Top 10 of 2021

WOW. I guess one of the beauties of streaming movies is the ability to rewatch them right away if they're really that profound - and "Malcolm & Marie" on Netflix is one of those rare gems. Seriously - I saw this Thursday night and rewatched it Friday because it was that good. It's not a great movie for Valentine's Day weekend, given that its central study is that of a tumultuous relationship, but it's definitely NOT something to skip over. Ok, ok, I'll get to WHY I like it... it's such a simple setting (it all takes place in one night in a secluded house), yet one of the most complex scripts ever written. Yes, on the outside it's the study of a relationship that is quickly reaching an explosive breaking point - but on a deeper cultural level it's also about the hypocrisy of filmmaking and even more so film criticism. Malcolm (John David Washington) is a filmmaker who's coming home from a successful premiere of his new movie, and his supermodel girlfriend Marie (Zendaya) is at his side and proud of him...or so we think. Malcolm's bitingly accurate criticisms of the "woke" media and virtue-signaling writers who try and read everything through a sociopolitical lens are some of the best monologues ever written for any film I've ever seen - yet here I am analyzing this film for its sociopolitical impact. Malcolm argues that film is about the feeling and the passion - and we certainly get that here through the rift between him and Marie - but part of that feeling is about why he's frustrated with Hollywood. It's both surprising and not surprising that many critics have negatively reacted to this movie - it might be well-made, but it doesn't mince words or forget to let the elitist heads roll. And on the other side, Marie has her own powerful monologues that call us to question how we're inspired and whose stories we're telling. John David Washington rivals some of his dad's best work in this movie: combining the pride and confidence of a filmmaker but also showing an untamable, paranoid side when it comes to criticism. Meanwhile, Zendaya holds her own with the stoic "I couldn't care less" persona on the outside, but then reveals in the subtlest ways that she cares and deeply FEELS. The two are an absolute force to be reckoned with. The setting of a small yet tunnel-like house in the middle of nowhere California speaks volumes to the thematic content, and each frame or close-up of our two characters is effortlessly powerful. Each soundtrack choice is given a meaning or flawless inclusion - especially when both Malcolm & Marie use songs either for or against each other. Though I've been told it's a nod to 1966's "Who's Afraid of Virginia Woolf" (I've never seen it) in terms of setting, that doesn't take away the nuance, originality, and "authenticity" (those who've seen the movie will get that joke) of "Malcolm & Marie." The movie is one long argument, so be prepared. But as a cinematic masterpiece it is one of the most unique and bold projects I've seen in a long time - with some of the best writing and most dynamic performances to boot

Nightmare Alley is one of the best films of the year for two reasons brought from two different perspectives: 1) it’s a slow-burn thriller about the manipulative nature of man that boasts eccentric characters and several interesting twists. 2) It’s a very intriguing auteur project for director Guillermo del Toro – a man who has built his career on magic, fantasy, and supernatural-based films & stories – yet the first half of this movie is spent debunking magic tricks, mind games, and stripping away the façade of fantasy. On top of that, it shows how willing – one could say, eager – people are when it comes to being deceived. I find this to be incredible growth for a prolific filmmaker, and this is arguably my favorite of all his works. It’s an old Hollywood/Billy Wilder type of narrative, where most of the main characters are shady or self-centered, and karma lurks around the corner for when they slip up. Bradley Cooper leads a fantastic ensemble cast as a naïve carny turned suave swindler – with Cate Blanchett, Rooney Mara, and Willem Dafoe being the "MVPs" of the supporting cast in tow, never missing a beat. And while the subject matter is decidedly different, this is still a signature Guillermo del Toro film in terms of style. It has a dark yet intriguing atmosphere, elegant costume and production design, and appropriately green aesthetic. The best part though (another sign of growth) is that the amount of shock is dialed down to be more effective here. Sex is more suggested, bloody violence is glimpsed at instead of being on full display (see The Shape of Water and Pan's Labyrinth respectively). Though one could fault the movie for having an extremely predictable ending, I don’t. The road taken to get there is fascinating, haunting, and stunning to watch unfold.

