2021 was an odd year for films. With various lockdowns, a good chunk of filmmakers had no option but to take to streaming services. Whilst some still argue whether films released this way can count as true cinema, it seems almost silly at this point to dismiss them. Recent years especially have proved that the movies we love can come from anywhere, and 2021 was no exception. Here's our picks for the films that made this year great!
Cruella
A big surprise for those cynical about Disney remakes, Cruella turned out to be an aesthetically original flick with a likable main cast. Emma Stone puts in an eclectic performance, showcasing an erratic but dedicated (to the point of obsession) protagonist with well-established motivations. The dynamic between her and her stooges, Jasper (Joel Fry) and Horace (Paul Walter Hauser) was genuinely entertaining, and gave the henchmen more personality and autonomy than most films of its ilk. The punky aesthetic built around the fashion industry was very welcome. It feels as if the filmmakers were given a substantial amount of creative freedom. In the context of this list I'd give it a low placement, mostly because of issues based around its ties to the first movie. A shoehorned in concern with dalmatians and a relatively unrealistic villainous transition for the main character made it feel less organic, but all in all a very pleasant surprise.
The Mitchells vs the Machines
Sony Pictures Animation really do just throw everything at the wall and sees what sticks. For every Into the Spiderverse they make there's an entire franchise of Open Season movies (there actually is, please don't watch them). The Mitchells vs The Machines, thankfully, fall into the former category rather than the latter. The film's creative team went all out to make the animation unique. I'm completely ready to watch more animated films that blend 2D and 3D effects, the examples we've had so far have been exceptional. Everything is so fluid yet jam-packed in this movie, punchy graphics blast across the screen every few seconds but none of it feels like too much (except for a few unnecessary jokes). Utilising this hybrid style and combining it with the meta additional VFX graphics was a risk, one that manages to pay off dividends, enhancing the already superb tone and pairing well with the dysfunctional family dynamic. It's also ridiculously funny, the facial expressions and the moments of irreverent dialogue had me reeling. Fred Armisen's voice as the titular machines is one of the best things to come out of 2021.
Pig
Nicholas Cage, playing a reclusive, easily-irritated, often unwashed ex-chef, delivered an exceptional performance in this film. It's the odyssey of one man and his business partner searching for a stolen truffle-finding pig. It's like John Wick, except instead of journeying through the criminal underworld shooting every person he meets in the head, Cage instead journeys through a series of restaurants and slaughterhouses telling people "I want my pig." With an earthy, saturated colour scheme consisting mostly of browns and greys that grounds the audience in its story, the film has a thoughtful, plodding tone, one that bursts into moments of raw emotion on more than one occasion. A simple meal cooked by Cage leads to a profound moment of grief that sucks in the audience. Grief is at the core of this film, along with a concern with following your dreams. Please don't let the peculiar synopsis of this film put you off, it is an emotionally resonant cinematic experience that celebrates the art of cooking and the loneliness of despair.
The Sparks Brothers
Music documentaries can usually be a tad stuffy and dry but in Edgar Wright’s capable hands, The Sparks Brothers manages to entertain and explain without dragging on, in spite of its sizable 2-hours-plus runtime. The documentary is perhaps the first ever in-depth look into the elusive art-pop/rock band Sparks, who have inspired countless bands throughout the years – whether those bands know it or not. The film mirrors the band’s eclectic sound and career through a variety of film style choices, ranging from the usual talking heads music doc standard to intricate paper stop motion animations. I was already a big fan of Sparks before watching the film, but it managed to further increase my love for them. With how mysterious the band had been for most of their career, I had worried that this film would destroy the magic but in fact the already weird and wonderful Sparks brothers, Ron and Russell Mael, seem all the more eccentric the more you learn. Celebrity fans also feature, sharing their memories of the band and what they mean to them, reflecting just how influential Sparks have been yet highlighting how strange it is that they are so often forgotten. To anyone who has an interest in music and its history, Sparks are essential subject matter, and The Sparks Brothers is as good an introduction as any to this incredibly consequential band.
The French Dispatch
The most 'Wes Anderson' movie of all time, The French Dispatch almost feels like a parody of the director's distinctive style. Constant symmetry, a pastel palette, fast-paced dialogue that sounds like it came straight from a hiccuping thesaurus, the film has all of the classic Wes Anderson staples. His contacts list must have seen a considerable amount of usage, considering the sheer volume of A-list actors he was able to drum up for the picture. People sometimes say he's style over substance, but when your style is this good, who cares? It's such a pleasant watch, delightful in its romanticising of the importance of stories. Everything understated, but nothing dismissed.
The Suicide Squad
We've reviewedThe Suicide Squad earlier this year, so I won't go into too much detail. In short, this movie is pure, refined, comic-book carnage with a phenomenal cast of actors playing the titular rag-tag group of villainous losers. The comedy is next-level James Gunn glory, I'm not one to laugh out loud in the cinema but there were at least three moments that had me reeling in my seat. Unlike a lot of modern comic-book stories, The Suicide Squad takes the time to set up it's important characters and develop thier relationships. The story launches through its plot points with breakneck speed, although the pacing does falter a little once or twice. Overall it's just a hell of a time, narrowly missing out on a podium finish.
Last Night in Soho
One of the few movies this year that I was convinced to watch by the strength of its trailer alone, it promised flashy visuals, a mysterious plot, and a dark, intoxicating atmosphere. The film itself absolutely delivered on that. Thomasin McKenzie gives a wonderfully depth-fuelled performance as the protagonist, the audience becomes invested in her story and personality from the very beginning, and the element of tragedy that pervades her life creates no small amount of sympathy even during moments in which her flaws are revealed. The music is expertly chosen too, augmenting the scenes rather than simply being layered on top. An underlying sinister layer creeps into the film early on, and ramps up beautifully as time passes. Phenomenal atmosphere and dramatic tension make Last Night in Soho an easy addition to this list.
Zack Snyder’s Justice League
For those out of the loop, Snyder and Warner Bros had quite a challenging working relationship, and after the death of his daughter Zack Snyder stepped away from filming Justice League. WB brought it former Avengers director Joss Whedon to recut and refilm the shoot, creating an ugly, tonally confused film that drastically underperformed at the box office, and caused DC to basically abandon their cinematic universe plans. However, Zack had said he had a near finished cut, and it was down to WB as to whether it would ever see the light of day.Fans never thought it would happen, but Zack Snyder’s vision for the Justice League was finally released into the world this year, and it was incredible. Sitting at 4 hours long it was Zack Snyder at his most self-indulgent, but the film delivered so much emotion and such gorgeous visuals that those 4 hours flew by. 4 hours also gave Snyder plenty of time to give characters appropriate arcs, whereas the 90minute mandate on Whedon’s version did newcomers Flash and Cyborg a disservice. It does end on a cliffhanger, and I suspect we will never see a resolution to it, but it was such a joy to finally see what Snyder had envisioned.
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