2021 - IN REVIEW: MOST ANTICIPATED FILMS OF 2022

Just like every year that has come before it, there are a plethora of new releases that are slated for release in 2022 that I am eagerly anticipating. From last years list, I'm still waiting on releases for Guillermo Del Toro's “Nightmare Alley”, Jean-Pierre Jeunet's “BigBug”, Asghar Farhadi's “A Hero”, Zhang Yimou's “Under the Light” and Park Chan-wook's “Decision to Leave” (phew! Did any of my anticipated films come out at all last year???). Obviously these are still hugely anticipated and should be considered an extension of the below list (but I do not like including the same titles for multiple years). Besides the titles below that I am shining a spotlight on, 2022 will see a number of new and exciting films from talented directors, the likes of (again) Guillermo Del Toro (“Pinocchio”), Steven Spielberg (“The Fabelmans”), Steven Sodergergh (“Kimi”), Francois Ozon (“Peter von Kant”), Rian Johnson (“Knives Out 2”), Sebastian Lelio (“The Wonder”), Martin McDonagh (“The Banshees of Inisherin”), Adrian Lyne (“Deep Water”), James Cameron (“Avatar 2”), Darren Aronofsky (“The Whale”), Damien Chazelle (“Babylon”), Baz Luhrmann (“Elvis”), Robert Eggars (“The Northman”), Jordan Peele (“Nope”), Takeshi Kitano (“Neck”), David Fincher (“The Killer”), Paul Schrader (“Master Gardener”), Andrew Dominik (“Blonde”), Claire Denis (“Fire”) and (“The Stars at Noon”), Kelly Reichardt (“Showing Up”), and Terrence Malick (“The Way of the Wind”) to name but a few. Not only that, but we are also getting new entries in the following horror franchises, “Halloween”, “Texas Chainsaw Massacre” and “Scream” (which I have actually already seen and can report it is very good). All of the above I am looking forward to, but the below nine films are my most anticipated films of 2022: 

DARK GLASSES

I cannot help myself! I know I said in my review for the travesty that was “Dracula 3D” that I would never anticipate another Dario Argento film, but now that time has finally come, I find myself once again eagerly waiting for its release. The film in question was originally going to be Argento's next film after “Sleepless” way back in 2001, however that all changed when the company that bought the script for the film went into bankruptcy. However the rights to the script have finally reverted back to Argento, and the film has already been shot, with post production taking place as we speak. “Dark Glasses” is meant to be a giallo, the genre where Argento has produced all of his classic work in, and the imdb describes the plot as so: “Diana, a young woman who lost her sight, finds a guide in a Chinese boy named Chin. Together they will track down a dangerous killer through the darkness of Italy.” In a recent interview with co-writer Franco Ferrini, he stated that the entire second half of the film is an extended chase sequence, which sounds exciting and full of promise, if Dario Argento can pull it off. With Argento currently at the age of 81, I am guessing that “Dark Glasses” will probably be his final film, so lets hope he goes out with a bang, and delivers one final giallo classic.

 

FLUX GOURMET

I can honestly say that I have no idea how this film will end up, and out of all the films on this list, “Flux Gourmet” has the biggest chance of being a total dud. However, it makes it on here plain and simply due to the crazy, genius who has created the film, Peter Strickland. I have long been a fan of his very odd and unique films, and absolutely loved his previous film “In Fabric”, a movie about a killer dress!! “Flux Gourmet” sounds equally bizarre and its imdb synopsis is as follows: “Set at an institute devoted to culinary and alimentary performance, a collective finds themselves embroiled in power struggles, artistic vendettas and gastrointestinal disorders.” Um, what?!? That sounds more than a little insane, but I trust Strickland to deliver the goods here once again. Interestingly, Peter Strickland was a guest at MIFF a few years back, and he is such a quiet, unassuming man that it is hard to believe he is the author of such insanity. I always say though that I love cinema that is different from the norm, willing to take a chance, and above all that is original. One thing about Peter Strickland you could never deny, he is a true original. “Flux Gourmet” stars Asa Butterfield, Gwendoline Christie, Ariane Labed, and Strickland regular, Fatma Mohamed. It should be interesting.

