My Top 20 Favourite Films of 2021

A little later than I had hoped this year, but here's the list. As usual I've included trailers in case you're tempted.

20) NO SUDDEN MOVE (Dir. Steven Soderbergh)

Over the course of the last 32 years, Steven Soderbergh has made over 30 films across a wide variety of genres, but between OUT OF SIGHT (1998), THE LIMEY (1999) and most recently LOGAN LUCKY (2017) he has shown a particular affinity for pulpy crime noir. While NO SUDDEN MOVE doesn't quite reach the heights of those earlier films, its not for lack of trying. The cast, including most notably Don Cheadle, Benicio Del Toro, David Harbour, Brendan Fraser, Ray Liotta and Bill Duke, are all as excellent as you'd expect and bounce off of each other wonderfully. The film slightly loses its way in the middle, but a surprise cameo late in the film does help to bring everything together. Not one of Soderbergh's best but still a great time.

Trailer: https://youtu.be/7GRDLX3a-IE

19) CENSOR (Dir. Prano Bailey-Bond)

Set in the era of the 'Video Nasty' controversy, CENSOR is a psychological horror that explores the effects of violent imagery on a fragile mind through Niamh Algar's Enid, a censor working for the BBFC. To say too much about this film would be doing it a disservice but I will say that first time director, Prano Bailey-Bond shows an absolute mastery of tone and I'm excited to see what she does next. 2021 wasn't a great year for horror in my opinion but CENSOR managed to stay with me for a while after I watched it.

Trailer: https://youtu.be/SMC0_Ad4Phw

18) THE KILLING OF TWO LOVERS (Dir. Robert Machoian)

First off, I have to say that this film isn't quite what it may seem from both the trailer and it's title. This film is less about the violence carried out by a spurned lover than it is, the emotional toil that goes into long-term relationships. The film follows Clayne Crawford's David as he struggles to navigate a trial separation from his wife whilst caring for an ailing father and trying to maintain a healthy relationship with his children. While David may harbour dark thoughts and impulses, the film is far more concerned with his genuine kindness and empathy for his wife's unhappiness in their marriage, The film's conclusion may struggle to resolve these ideas in an entirely satisfying way, the film is still worth watching for Crawford's absolutely stunning performance and if he wasn't at the centre of controversy for his departure from the LETHAL WEAPON TV series, I expect he would have got some attention during awards season.

T\\railer: https://youtu.be/hqmVhNb6Z18

17) WEREWOLVES WITHIN (Dir. Josh Ruben)

Strangely, WEREWOLVES WITHIN might be in consideration for the best video-game movie ever? Taking inspiration from both the multiplayer VR game of the same name and classic whodunit's, the film brings together an eclectic cast of endearing oddballs, isolates them in a small Vermont town and pits them against the potential of a lycanthropic killer in their midst. I was a big fan of Josh Ruben's previous film, SCARE ME, and his second outing keeps a similar blend of laughs and surprising moments of tension. A really fun horror-comedy with one of the most endearing performances of the year from Sam Richardson as the new town sheriff who hast to navigate this madness.

Trailer: https://youtu.be/X0WzPQNIBJ4

16) BENEDETTA (Dir. Paul Verhoeven)

Paul Verhoeven, is an absolute madman of a filmmaker who has long since made his mark on Hollywood with the likes of ROBOCOP (1987), TOTAL RECALL (1990), BASIC INSTINCT (1992), SHOWGIRLS (1995) and STARSHIP TROOPERS (1997) and at 83 years old (!) he keeps the transgressive satire and eroticism of those films alive in BENEDETTA. His previous film, ELLE (2016) received attention from both the Golden Globes and the Academy Awards and while I find his most recent film to be vastly superior, I'd be stunned if it got the same recognition. Viginie Efira is wonderful as the titular nun whose mystical visions, brought on by her sexual awakening, see her rise suddenly in stature in the eyes of the Church. Verhoeven pulls no punches in his attacks on the hypocrisy of both the Catholic Church as an institution and the individuals who seek power within it. Charlotte Rampling is tremendous as the Mother Superior, who grows increasingly suspicious of Benedetta's visions, but the film is absolutely stolen by Daphne Patakia as the new arrival to the abbey that kickstarts Benedetta's transformation. Efira and Patakia have absolutely electric chemistry together and bring out the best in each other. The film is typically self-indulgent for Verhoeven, and could do with some trimming, but ultimately is unlike anything else I watched this year.

