30. No Time to Die
Daniel Craig’s final outing as James Bond is proof that sometimes when a franchise has painted itself into a corner, the only thing to do is paint its way out. More than any other Bond era, this most recent one has been filled with interconnected narratives between films. Plot points from prior films are retconned, or reshaped to fit into an overarching story.
Even for seasoned Bond fans, it can be a bit messy to keep track of. But, when four films in an actor’s tenure have been forged into something, it needs to be capped off properly. Bond’s grand conspiracies and his plights of revenge have all culminated in something special. A Bond film that is truly like no other. Aspects of No Time To Die are surely polarizing, but this is a fitting and necessary send-off for Craig, an actor who redefined the character. His finale is an exhilarating and emotional one that, love or hate, won’t be forgotten. (Anna Swanson)
Where to find it: Currently available on VOD.
29. Quo Vadis, Aida?
One of the best movies of the year that I also never want to watch again, Quo Vadis, Aida? is a heart-wrenching portrait of the Srebrenica massacre during the Bosnian war. Told through the eyes of translator Aida (Jasna Đuričić), director Jasmila Žbanić’s film takes the unimaginable and firmly entrenches us with one woman’s plight. Rather than try to capture the enormity of the tragedy, the film locks into Aida’s perspective and captures her fear and desperation as she tries to keep her family safe. The film is undeniably brutal, but it’s an honest and unflinching presentation of war that a lesser filmmaker may have shirked away from. Instead, Quo Vadis, Aida? is a challenging, unshakeable watch, but one that feels equally necessary and vital. (Anna Swanson)
Where to find it: Currently streaming on Hulu.
28. The Night House
Grief is a difficult emotion but what happens when secrets come out during the mourning process? Rebecca Hall’s performance as a recent widow in The Night House is dark-humored and embodied, showing the various notes she is capable of in a single performance. Even if horror isn’t your thing, the slow and gratifying cinematography by Elisha Christian, known for his work on Columbus, is worth the watch. The shadows and lowlights that slowly reveal the truth add a depth to the cinematic storytelling that is simply rich. (Shea Vassar)
Where to find it: Currently available on VOD.
27. Red Rocket
Sean Baker’s last feature film, The Florida Project, was one of the best films of the last decade. And while Red Rocket doesn’t quite fill the shoes of that film, Baker’s work is a sincere portrait of an awful person. It’s an interesting dichotomy that, as the online discourse often shows, leaves some thinking that Baker is endorsing Mikey Saber, superbly played in the film by Simon Rex. That, of course, is far from the truth.
The film offers a brutally honest depiction of desire. I suppose we might think of the film as subverting the “American Dream.” But it feels like a phrase Mikey would never use. He thinks big, but rarely beyond himself. And that’s the thing about desire and dreams, they’re not always moral or grounded in truth and fairness. People are selfish and cruel, and that’s just the way it is.
The plot of Red Rocket revolves around Mikey, an award-winning porn star, and his desire to get back in the business and make his way to the top. What makes Red Rocket such a great film is not once is this ambition treated as some kind of vice or moral failure. Mikey’s work is not why we despise him, it’s the way he goes about it that makes him such a contemptible figure.
Yet, it’s his love for the work that leaves room for the little empathy we have for him. And we’re left to wonder: if Mikey’s class and circumstance were different, would he be too? It’s impossible to say. I’m certainly not ready to give him the benefit of the doubt or excuse his behavior. But it’s that little space in between that makes him feel endlessly human, and it’s what makes Red Rocket a compelling portrait of a truly terrible dude. (Will DiGravio)
Where to find it: Currently only in theaters.
26. Passing
The visual storytelling makes Passing a remarkable film. And a weak performance cannot be found. Tessa Thompson plays Irene, a Black woman who one day encounters a friend from her past, Clare (Ruth Negga), a Black woman passing as white. The film depicts events from Irene’s incomplete point of view. Clare becomes a part of Irene’s predominately Black social circle, bringing joy to herself and those around her, but leaving Irene to worry about the implications of Clare’s choices for the safety of Clare and her family.
The script is strong, but the film’s nonverbal communications are what stand out. In the moving and devastating situations in which the characters, and Irene, in particular, find themselves, director Rebecca Hall takes a more expressive approach to great effect: The look on a character’s face or the slight movement of their eyes. The varied use of light depending on the character depicted and the circumstance in which they find themself. And a willingness to end a scene or exchange at a moment’s notice, leaving us wanting more but exacerbating our empathy with the characters and the intense balance beams on which they must walk in their daily lives to exist in a racist, unjust world, one where even the bourgeois pleasures to which they have access cannot save them. A fantastic debut feature from Hall. (Will DiGravio)
Where to find it: Currently streaming on Netflix.
