Although the pandemic didn’t end, 2021 rebounded nicely from 2020, with a lot more movies – both big and small – released. Heck, a case could be made that we have it better than ever, as many films came directly to streaming services (such as HBO Max) the same day as the theatrical release. Superheroes and nostalgia still hold sway, but muscular original filmmaking is gaining ground. These are my 10 favorite films of 2021:
10. “Godzilla vs. Kong”
Creature designers had a field day in 2021 – see also “The Tomorrow War” and “Army of the Dead” – but the best work was done with these two old standbys. In the series that started in 2014, this is the third “Godzilla” film and the second “Kong,” and judging by each film’s quality, Kong is the King. He’s the series’ best character – and no, I’m not forgetting this film’s humans, although Millie Bobby Brown is a fine lead and Brian Tyree Henry ably adds humor to what passes for a plot. But we’re not here for the plot. The CGI artists craft spectacular fights – including one amid aircraft carriers and destroyers – in a monster romp that maximizes your audio-visual setup. (Full review.)
9. “Malignant”
In a year with big-franchise sequels (“Halloween,” “A Quiet Place,” “The Conjuring,” “Candyman”), this oddity surprisingly gets my nod as the year’s best pure horror flick. James Wan shows his scary-movie chops are not on the wane. Initially, the story is a familiar haunting. Then it’s a standard possession. But where it goes in the final act is so bizarre you have to see it to believe it — and the special effects sell it. In throwing back to Seventies B-movie cheese, Wan reminds us the genre can be wacky fun without sacrificing creepiness. (Full review.)
8. “8-Bit Christmas”
Going back to the Eighties has become the thing, and this could’ve been a yawn-worthy example, except that it’s funny and touching. Winslow Fegley ably steps into shoes fashioned by Peter Billingsley as he desperately seeks a Nintendo at Christmastime 1988 – with his future self (Neil Patrick Harris) narrating from present day. As we hit touchstones from elusive Cabbage Patch Kids to the infamous Billy Ripken error card, “8BX” lands all its nudges and winks. The casting of every kid is impeccable, with stereotypes from the eraser-eating weirdo to the massive bully accounted for. Sneakily, a timeless holiday lesson plays behind it all. (Full review.)
7. “The Matrix Resurrections”
This fourth “Matrix” film, overseen by a solo Wachowski (Lana), starts with delicious meta-comedy. Keanu Reeves’ Neo made hit “Matrix” video games 20 years ago and is hounded by his boss to make a sequel. Carrie-Anne Moss’ Trinity is a bedraggled wife and mother. As they gradually realize something’s not right about their world (which is, of course, the latest version of the Matrix), we thrillingly get back into the “Matrix” vibe. The Chosen Duo glory in their rediscovered powers and the freedom of finding a real life (in both definitions). Nostalgic yet fresh, “Resurrections” is a mid-life crisis dodged. (Full review.)
6. “The Little Things”
Denzel Washington, Jared Leto and Rami Malek team up for a tastily hardboiled 1990 period piece that smartly examines all sides of a serial killer case. Washington is the veteran cop with a secret, Malek is his straight-shooting young partner, and Leto is the quirky lead suspect. The engaging mystery intertwines with cat-and-mouse games from multiple angles, and we learn it’s dangerous to become obsessed with justice, even when you’re sure you’re the good guy. (Full review.)
5. “Nobody”
This wish-fulfillment yarn finds Bob Odenkirk not taking crap from bad guys and instead beating the crap out of ’em – like Saul Goodman wished he could do. Bus-based fights were to 2021 what hallway fights were to 2015, and it started with “Nobody” before “Shang-Chi” took its own worthy shot. This is an original story, but it’s a testament to our franchise-dominated times that I kind of want Odenkirk to team up with John Wick in a future film. Even if he goes solo, I want more of “Nobody,” especially with “Better Call Saul” winding down. (Full review.)
4. “The Suicide Squad”
James Gunn’s Twitter-joke controversy turned into Marvel’s temporary loss (although he will eventually make “Guardians of the Galaxy 3”) and DC’s gain. Even as viewer cynicism and lethargy creeps into the superhero genre more than a decade into its reign, Gunn effortlessly constructs a ride that’s impossible to not smile at. He embraces the best part of the original “Suicide Squad” – Margot Robbie’s Harley Quinn – and makes colorful additions, including a man-shark voiced by Sylvester Stallone. To top it off, a final-act newcomer makes its bid as the best city-smashing monster in a year filled with them. (Full review.)
3. “Those Who Wish Me Dead”
If you call Taylor Sheridan’s latest a disaster flick for the encroaching forest fire, it’s a remarkably personal disaster flick. If you call it a character drama, it has epic weight because of the looming disaster. Ultimately, the film is enthralling because it’s both. Playing out the ratcheting-up events are a talented cast including Jon Bernthal, Angelina Jolie and an against-type villainous Nicholas Hoult. Yet Finn Little, as the kid in the midst of the horror, emerges as the most memorable. (Full review.)
2. “Spider-Man: No Way Home”
It used to be that when a fan said “Wouldn’t it be cool if …,” the discussion would end on a downer: “Yeah, but it’ll never happen.” That has changed in recent years (see for example TV’s “Cobra Kai,” the “Karate Kid” continuation). But the new notion of giving people what they want reaches its cinematic zenith with this third MCU “Spider-Man,” which embraces previous cinematic aspects of the lore by smartly using multiverse gateways, of which Doctor Strange (Benedict Cumberbatch) is a practitioner. But as with the first two Tom Holland “Spideys” (made by the same team as this one), “NWH” never puts the cool factor ahead of story logic or character motivations. It never stretches its webbing too far. Ironically, the emotional grounding is what makes these films cool. (Full review.)
1. “Last Night in Soho”
I liked Edgar Wright’s latest for its story, loved it for the performances by Thomasin McKenzie and Anya Taylor-Joy, and adored it for the art design that takes us back to the Sixties (or, even better, a stylized idea of the Sixties). Altogether, I love how “Soho” washes over a viewer, transporting us into the colorful yet uneasy dream state of McKenzie’s present-day art student. As she gets in over her head while pursuing an ice-cold case, the genre jumps take the ground out from under her – and us, but in a good way. As “Last Night in Soho” celebrates and mainstreams the Italian giallo style, it shapes into a fine addition. (Full review.)