Al's Review of 2021 In Film

2020 disappointed in many ways. Issues with film might be a mere inconvenience compared to the other ravages of the pandemic, but the impacts to the film industry are quite palpable. We may be facing a future where cinemas as we know it vanish while people chose to buy into subscriptions that permit viewing new releases in their own private homes. It is a direction I favor for a few reasons, but I understand how film lovers would lament the loss of the pomp and grandeur of the theater-going experience. We might be witnessing the transition from one era of film to another.

As time goes on, I see and learn more. It's sharpened my eyes to become more critical, and with each passing year I find it harder to be impressed. There's only one film I gave a perfect score (even that may be because of bias more than anything). And yet, I haven't run across many films I'd call garbage either. Most everything I've seen fell squarely in the middle of the road, ranging from the mediocre to the "pretty good." However, I was genuinely surprised and pleased by many films that I fully expected to suck. Disney films in particular elicit little excitement, so I was rather happy to find myself enjoying that live-action 101 Dalmatians spinoff, or that animated Asian-themed movie with the dragon, or the animated Columbian-themed movie with the magic family and stuff. Pixar's vaguely Italian-themed fairy tale turned out to be charming. Marvel pictures seem like a dime-a-dozen, but contrary to critical reception I actually enjoyed The Eternals and Shang Chi more than I expected. Heck, even Black Widow was okay. Some continuing franchises--Bond, Ghostbusters--had some strong outings this year. We had a few weak sequels--F9, Halloween Kills, Don't Breathe 2, Coming 2 America make the bottom of my list. But, we also have a few strong sequels: Spider-Man: No Way Home, A Quiet Place Part II, THE Suicide Squad, and Evangelion 3.0+1.0 are among my favorites of the year.

It seems to me that the original films fared the best, offering quite the variety of content and quality that makes last year's line-up feel all the more fresh. Horror fans will probably get a kick out of all the crazy nonsense Nicholas Cage has become involved with since dabbling with Mandy--now he's gifted us with Willy's Wonderland, Prisoners of a Ghostland, and Pig. These are wild experiences, but not quite as wild as Fried Barry, easily the weirdest film I've seen all year (even after marathoning some David Lynch). Mainstream audiences will probably be more familiar with Old, which is easy to nitpick but still one of M. Night Shyamalan's better efforts. I think Malignant and Last Night in Soho stand out the most, but Saint Maud is probably the most disturbing.

The scary movies are surprisingly common, but there are good laughs to be had as well. Free Guy is quite the humorous romp that I found touching. For something more low-key and off-the-wall, I found myself intrigued by Barb and Star Go To Vista Del Mar. Animated movies give a lot of fun, colorful comedy (most especially The Mitchells vs The Machines). There are a few notable action movies (such as Nobody) and quite a few notable dramas (Wrath of Man, The Last Duel, The Green Knight). It's such an eclectic mix of interesting and eye-popping gems that I find myself enamored by this year's line-up, even if I only scratched the surface of what 2021 had to offer.

As usual, I will still explore films I might have missed: some notable omissions are House of Gucci, The French Dispatch, Licorice Pizza, Don't Look Up, Space Jam: A New Legacy, the Fear Street trilogy, and Belle. I'll get to them all sooner or later. Updates can be followed on Letterboxd.

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58: Cryptozoo

One of the finest examples of a great premise ruined by execution. It is an interesting, original story that covers broad thematic territory while imaginatively breathing life to worldly mythologies. It's especially noteworthy given the five-year development using solely hand-drawn techniques. And yet, from frame one I found myself loathing the paper-doll style and all its stiff, janky movements. Voice acting is a mixed bag—some voices are fine, others struck me as weak. The story itself had some strong moments, but I was largely let down by some moments where characters acted rather stupidly. Bleak, nihilistic violence and pointless, exploitative nudity makes the experience even uglier in my eyes.

If you can stomach the garish animation quality and the garish experience, you might get more out of this than I did.

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57: Mortal Kombat

This slicker, R-rated take on the classic video game IP should have been a no-brainer. Somehow, it's way less memorable and way less fun than the previous movies (hell, even Mortal Kombat: Annihilation is funny under the right circumstances). The fatalities are indeed brutal and there's some cool ninja combat here, but the script exerts the bare minimum characterization and the film presents itself drably. I found it utterly forgettable and bland.

#RestoreTheAndersonVerse

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56: Coming 2 America

This might be as pointless as a sequel can get. Much of the film recycles old gags and lines from the first Coming To America. Parts even recycle original footage as flashbacks. Offering little fresh or new, the film is forgettable at best. What's worse is that it's not that funny. The film is competently made, but that's the best that can be said.

