be a thoughtful and truthful representation of a couple trying to find themselves during a difficult time in their lives, while doing what is best for both them and particularly their children. One aspect I really appreciated was the fact that neither party is demonised, there is no “good guy” and “bad buy”; both are struggling and both are making mistakes, but they are trying their best in a hard situation, however they do not always get it right all the time. Performances are all excellent and authentic and I particularly liked the experimental sound design which worked well at creating an uneasy tension throughout the film. It is a small scale story, but told so honestly and humanly that I ended up suitably impressed by it.
19. CODA
This is a film that I never had originally planned to see, but when MIFF changed from an in-person film festival to a virtual one, “CODA” ended up being the opening night film, and since I had a virtual pass I decided to watch it, and I ended up loving every second of it. Sure it is a total crowd pleaser, and because of that I guess you could say that it was a little predictable, but who cares. The film is packed with fantastic, likeable characters, is very funny, and is heart-warming. Not to mention the fact that it is anchored by a sensational lead performance from Emilia Jones who is just outstanding. CODA stands for “Child of Deaf Adults”, and the film sees Jones play Ruby, who is the only hearing person in her deaf family. As such, at times she feels trapped because she doesn't think she can leave her family and live her own life, because her family rely so much on her. Her brother and father are fishermen, but need Ruby to be on the boat at all times, because regulations state there be a hearing person onboard at any time. Ruby also feels like an outsider at times, because things that she loves like music, the rest of her family cannot relate to. And that is the crux of the drama as Ruby discovers she has a talent in singing and wants to go after her dream, but doesn't want to let down her parents. The best scene in the film is at Ruby's concert during her big moment in the song she is singing. We have watched her prepare all movie for this moment, and yet director Sian Heder shows it from her family's point of view, in total silence. From the crowd around them, you can tell that Ruby is smashing it, but obviously her parents and brother do not get it, because they cannot hear it. Other things I loved in the film were the constant bickering between Ruby and her elder brother, and some of the very amusing comedy that comes from the parents being deaf, like when they are having sex together without knowing that Ruby is home and has brought a friend home. It is very funny, particularly due to the fact at how little they are embarrassed by it. A large majority of the film is signed and thus there is a lot of subtitles, but I hope this doesn't put people off seeing this fantastic and beautiful dramatic comedy. On a side note, I have to say that the downside of all these streaming channels funding movies, is the lack of physical media for the films they make. The fact that I am unlikely to ever have a copy of “CODA” or “The Killing of Two Lovers” on blu ray disheartens me.
18. BLUE BAYOU
Whilst “CODA” was the feel good cinema event of 2021, “Blue Bayou” was the complete opposite, in that it had the most heartbreaking ending of any film I saw last year, an ending that absolutely destroyed me. The film is about a forty-something Korean born man, Antonio, who at a very early age was adopted by an American family, and has since lived in the US for the rest of his life. However, due to a strange legal loophole, Antonio (and many like him in the same situation) was never considered properly naturalised and thus has to fight to avoid deportation back to Korea, leaving behind his wife and two children in the process. The film really struck a cord with me due to the very strong father / daughter dynamics throughout it. Whilst Antonio is not his daughter Jessie's biological father, there is no doubt in the world that he is her true father, and the love they share for each other is as strong as any bond out there. With Antonio's wife (and Jessie's mum) being pregnant, Jessie is worried that Antonio will love the new baby more, because it will be his own biological child. To prove how wrong she is, Antonio lets her skip school that day and the two of them spend a fantastic day together, going around the locales of New Orleans. Justin Chon has done a phenomenal job with making this film, as not only did he write, produce and direct “Blue Bayou”, he also stars in the leading role of Antonio and gives a wonderfully layered performance of a man pushed to the edge, emotionally and mentally. The film has been wonderfully shot with regular shades of blue present in the images, and I have to say that the opening shot of the film is just stunningly beautiful. The New Orleans locations also add to the film's atmosphere wonderfully. There is a lot more going on in this film than the brief elements that I have mentioned too, and I am very surprised that “Blue Bayou” has been largely ignored by the cinema public. It is definitely worth taking a chance on, although beware, it is a very intense and emotionally draining family drama.
