OSCARS 2022 - Pre-Show Thoughts & Predictions

 

 

OSCARS 2022 Thoughts and Predictions: 

- Here we are, on the verge of yet another pandemic-era Oscars, To quote a legendary cinematic figure: "how did it come to this?" 

The movies are in such a strange place right now. Many of us began returning to theaters in 2021, and yet ... the pandemic unquestionably has changed our movie-going habits irrevocably. And that's especially notable during Oscar season - at a time when the older audiences who usually help propel standout indie films at the box office have still, largely, been staying home. This meant that the secondary and tertiary release windows for inherently older-skewing films like West Side Story was more important than ever this year, during a time where this and other films' box office receipts were noticeably low. The problem though is that any piece of content releasing at home these days is competing with hundreds of other pieces of content also releasing on at home on a given week. Even huge tentpole movies and TV series are having a hard time breaking through the clutter - so what chance does a niche movie have? Luckily, we've seen a few real breakthroughs even in this hyper-competitive environment. Something like Coda, for example, has continued to slowly but surely build up a following over a long period of time since its initial release. Apple's long-tail promotional strategy for this film is a great example of how to do it right - especially in a world where movies tend to drop on the bigger streamers with little fanfare and then disappear from the popular discourse at lightning speed. 

I will also acknowledge that there's been a lot of discussion about whether the year's biggest blockbusters - like Spider-Man: No Way Home - should be in the Best Picture race. Look, I have long been an advocate for big blockbusters (as well as sci-fi, horror, comedies, etc) getting legitimate consideration at the Oscars IF they are truly worthy. I've been thrilled when truly standout movies like Black Panther have been nominated. But by the same token, the Oscars should always be about merit and not box office gross or streaming views. If you make it purely a popularity contest, then it isn't a real awards show anymore - and the Oscars already have enough issues with awarding films based on strength of their campaigns (and the studio dollars that go into those campaigns) as opposed to voters proactively seeking out the year's best films of their own volition. What's more, deserving smaller films actually rely on the Oscars to help their financials, as do smaller indie film studios. If the race is always cluttered with blockbusters, the industry would really suffer. Finally, I don't put any stock in arguments that revolve around TV ratings for the actual ceremony. Linear TV ratings are a sinking ship and will continue to trend down no matter what. So the Oscars should focus on rallying the base of film fans and keeping that core audience engaged and excited. Look at how the Game Awards have become a juggernaut in terms of viewership - the Oscars should take a page from that show and use the ceremony to generate hype for upcoming films (with trailer premieres, big reveals, announcements, etc). But the actual nominees need to remain based on merit.

I also hope that people will continue to be more familiar with and open to all the different ways to watch these movies. For me, someone who historically would try to see every likely Oscar nominee by the end of the year, my usual opening weekend trips to the theater evolved into a carefully curated mix of in-theater and at-home viewing - depending on where things were playing (and man, was the Arclight Hollywood missed this past year), how crowded a given showtime was looking, and what was available to watch at home and when. But I did see a lot, and by the end of the year I'd seen all but one or two of the eventual Best Picture nominees (which I've now since caught up on!). 

I will say though, 2021 was definitely one of those years where some of the best films were just, well, not Oscar movies. It's frustrating to me that there are even still movies that we know, as fans, are not going to be appreciated by Oscar voters' traditionally more conservative tastes. I mean, Pig was one of 2021's undeniable masterpieces - it should have been in the mix. Same goes for other small and quirky - but still amazing - films, like the superlative Red Rocket.

And with that said, as is tradition ... here are my Top 10 OSCAR SNUBS for this year:

1.) Tick, Tick ... Boom! for Best Picture.

- Seriously, Oscars - come on, now. Andrew Garfield gave an incredible performance in this one - and he's rightly nominated for it. But also! The direction! The cinematography! The music! This movie is the total package, and 100% should have been in the Best Picture race this year. This is definitely one of those classic examples of "the Oscars are out of touch."

2.) Peter Dinklage for Best Actor for Cyrano

 - Granted, Cyrano had the misfortune of having a wonky release schedule due to COVID delays. But still, I mean - this one had an all-timer performance from Dinklage and it's crazy that he isn't in the Best Actor mix. Go watch Cyrano if you haven't seen it!

 3.) Red Rocket for Best Picture and Simon Rex for Best Actor

- Red Rocket is an incredible tour de force of a film - an absolutely biting social satire. For whatever reason though, it's genius director Sean Baker seems perpetually underappreciated by the Oscars (yes, I'm still bitter that the incredible The Florida Project wasn't a Best Picture nominee). But man, at the least, the jaw-dropping lead performance in this one from Simon Rex should have been recognized.

4.) Pig for Best Picture and Nicholas Cage for Best Actor

-Why do the Oscars perpetually fear weird movies? Is there some unwritten rule that Oscar nominees must always be down-the-middle and straightforward? Okay, occasionally something like a Shape of Water defies the odds, but for the most part, it's hard out there for the strange ones. Because I'm not quite getting how anyone could watch Pig and NOT place it among their Top 10 films of 2021, or put Nic Cage in a similar top-tier for Best Actor. This movie sticks with you, it's powerful, it's kind of crazy but also incredibly resonant.

5.) Spencer for Best Picture

- I don't get how Spencer - a film that floored me last year - became such a seeming Oscar underdog. Yes, it's got a stunning lead performance from the rightfully-nominated Kristen Stewart, but it's also just one hell of a movie that deserve its Best Picture props. Just an incredibly-crafted film top to bottom. I think about its ending all the time. What a movie.
 