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55: Spiral: From The Book of Saw

There are some dang wicked traps in this Saw "book" (whatever "Book of Saw" means). It builds up to a tense and fascinating finale that suggests a stronger thematic core worth exploring. Unfortunately, the experience is bogged down by pacing and bad expectations—the film seems much more interested in being a police procedural (a rather dry and shouty one) than actual horror. Chris Rock really doesn't help this film at all—his performance is probably the most baffling one I've seen all year. This was his baby in the end, but I don't think I want to play this game anymore.

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54: Snake Eyes: GI Joe Origins

So, GI Joe is a shared universe now or something? I dunno, here's a prequel all the same for a franchise that can't ever seem to get off the ground in a satisfactory way.

The film goes through the motions of setting up Snake Eyes as a character who fails, learns, and becomes the badass ninja we all know and love. It's so procedural, it comes off as bland and trite. It doesn't really stand out, especially when compared to countless other ninja-themed movies. It is a shame, because the film has fair quality and maybe a few good moments worth seeing. Nothing about it makes me enthusiastic about future Joe movies though.

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53: Venom: Let There Be Carnage

I find it hard to reconcile these Venom movies. They lend themselves as easygoing, offbeat entertainment, but I can't look past how schlocky both the movies are. This second feature strikes me as dumber, uglier, and less consequential than its predecessor. What makes it watchable will be the bizarre relationship between Tom Hardy's character (who does commit to the role with admirable lunacy) and the symbiote, and their interactions generate some strange comedy and gaudy spectacle. I find everything else uninspired though.

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52: Halloween Kills

Following up on the successful comeback of Halloween just three years ago, David Gordon Green and his team put their best effort to make their sequel bigger and gorier, but they should have put more focus into the script. Even though there are interesting and eye-popping scenes to behold, the overbearing stupidity of the characters drags the experience down. All of the kills and plot twists become predictable. Worst of all, the plot really hamstrings itself by taking its best character out of action for most of the movie--hasn't anybody learned anything from 1981?

Oh sure, there is a strong message about mob mentality. Sure, the kills are gruesome. Sure, the music is killer. Some fans may still find things to appreciate. It just didn't work for me.

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51: Don't Breathe 2

I'm honestly not sure what to make of this. As much as I admire the first film, this second one takes the bizarre path of focusing on the villain and generating sympathy like it's The Last Of Us Part II or something. It falls flat knowing that the guy's a monster (and the film itself even admits it). With a handful of spiteful supporting characters, the whole thing comes off as mean-spirited and ugly. But it is also well-shot and colorful, showcasing brutal fight scenes with ample excitement and tension. Performances are good despite the material. The film presents itself well, but it's hard to appreciate when my feelings over the story are mixed.

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50: Army of the Dead

It seemed like it'd be a good return to form for Zack Snyder to release another zombie picture after all these years. His Netflix-released feature is surprisingly droll. Even though it has a detailed production with some dazzling photography, the story seems undercooked and offers a bland cast of characters I really couldn't care less about. Not even the flash of Vegas or the excitement of a heist could keep my interest.

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49: F9

So, there's nine of these now? Great.

There comes a point where the absurdity of the Fast and the Furious franchise becomes mundane. It probably reached that point in the last movie, if not earlier (frankly though I feel like this series peaked between movies 5, 6, and 7). With #9, it's quite apparent that the soap-opera inspired twists elicit no more shock or surprise, they're just stupid. The physics-defying stunts don't capture the imagination anymore, they're just stupid. The big-scale stakes don't elicit tension anymore, they're just stupid. The constant escalation pushes the characters to actually launch a car into space—it's not cool or funny anymore, it's just stupid. 

What hurts this film the most is that it tries to take itself seriously this time, sucking away any energy behind its absurdities. I'd probably be a lot more invested if the tone was lightened and the levity amped up. I don't care if it's for family or whatever, it's just all stupid.

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48: Hitman's Bodyguard's Wife

Both of these films seem like the kind of thing I should like, but I don't. Just like the last one, the comedy comes off as overly obnoxious and vulgar. Action scenes are barely memorable, leaving only the characters and their charisma to carry the weight. While it's a pleasure to see Selma Hayak owning the role, Samuel L. Jackson comes off as trite and annoying as he repeats the same schtick he's had since the 90s. Ryan Reynolds repeats his schtick too, so make of that what you will. There is an attempt layer some feeling in this entry, and it's not particularly boring, but it still comes off as rather shallow.

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47: Benny Loves You

Yes, this is a cheap and dumb film, but it goes to show that modern techniques can make even this schlock look decent. Most of the film's laughs stem from the simple contrast between the gratuitous gore and the goofy, luvy-duby way the killer doll prances around the screen. Benny has obviously hung around Chucky a little too long, although the film wears its influences proudly on its sleeve as it name-drops films like Gremlins. It's nothing consequential or original, but the film is a bit of a hoot.