17. LICORICE PIZZA
Being that “Licorice Pizza” is the brand new film from director Paul Thomas Anderson, I am not surprised it has made my top twenty list. What I am surprised at though is where this ended up on the list, as before I saw it I was expecting it to feature in my top five. No matter, it is still a fantastic film, and is a return to the looser style of filmmaking that Anderson used earlier in his career, and much lighter in tone and less serious than his more recent features. Because of this tone, it is forever enjoyable, which is also thanks to the two fantastic lead characters, Alana and Gary, heading the story. Alana is played by Alana Haim, whilst Gary is played by Cooper Hoffman, who is the son of the late Philip Seymour Hoffman (and is the spitting image of his dad), who was a regular collaborator on Paul Thomas Anderson's films. As fans of Anderson would know, his films often take place in a period setting, and once again he is true to that setting, this time Los Angeles in 1973. As well as the clothes and the locales of that time, Anderson does a great job of having his characters deal with legitimate things that happened in that year such as the introduction of the waterbed, the fuel crisis, and the legal re-introduction of pinball machines. For those going into “Licorice Pizza” blind, it is helpful to know that the story doesn't move in a fashion where point A then gets us to point B, rather it is more of a collage of incidents between Gary and Alana over that one year. I have to mention the fact that there has been a lot of controversy in regards to this film, for a couple of reasons. The age difference never really bothered me, especially because for the majority of the film Gary and Alana's relationship is platonic, although I agree if the sexes were reversed, it would be more of a big deal (it is weird though, but this is something the characters themselves discuss in the film). The other aspect has to do with two very poor instances of casual racism, that I was stunned to see in a film from the present. I understand that the film is set during the 1970's but there is no way either of these scenes should have made the final cut. For mine, we are talking Mickey Rooney / Breakfast At Tiffany's level of offensiveness. Just shocking and an extreme sour note in an otherwise great movie. But to turn back to the positives again, it was fantastic to see John C. Reilly in another Paul Thomas Anderson film again (after starring in his first four), even if it was just a blink and you'll miss it cameo. Oh and how good is Bradley Cooper in his small role? Finally, this was one of, sadly, very few films that I got to see on the big screen this year, which made it that extra bit special too.
Without a doubt, Ryusuke Hamaguchi's “Drive My Car” is the critics foreign language darling of 2021, and for good reason, as it is an excellent film. I have seen it top so many of these end of year lists, and whilst I do not love the film quite as much as most, it is hard not to notice its fantastic qualities. The film is based on a short story by Haruki Murakami (which is ironic, as the film is actually three hours long), and is about a theatre director, Kafuku, who is invited by a festival to stage a play in Hiroshima. He is allocated a chauffeur, Misaki, for the duration of his stay, who he initially finds quite stoic, but the more rides they take together, the more they open up with each other and discover they are both in mourning over loved ones they have lost. Kafuku recently lost his wife, Oto, whilst Misaki still mourns the death of her mother during a landslide where she escaped with her own life. The conversations between the pair increase in regularity and in length and they begin to unlock a path for both to begin healing, with Kafuku finding solace in using his trauma in an artistic fashion via his play. Ryusuke Hamaguchi's greatest strength is creating fully rounded and believable characters that the audience want to invest in. Personally I think that this is Hidetoshi Nishijima movie, as his performance as Kafuku is outstanding. His character has such a large arc that he is given a lot to work with, and he never makes a false step. Toko Miura gives quite a restrained and quiet performance as Misaki, however it works perfectly for her character, and together Nishijima and Miura have excellent chemistry. The other thing I liked about “Drive My Car” was just existing with these characters as they silently drove around Hiroshima; its hard to explain but it is a calming experience. I also loved the way the film was shot in shades of blue and grey, which really made the red car pop at all times. With a running time of three hours, “Drive My Car” is a long film, and at times you do feel it, but there are large chunks of the film which also fly by in the blink of an eye. Case in point is when the opening credits begin some forty minutes into the film.
15. THE TRAGEDY OF MACBETH
I’ve always liked the story of Macbeth, but I struggle with the thickness of Shakespeare’s language, which once again was true here. This version is minimalist to the extreme; more expressionistic than anything close to realistic. I have heard people compare it to something Ingmar Bergman would have made, but the director it reminded me of more was Carl Theodor Dreyer. It actually took me a while to get into this, but once the madness within Macbeth and his Lady kick in, and with it his intent to keep power, no matter what the cost, I was fully invested and liked it a lot, and by the end thought it was very powerful. Denzel Washington is outstanding in this, and handled the language as if it was his mother tongue. The stark black and white angular images (shot in the square 1:33 aspect ratio and handled by cinematographer Bruno Delbonnel) were interesting but sometimes the minimalist nature of them seemed to work against the story as we rarely get a feel of the outside world closing in on Macbeth (which makes sense as the entire film was shot on sound stages). It is a strong movie, but felt completely different to anything Joel Coen (working for the first time without his brother Ethan co-directing with him) had done before. It is a very dark piece with no levity whatsoever, but it is also another fine achievement from Joel Coen. “The Tragedy of Macbeth” was also another of the very few feature films that I was lucky enough to see on the big screen.