Trailer: https://youtu.be/DW5wOtLSfPs

15) DUNE (Dir. Denis Villeneuve)

I don’t think Denis Villeneuve would ever make my list of favourite directors, yet for the last few years I’ve found myself excited for almost everything he’s worked on. PRISONERS (2013), SICARIO (2015), ARRIVAL (2016) and BLADE RUNNER 2049 (2017)  all offer distinctive takes on their respective genres, with bold visual choices, even if they all suffer from a slight sense of bloat and Villeneuve continues this trend with his adaptation of Frank Herbert's classic science fiction novel, or at least half of it. Ultimately that is the film’s main failing as beyond the stunning visuals, not enough of the novels themes are explored in this film. To be fair, the production team didn’t even know if they would get the opportunity for a second film and have tried to divide the plot as organically as possible. The result of this divide is that much of the film now rests on Timothee Chalamet’s shoulders and he simply isn’t up to the task. Fortunately he is surrounded by steady hands in Oscar Isaac and Rebecca Ferguson, who deliver strong performances. Still, the visuals in this film are stunning (especially in IMAX) and are more than enough to earn the film a place on this list.

Trailer: https://youtu.be/8g18jFHCLXk

14) LAST NIGHT IN SOHO (Dir. Edgar Wright)

Now Edgar Wright definitely would be included on a list of my favourite directors, so I was a little disappointed with his latest effort. Don’t get me wrong, there are two types of Edgar Wright film, the good ones and the great ones. The difference in my opinion is in Wight’s balance between of style and substance. In his best films, SHAUN OF THE DEAD (2004), SCOTT PILGRIM VS THE WORLD (2010) and THE WORLD’S END (2013) the style is the substance. Each of these film’s follow protagonists in a perpetual state of emotional arrested development who’s growth is tied intrinsically to the film’s genre conventions (and the subversions thereof) whether it be Shaun’s inability to grow expressed through the zombie genre, Scott’s evolving emotional maturity expressed through the mechanics of video game levels or Gary King’s aimless rebellion finally finding purpose through both the controlling influences of the Network, but also the film’s own rigid structure. Wright’s lesser films, HOT FUZZ (2007), BABY DRIVER (2017) and indeed LAST NIGHT IN SOHO (2021), while still being head and shoulders ahead of their contemporaries, fail to find the balance between style and substance and ultimately have less thematic resonance. Don’t get me wrong, LAST NIGHT IN SOHO is in parts, a stunning cinematic accomplishment, but ultimately loses its way. It is at its best when exploring its coming of age plot through the dangers of nostalgia, but as more horror elements are steadily introduced the film starts to fall apart. Anya Taylor-Joy and Matt Smith are both hugely memorable in their roles but, much like Ansel Elgort in BABY DRIVER, the otherwise talented Thomasin McKenzie struggles to stand out. Still, an average Edgar Wright film is well worth checking out. Also, I’m well aware a lot of people really enjoy HOT FUZZ but I’m sorry, it isn’t one of Wright’s best and, while I’m offending people, POINT BREAK (1991) is overrated too.

Trailer: https://youtu.be/AcVnFrxjPjI

13) PROMISING YOUNG WOMAN (Dir. Emerald Fennell)

In decades past, PROMISING YOUNG WOMAN would most likely have played out as a slice of grimy exploitation but writer/director Emerald Fennell takes the premise of a women avenging past wrongs and finds more humour and humanity then you might be expecting. Carey Mulligan is great as Cassie, a college dropout who spends her nights entrapping men who would take advantage of a drunken stranger, and enacting some form of revenge (the nature of which is kept fairly ambiguous). Much of the runtime is spent uncovering the reason for Cassie’s newfound vocation and exploring just how far she is willing to go. The genius of the film’s casting is that the men who incur Cassie’s wrath include such names as Adam Brody and Christoper Mintz-Plasse instead of more cliche “threatening” types. The nuance film explores both the danger of the stereotypical “nice guy’ as well as the emotional cost of clinging to guilt and trauma. Not an easy watch necessarily but there’s enough heart on display to make it worthwhile. 