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46: Cry Macho

It seems like Clint Eastwood's dramas have become regular and mundane. While I didn't think much of Cry Macho, it is at least a little more interesting and worthwhile than some of his other films from the past few years. It's not the greatest script ever, especially with its themes broadly broadcast in such a very on-the-nose fashion, but there are a few good points made, the film looks decent, and it's fairly engaging.

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45: The Courier

Rather stuffy for my tastes, but there's no denying that good effort was stuffed into every frame. Amidst the cool backdrops of the polished production design, Benedict Cumberbatch delivers a performance that oozes gravitas. Though I found the first half of this rather procedural and droll, it does hit hard by its finale, and the film deserves recognition for its historic depictions.

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44: Those Who Wish Me Dead

This felt like a couple of totally different films rolled into one—a crime thriller on one hand, a survivalist thriller on the other, with maybe the influence of disaster film. When the narrative threads inevitably combine, it does become a fairly engaging thrill ride full of style and tension. I appreciated Angelina Jolie's bravado in this role, and it turned out to be an interesting watch in the end.

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43: The Woman In The Window

A rather typical psychological thriller, although it's not necessarily a bad one. Two major standouts to this agoraphobic mind-bending drama are the sharp and pronounced cinematography and decent performances. Amy Adams is the centerpiece of the picture, and watching her character descend into a maelstrom of mania, fear, paranoia, and hallucination is gripping enough to make the film worth the time. It does pull one or two twists you may or may not care for, but I feel rather satisfied by the whole package.

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42: Voyagers

Easily described (and maybe even dismissed) as Lord of the Flies in space. There's a strong focus on instincts and impulses, both violent and sexual, which gives the story a lot of punch and weight, eliciting thought and discussion on the dark, primal aspects of human nature. It is shown with fair quality and some inventive editing. All that being said, it's far from a likable picture, and the limited scope makes it far less memorable. Worth seeing for daring sci-fi fans.

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41: The Forever Purge

The Purge series has been rather inconsistent and droll, but the fifth of the series is one of the better entries. It offers a premise fresher and more interesting than the last few predecessors—it's great to see a stagnant, mundane series like this find a new direction forward. It is a terrifying direction since it hits close to home, channeling modern political fears rooted in the bigotry, racism, and radicalism that's plagued the country lately. It's still a bit of a harsh watch, but not nearly as distasteful or droll as I expected—it's by far my second-favorite of the series (first being Anarchy).

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40: The King's Man

As much as I enjoyed the two Kingsman movies, this one didn't quite click for me. It's a shame since Matthew Vaughn puts forth a solid effort in the snappy editing techniques, extravagant visual style, and over-the-top action scenes. The film even manages to pull some heartstrings as certain story twists cause the emotions to swell, underscoring sentimental anti-war themes. Where the movie lost me is in the pacing—the first act is awash in dry, uninteresting infodumping that does little to hook me with the new cast. A prevailing apathy lasted for the whole runtime, and I came out of it wondering what the point was.

That being said, my opinion on this film could change. Musing over the themes and story might compel me for a rewatch and re-evaluation.

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39: Escape Room: Tournament of Champions

Given the way the first Escape Room ended, you had to know going into this that it'd be something bigger, and maybe a grade more ridiculous. The film generally delivers as it shows a new group of characters plucked from the real world and thrown into a different kind of "escape room." There's nothing particularly plausible about this movie, but the setpieces deliver plenty of eye-popping thrills and twists. Some of it doesn't gel that well (although I came to learn that the extended cut is vastly superior to the theatrical), but it is an enjoyable romp all the same.

Isn't it weird that I enjoyed this more than the last Saw movie? Looks like Jigsaw has some competition now, and I'm curious if a mash-up of the two franchises will happen someday.

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38: Black Widow

Seems like this came ten years too late, although the film we wound up getting is far less of a prequel and more of a last hurrah. Fans wanting to see Scarlett Johansen again in the post-Endgame phase will be satisfied to see her kick serious butt once again. The story strives to generate emotional waves with the focus on family, although I'm not entirely convinced by it. The film does boast some handsome action setpieces, a few funny moments, and a surprisingly great performance from Florence Pugh. Could have benefitted from a stronger script, but there's enough spectacle and energy to push this as a possible new guilty pleasure.

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37: Cruella

Seems like a misguided effort, given that this movie asks us to root for a puppy-murdering psychopath. And yet, the movie wound up being far more charming than I expected.

It is sharply-filmed, with a luscious period production design, fabulous costumes, and a banging soundtrack (although I do think the film cycles through the 60s tunes way too much and too often, making the soundscape rather obnoxious). The real draw here is Emma Stone, and she's absolutely marvelous in the role. The story does the work to make us sympathize with her arc—it's a little too transparent to see the extents in which the writers elicit sympathy, and some connections didn't need to be made, but it's functional in the end. Some of the plot twists are a little absurd, but I found myself fascinated in the reveals and schemes that Cruella pulls off. It's a film where the real spectacle is less in the action and more about vengeful exhibits, and it's rather entertaining that way.