14. LAST NIGHT IN SOHO
I went into Edgar Wright's “Last Night In Soho” with the highest possible expectations, as I think he is a fantastic and fantastically creative director, and who was finally working on my type of film. Truthfully, with expectations that high, it would be nigh on impossible to reach, and this is what happened here, but Wright did get awfully close. It is such a fun, energetic film bursting with music and colour, and life of the swinging 60's. For those that are unaware, “Last Night In Soho” is about an aspiring fashion designer, Eloise, who is mysteriously able to enter the life of a wannabe singer, Sandie, in London during the 60's, each night during her dreams. Eloise is initially entranced by the magic of the past, and the excitement of Sandie's nightlife, and is always eager to fall asleep to return to that past. However, the more she dreams, the darker they become, until she finds herself mixed up in the middle of murder, and a serial killer who may still be active in her present. As you can probably tell from that, this is a film that starts light and fun, before becoming a mystery and by the end is dark and blood drenched. I am a massive fan of actress Thomasin McKenzie and she just owns this film in her characterisation of Eloise. When the film was originally announced, I was under the impression that Anya Taylor-Joy had been cast in the lead, but instead she plays the smaller role of Sandie. Both actresses had to work well together, as they often have to mimic each other's movements, sometimes in the same shot, as Eloise essentially “plays” Sandie in her dreams. Being a huge fan of “The Avengers” television series of the 60's, I was delighted to see that Emma Peel herself, Diana Rigg, had a role in the film and then was stunned by how substantial it was. Rigg plays Ms. Collins, who is the landlord of the apartment Eloise is staying at, and who then becomes like a pseudo mother figure for the young girl. It goes without saying that she is excellent in the role, which sadly turned out to be her last, as Rigg passed away soon after shooting the film. Edgar Wright has always been known as a visual stylist, and “Last Night In Soho” is super stylish and I was very impressed by the period details of 1960's London. He isn't subtle about it either, he goes big and bright with it all, but it all looks so fantastic thanks to cinematographer Chung Chung-hoon bright, colourful lighting. I know Wright is often lauded for his use of music in his films, and I agree that he is very good at it, but I did wish at times here that he would let the music pause for a bit, in a chance to let the suspense grow by itself naturally, but he did not. Sadly, at times, I found the music a little intrusive. Finally, I have to mention the ending, which although I liked, it did have serious issues in that it tries to have its cake and eat it. You will understand what I mean once you have seen it yourself, but the film wants you to suddenly sympathise with something that you have been told to despise for the rest of the film. It is a bit of a whiplash moment, but personally it didn't bother me as much as it has other people. Anyway, I still think this is probably the most “fun” I had watching a film all year. Incidentally, this was the first film I saw back on the big screen after months and months of the cinemas being closed due to Melbourne's extended lockdown.
13. THE FRENCH DISPATCH OF THE LIBERTY, KANSAS EVENING SUN
Any new Wes Anderson film is an event for me. He has his own totally unique style that means he and he alone could only be the author of his films. His latest, “The French Dispatch” is also his first live action film since 2014's “The Grand Budapest Hotel” (my own personal favourite from Anderson's impressive oeuvre), so it has been a long time between drinks (which once again, the world pandemic did not help with). The film is Wes Anderson's love letter to journalists past, and as such, he has set the film up like a newspaper or magazine, in that it involves three distinct stories focusing on art, politics and cuisine, with a travelogue prologue, and to finish up, an epilogue, or the obituaries, if you will. Anderson and regular director of photography Robert Yeoman have also shot the film in the square 1:33 format, also aping the look of a newspaper or magazine. It looks and feels like every other Wes Anderson, except that it also doesn't, as the majority of the film has been shot in black and white (want to guess why?). Aside from that stylistic change, which works perfectly for this project, it is pure Anderson through and through with so much going on inside every frame, packed to the gills with little tiny details, that it at times becomes exhausting to look at. Out of the three stories, I thought that the first one was the best and also had a trio of fantastic performances from Benicio Del Toro, (Anderson regular) Adrien Brody, and Lea Seydoux. The third story, focusing amusingly on cuisine (police cooking......HA!), is also very strong with another fine performance from Jeffrey Wright. The middle story doesn't quite stack up to the genius of the other two, but is not a failure by any stretch of the imagination. Speaking of packed to the gills, the cast of “The French Dispatch” is beyond huge, with famous actors filling out every role, far too many to list individually. My favourite shot of the entire film is actually a colour shot focusing on Saoirse Ronan's beautiful blue eyes and blonde hair, and yet, she only appears in the film for about two minutes in total. I should mention that the obituaries section at the end is actually quite emotional and poignant too. By now, I expect that every Wes Anderson film will make it onto my end of year list; he just has a style that I respond to and is a filmmaker who talks to me, and once again he has struck gold with “The French Dispatch of the Liberty, Kansas Evening Sun”. It is a film that has stuck with me, and my appreciation grows for it on a daily basis.