 

BONES AND ALL

I have never really been drawn much to Luca Guadagnino's previous films which is a bit of a surprise, as he has a larger than life operatic style that I usually respond favourably towards. Maybe its his sensibilities that I do not connect to, because all of his films are very well made from a technical point of view, but whenever I come out of his films, my response is either “Ugh!” (like for his recent “Suspiria” remake) to “meh....” (“A Bigger Splash”). My favourite film from Guadagnino is “Call Me By Your Name”, but even that I didn't love as much as the masses. So why would a film made by a director I do not adore make it on this list? Two reasons, actually. The first is because the plot of the films sounds messed up and has been described like this: “follows a young woman who joins a drifter on a road trip across Reagan’s America as they learn to live on the margins of society.” That doesn't sound messed up, you say! True, but it has been also described as a cannibalistic horror film, which just whets my appetite. The other reason has to do with the cast he has assembled, particularly his leading lady. Guadagnino has cast Taylor Russell in the lead female role, and I am so excited that she has been given another juicy role to take a (ahem) bite out of, after impressing in the highest fashion in “Waves”. She was an absolute revelation in that film, and I want to see her in something just as fantastic as that again, and I think “Bones and All” could be that film. The rest of the cast ain't half bad either with Guadagnino reuniting with his “Call Me By Your Name” star Timothee Chalamet, plus Mark Rylance, Michael Stuhlbarg, Chloe Sevigny, Andre Holland, and Jessica Harper filling out the rest of the roles. 

 

X

It has been six whole years since director Ti West has treated us to a new film and nine years since he released a new horror film, but 2022 finally ends that drought. “X” is West's brand new film and its synopsis reads like this: “In 1979, a group of young filmmakers set out to make an adult film in rural Texas, but when their reclusive, elderly hosts catch them in the act, the cast soon find themselves in a desperate fight for their lives.” The newly released trailer shows a vibe similar to “The Texas Chain Saw Massacre” and yet there seems to be a whole lot more going on, particularly in regards to the old woman. The film is being released in March, so the wait wont be long to see this, which is good because it looks fantastic and it will be great having a brand new Ti West film once again. After his spectacular 2009 film “The House of the Devil”, West essentially gets a free pass for life from me; not that he needs it, as his horror films always seem to hit the right spot. The fact that this is being distributed by A24 is also a big plus as they are known for their quality horror projects. West has also put together quite the cast including Jenna Ortega (who incidentally was excellent in the new “Scream”), Brittany Snow, Martin Henderson and the always interesting Mia Goth. I gotta say, I am excited for “X” big time!

 

INFINITY POOL

Whilst I was not a fan of his debut film, “Antiviral”, I totally fell hard for Brandon Cronenberg's sophomore effort “Possessor”, and the fact that he has quickly followed that up with another horror / sci fi hybrid is the sole reason that “Infinity Pool” makes it onto this list. Imdb describes the film like this: “James and Em Foster are enjoying an all-inclusive beach vacation in the fictional island of La Tolqa, when a fatal accident exposes the resort's perverse subculture of hedonistic tourism, reckless violence and surreal horrors.” Sounds good, and mark that down as another messed up film on this list! Mia Goth also shows up again here, but the stars of the film are Alexander Skarsgard and Cleopatra Coleman in the roles of James and Em. Cronenberg reunites with his “Antiviral” and “Possessor” cinematographer Karim Hussain, so if all else fails, at least we know that “Infinity Pool” is going to look spectacular at least.

 

POOR THINGS

This is the brand new film from Greek madman Yorgos Lanthimos, the king of “messed up” films! This new one sees him reunited with one of his stars from “The Favourite”, Emma Stone, and “... will be a Victorian tale of love, discovery and scientific daring; [it] tells the incredible story of Belle Baxter, a young woman brought back to life by an eccentric but brilliant scientist.” I actually know a little more about the plot but am not sure if this will be a major spoiler or not (so beware and stop reading now if you do not want to know more), but apparently Emma Stone plays a pregnant woman who drowns, and then is brought back to life via the brain of her unborn baby. That sounds more like the Yorgos I know and love! It has been also described as Frankenstein-like love story, and if anyone doesn't know about my love of “Frankenstein”; it is extreme! Also in the cast of “Poor Things” is Margaret Qualley, Willem Dafoe, Christopher Abbot, and Mark Ruffalo. I have no doubt that this thing will be amazing.

 

ASTEROID CITY

After a torrid 2020 and 2021, thanks to the worldwide pandemic, it appears that the cinematic Gods are finally looking down on us, giving us two new Wes Anderson films in two consecutive years (in fact, it could potentially be three films in three years, as he has just begun filming on yet another new film). “Asteroid City” is his latest film, and although nothing is really known about the plot, it is thought to be a romantic film set in Europe. Anderson completed shooting in Spain late last year, so it appears a certainty for a 2022 release. He has brought along his usual troupe of actors with him including Bill Murray, Jeff Goldblum, Jeffrey Wright, Jason Schwartzman, Tilda Swinton, Tony Revolori, and Adrien Brody, adding to that amazing list with superstars such as Tom Hanks, Scarlett Johansson, Margot Robbie and Maya Hawke. Similar to my opinion of Pedro Almodovar, I have entire faith in Wes Anderson, no matter what the content of the film is, that it will definitely be worth watching.