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36: Pig

Nicholas Cage continues his streak of morbid and weird thrillers in this understated cult gem. It offers a simple story told well, with Cage showing surprising restraint in favor of gravitas. The film ultimately oozes atmosphere and good intentions—personally, I found it a little too restrained and droll, to the point where it came off as far less bizarre and far more of an arthouse pet project. Chances are my opinion could go up on a rewatch, but it ain't no Mandy either.

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35: Nightmare Alley

I'm not familiar with the source material or the other adaptations of this story—from what I've read, this does little justice to what's come before. As a Guillermo Del Toro film, it strikes the right mood and style that made films like The Shape of Water interesting. Nightmare Alley is visually top-notch and boasts a good cast. I can't say I found it interesting all the way through, but it's a fair watch with quite the gothic vibe.

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34: Titane

Honestly I don't even know how to rationalize this movie. It's an experience that jumps all over the place, from wonderful to the terrible, from touching sentimentality to excruciating body horror (probably a lot more of the latter though, bringing films like Tetsuo: The Iron Man to mind). It's quite an unusual picture with interesting photography and performances, but I find it hard to discern the story out of this and what its point is. Take it as a disturbing character study, and it finds a unique identity worth exploring. If you can stomach the grotesqueries, that is.

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33: Censor

This is the kind of film that demands an evaluation of its totality rather than its parts, because its whole experience leaves an uncanny mark. It takes time for it to gain momentum, but when it does, the finale hits you with some punchy twists and images that offers horrific and uncanny implications. There is an opportunity to explore deeper themes concerning media violence, but the film has no interest in doing so—take it simply as a psychological thriller, and it does its job well.

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32: Val

Love him, hate him, Val Kilmer made his mark as an actor and this documentary sheds a sliver of light on his efforts. Highlights are Val's story, which recently took a sad turn due to throat cancer, and one can't help but to feel sorry for the guy. What film fans might enjoy the most will be the snippets of footage culled from thousands of hours of tape that Val shot himself over the years. It only scratches the surface of the man's life, but it is an interesting insight at times. The thespian spirit is remarkably vibrant at times, and my appreciation for the man has gone up a bit.

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31: In The Heights

Tons of color, tons of charm, and tons of heart. Stuffed with catchy musical numbers, big-scale dance numbers, and inventive cinematography, this glamorized portrayal of Washington Heights and its diverse community leaves quite the pleasant impression. It's not a consistent or perfect musical experience, given that the rapping will alienate some audiences and I find it hard to discern the plot amidst all the glamor. On showmanship alone, and the merits of character and story, it remains one of the most impressive musicals I've seen this year (at this time though I still haven't seen Spielberg's West Side Story).

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30: Willy's Wonderland

It's Nicolas Cage versus possessed animatronic animals. Sold!

With its tongue planted well in its own cheek, this film marries slasher horror with the campy, over-the-top action/comedy vibe that only Cage can deliver, and the film is at its best when it shows Cage being Cage about everything. Even with no dialogue, he excels at dominating the film and making every fight scene awesome. I'm also quite pleased with the story and the way it's revealed as the film progresses—the twists and reveals are sufficiently satisfying. And for some reason, I can't get these goofy songs out of my head!

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29: Fried Barry

This goes down as the strangest film I've seen this year. It's a simple premise that grants ample space to let the main character roam from one strange, hyper-stylized scene to another. It seems aimless, but the episodic nature of the film builds up a jagged narrative that shows how the world might look to an alien visitor in an imperfect body. Gary Green and his wild performance is a fascinating centerpiece that makes the film a hoot. It's not for the faint of heart though.

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28: Old

The film, like the director's career, is an uneven blend of things that work and things that fall a little flat. It may be easy to nitpick Old, but it is a fairly engaging experience stuffed with sequences aimed to shock and unsettle viewers. It is a fascinating premise that successfully elicits tension and mystery. Characters aren't particularly lovable, although one can't fault the actors, who commit to the film with confidence. Ambiguity would have left a stronger impression, but the film erases all of it in favor of a victorious ending—it might satisfy the immediate urge for closure, but it does little to reinforce the macabre horror previously shown. Fortunately, the film looks fabulous and the creepy scenes stand out enough to make this one of Shyamalan's more memorable thrillers.

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27: Werewolves Within

A surprisingly breezy watch thanks to the color that's put on the screen and into the script. The story moves at a good pace and smoothly transitions between horror, comedy, and mystery thanks to its competent direction and performances. It is a fun story full of misdirection and a few good laughs.