Power couples have long been a staple of Hollywood lore, with Lucille Ball and Desi Arnaz being one of the most prolific, at least according to Aaron Sorkin. In "Being the Ricardos," Sorkin has once again meddled with history, but not in an exaggerated, ridiculous, Quentin Tarantino sense. He condenses a lot of true events (that took place over years) into one week. He embellishes how things occurred. But his ultimate vision of Lucy and Desi (Nicole Kidman and Javier Bardem) is one of complex wit and immense respect. Sure, Lucy and Desi harbor despise and are at each other’s throats constantly, but to those on the outside, they are a united front. They are unstoppable (almost tyrannical), overlords over their television empire. Lucy is clearly the victim of the relationship, but not without her fair share of playing the game HER way, and knowing when to turn on the funny for the camera. Sorkin’s film and script tell us that Ball had a brilliant mind for directing situational comedy, not just performing it. Arnaz is equally a force to be reckoned with, both in front of and behind the cameras – yet his charm affects everyone he meets. The film is showing us how Lucy and Desi navigated the situations of their lives both as people AND as characters onscreen. Both Kidman and Bardem are spectacular. Their chemistry is electromagnetic: Kidman is the wild and free electric force, while Bardem uses theatric flair to pull you closer to him. And Kidman nails the bits where she is plays Lucy as “Lucy Ricardo” on the show. Excellent editing throughout the entire film – especially anytime a scene for “I Love Lucy” is constructed. We cut back-and-forth between black-and-white shots of how the episode will turn out, while the writers and actors discuss in real time. The costumes and production design are both on-point, with special attention to Lucy’s bright wardrobe choices compared to Vivian Vance’s drab dresses (Vance playing Ethel on “I Love Lucy”) so as not to upstage the star. Long story short (because I could go on), “Being the Ricardos” is another knockout for Aaron Sorkin, perhaps his best.

It's almost too easy to throw the MeToo blanket over Ridley Soctt's The Last Duel, because that's just scratching the surface of this masterful, brutal film. Yes, it's a story about believing women - but the woman at the center isn't some tragic, sad character off to the sides while we focus on the men. Marguerite may have to wait until the film's final third to get her deserved screentime, but the wait is worth it. She is a fully fleshed-out character with empathy, love, strength, and conflicting emotions as the horrible events unfold before (and to) her. Based off true historical figures Marguerite de Carrouges (Jodie Comer), her husband Jean (Matt Damon), and acquainted squire Jacques le Gris (Adam Driver), "The Last Duel" is an outright debate on hypocritical faith, chivalry, and of course, feminism in the age of 14th century France - and the last recorded trial by combat. All three leads are astounding in their own ways: Comer is the only character we truly learn to care about through her tearjerking, empathetic acting, Damon asserts himself as a hotheaded force, and Driver impresses once again....by being one of the creepiest and most calculated villains in recent film history. Each of them get a chance to tell their story the way they want - and the movie is edited as such. Subtle changes in events we've seen before are magnificent, while other scenes of violence (or other terror) show us that Ridley Scott, like Clint Eastwood, still "has it." Though I was looking forward more to House Of Gucci (also directed by Scott) in a few weeks, it'll be hard to beat the power and brutality of "The Last Duel."

This isn’t the first time in recent years that a director has told a semi-autobiographical story using a specific place. In 2017, Greta Gerwig’s Lady Bird delighted audiences as she chronicled the quirks of growing up in Sacramento. A year later, Alfonso Cuaron crafted a very intimate film with "Roma" focusing on political tensions in 1970s Mexico through the eyes of a maid facing a difficult pregnancy. With Belfast, we have something that takes the best parts of both films: young innocence and historical relevance. Kenneth Branagh (director) tells his story growing up in the turmoil of 1969 northern Ireland through Buddy (Jude Hill). It was a historical moment for all of Ireland that lasted for 30 years: Protestants targeting the minority Catholics and attempting to “cleanse” their country by means of force (known as The Troubles). This movie only gives us a snapshot, being told from a small child’s perspective – and it’s no-doubt a bold move. And it makes “Belfast” not only a poignant historical movie, but also an important movie about childhood, right up there with The Florida Project. Buddy (and his family) are suffering from a potential uprooting from the tight-knit community they’ve always known – yet there is some kind of fantastical wonder in the outside world. Buddy is fascinated with plays, movies, TV, the radio, etc., and the movie’s production design is smart to show many of these mediums in color when appropriate (as the movie is mostly in black-and-white). There’s a metaphorical pros & cons list being made through Buddy’s misadventures – because as hard as he tries to just be a kid in this comfy community, the threat of violence looms overhead as his family deliberates leaving. The strongest of the cast is Caitriona Balfe as the mother; she has charm, humor, and confidence that bleeds through every scene she’s in, even when her bouts of anger and anxiety try to grab hold. “Belfast” also has some of the best production design and framing that I’ve seen in a long time: numerous shots have characters caught perfectly in the background or off to the side in a window frame or mirror, and many of these occur in long, sweeping takes. It’s a very sophisticated film on a technical level, and it’s bookended by a shocking opening and an appropriately bittersweet ending. The more I think about it, the more I find to love in “Belfast.” This is definitely one of the best films of the year.