 

KILLERS OF THE FLOWER MOON

Any other year and this latest film from Martin Scorsese would have clocked in as my most anticipated of the year. Similar to Dario Argento, Scorsese turns the ripe old age of 80 this year so it is fair to say that we are in the twilight of his career, and that each new film brings us closer to the end, therefore we must saviour each film we get from now onward. Unlike Argento though, Martin Scorsese is still working at the peak of his powers, and “Killers of the Flower Moon” sees him in charge of one of his largest productions of his entire career. It also sees the first teaming between Robert DeNiro and Leonardo DiCaprio in a Scorsese picture, which is very exciting. Based on a non-fiction book by David Grann, the film's plot is as such (as per imdb): “ Members of the Osage tribe in the United States are murdered under mysterious circumstances in the 1920s sparking a major F.B.I. investigation involving J. Edgar Hoover.” Sounds fantastic and like a great opportunity for Scorsese to flex his cinematic muscles. Besides the two superstar actors mention above, Scorsese has filled his ensemble cast with talent like Jesse Plemons (who actually plays the lead in the film), Brendan Fraser, Lily Gladstone, and John Lithgow, to name but a few. Behind the scenes talent is filled with Scorsese regulars like Rodrigo Prieto as D.O.P, Robbie Robertson on music duties, and of course Thelma Schoonmaker editing as usual. The production design is being done by Jack Fisk which is the first collaboration between these two great artists. I have a feeling this will be another long film with a running time close to three hours. This is Martin Scorsese; he is a living God, and there is no doubt in my mind that “Killers of the Flower Moon” will be spectacular. I hope after this though, that Scorsese turns his attention to a few smaller films, maybe even one final genre effort before his career comes to a close.

 

CRIMES OF THE FUTURE

My most anticipated film of 2022 is none other than David Cronenberg's “Crimes of the Future”. This was a film that a couple of years ago I was convinced would never happen. After the recent deaths of both his wife and his sister, it had seemed like David Cronenberg was content with his career and the fact that he may never get behind a camera ever again. It seemed like he was willing to just live the twilight years of his life, without working again. Personally, I had come to terms with the fact that “Maps to the Stars” was likely his final feature. Then early last year, word got out that he was considering filming a new project and I got very excited. Then came the bombshell; David Cronenberg was returning to body horror, the type of film he originally made his name from. But still the news got better in that it was revealed that Cronenberg was basing the film on a script he had written back in the 90's meaning this was the first original Cronenberg film (not based on a pre-existing property) since “eXistenZ” from 1999. If this doesn't get you excited, nothing will!! But wait.....there's more. Here is the plot synopsis (from Deadline): “[take] a deep dive into the not-so-distant future in which humankind is learning to adapt to its synthetic surroundings. This evolution moves humans beyond their natural state and into a metamorphosis, which alters their biological makeup. While some embrace the limitless potential of trans-humanism, others attempt to police it. Either way, Accelerated Evolution Syndrome, is spreading fast. Saul Tenser is a beloved performance artist who has embraced this new state, sprouting new and unexpected organs in his body. Along with his partner Caprice, Tenser has turned the removal of these organs into a spectacle for his loyal followers to marvel at in real time theater. But with both the government and a strange subculture taking note, Tenser is forced to consider what would be his most shocking performance of all.” WTF?!? It sounds crazy!!....and definitely Cronenbergian (is that a word?). The film was shot in Greece last year and is currently in post production with many believing it will premiere at this year's Cannes Film Festival. His main cast is also impressive with Lea Seydoux, Kristen Stewart and Viggo Mortensen (who was the person who initially broke the news about Cronenberg's return) starring. Regular Cronenberg stalwarts Howard Shore and Carol Spier return on musical and production design duties respectively. The big change though is that I believe “Crimes of the Future” will be the first film since “Dead Ringers” from 1988 that David Cronenberg has not used Peter Suschitzky as his cinematographer, with Douglas Koch performing those duties here. Finally, I must point out that “Crimes of the Future” is not a remake of the earlier short or underground film that Cronenberg made in 1970; only their titles are the same. It is hopefully very obvious how excited I am about “Crimes of the Future”, and whether or not it turns out to be the final film from David Cronenberg or if he catches the filmmaking bug again and this is the first film in the twilight stage of his career, it matters not! What matters is we are at least getting one more film from David Cronenberg!!!!

 

  

Well, that is it. My round up of the year that was 2021 is over. Hopefully you enjoyed reading it and got something out of it, but how about we go back to watching some new films now?