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26: The Matrix Resurrections

It's been a long eighteen years since the Matrix trilogy was finished, and I've been content with it ever since. I rarely entertained the notion of a follow-up, but I can't deny that the opportunity was left open and we finally have some kind of response to the ambiguity that capped Revolutions.

The result is far less of a jump-start and more of a coda. The film retreads some old ground, but is quick to yank the rug under viewers' feet and indulge in a metafictional premise that will likely confuse and upset some fans. It quickly segues into a fevered and familiar cyberpunk adventure, one that can be entertaining but leaves something to be desired. While the old movies had dazzling action setpieces, cinematography, and production design, the modern polish on the Matrix franchise is both a blessing and a curse—for every scene that looks clean and fresh, there are agitating editing choices (including senseless inserts from previous films) and uninspired action scenes. What keeps the film engaging for me have been the characters and worldbuilding, which remain captivating, but not without a few head-scratching moments (seriously, what are the rules for entering and exiting the Matrix now? This film just seems to go all over the place with its own rules sometimes). Love it, hate it, it's here to be the Godfather Part III of the Matrix saga—an epilogue that closes some loops and gives the characters a much-needed victory, but it remains an unessential chapter.

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25: Eternals

Despite an underwhelming reception and lack of iconography, Chloé Zhao shows impressive ambition as she grants a level of gravitas and worldly aesthetic to the MCU. Eternals presents itself with a fair level of maturity, but it also strives for balance between its high concept and granting personality to its ensemble cast. The film strains to make time for each character, but it achieves an impressive amount with what it's given, weaving just enough arcs and pulling interesting twists that deepens the story in surprising ways. It is a bloated film perhaps, with dim lighting and some dryness, but it's not the disastrous flop I expected—on the contrary, I find these Eternals fascinating and I'm intrigued to see where they're going with this.

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24: The Mitchells Vs the Machines

A fun movie that tells its story well. The film starts off hard and fast and remains colorful, funny, and engaging all the way to its humorous finale. While it is amusing to watch a cartoon family outrun a robot apocalypse, the film achieves a level of heart thanks to its focus on the conflicts around the main character's dreams (as a filmmaker nonetheless). There is a cute and warm quality to the drama, which elevates the film well above the standard kid's fare.

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23: Shang Chi and the Legend of the Ten Rings

I'm sure it's been the case for many viewers, but I wasn't entirely sold on this film given the lackluster appeal of Marvel films these days. While the film can't help but to indulge in quippy banter and over-the-top heroics, the film is surprisingly satisfying thanks to its earnest focus on characters and themes of family. Fights are cool and all, and it is surprising that the film evolves into a full-blown wuxia epic by the finale (incorporating some rather odd creatures and mythology as it does so). The reveal of the villain's tragic motivation gives the conflict weight against such an exotic backdrop, and I wound up admiring the film by its end.

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22: Free Guy

Is it strange that I enjoyed this goofy Shawn Levy film more than this year's official Matrix sequel?

In this gamer-themed comedy, Ryan Reynolds inhabits the naïve shoes of an NPC with lovable charm and heart—so much heart that it elevates the film's ambitions beyond mere slapstick and pop culture spoofs (all of which are in abundance, and some jokes are genuinely funny). It's notable how the film contrasts its bloodless, video-game violence with tone and romance, permitting ample spectacle while eliciting chuckles. What makes it notable is the amount of heart it wears on its sleeve though, to the point where it approaches the level of The Truman Show and elicits compassion that we can all relate to.

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21: Saint Maud

In what might be the most unsettling film of the year, Rose Glass makes her directorial debut exuding nothing but dark vibes and shocking revelations. Morfydd Clark offers a fairly compelling portrait of a troubled soul, whose experiences in darkness and light lead to conclusions that are both gut-wrenching and intellectually challenging. In an understated manner, the film demands compelling questions on faith and martyrdom with only a few choice cuts that suggest a deeper correlation between reality and perception. It amounts to a challenging experience that won't be forgotten.

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20: Raya and the Last Dragon

I didn't expect to find this all that charming. This film delivers the usual offering of whimsy and cute comedy we come to expect from Disney, but it's also a swift-moving adventure with plenty of sword-fighting and dazzling effects. The story covers interesting ground that challenges the notions of good and evil and delivers a concise message about trust. It is not particularly consistent, but I found myself utterly charmed by its heart-warming finale.

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19: Barb and Star Go To Vista Del Mar

An uncommon brand of comedy that banks on quirky characters and outlandish gags presented in a low-key manner. The outlandish storyline is set against an exotic backdrop, but it also clashes against the mundane misadventures of the two leads, who remain watchable thanks to the performers' confidence and devotion. It's ultimately quite silly and irreverent, but it's also the kind of comedy I feel was more common twenty or so years ago and I'm glad to see it bubble up again.