Much like the eccentric Tammy Faye Bakker herself, The Eyes of Tammy Faye has a lot going on, even if everything seems simple and superficial on the outside. Enthusiastic televangelism is at the forefront here, but there's so much more than meets the eye. Feminism, forgiveness, culture wars, politics vs. religion, LGBT acceptance, and toxic relationships all get their fair share of screentime, becoming intricate pieces to the puzzle that is Tammy Faye's life journey. The script constantly subverts expectations: Tammy is the likeable protagonist, but she's not a saint. She is a woman of devout faith in God and immense love for all people, but she also likes luxury and money - a lot. She is one of the most complex biopic characters to ever grace a screen, and while the script is stellar in that aspect, a majority of the praise goes to Jessica Chastain's performance. In what is arguably the best performance of her career so far, Chastain nails all of the complex emotions her character struggles with - yet she still maintains the naïve, cheerful demeanor that Tammy was so revered for. And it's not a game of her turning the charm on for the cameras and then in private she's different. She is ALWAYS bubbly, yet experiencing all of the difficult moments and situations life throws at her through that lens. It's incredible, breathtaking work from a seasoned actress. Andrew Garfield is also compelling as Jim Bakker - as his cringiest bits are what make him a perfect match for Chastain, yet also a force to be reckoned with if anyone dare disagree with him. Their pairing here is a magnificent acting tour-de-force. All of the luxury and lavishness is put on full display through an incredible production design, with on-point makeup & costumes being integral to both the characters and the plot. In the very first scene, we learn about how important makeup was for Tammy's image. Though it had an unfortunately short run in theaters, it's possible to find this film digitally somehow - and it is certainly worth the time. It's wildly entertaining, wacky, yet deeply insightful about an industry that exists in its own world.

As someone who has decidedly been against the ongoing Marvel bandwagon of continuing after "Endgame" in 2019, it's nice to be proven wrong. Though I thoroughly enjoyed Black Widow from this year, "Spider-Man: No Way Home" is on another level. Spider-Man has long been my favorite superhero, and I was never convinced of the MCU's big push in making him just the next Iron Man. In this film, not only is that idea challenged at long last, but it's also a study of identity, grief, and morality for the greater good. Peter excels when no one knows who he is - and so the major dilemma of this film where everyone knows he's Spider-Man hits hard and shows us exactly how that plays out. It's a long journey of processing and moving on, while simultaneously being a deep dive into meme culture and a fan-service movie. Yes, the villains we love have returned, yes, there's Easter eggs, and yes there are other things that will induce squeals from audiences but are major spoilers (so I won't list here). But it's not all needless fan service. It serves a purpose and has deep meaning into Peter's journey as he navigates his world turning upside-down. And Tom Holland shows us a new side to his rendition of Spider-Man that we haven't seen yet, and the payoff is flawless. Excellently filmed and full of spectacular visuals (Marvel, so it's expected at this point), "Spider-Man: No Way Home" is a celebration, a fan-service film, and a thought-provoking epic that, despite its more outrageous moments, excels and gets better the more you think about it.