2021 - IN REVIEW: TOP TWENTY BEST FILMS: #10 - 1

10. SHIVA BABY

Ah, the horror film that isn't. “Shiva Baby” is actually a very funny and lightning paced comedy that continues to build minute by minute, to the point that it gets so claustrophobic that it truly does feel like a horror movie. The film takes place at a Jewish funeral service where Danielle, a college student who has a sugar daddy on the side to help with her money issues, runs into said sugar daddy who has also brought along his wife. The fact that Danielle is attending the shiva with her parents only adds to the uncomfortable nature of the gathering, not to mention that Maya, a girl that Danielle once had a lesbian affair with when they were both teenagers, is also present. The film is so intense and suspenseful, and is very, very Jewish, which is the beating heart of its comedy. It is so rapid fire at times, that it reminds of those classic screwball comedies from the 1930s. It has been so well performed by all of the actors (lead actress Rachel Sennott is an absolute superstar in this) who have impeccable comic timing, and yet the film is never played for laughs; it is the increasing absurdity of the situation that creates the comedy of “Shiva Baby”. Wisely, writer / director Emma Seligman and editor Hanna Park keep the running time down to a scant 77 minutes which is perfect because padding the story out would have only diluted the effectiveness of its comedy, and its drama. I cannot speak highly enough about “Shiva Baby”; it was my favourite comedy of 2021, and a film that I think most people would really enjoy if they gave it a chance. To give you a sense of its unusual tone and pace, think of the film as if “A Serious Man” and “Uncut Gems” were to mate and have a (shiva) baby, and that should give you some idea of what “Shiva Baby” is like.

9. CENSOR

Whilst “Shiva Baby” was my favourite comedy of 2021, my favourite horror movie this year went to “Censor”, a little independent film from the UK. It is set during the “Video Nasties”era of Britain where horror films were being regularly cut and censored or even flat out refused classification and release, all under the guise of protecting the public. Our main character, Enid, is one of these censors who spends her whole day at work watching bloody and violent horror films, a job she takes very seriously, where all she is concerned about is getting it right. One day whilst watching one of these video nasties, Enid notices an actress who bares more than a passing resemblance to her sister, Nina, who disappeared years ago when they were both children, and has never been found. Convinced that the actress is her lost sister, Enid sets out to solve the mystery of her disappearance and to bring Nina home to her parents once and for all, however will this journey bring the happiness and closure she needs, or will it send her down a rabbit hole of madness and despair? Whilst it is set during the era of the video nasties and those films do play a large part in the plot, “Censor” is more of a psychological horror film than anything else, and it has been very well made. It is suspenseful, mysterious, intriguing and at times, very surreal. More than an excellent horror film, “Censor” also highlights how ridiculous that era was when films were being censored to protect the public from the evils within them, whereas the truth was that those movies were a reflection of the violence and immorality that existed in real life. Writer / director Prano Bailey-Bond cautions on the dangers of censorship in both art, and self-censorship which Enid is guilty of, and leads her down a dangerous path she may not return from. I loved that Bailey-Bond chose to shoot the film (predominately) on film, staying true to the era that she is depicting, and the film looks gorgeous (in a demented horror way) because of it. I was so impressed by lead actress Niamh Algar who starts the film in a very straight laced and closed off way, before becoming totally unhinged by the finale. Speaking of the ending of “Censor”, I absolutely loved the way it finished and thought it the perfect endpoint to this story, even if it asks more questions than it answers. Just a fantastic horror film, and one of very few films this year that I saw multiple times. Click here to read my original review.

8. WHEEL OF FORTUNE AND FANTASY

Writer / director Ryusuke Hamaguchi had one hell of a year, releasing two films of incredible quality and deserving acclaim. Whilst the majority of plaudits are going towards his other film, “Drive My Car”, personally I found “Wheel of Fortune and Fantasy” to be the greater of the two films. This film contains three short stories that deal with “coincidence and imagination”, and all three films are superb. Usually films that contain a triptych of stories, it is inevitable that one is a little less in quality than the others, but in “Wheel of Fortune and Fantasy”, all three are just fantastic and so engaging. I was totally enthralled whilst watching this film and constantly surprised by where each story went. The first story starts with two girls in a taxi, where one of the girls tells her an erotic story about her new boyfriend. Whilst listening to her story, the other girl realises that the guy she is talking about is one of her exes and she then heads to his work to confront him. The second story deals with two university students (one older, one younger) who attempt to blackmail their collage professor, who is famous for writing and having his novel published. Trying to seduce the man by reading the book's most erotic passages, the student has the tables turned on her, and she is then taught the true power of literature. The final story is about two old school friends who reunite at a train station after not seeing each other for twenty years. When the two go back to the house of one of the women, they recount their younger days together, before realising that neither is actually the person the other thought they were. Instead of being embarrassed and leaving each other, the two women then role play for the other, to give them the chance to say what they never did to their friend back in the past. I was initially going to say that this third story is my favourite of the three, but thinking about them all whilst writing this has given me pause, because they are all so great. “Wheel of Fortune and Fantasy” is very dialogue heavy, but Ryusuke Hamaguchi has written the most wonderful dialogue that feels so real, and is both complex and has something to say. I loved the fact that each story went in a totally different direction than I was expecting, and this was a film that stayed with me long after I had watched it.