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18: Ghostbusters: Afterlife

New life is breathed into Ghostbusters after a tumultuous history of failed sequels and reboots. This effort is all the more touching with Ivan Reitman's son in the director's chair, and the story is bittersweet thanks to its focus on paying tribute to the late Harold Ramis. It is a film built on spectacle and nostalgia (maybe too much of the latter, especially since so much of this story rehashes the original film), but it is crafted with firm, polished quality and good intentions. I wouldn't say it delivers much in laughter, but there is a lot of heart oozing off the screen and one can't help but to feel touched.

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17: Godzilla vs Kong

Seven years after Godzilla's resurgence, the payoff of three previous films finally emerges. Far more polished and involving than the goofy 1962 mash-up, Godzilla vs Kong delivers its epic over-the-top monster battles with a highly entertaining level of color and camp. Even with its lackluster characters, the film is rarely dull thanks to its more adventurous aspects (including a silly "journey to the center of the Earth" subplot). It definitely invests more into the audio/visual experience than substance, but it's hella fun.

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16: Luca

I feared this would be too cute for my tastes, but I have to admit that this was quite the charming tall tale. The Italian-ish backdrop might not be consistent, but it oozes personality and charm, and it's crafted with sharp, detailed quality. Characters are quite the lovable bunch, and their antics between sea and land become quite funny. Through the madcap adventure, themes of achieving dreams and self-realization emerge to give the film a heartfelt spirit.

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15: No Time To Die

Daniel Craig goes on one final mission as James Bond. Despite the lengthy runtime, No Time To Die is not nearly as dour and saggy as SPECTRE, to the relief of many. The film indeed brings back some color and flair thanks to its sumptuous cinematography and fabulous locations. Action scenes are as thrilling as ever. The story leaves some things to be desired, especially since it shows little interest in developing its villain further, and the final scenes may have been a bit much. It does take the time to grab some threads from previous films and wrap them up, providing both backstories and forward momentum. The film succeeds at sending Craig's Bond off with a sense of stoic heroism, while also leaving the door open for the next generation of 007. It may just be a number in the end, but Craig's take on the character left a decent impression all the way to the end.

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14: The Last Duel

Ridley Scott takes up the sword again, delivering another slick historic epic. The film presents itself creditably through its rich and detailed production design, and the performances exude quality. What makes this stand out is its narrative approach, which makes the interesting choice to cut up the events and present some scenes from multiple angles. It goes far to show different sides of the conflict and characters, which build subtly up to its gut-wrenching last duel. Despite the length and dryness of it, the film does achieve a strong point and leaves as much of an impression as a jousting lance.

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13: Wrath of Man

Guy Ritchie's latest crime thriller is both simple and complex. A straightforward story is cut up and remixed in strange and interesting ways, to the point of repeating scenes with different angles. The effect is surprisingly compelling as it builds up characters with convincing motivations and backstories, which ultimately grants weight and gravitas to its wealth of bloody gunfights and heists. It's not as energetic as the director's previous works, but the inventiveness and attention to detail is admirable enough to make this a satisfying watch.

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12: A Quiet Place Part II

In terms of quality, this is on-par with the last A Quiet Place, reuniting the cast and director to achieve a synchronous unity between the two films (although I don't think this sequel is necessary, unless another one is in the making). It remains thrilling to watch the characters try and outrun the monsters, which are now given ample screen time to emphasize their sheer speed and strength—holy crap, that opening scene is crazy. The film engages and thrills, but still offers characters worth caring about and slick cinematography.

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11: Malignant

This one is all kinds of crazy. I don't even think its central premise makes that much sense or substantiates the kind of chaos we see, but I remain awed by the chaos nonetheless. James Wan retains his signature focus on malevolence and gore, but filtered through bizarrely contorted plotline, it becomes a bit of a puzzle loaded with jaw-dropping revelations. The film achieves a high level of manic energy and stylistic gloss—so much so that it's hard to tell if it should be taken seriously or not. Regardless , I found the premise fascinating, the plot engaging, and the setpieces brutal.

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10: Nobody

Nobody probably won't seem like anybody when guys like John Wick exists, but it is a grade more thrilling than the average somebody. It tells its story well with energy and style, and one can't help but to root for the main character through every punchy fight scene. It's not afraid to drag the audience through grit and blood, with drab colors accentuating the painful violence. It amounts to quite a formidable experience, and it's endearing through its relatable characters—a decent treat for action-movie fans.

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9: Encanto

No doubt that marketing and Internet memes hype this film up more than it deserves, but on the other hand it deserves much credit. Encanto is genuinely charming, with lush scenes that burst with color and culture and unshakably catchy music. Beyond its visual and audio spectacle, the film puts a firm focus in family—not only the connection, but in the troubling ways it falls apart (in the context of gifted children nonetheless). Themes of forgiveness resonate universally through the story, and it gives the film a refreshingly deep and relatable message behind its enchanting whimsy.