Trailer: https://youtu.be/7i5kiFDunk8

12) THE MATRIX RESURRECTIONS (Dir. Lana Wachowski)

I could write whole essays about this film, about how I feel it improves the previous sequels retroactively, and addresses thematic concerns about the original film I've always had. But that would take way too long and to be honest, I'm still developing a lot of my thoughts and feelings, so instead I'll just pick out some key points about this film I particularly enjoyed: Keanu's performance, as well the treatment of the romance between Neo and Trinity, brings a real sweetness and heart to proceedings, I really enjoyed both Jessica Henwick and Yahya Abdul-Mateen II's performances, I was thrilled that the film addressed the complicated politics that have always been inherent in the series (for example, the lack of conversation the famous about how hotel lobby shoot-out from the original results in the deaths of a lot of innocent people has always bothered me) from its narrative rejection of the notion of binary choices (the red pill/blue pill choice and the us vs them nature of the human-machine conflict) and its championing of personal expression (with the uniform black costuming of the original trilogy giving way to a multitude of colourful attires) and I cannot wait to read thoughts from someone more knowledgeable than I about the film's effectiveness as a trans-narrative. The film is far from perfect though, as all of the action scenes are generic and lack the creativity of the originals, a couple of casting choices hinder some of the film's themes and to be honest, after the brilliance of the first hour, the film loses much of its originality. Still, I thoroughly enjoyed this film and can't wait to watch it again after more time has passed.

Trailer: https://youtu.be/9ix7TUGVYIo

11) THE SUICIDE SQUAD (Dir. James Gunn)

As much as I enjoy both GUARDIANS OF THE GALAXY (2014) and GUARDIANS OF THE GALAXY VOL.2 (2017) I was always a bit disappointed the director behind the absolute madness of SLITHER (2006) and SUPER (2010) would deliver something so mainstream when finally given a big budget to work with. Thankfully, THE SUICIDE SQUAD is the film I always hoped Gunn would make: hilarious, profane, violent, gross and even quite sweet at times, this is his masterpiece. Every member of the cast overdelivers with Idris Elba inheriting a thankless lead role and making it his own, Margot Robbie and Viola Davis showing new sides to their return roles and Daniela Melchior and David Dastmalchian earning their places alongside the bigger names. The real stars of the show though are Sylvester Stallone, Steve Agee and the effects teams combined efforts to bring King Shark to disturbing life and John Cena's scene-stealing role as Peacemaker. THE SUICIDE SQUAD was probably the best action film of the year and only improves with repeat viewings.

Trailer: https://youtu.be/JuDLepNa7hw

10) PASSING (Dir. Rebecca Hall)

I was originally drawn to this film based purely on the presence of Tessa Thompson and Ruth Negga, both of whom have done excellent work in recent years and continue to do so here, but the addition of the film being British actor Rebecca Hall's directorial debut only increased my interest and make no mistake, Hall does herself proud in her adaptation of the 1929 novel of the same name by Nella Larsen. The decision to shoot the film in black and white serves as more than a gimmick and really helps to bring out the themes of a narrative that is more complex than it may initially seem, and has almost as much to say about economic class as it does about race. I don't really want to go much further as I don't want to spoil the experience but I will say that all involved have delivered a film well worth your time.

Trailer: https://youtu.be/E9balpSxqy0

9) THE LAST DUEL (Dir. Ridley Scott)

Ridley Scott's has a deeper history with epic historical filmmaking than most modern directors, and while his work on films such as GLADIATOR (2000) and KINGDOM OF HEAVEN (2005) serves to suggest a similar sense of scale to THE LAST DUEL, it is in fact at its best when it focuses on its smaller and more intimate moments. Inspired by a historical incident of trial by combat to settle allegations of rape, the film eschews a traditional narrative structure to present the perspectives of three characters before, during and after the central assault, and make no mistake it is an assault. The film wisely avoids any vagueness on that point, only the perspectives change. The film is all too relevant in addressing both toxic masculinity and the systems of power that protect the accused and attack the accuser. The film works as well as it does thanks to a frankly stunning performance by Jodie Comer, who manages to make the same scene have different implications multiple times through only micro-expressions. Adam Driver is typically great and Ben Affleck delivers in a great supporting role, though sadly Matt Damon struggles. I fundamentally believe that if Scott had saved some money by pulling back on some the unnecessary scale, and cast a different actor in Damon's role, people would be discussing this film as one of the director's best. And if all of this sounds a bit too heavy for you, the titular duel itself is one of the best historical action scenes ever committed to film so you've got that to look forward to. Joking aside, Jodie Comer is sensational and makes the film worth catching for her performance alone. 