7. C'MON C'MON

I mentioned in my little bit about “The Card Counter” before, that I consider Joaquin Phoenix (along with Oscar Isaac) the best actor working in cinema today, and it is his participation in “C'mon C'mon” that made me want to check out this film. It is another great film and performance from Phoenix, although he gives off a much lighter vibe than we normally see from him, which I really appreciated. He is normally so intense in the roles he takes that it was great to see him just smile and by happy for the majority of a film. When his sister Viv, in the middle of a family emergency, asks him to look after her son for her, Johnny of course accepts. Despite the fact that he and Viv have been estranged, and barely spoken to one another since their mother died, Johnny sees this as a chance to finally connect with his nephew Jesse and begin to mend his relationship with Viv. However, as Viv's problems take longer to fix than initially thought, Johnny's work of a radio journalist needs to continue and he decides to take Jesse on the road with him around America where he is interviewing kids about the future and other topics. Together the two form an unbreakable bond, while Johnny also understands just how hard it is to parent a child. This is such a beautiful, warm-hearted family drama, but what I loved most about it was just how unsentimental it was. It did not try to manipulate the audience into feeling things it hadn't earned via big sentimental scenes, rather it just presented the truth always; sometimes these led to painful moments, other times happy, but they always came from a real place. I must admit that I have never been a massive fan of writer / director Mike Mills. Whilst I have liked his previous films, I have never seen what the big deal was in regards to his work; I liked them but didn't think they were anything special. “C'mon C'mon” is something special. As rich as the film is, there is also so much going on under the surface that is never spoken about and yet we feel throughout. One element of the film that I adored was the interviews Phoenix's character did with the kids, which were clearly very real, and led to some surprising and very funny moments, and also showed just how much kids understand about the world today. The rapport Joaquin Phoenix has with these kids while interviewing them is also pretty special, but also adds another layer to the film in that he finds it so easy to talk to these kids, whilst struggling to communicate with his nephew at times. I also need to mention Robbie Ryan's fantastic black and white cinematography which adds so much to the film (loved the scenes in New Orleans!). “C'mon C'mon” turned out to be a fantastic film and I enjoyed it so much more than I was expecting to.

6. BEING THE RICARDOS

I have already spoken about “Being The Ricardos” at length in my “biggest surprise of 2021” section of my end of year round up, so I wont say too much about the film again here. Do not listen to the naysayers who cannot get over the fact that Nicole Kidman and Javier Bardem bare little resemblance to Lucille Ball and Desi Arnaz; both are excellent in this and create fully rounded characters instead of just delivering an impersonation of Lucy and Desi. Aaron Sorkin's script is just fabulous dealing with a number of topics like Lucille's “red scare” episode, her pregnancy, and Desi's suspected infidelity, while his dialogue is clever and very funny at times. Thankfully the cast he has put together understands the beats of his dialogue and when it moves at breakneck pace, it is so very funny. It is also quite emotional in places too, as the film deals with a very tough time in Lucille and Desi's life. I should mention that the only real flaw in “Being The Ricardos” is the use of present day interviews with the characters in the film, which Sorkin uses to jump back to the past during key moments in Lucille and Desi's life. It is the only clunky aspect to this excellent film, that I was surprised just how much I fell in love with.