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8: Spider-Man: No Way Home

Tom Holland's third Spider-Man film swings for the fences with its ambitious, over-arching multiverse angle, and it hits a home run both financially and with its storytelling. The film consistently dazzles with its big-scale action set-pieces, pitting the titular hero against five iconic villains plucked from other movies. This alone feels quite magical in an age when studios are often more interested in sitting on IPs by generating senseless sequels and spinoffs rather than negotiating rights (especially Sony). But no, this is a special moment in history where studios enabled a powerhouse collaboration. It is great pleasure to see legacy actors step into familiar roles again, and the script delicately balances pre-existing story threads to round off unfinished arcs, and still find room to evolve Holland's character. It seemed ridiculous once that we had so many Spider-Man properties in such close proximity, but this film manages to grant relevancy and weight to stories of the past. It's a tall order for any film, but No Way Home succeeds with satisfying results.

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7: Awaken

It's taken way too long for Tom Lowe's latest documentary to reach public distribution.

I'm not going to lie—this film tries hard to reach the pantheon of beauty established by films like Baraka, Samsara, and the Qatsi trilogy, but it falls short because it's hard to distinguish the meaning out of Awaken. This wouldn't have bothered me nearly as much if it wasn't for the purposeful way the film stages models and actors doing very specific actions. That being said, this is some of the most sublime cinematography I've seen all year, and the entire film is a beautiful exhibition with a lovely soundtrack designed to evoke stirring emotions. The immediate emotional reaction may be strong, but connecting the dots with the images (which are often repeated) may confuse the mind.

All that being said, a stronger theme could hit me in the face on a rewatch and my opinion could change if that happens.

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6: The Green Knight

David Lowery retells a classic medieval ballad with the polish of modern arthouse cinema. While it remains a fantastic adventure by definition, with elements of magic, peril, and imagination, it is also a slow-burning journey offering room for meditation and study. While most fantasy films would be content to conform to traditional conventions and clichés, this tale is spun as a subversive odyssey where the notions of heroism and chivalry are challenged and romanticism is eschewed. Dev Patel offers a nuanced and memorable performance, captured in a world rendered with gritty and detailed production design and mesmerizing cinematography. This is not a film all will appreciate, but I love how it presents an age-old tale in a different way.

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5: Evangelion 3.0+1.0: Thrice Upon A Time

Third ending might be the charm. Much has been said about the entire Evangelion saga, both good and bad, and much has been said about how Hideaki Anno sends off the entire franchise with this fourth and final rebuild film. There is a suggestion in the story for all of us to maybe stop obsessing over this anime and get on with our actual lives, but it's a message conveyed with a sense of gratitude, intending no ill will against the fandom. The tone is appreciated, since the film becomes an emotional and cathartic experience this way.

And man, what an experience. While the film delivers the usual offering of big-scale action and gratuitous fan service, there is also enough weighty philosophical subtext and compelling emotional arcs to propel the ongoing story into its bizarre, eye-popping conclusion. I can't say I even understand what goes on in this movie, but it's no real surprise given that I've been equally confused by the last film and The End of Evangelion. I have nothing but admiration over the complex lore and worldbuilding of the series despite most of it going over my head, and I appreciate that the rebuild films expand the existing storylines into new directions. This new ending erases the bleak nihilism of its predecessors with heart and earnestness, and I find it as endearing as it is epic.

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4: Last Night In Soho

Edgar Wright invites us into London, both past and present, to explore a world of ghosts and solve a murder mystery with style. Mirroring the gloss of 1960s music and fashion and the macabre, colorful indulgences of 1970s giallo cinema, the film exudes both charm and terror. The narrative maintains its momentum through mystery and suspense, and it's all brought to life admirably by the cast. There are interesting twists that emerge, with themes that underscore the dangers of nostalgia. And yet, it is the self discovery of the main character that keeps the story deep and compelling. It is a fair amount of substance beneath the incredible style, and it amounts to a seriously swinging and satisfying experience.

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3: The Suicide Squad

Oh look, they put "THE" in the title. That makes everything better, right? RIGHT?

Righting the wrongs of 2016's Suicide Squad involves more than adding a single definite article to the title. Putting James Gunn in charge of the semi-sequel semi-reboot is a transparent move that betrays Warner Brothers' interest in pumping some life into this dead corpse of a franchise. It's clear they coveted the success of Guardians of the Galaxy and invited Gunn's comedic (and perhaps juvenile) sensibilities to the DCEU.

You magnificent bastards—it worked.