12. WEST SIDE STORY
I have actually never seen Robert Wise's original 1961 version, so I went into this Steven Spielberg remake pretty much blind. I mean, due to the fact that it was directed by Spielberg, I was always going to see this no matter what, but I was thankful that I did not know the beats or outcome of the story before going to watch this new version of “West Side Story”. All I knew was that it involved rival gangs, and included a “Romeo and Juliet” love story within, but outside of that I didn't know where the story would take me, and was actually shocked and surprised where it went. I am actually a big fan of old style musicals, particularly those that feature more dance than singing, and Steven Spielberg has done an outstanding job of replicating the style and grandness of these old musicals. I absolutely adored the energy, commitment and style of the dance scenes, and particularly appreciated the way Spielberg shot the dances, with the performers feet always in frame and not edited down like crazy so you can not tell what the hell was going on. We get a chance to marvel at the dancer's physical abilities, and I loved every dance scene, particularly the fight / dance between Riff and Tony for the gun. As the story goes along and gets darker in tone, there is less and less dancing, however the singing is constant throughout the film and handled nicely by the cast, thanks also to Stephen Sondheim clever lyrics. Steven Spielberg is a master with the camera, and always has been, but I loved the way he got to play with colour like never before in “West Side Story”. The film is packed with colour, as big and bright as possible which also adds so much to the fun of this very enjoyable movie. Performances are all fantastic, but particularly from Rachel Zegler as Maria, Ariana DeBose as Anita (boy, is she powerful onscreen), Rita Moreno as Valentina (Moreno played Anita in the 1961 version), and my personal favourite, Mike Faist as Riff. This was an excellent return to form from this all time great director, after his previous dud “Ready Player One”. Guess what? I also got to watch this film on the big screen, which always seems to work best for big musicals like “West Side Story”.
11. THE CARD COUNTER
Director Paul Schrader's late career resurgence continues with the stunning and surprising, not to mention, very dark drama “The Card Counter”. Going in to this if you are expecting the usual kind of poker movie, you better check your expectations at the door, because Schrader has a lot more on his mind. Firstly, the film is not about cards, even though the backdrop of the story is set in casinos amongst acts of gambling. Rather it is about struggling to come to terms with horrible things you have done in the past, and then finding a way to tip the scales towards the positive. Not to mention when that fails, and the weight you bare becomes to heavy to handle. This is what the film is about on a surface level, and it works extremely well in that regard, but underneath it all Schrader has also created a savage indictment on the U.S handling of immigrants (particularly Muslims), taking away their civil rights and treating them inhumanely, post September 11 under the guise of protecting Americans. Make no mistake, “The Card Counter” is a very dark, character study, so if you are looking for a piece of Saturday night entertainment, you have chosen the wrong film. The film has the most amazing atmosphere, which as you may expect is quite dark. Oscar Isaac is, as usual, at the top of his game in the lead role of William Tell. It is such an intense, internal performance playing a man that is all about routine, and not making waves so he isn't noticed, until he is forced into a situation where he has to abandon all of that. Isaac is so good here; between he and Joaquin Phoenix, they are the best actors currently working in cinema today. Tye Sheridan is also good playing an aloof young guy that William befriends. Interestingly for a film that is so great, it has one of the biggest examples of miscasting I have seen for awhile. Tiffany Haddish is completely wrong as La Linda, who stakes Williams in the tournaments he plays. Her presence and performance just does not fit the world that Schrader has created and she sticks out like the proverbial sore thumb. However it is proof to Schrader's immense talent and the quality of the film, that “The Card Counter” barely suffers from this miscasting. It is a powerful film with a lot to say so if you do not mind thinking while watching a movie, I wholeheartedly recommend “The Card Counter”.
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