5. SPENCER

Before I even saw this, I was stunned by how quickly this film came together, as it only started shooting early in 2021; I was sure it wouldn't be ready until 2022, but it was shot, edited and released in quick succession. Anyway, this is definitely a companion film to director Pablo Larrain's “Jackie”, a film I was equally taken by surprise by, due to just how good it was and how it was nothing like I anticipated. I have no real interest in the Royals, but hearing Larrain was taking on a story about Princess Diana......I just knew it was going to be spectacular and I was not wrong. This is a devastatingly good film; I loved every heartbreaking second of it. The film takes place over a three day period in Diana's life, during the Christmas break, where the Princess is contemplating leaving the Prince over his infidelities. Struggling with issues over her mental health, weight loss, and both the public and Royal's demand on her, Diana finds herself on the edge of a mental breakdown. It is important to know going into “Spencer” that this isn't a biopic of the People's Princess, rather it is more of a character study, as the whole film revolves around Diana and her inner turmoils. Kristen Stewart is just extraordinary as Diana, in fact I think her performance is the best female performance of 2021 (with Nicole Kidman a very close second for “Being the Ricardos”). You just feel every ounce of pain that this poor woman is going through, at the end of her rope, feeling trapped, and looking anywhere for an escape. Having her entire life laid out for her, feeling she had no input at all, that is not a life anyone should live. It is suffocating, and you could understand anyone struggling in an environment such as this. Whilst “Spencer” is a fictional story, it is still based on real accounts, but director Pablo Larrain has used this fiction to add a surreal element to the story via the parallels in Diana's story and that of Anne Boleyn. Diana, who is reading a book on Boleyn, starts having visions of this doomed Queen from the past as Boleyn essentially warns Diana to not head down the same path as her. This was such a bold move by Larrain and one that pays off in spades, as I adored this part of the film. Similar to “Jackie”, Larrain shot “Spencer” on 16mm film, and it looks glorious. I adored cinematographer Claire Mathon's lighting she used; it was so soft and delicate which seemed perfect for a film about royalty, and that blue when someone looked from inside out......just gorgeous. “Spencer” also has the best poster of 2021 (see above), although when you see the context within the film from where that image came from, you will have a laugh and never be able to see the poster in the same light again. Just a stunning film all around.

4. PARALLEL MOTHERS

Similar to “Spencer”, I could not believe how quickly this film came together. Shooting didn't even begin until March of 2021, so there was no chance in my eyes that this film would see release in 2021, or else it would have definitely featured on my “most anticipated list of 2021”. Anyway, history has shown I was wrong, and “Parallel Mothers” certainly did see release, and it is yet another home run for Pedro Almodovar, the most consistent and consistently great filmmaker working today. “Parallel Mothers” is the story of two mothers, both who give birth on the same day in the same hospital, and the way their lives differ post-birth until circumstances force them to unexpectedly reunite. Once again, I was totally blown away by an Almodovar film, and something that I seem to always say when speaking about his films is that as soon as it began I felt I was in the hands of a master filmmaker. For once though, I went into “Parallel Mothers” cold, knowing as little as I possibly could, and I am grateful for that because I was regularly surprised by the twists and turns the story took and ultimately ended up. I think it is obvious what one of the main dramas of the story will be, and that indeed happens, but from there onward the film never went where I was expecting. The tone of the film also regularly changes from drama, to tragedy, to thriller, and back to drama, but Almodovar is such an expert at weaving the story strands all together that you never feel vertigo or whiplash from the constant changes. Penelope Cruz is out of this world good (and her performance sits comfortably next to Kidman's and Stewart's) as Janis, the older of the two mothers. When Cruz works with Almodovar you just see how spectacular an actress she really is, that never comes through in her Hollywood films. She has a highlight moment in the scene I vaguely recalled above. The way she sells the realisation of that moment is just masterful. I have to say that I was less impressed by Milena Smit who plays Ana, the younger mother. She is a relatively new actress and hasn't done a lot of work yet, and this is her first time appearing in an Almodovar film. It is not that she is bad, rather when playing off of Penelope Cruz, it is noticeable that she is not at her level yet. Pedro Almodovar once again assembled his regular crew to make “Parallel Mothers” and they all do exemplary work. The beautiful and colourful cinematography from Jose Luis Alcaine and the score from Alberto Iglesias are, as usual, simply superb. I honestly feel there is no more sure of a thing in cinema than Pedro Almodovar making an excellent film. You just turn up to the cinema expecting to be impressed and he never lets you down, and he has been doing this since the 90's (there were a couple of dodgy ones in the 80's, haha!). The final thing I want to mention is that I love when Almodovar uses past collaborators and was very happy to see Rossy De Palma in a featured role once again.