Under Gunn's direction, the members of the Suicide Squad are given depth and backstories that make me genuinely care for these expendable a-holes. All these unusual characters are given a chance to shine, and it goes a long way to make their adventure relevant. Even in the middle acts, the film maintains its snap through the quick-witted dialogue, characterization, and eye-popping direction. The gleeful, colorful tone clashes with the nihilistic violence and gore in a pungent way that'll disgust and turn many viewers away. They're not wrong I guess, but this is what the comics were too, soooo...eff it, I love the film even if it's a little too long in the tooth. It nails the subversive and absurd nature of the brand, and it's exactly the kind of R-rated romp I wanted out of this franchise.

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2: Zack Snyder's Justice League

Now that's more like it Mr. Snyder.

You could argue that fan badgering created this monster of a film that serves only to feed the public sense of entitlement. I'd argue that it's warranted—I can't even fathom how the Joss Wheadon cut of Justice League got as far as it did when something like this could have been crafted.

I'm grateful that this version saw the light of day, because I see nothing but improvements. Even with its bloated runtime, excess of slow-motion, and a number of extraneous scenes, the film plays so well that it's rarely a bore. Characters are vastly more interesting thanks to the added story beats in between the action, all of which gives said action substantial more weight. It's especially compelling through Cyborg's character, who was previously reduced to a bland nobody in the former cut. The mythology is tweaked just enough and seems deeper and much more interesting. Gone is the doofy tone, replaced by gravitas and visual grandeur. The plot is familiar, but it doesn't feel rushed or shallow—under Zack Snyder's supervision, this story comes off as complete, satisfying, and immensely epic.

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1: Dune

After many decades, Dune captured the imaginations of countless readers, but making a good big-screen adaptation had been elusive. Jodorowsky had big plans, Lynch presented a vision with his own flourishes, and the Sy-Fy channel produced a faithful adaptation hamstrung only by limited budget—after all this, Denis Villeneuve may have struck the perfect balance between adaptation and cinematic vision.

Eschewing storytelling shortcuts, the understated script lets the on-screen action and imagery reveal the story and characters. By nature of this method, the film assumes a comfortable pace and uses all of its expansive runtime to step us through the first half of Frank Herbert's epic tale. Action scenes and effects are eye-popping, but hardly overblown. Spectacle hardly even feels like a focus. It's the cast that becomes the centerpiece, and each player commits to their roles skillfully. Their adventure is framed with elegance, showing off both natural beauty and brutalist symmetry as it cycles through a fantastic universe of unique worlds. Hans Zimmer's music score, so fantastic and uncanny, is a work of art in itself that accentuates the film with emotion and timbre.

All these qualities makes it a grand and pleasant viewing experience, but the story remains familiar and timeless. It is a pleasure to see Frank Herbert's classic story told faithfully, with justice done to the characters and worldbuilding. It is a compelling tale that brings focus on a broad array of topics, from the political to the humanist. The only disappointment is that we'll have to wait another couple of years to see Paul Atreides' continuing journey towards destiny.

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Favorite film: Dune
Least favorite film: Cryptozoo
Favorite blockbuster: Zack Snyder's Justice League
Favorite arthouse film: The Green Knight
Favorite science fiction film: Dune
Favorite fantasy/epic: The Green Knight
Favorite drama film: Wrath of Man
Favorite action film: The Suicide Squad
Favorite superhero film: Zack Snyder's Justice League
Favorite comedy film: Barb and Star Go To Vista Del Mar
Favorite horror film: Last Night In Soho
Favorite documentary: Awaken
Favorite animated/family film: Encanto
Favorite foreign film: Evangelion 3.0+1.0
Biggest guilty pleasure: Awaken
Most disappointing film: Cryptozoo
Favorite male performance: Dev Patel, The Green Knight
Favorite female performance: Anya Taylor-Joy, Last Night In Soho
Favorite direction: Denis Villeneuve, Dune
Favorite action scenes: The Suicide Squad
Favorite special effects: Zack Snyder's Justice League
Favorite film score: Hans Zimmer, Dune
Favorite theme song: "Willy's Wonderland" by Émoi, from Willy's Wonderland
Favorite musical sequence: Probably something from Encanto

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2022 Films Al Is Looking Forward To

Avatar 2: This is coming out this year, right? RIGHT? Come on Mr. Cameron, it's been over ten years now and we've all kinda forgot about the first movie, so I hope the next so-many sequels are worth the wait.

The Batman: Reviews are already rolling out, and holy crap nobody told me this was a three-hour mood-fest. I love the character and the genre, so I'll probably find this new take fascinating. Hope it goes down as a new favorite.

Doctor Strange In the Multiverse of Madness: Doctor Strange is becoming one of the Marvel heroes that interests me the most, and the multiverse angle is vastly intriguing to me. The trailers for this gives me confidence that the movie will be incredible, but it's also refreshing to see Sam Raimi in the director's chair this time. I expect madness!

Where The Crawdads Sing: Since I read the book not too long ago, I'm interested to see how a film adaptation fares. I see potential.