When I have high expectations or am highly anticipating something from an artist I respect, I generally need more time with it, especially if it didn't quite meet those expectations. That said, David Lowery's The Green Knight is something I need more time with. Lowery is responsible for 2017's A Ghost Story - one of the greatest and most profound films of all time - and this adaptation of "Sir Gawain and the Green Knight" is cut from the same cloth. It's slow and requires patience, it's confusing and requires attention. But I think what threw me for a loop is that it strays pretty far off from the original source material of the Arthurian legend. This is, in many ways, a contemporary subversion of "knightly honor" and those who strive for the idea of greatness instead of being a good person. Granted, it's not saying that chivalry and honor are outdated - more so how they're virtues that are extremely difficult to attain, and how without perseverance, we can fail in the most miserable of ways. And that is just my interpretation. The movie doesn't spell out much for you and instead leaves itself open. Lowery isn't known to be a hand-holder in his films, so you are forced to immerse yourself in the medieval King Arthur world. It's a decidedly dark film, again diverting from the original poem to some extent. And it's not just thematically dark - many scenes are shrouded in shadow or a misty filter, which makes this film a very surreal experience. The production and costume design is stellar, with symbolism woven into every stitch of clothing or set piece. The titular Green Knight himself is a stunning creature/character - if only he had more screentime! It has a few weird edits and downright quirky sequences, but the movie manages to tie most of its messy self together. It gets better in the 2nd half - when Gawain (Dev Patel) stumbles upon a castle and is tempted by the Lord's wife who lives there (which is straight out of the poem). The musical score is a haunting and fantastic mix of epic adventure and indie-folk with some angelic choirs to boot. As I said before, this is a slow, brooding film (it is A24 distributed, after all. So your chances for slow & brooding are pretty good). It won't be for everyone, but it will certainly have something in it that is undeniably thought-provoking for each individual person.

This one was a surprise. Considering how wonderfully "Avengers Endgame" wrapped everything up, I think I was in the minority when I knew that Marvel would continue churning out their movies like candy - even going back to revisit characters who have passed (spoiler alert - but you've had 3 years to watch it). I wasn't looking forward to it. But I have to hand it to them - Black Widow is a very strong origin story and makes for an excellent standalone film. It's a female-centric movie without being pandering or heavy-handed - navigating the psychology of Black Widow (Scarlett Johansson) being an assassin yet a "role model" for girls in a very mature way. It then gets into the vulnerability of young women and the epidemic of human trafficking in a rather tasteful way (though its inclusion is still jarring). The movie also tackles dysfunctional families in a way Marvel hasn't really tried to before, touching on the idea of finding an "adoptive" family in other people you meet. There is a sequence of raw familial conversation that isn't cut right away to get to the next action sequence or Easter egg Marvel plot point. It carries on quite well, and allows some strong honesty and character development into the story. Granted, it's not a Marvel movie without some explosions and action, and I will admit this is the first Marvel movie I've ever seen at home where I wish I saw it when it was in theaters. There are some spectacular visuals and cinematography at work here, particularly in the climax. My only real complaint is with the end-credits scene, which starts as a very touching moment but ends with an eye-rolling, stupid setup for the next Disney+ TV show. With that said, "Black Widow" is a fantastic movie if you happen to give it a chance, just don't bother with its end-credits scene.

It's no secret that I am always interested in Joe Wright’s work, even when he makes something lackluster. And his newest effort, Cyrano, honestly looked like it was going to be a waste of his talent. But I was so happy to be proven wrong. It’s one of the most classic stories/stage plays – Cyrano de Bergerac writing letters to his coveted Roxanne through the ruse of another man whom she likes, because he believes his own physical deformity will prevent him from finding genuine love. But this film version is based on a more contemporary musical from a few years ago, with original music from indie-rock band The National, yet it still holds onto the emotions from the original story. Instead of Broadway-ready music, there is more of a folky/alternative vibe to strike the right chord of intimacy – and the soundtrack is endlessly listenable. Each song is magnificent. “Wherever I Fall,” a melancholy hymn sung by soldiers heading into battle, is sorrowfully intense. “I Need More,” a desperate ballad about desire, is fitting for its naïve yet betrayed character. “Overcome,” a classic duet, is both instrumentally and lyrically striking. I could go on. But it’s not just the music that moves this beautiful film. Wright’s signature direction allows the themes of love, desire, passion, and hope to burst through each scene with theatric flair. Sure, parts of it are corny. But just when you think it’s going to stay in a lighthearted place, the movie yanks you in another direction where you actively feel its emotional weight. The script relies heavily on the “process” of love and the expectation of intimacy/desire, effectively turning the whole “love at first sight” nonsense on its head. And I love the stark contrast between war and the ”problems” gossiped about among the higher class nobles – something that Wright manages to pull off visually AND thematically. Each shot, set piece, and costume choice is precise and full of meaning. Though its performance is being overshadowed by bigger franchise films at the moment, go out and see “Cyrano” on the big screen if you can – because it is a top-notch director at his best, backed by a strong musical talent.