25. Undine
No one does romance like Christian Petzold. The German filmmaker has an almost otherworldly ability to meld tangled narratives and metaphors with subtle techniques and a complete command of his craft. Which makes his turn to a fantasy romance with a healthy dose of architectural history seem at once improbable and inevitable. In Berlin, Undine (Paula Beer) is a historian who may or may not also be a mythical water nymph. When she begins a relationship with industrial diver Christoph (Franz Rogowski), the past begins to float to the surface. Slippery, subdued, and thematically rich, Undine is a hard film to put your finger on. Much like the water featured so readily in the film, it can shift beneath you, appear calm, and then take you by surprise. Even the calmest bodies of water have their own depths. (Anna Swanson)
Where to find it: Currently streaming on Hulu.
24. Ruroni Kenshin: The Beginning
Is the rousingly energetic and deeply affecting final film in Keishi Ohtomo’s five-film epic on this list purely through the strength of my love for it? You’re damn right. The casual observer will see these movies as action fodder. They’re the story of a man named Kenshin, a protector of people victimized by barons, bullies, and bastards. But they’re more than just an abundance of beautifully orchestrated and executed action set pieces. (Although, honestly, they’re absolutely worth watching for the action.) This final film is a prequel and shows how Kenshin went from fierce assassin to even fiercer guardian angel, and it’s a gorgeous and emotional journey… punctuated by brilliant bouts of badassery. (Rob Hunter)
Where to find it: Currently streaming on Netflix.
23. West Side Story
If you’re gonna remake one of the most beloved classics of all time, you better have a game plan. Luckily for all of his, under Steven Spielberg’s confident direction, Janusz Kamiński’s sumptuous cinematography, and Tony Kushner’s ingenious adapted screenplay, West Side Story is a home run. Following a Manhattanite spin on Romeo and Juliet, the film has a handful of shots that’ll take your breath away, some brilliant arrangements, and a robust supporting cast.
Indeed, to this last point, while the central romance is integral, it’s scene-stealers like Mike Faist as Riff and Ariana DeBose as Anita who really capture hearts. When it comes to the leads, Ansel Elgort is a reminder that mom always said if you don’t have anything nice to say don’t say anything at all… so let’s move on to Rachel Zegler. The breakout star has the voice of an angel and an enchanting screen presence. If Zegler’s feature debut is any indicator, we’re in for one hell of a career from her. All around, West Side Story is awe-inspiring and one of the best big-screen experiences in 2021. (Anna Swanson)
Where to find it: Currently only in theaters.
22. CODA
Crowd-pleaser CODA has everything viewers looking for a great family comedy-drama could want, and several things you may not know you needed until you see it. CODA stands for Child of Deaf Adults, and that’s exactly what Sian Heder’s film is about. The movie stars Emilia Jones as Ruby, the only hearing member of her family. Her parents and brother run a fishing business, and as she approaches the end of high school, she feels stymied by their reliance on her as an unpaid interpreter.
CODA not only features casually groundbreaking deaf representation, but also one of the best ensemble casts of the year. When Ruby decides to take up singing, she’s encouraged by her unorthodox teacher (Eugenio Derbez), while her parents (Marlee Matlin and Troy Kotsur) and brother (Daniel Durant) struggle to understand her frustrations and interests. The entire cast is stellar, but Kotsur in particular steals scenes as Ruby’s loving, crass, and hilariously outspoken dad. (Valerie Ettenhofer)
Where to find it: Currently streaming on Apple TV+.
21. Nightmare Alley
When you go looking for Guillermo del Toro, you go looking for monsters. Nightmare Alley may not have any fishmen or hellboys. But it’s got plenty of beasts, and they’re way worst than those supernatural oddities. Bradley Cooper’s desperate mentalist starts low and gets way lower during his financial ascension. And in tracking greed through its violent path, del Toro and his cinematographer Dan Laustsen finish the noir conversation they started on Mimic. Nightmare Alley is a muddy, dark jewel where shadows can always get longer and deeper. As the film pushes from its carnival setting to its scuzzy, glitzy second half, del Toro and Laustsen chase Hollywood fantasy while exposing human atrocity. Cooper and Cate Blanchett have never looked more stunning. But inside their awesome, terrifying attractiveness lurk creatures with sharp teeth and sharper bullets. (Brad Gullickson)
Where to find it: Currently only in theaters.
Related Topics: 2021 Rewind