3. PETITE MAMAN

Like most fans of international cinema, I was absolutely bowled over by the beauty and raw emotional power of director Celine Sciamma's heart-wrenching love story, “Portrait of a Woman on Fire” which was released in 2019. The film is an out and out masterpiece, and she has now returned with the smaller and much more intimate family drama “Petite Maman”. Whilst Celine Sciamma is working on a much smaller canvas here than she did on her previous film, she has once again struck gold with “Petite Maman”. It is such a beautiful and gentle little film that deals with memory, saying goodbye to loved ones, and moving on with life while never forgetting how much that person meant to you whilst they were alive. I absolutely loved this film, so much so that I have already seen it twice. Sciamma is returning to adolescent themes she has explored in earlier films but the two girls, Nelly and Marion, are her youngest protagonists yet. The girls are played by twin sisters, Josephine and Gabrielle Sanz, and they are just outstanding. Sciamma has always been able to get impressive performances out of children in her past films, but the Sanz girls are in a whole other class. They both come across so natural, believable and so full of life. I also defy anyone to not have their heart melt when the two girls giggle infectiously whilst playing together or making pancakes. Smartly, Sciamma in her role of costume designer has colour coded the girls, with Nelly mostly dressed in shades of blue and Marion in red, so although both girls look very similar, we are never confused as to who is who. Speaking of colour, “Petite Maman” has been shot in gorgeous autumn colours. The use of autumn is not just an aesthetic choice either, as the season is very symbolic for change, which is something all of the characters are going through here. Sciamma has re-teamed with her “Portrait of a Lady on Fire” cinematographer Claire Mathon for “Petite Maman”, and like that earlier film, Mathon has used very soft lighting whilst capturing her gorgeous images. When I went into “Petite Maman” the first time, I was expecting a gentle drama, with a particular focus on the little girl. However I was blown away when a very special twist in the story is revealed to the audience. I just was not expecting it at all, but I had the biggest smile on my face when it came to light, and even more so when the twist works so well throughout the rest of the film. I will not say anything about it other than to say that it is a lovely example of “magic realism” within cinema and that I also loved the fact that one of the girls actually understands what is going on and how the story evolves because of this. There is so much more that I would love to say about this brilliant film, but without ruining the surprise for others, I cannot, so I will just say that I absolutely adore this film. I believe that Celine Sciamma (together with cinematographer Claire Mathon) is a director currently working at the top of her game, and “Petite Maman” sits comfortably next to Sciamma's masterpiece “Portrait of a Lady on Fire”, a film so good I thought she would never get close to replicating but she has done just that with her latest. Yes, “Petite Maman” is a little film, but it is packed full of emotion and humanity, that I hope anyone who gets a chance to see it, does so. It is another Celine Sciamma masterpiece! Click here to read my original review.

2. THE POWER OF THE DOG

This is director Jane Campion's first feature in twelve years, and I absolutely loved it! It is beautifully paced, stunningly shot and very well acted by its entire cast. I am not a huge fan of Benedict Cumberbatch, and he would never have been a first choice of mine to play an aggressive, alpha male type rancher, but he totally sells it in “The Power of the Dog”. However it is Kodi Smit-McPhee who steals the film as Kirsten Dunst's effeminate son, seemingly at odds with the rugged West where he lives. He is interested in simple, beautiful and delicate things, and our introduction to his character Peter is of him making the paper flowers for the tables of his mother's eatery. When the tough cowboys, led by Phil (Cumberbatch), who enter looking for a feed realise these flowers were made by a man, it is just the spark for the torment that Peter (and his mother) will feel at the hands of Phil. However Peter, as clumsy and out of the tune with the world that he seems, is not all he appears to be, nor as helpless. The film moves slowly but the atmosphere is forever tense, filled with suspense which continually builds to an unbearable point until its thrilling finale. I have no desire to really go into plot points because the film is too good to ruin for anyone, but I must say that looking at reviews on imdb, I am dumbfounded by just how many people who do not get the film, when it has been so perfectly laid out by Jane Campion, that it is so obvious what is going on and what happens. Campion is not a director that is going to spoon feed her audience, so yes, you need to put your phone down and pay attention and let the film and its world envelope you, and once you do, you will be thoroughly rewarded. Pay attention to the opening lines that Kodi Smit-McPhee narrates at the beginning of the film, and that will go some ways of explaining what some people seem to be struggling with. Again, I felt the narrative was perfectly laid out and told by Campion; she is a hell of a storyteller. Themes that the film deals with are toxic masculinity, repressed homosexuality, psychological torture and humiliation, and revenge. I cannot speak highly enough about “The Power of the Dog”; it totally floored me. While the cinematography from Ari Wegner was exemplary, the aspect of the film that impressed me the most was Jonny Greenwood's brilliant score. It was something else entirely, and added to the savage tension of the film. As the film was made for Netflix, I am terrified that I will never own “The Power of the Dog” on blu ray, which seems like a tragedy. I implore cinema lovers to check out Jane Campion's latest; it is a stunning achievement of the highest level, and I am sure you will not be disappointed.

