It’s amazing how fast this time of year blossoms. Once per annum I compile a catalogue of my favourite films for no other reason than it brings me satisfaction and piques the curiosity of a select few. My last list played more like a requiem for a lost year, and 2021 hasn’t been much better. We suffered through lockdowns, saw the virus enjoy rampant surges and of course, many people fell sick or worse. I won’t focus on that so much here; our lives and daily ingestion of information already suitably beleaguered — but again, it is remarkable how briskly these twelve months have elapsed. This is of course subjective, but speaks maybe to a certain acceptance and stoicism being fostered by the wider world, that perhaps we are fated to endure this cycle of hardship and pyrrhic victories forever. In such periods, art plays a special role. It provides light, hope, emotional context and, perhaps most importantly, escape. Here are some pieces that stood out to me.
I was able to spend more time in a cinema during 2021 (taking the required precautions) and hope to make a few more visits before the year’s end (as a note these lists will not have reference to Steven Spielberg’s West Side Story or the forthcoming The Matrix Resurrections — both of which I anticipate leaving a mark). For those interested in the stats, I managed (almost entirely due to the pandemic) nine cinema visits in 2020. This year — still very much at nature’s mercy — I hit twenty-four. These are tiny numbers compared to the halcyon days of 2019 or 2018, but still, a drastic improvement. My overall tally of new releases also surged to fifty-eight. Again, lower than a normal year, but normal isn’t an apt descriptor for current circumstance.
A few honourable mentions before we get to the big-hitters. James Gunn’s The Suicide Squad was a caustic joy, Dune set the benchmark with its visual canvas, Last Night in Soho was somewhat uneven but effortlessly entertaining and Tick, Tick…Boom had Andrew Garfield give one of 2021’s most attuned performances. In another year, any of these might have crept into the top ten (well, maybe not Soho, but I possess massive affection for its giallo theatrics), yet alas, for these features, we find ourselves with too strong and determined a crop of winners. Without further ado, my favourite films of 2021 (all of which were released in the UK this calendar year):
10: The Beta Test (IFC Films, 2021)
Sly little indie has tricks for days, and a gloriously rancid central character at its core. Co-director and star Jim Cummings is quickly establishing himself as a force both behind and in front of camera. Quick bit if trivia: He also plays Michael Myers’ first victim in the unfairly maligned Halloween Kills.
9: Petite Maman (Mubi, 2021)
Gentle, brief and subtly insightful, Celine Sciamma’s rendition of a peculiar mother/daughter relationship leaves a beautiful imprint. Sciamma doesn’t let the more fantastical elements run away with the picture, instead grounding the narrative in sparse, intimate sequences that detail the shared moments of a lifetime. Joséphine Sanz’s performance as the young daughter is beyond prodigious.
8: The Kid Detective (Level Film, 2020)
Another sneaky customer; this by turns flighty and dangerous small-town ‘whodunit’ is brimming with confident writing . Adam Brody makes a strong case for ‘overlooked movie star’ status and the ending might be the year’s most impactful. Not for the faint of heart, even if it wants you to believe the opposite for much of its cheerful runtime.
7: Silent Night (Altitude, 2021)
Fraught but gripping family drama with an adroitly teased secret, this festive banger is elegantly composed by writer/director Camille Griffin. Ignore the mixed notices (5.7 on IMDB, 63% on Rotten Tomatoes), Silent Night is a smooth blade with appropriately jagged edges.
6: Love & Monsters (Netflix, 2020)
The best pure Amblin film for some time and it’s not even one of their own. Dylan O’Brien is a winning lead and the world-building matches Dune pound for pound. Heartfelt, tense and joyfully performed, this was my king blockbuster of 2021 (sorry to Wonder Woman, Godzilla, Spider-Man etc.). Netflix deserve commendation for picking it up in the UK.
5: Another Round (StudioCanal, 2020)
Thomas Vinterberg continues his run of world-class observational dramas here, buoyed by a measured screenplay and best-in-show work from the equally dependable Mads Mikkelsen.
4: The Last Duel (20th Century Studios, 2021)
Elegant both in its savagery and construction, Ridley Scott’s The Last Duel pulses with contradiction and narrative intrigue, all lovingly wrapped within a grimy but expertly produced aesthetic. The subject matter obviously carries a certain (and appropriate) morbid heft, but Scott and his actors aren’t afraid to get forensic with character specifics, finding heart and humour in the darkest of places. Comer in particular is a small wonder as the wronged woman at the feature’s core, subtly manipulating her performance across the sweeping 152 minutes runtime, before bringing an emotive hammer down in the third act. She manages to be at times weak, incredibly strong, effortlessly lovable and even cold, but always compellingly real. It’s dedicated work driven by storytelling requirement as opposed to performative vanity.
3: Synchronic (XYZ films, 2019)
This one took me by surprise. Science fiction spliced through the lens of designer drugs, Synchronic is inventive, tense and resonant. Both Dornan and Mackie excel as part of paramedics thrown into a brume of tragedy and macabre, whilst filmmakers Benson and Moorhead forge a tightly paced, emotionally astute and visually restrained experience. It would be very easy to slip into an obtrusive psychedelic look with a premise like this, but the creative team know the nuance is in grisly detail and grounded imagination. Really enjoyable.
2: Pig (Neon, 2021)
My top two films are all about loss. In this instance, Nic Cage loses his pig. Rather than the wild ride that sounds (Pig admittedly has a few bonkers scenes), this is a beautiful selection of interwoven stories peppered by grief and tragedy. Sweet and authentic, Pig will be remembered for Cage’s miraculous leading turn (best of the year without question), but the feature’s legacy with those affected by its sombre yet hopeful flavours will likely run deeper. A reservoir of feeling that bursts at just the right moment.
1: Pieces of a Woman (Netflix, 2020)
It was tight, but Pieces of a Woman edges it as my favourite film of the year. Told in the months following a stillbirth, Vanessa Kirby drives this drama, which also boasts incredible work courtesy of Ellen Burstyn and Shia LaBeouf. Much like The Last Duel, Pieces of a Woman is interested in varying points of view and the way time amplifies grief, executing on its promise with sublime courage. It was surprising to see the film met with a critical shrug at the start of the year, as everything from its long-take opening to the subtle resolution bleeds vitality and truth. Insanely good.
Here are a handful of other (funnish) thoughts…
Best Actor: Nicolas Cage (Pig). Honourable Mention: Andrew Garfield (Tick, Tick…Boom)
Best Actress: Joséphine Sanz (Petite Maman). Honourable Mention: Jodie Comer (The Last Duel)
Best Supporting Actor: Jon Bernthal (King Richard). Honourable Mention: Ciaran Hinds (Belfast)
Best Supporting Actress: Ellen Burstyn (Pieces of a Woman). Honourable Mention: Ana de Armas (No Time to Die)
Best Cinematography: Dune. Honourable Mention: The Last Duel
Best Musical Score: Tick, Tick…Boom. Honourable Mention: The Night House
Wildest ‘WTF did I just watch but in a good way’ Film: Wild Mountain Thyme. Honourable Mention: Barb & Star Go to Vista Del Mar
All the best to you in 2022 (and seriously, Wild Mountain Thyme is worth a watch)!