Trailer: https://youtu.be/mgygUwPJvYk

8) PIG (Dir. Michael Sarnoski)

Nicholas Cage’s recent venture into genre fare has led to somewhat of a career renaissance with his extroverted acting style leading to great turns in MOM AND DAD (2017), MANDY (2019) and COLOR OUT OF SPACE (2019) but he completely inverts that approach for Michael Sarnoski’s directorial debut, PIG. The basic plot of a forest hermit venturing into the city to reclaim his stolen pig might suggest typically gonzo genre fare but the film soon reveals itself to be a slow meditation on grief and loss. I’m not exaggerating when I say this might be the best performance of Nicholas Cage’s career as he slowly peels the layers back on Rob, a former acclaimed chef turned rural truffle farmer. This film is in turns heart-breaking and cathartic and deserves a higher profile heading into award season.

Trailer: https://youtu.be/gH6vhlNTLUk

7) RARE BEASTS (Dir. Billie Piper)

RARE BEASTS is probably the most uncomfortable viewing experience on this list and I cannot recommend it highly enough. Written, directed by and starring Billie Piper this really is a sensational debut that follows a single mother trying to navigate a dysfunctional family and disturbed son whilst beginning a relationship with a borderline misogynist she barely even likes. The key to the film's success the nihilistic black humour that Piper's Mandy confronts the world with. A deeply personal, complicated and at times contradictory film that clearly draws some parallels from Piper's own life while also keeping a wider view on the universal nature of these struggles. And no, it doesn't get any more comfortable on repeated viewings. 

Trailer: https://youtu.be/1mopsKvtXf0

6) THE GREEN KNIGHT (Dir. David Lowery)

David Lowery's adaptation of the late 14th-century chivalric romance, Sir Gawain and the Green Knight has an almost hypnotic effect. The visuals are stunning but the music and sound design lends the film a dreamlike quality that only enhances the fantastic elements Lowery has added to his version of the story, particularly with regards to the titular knight. While superficially a coming-of-age tale, thematically the film has a point to make about both British culture and how we treat nature and the environment. The film is anchored by yet another fantastic turn by Dev Patel, who fills his Gerwain with as much naivety as he does arrogant hubris. The deliberate obtuseness of the film won't be for everyone, but I absolutely loved the experience of watching the  THE GREEN KNIGHT.

Trailer: https://youtu.be/aRejWo0j7Bs

5) TITANE (Dir. Julia Ducournau)

I’ve left writing this paragraph until last because honestly, I still don’t know what to say about this film. Ducournau’s previous film was the deeply uncomfortable, yet utterly compelling, RAW (2016) and TITANE is another wholly unique viewing experience. The comparisons that first leap to mind are Shinya Tsukamoto’s TETSUO: THE IRON MAN (1989) and David Cronenberg’s CRASH (1996), yet beyond some similar thematic concerns and a general sense of unease, even these parallels don’t quite fit the tone of TITANE. Ultimately, the film fits within the sub-genre of body horror and addressed damaged psyches and broken families. Beyond that, I'll let you discover for yourselves what madness unfolds within the film. I cannot wait to see what Julia Ducournau does next.

Trailer: https://youtu.be/T975nUk_uNA

4) THE POWER OF THE DOG (Dir. June Campion)

I have no doubt that THE POWER OF THE DOG, Jane Campion's first feature film in 12 years, will pick up many awards in the coming months and enjoy a similar legacy of excellence to the director's earlier major critical successes, THE PIANO (1993) and HOLY SMOKE! (1999). I am however concerned that similar to those films, her latest will go largely ignored by mainstream audiences and that would be a real shame as the film features not only excellent turns from Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee but also a career best performance from Benedict Cumberbatch. Though quite a slow burn, the film is exquisitely shot with beautiful vistas and builds to and unforgettable crescendo. THE POWER OF THE DOG was the best dramatic film I saw in 2021 but this is a list of of my personal favourites and it doesn’t quite top the list. That being said, this is the sure fire Oscar juggernaut of the year. 