1. ANNETTE

Here we are, finally. My favourite film of 2021 is none other than Leos Carax's batshit crazy musical, “Annette”. Before seeing it I was a little worried going in, however that thought did not last long because as soon as the opening song “May We Start” began, I just knew that I was going to love the film, and for the next two hours and twenty minutes, you good not wipe the ridiculous smile off of my face. Whilst Steven Spielberg created a good old fashioned musical with “West Side Story”, “Annette” is anything but traditional. It is the creation of three madmen, who must also be geniuses. Initially “Annette” was not planned as a movie, but as either a stage play or an album by the Sparks. Written by Sparks members, Ron and Russell Mael, they only started thinking of it in terms of a film after a meeting with director Leos Carax who had used a Sparks song in his previous film, “Holy Motors”. From there the film was long in gestation, with many cast members accepting and dropping out before Marion Cotillard and Adam Driver committed to the project as lead characters Ann and Henry and it finally went into production. What I do find interesting though is personally I felt that Driver and Cotillard lacked chemistry when together, but in scenes by themselves, they were sensational. I have stated many times that I think Marion Cotillard is a luminous presence onscreen and you cannot take your eyes off of her. This remains true here, and the way that she has been lit and shot by Carax and cinematographer Caroline Champetier, reminds of the way women where shot in old Hollywood. Driver, an actor I am fond of, has the more difficult role of the two with his character having a much larger arc, going through many changes throughout. This is a man who starts at the top, and slowly self destructs but then finds a way back to the top through his daughter's amazing gift. You can feel the weight of life in Driver's performance, but there is also an arrogance to this man, an ego that defines him, where he believes that he should be at the centre of everything, and if he is not, he considers this a failure. In regards to their musical abilities, well I have mentioned before that I know very little about music, but to my ear I did not think that Driver or Cotillard were any sort of musical prodigy, but it doesn't matter because their rough, unpolished voices just work for this film and story. The lack of perfection in both of their voices was something apparently Carax was passionate about (and one of the few things the Sparks disagreed with him on). I need to mention one other actor who shows up late in the film, Simon Helberg, who plays a character known only as “The Accompanist” and is just outstanding. He is part of a key highlight of “Annette” when he graduates from accompanist to conductor and tells us, the audience, of his love and past affair with Ann (before she met Henry), all the while excusing himself mid-story to conduct the orchestra in front of him, while Carax's camera continually swoons around him. Whenever I talk about this movie to people the word I constantly use is “bold” but the boldest decision in “Annette” that Carax makes is to have Annette, herself, played by a puppet, and yet it makes sense from a narrative point of view too. As the movie goes along, Annette's parents treat her more like a puppet as they use her in ways that best help themselves, rather than seeing her as her own little self. There is no doubt that they love the girl, but they become something like showbiz parents. I do not want to go into too many details about Annette, both the character and movie plot, because one of the things I loved most about “Annette” was that I was constantly surprised by where it went and at times was a lot darker than I was expecting from a story about love (although, being a fan of Carax, you have to wonder why I was surprised as he has always told stories about love that are full of pain). It will come as no surprise when I tell you I had no knowledge of the Sparks before this film, but I was very impressed by what was delivered by them here. The songs themselves, in terms of lyrics, are hilarious as they often describe banal, every day things in life, set to music but I loved it. Watching Henry McHenry being combative with his hostile audience in song is just brilliant, as is Henry and Ann's love song where they describe how in love they are, but cannot explain why they are in love. Again, the opening number is also genius. Yes, this is a musical, with the majority of the dialogue being sung, but this is not your traditional musical. It is very odd and out there, both musically, lyrically and yep, even tonally. This isn't your mother's musical, but I cannot stress enough just how amazing “Annette” is! As of yet, I haven't focused on Leos Carax's contribution to “Annette” too much, and while this story may not have originated from the man, the film itself is a Carax film through and through. There is no doubt about who the author of this film is. The way he shoots things, the energy the film has, the eccentricities, his continued obsession with the colour green, the darkness and pain he associates with love (but you can tell that he feels it is all worthwhile); it all screams Leos Carax. He is a director that doesn't make films very often, so when a new one arrives, it is something to get excited about, especially since his cinematic voice is a true original; no one makes films like he does. He isn't afraid to go outside the norm, to be different, and that is why so many of us that love cinema, champion his films. “Annette” is his first film in nine years and frankly I think it is his best film yet. It is certainly my favourite of his. Sure, it is true that Carax is prone to excess here, but my god, is that excess glorious! And that is why “Annette” is my favourite film of 2021. Click here to read my original review.

 

 

Well there you have it, that was my  round-up of the year that was 2021; hopefully you got some enjoyment out of it. Now before I finish, lets have a brief look at the upcoming year and my most anticipated films of 2022.  

2021 - IN REVIEW: TOP TWENTY BEST FILMS: #20 - 11

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.

 16. DRIVE MY CAR

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”.