Previous Rankings
#191-209
#171-190
#151-170
#131-150
#111-130
#91-110
TOGETHER TOGETHER plays on the usual tropes of the romantic comedy, but puts a unique spin on it. Benedict Cumberbatch is getting all the hype for The Power of the Dog and Spider-Man, overshadowing his great performance in THE ELECTRICAL LIFE OF LOUIS WAIN (along with another movie to come later). NOMADLAND is one you could argue against being included as a 2021 movie, but it had a week run of exclusive virtual screenings in December 2020 before releasing wider in 2021, so I’m counting it here. Frances McDormand is great, but I’m clearly missing something on the bigger picture of this one.
ZOLA is the best movie based off a Twitter thread ever made. And while it might be the only movie based on a Twitter thread, it’s a wild ride that offers no shortage of fun. It’s a little short so some of the characters and stories don’t get fully fleshed out. And the fact that it’s based on a true story lessens the fun of some of the darker moments. THE PROTÉGÉ isn’t exactly original, but showcases a magnetic performance from Maggie Q, who has sizzling chemistry with Michael Keaton.
CRUELLA doesn’t seem like it should work – it is an origin story about a character who eventually wants to skin dogs to make coats, after all. But it does. Emma Stone nails the role, and Joel Fry and Paul Walter Hauser are perfect complements as the comedic relief. LUCA is an absolute delight. Sometimes you just want an animated movie to focus on the good times; they don’t all have to be existential or try to answer some of life’s big questions like Soul or Inside Out. OLD HENRY is a little too much of a slow burn, but a dynamite final act is a worthy reward for the wait.
Another slow burn, AZOR is an impeccably crafted political thriller. It has perfect pacing with compelling characters. It’s not easy to see; I think it’s only available on MUBI, but it would be worth the free trial. We’ve hit the second and third entries in the trilogy, and now we have FEAR STREET PART ONE, the best, most fun, and most complete of the trilogy. And like a few other movies, it effectively pulls the nostalgia strings – back to the 90s this time.
THE FRENCH DISPATCH is maybe the most Wes Anderson movie ever, so take that as you will. The narrative structure makes it hard to find any real connection anywhere, but with the signature Anderson wit and charm, it’s good enough. B-BIT CHRISTMAS isn’t a direct remake of A Christmas Story, but it’s got similar heart, while taking it in a new, effective direction. It also plays on some great 80s nostalgia, which never hurts. Imagine what you think SING 2, and it’s exactly that, to a T. But with good voice performances and fun songs (though I could have used some originals vs covers), it’s mostly a blast.
DRIVE MY CAR is getting lots of love, and I just don’t fully see it. It has a good script, solid acting, but not enough happens for me. A dialogue-driven movie at nearly three hours can be a slog for anyone to get through. Love the concept for LAMB, but – and stop me if you’ve heard this one before – it doesn’t do enough with it. And that thing that happens at the end? Needed a lot more of it, or none of it at all.
FLEE is a creative documentary told through an animated story of a man fleeing from Afghanistan as he grapples with revealing long-held personal secrets. THE POWER OF THE DOG is seen as strong contender for a Best Picture win, and I just don’t see it. It’s fine, but it’s just the kind of movie I find hard to vibe with; no other way to put it. Calling MALCOLM & MARIE self-indulgent is more than fair, but it’s carried by a pair of strong performances from Zendaya and John David Washington.
Highlighted by Isabelle Fuhrman, THE NOVICE plays a little like Whiplash but with crew instead music. It’s a rather simple story when it comes down to it, but it goes back to Fuhrman and her completely captivating and intense performance. GODZILLA VS KONG has a scene where Kong dislocates his shoulder and pops it back into place by slamming it against a building. So yeah, this movie rules despite its numerous and obvious flaws.