Trailer: https://youtu.be/p3FcklC_Kfs

3) TICK, TICK... BOOM! (Dir. Lin-Manuel Miranda)

To be honest, I had zero intention to ever watch this film. I’m very hit or miss when it comes to musicals, case in point, I was recently disappointed with my failure to contact with IN THE HEIGHTS (2021), and never would have expected to like TICK, TICK... BOOM! Thankfully I was overcome by my fondness for Andrew Garfield (more on that shortly) and took the chance on Lin-Manuel Miranda’s directorial debut. The film follows aspiring composer and playwright Jonathan Larson, and his immediate social group, in the weeks leading up to a make or break career opportunity. Now those versed in musical theatre may be familiar with Larson as the eventual creator of the hugely successful rock musical RENT but, without spoiling anything further, Miranda is able to mine plenty of drama from Larson’s life ahead of his impending breakthrough. The way TICK, TICK... BOOM! alternates between biographical drama (another genre I’m not keen on) and musical interludes (taken from the stage musical) is reminiscent of recent films such as the Elton John biopic ROCKETMAN but by covering a much smaller period of time, Miranda’s film retains a sense of focus often lost in the genre. The real secret weapon of the film though is Andrew Garfield. He’s been one of Hollywood’s most under appreciated actors for a long time now, but hopefully this performance will be his second breakthrough, as he balances both the dramatic and musical aspects of his performance as if he’d been in musical theatre for years. Perhaps ironically, the performance I’m most reminded of is Emma Stone’s sensational turn in LA LA LAND. Hopefully this film does for Garfield what that film did for Stone. THE POWER OF THE DOG was the best dramatic film I saw in 2021, but TICK, TICK... BOOM absolutely was the most pleasant surprise.

Trailer: https://youtu.be/kAJXFRshQfw

2) SPIDER-MAN: NO WAY HOME (Dir. Jon Watts)

I’d say most of the films on this list are “better” than SPIDER-MAN: NO WAY HOME but this is a list of personal favourites and I can honestly say I didn’t enjoy any cinema experience in 2021 as much as this. I won’t spend time trying to convince you of NO WAY HOME’s merits, instead I’ll just list the things that made the film for me: Tom Holland and Zendaya’s chemistry; Charlie Cox’s return as Matt Murdock; Willem Dafoe, Alfred Molina and Jamie Foxx’s performances; the effects in the Spidey/Strange showdown; Tom Holland finally Being given the material to become a recognisable Peter Parker; the chemistry between Holland and Dafoe and all that entails; the handling of Tobey Maguire and Andrew Garfield; the entire Statue of Liberty sequence. Don’t get me wrong, the film is far from perfect. Structurally its all over the place, both Peter Parker’s and Dr Strange’s decisions are dubious at best and I dislike a lot about the resolution. Still, it might be best to think of SPIDER-MAN: NO WAY HOME as a selection box, the parts I liked I loved and the parts I hated will likely work better for other people (some people are monsters who like the coffee chocolates after all). In the end though, no one performance meant as much to me in 2021 as the passion and heart Andrew Garfield brings to his brief presence in this film. The man is a star.

Trailer: https://youtu.be/JfVOs4VSpmA

Now I’m going to cheat a bit. You see, the best thing I watched in 2021 wasn’t a film, well not really, but I simply couldn’t do this list without discussing it so my number 1 pick is...

1) BO BURNHAM: INSIDE (Dir. Bo Burnham)

Technically a musical comedy special, there is enough narrative through line in Bo Burnham’s latest work for me to justify this choice. For those unfamiliar, Burnham is a stand-up comic of the modern era who got his start posting comedy songs to YouTube, leading to two live specials before delivering the sensational breakthrough MAKE HAPPY for Netflix. The climax of that special was unlike anything I’d ever seen in a comedy special (I’ve included a link below) and I was convinced Burnham was on the verge of superstardom. Unfortunately though, Burnham’s declining mental health lead him to take a step back from comedy and pursue over creative outlets. These pursuits included a sensational directorial debut in 2018 with the critically acclaimed EIGHTH GRADE and eventually, after several years away he made the decision to return to comedy. Unfortunately this was also the moment the world burst into flames. Confined indoors due to the pandemic, Burnham set about creating his next special and in the process created, in my opinion, the definitive piece of pandemic art. INSIDE is more than just a comedy special, ore than just a collection of brilliant songs. It charts the mental decline of its creator with poignant beauty, whilst also provided a savage critique of modern culture. Burnham’s creative instincts elevate the special into something both heart-breaking and heart-warming that left me shell-shocked for days and helped me to process my own lockdown mental health struggles. It was quite simply my favourite piece of art of 2021 and I cannot recommend it enough.

“Can’t Handle This (Kanye Rant)”: https://youtu.be/rYy0o-J0x20

Trailer: https://youtu.be/Hio87bsTopM