6.) The Sparks Brothers for Best Documentary

- What?! How-?! The Sparks Brothers was one of my absolute favorite films of 2021, period. A joyful ode to creativity and originality, this rock doc from Edgar Wright not only wowed me, but it made me a legit mega-fan of the band Sparks. This one should have been a contender.

 7.) Alana Haim for Best Actress for Licorice Pizza

- Okay, LP is nominated for Best Picture. Cool. But this film also features one of the most notable breakout performances I've ever seen in a film in the form of Alana Haim's incredible turn in the lead role. How could she possibly not be nominated for Best Actress? A huge, huge miss from the Oscars.

8.) The French Dispatch for Best Picture

-  Somehow Wes Anderson seems to have fallen out of favor with film snob types of late, but ... have they seen The French Dispatch? Arguably one of Anderson's best-ever films, this one is funny, resonant, meticulously-crafted, and features a murderer's row of top-notch actors doing amazing work. I think people are starting to catch on, and years from now people will look back and wonder why this film wasn't more celebrated upon its initial release.

9.) Cate Blanchett for Best Supporting Actress for Nightmare Alley

- Here's another classic Oscar logic gap. Nightmare Alley is nominated for Best Picture (deservedly!), and it's a movie filled top to bottom with fantastic supporting performances. And the one that stands out most of all is Blanchett in classic film noir femme fatale mode. She absolutely owns ever second of screen time she's given. It's an iconic performance from an all-time great actress! And yet, no nom? Not cool.

10.) Ruth Negga for Supporting Actress for Passing

- Passing was a really interesting, thought-provoking, beautifully-shot film with a lot to say about race and class in America. I would have loved to see it get more Oscar attention overall, but in particular, the lack of the always-great Ruth Negga in the Supporting Actress race feels like a big snub. Negga is so great as an black woman "passing" as white, and she plays the moral complexities of her character to perfection.

 

Bonus Snub 1: Oscar Isaac for Best Actor in The Card Counter

 

- The works of Paul Schrader tend to be a little too dark and subversive for Oscar tastes. But man, I loved The Card Counter and Oscar Isaac delivers an extremely memorable performance in it that's a real psychological deep-dive into a guy with some serious, serious issues. 

 

Bonus Snub 2: Annette for ... anything! (but at THE LEAST for Best Song)

 

-  Speaking of Sparks, this really was their year. Their rock musical Annette was a quirky delight, and I mean ... how does it at the least not get nominated for Best Song, when it's filled with great tunes like the opening Sparks-led banger "So May We Start." There's so much more that could be said about this one - all-in performances from Adam Driver and Marion Cotillard, for example - but just ... go watch it, okay?

 

Bonus Snub 3: Jared Leto for Best Supporting Actor for House of Gucci

 

- Yep, you heard me. Sometimes an actor is so crazy, so over the top, so otherworldly in a performance that it rides the line between greatness and cringe. Call it the Nic Cage effect. But I say, honor those performances that will be talked about forever. And surely, Leto's bananas turn in House of Gucci is in this category. Maybe you loved to hate it. I loved it. Give this man an(other) Oscar, dammit all.

 

 

Okay, that was a lot of snubs, huh? So let's put that pent-up annoyance behind us and get to the actual predictions. So without further ado, my ...

 

2022 OSCAR PICKS AND PREDICTIONS:

 

BEST PICTURE:

Should Win: Licorice Pizza

- This is a tough one. Since its release, Licorice Pizza has become a pretty divisive movie. And I totally get it. The film deals with some uncomfortable themes (a relationship between a 20-something young woman and a teenage boy) and depicts racism in a way that some are taking deep issue with. It's tricky. And unfortunately, I think the limits of Twitter discourse do a complex film like this no favors. I also think that the movie does in fact make a few tonal missteps with how it handles certain things. For example, Jon Michael Higgins' depiction of a racist character feels too comedic, his lines played too much like laugh lines. That said, I think the intent of the film - and of its writer/director Paul Thomas Anderson - is indeed to challenge us as viewers and make us grapple with a lot of uncomfortable moments. I don't think the depiction at all equals endorsement here. On the contrary, the movie is about the very messy moments between childhood and adulthood and the urge we have in early adulthood - faced with the ugliness and horrors of the adult world - to somehow turn back the clock and just ... go back. There is SO much going on in this film, and to me it's both one of the most thought-provoking films of the last few years and also, at the same time, one of the most enjoyable. There are so many scenes that just absolutely sing. The sense of energy and life in this movie is tangible, and the way it captures and memorializes moments big and small is enthralling. My best movie experience of 2021 was seeing this during its initial limited theatrical run, with a crowd that was hanging on every one of those moments - always a sure sign of a truly great film. Personally, I can be hot and cold on PTA's films. But to me, this is one of his absolute best. A kinetically-charged look at growing up that's both hilarious and painful. This isn't a movie that provides answers. It simply captures a moment and lets you live in it. To me it deserves that Best Picture trophy. On a sidenote though, I'll also just say that I really loved a lot of films in this category. I'd be cool with a win from Nightmare Alley, West Side Story, Dune, Belfast, or Drive My Car.

 

Will Win: West Side Story

 

- This is a very tough prediction to make this year. We've seen Coda gain a lot of momentum. We've seen Power of the Dog emerge as a favorite. At the end of the day though, it's hard to bet against Steven Spielberg, Tony Kushner, and a stunningly re-imagined version of a classic Hollywood movie musical. This is Spielberg in both crowd-pleasing show-off mode and Oscar-bait prestige mode simultaneously, and that, I think, will prove to be an unbeatable combination with voters.

 

BEST ACTOR:

Should Win: Andrew Garfield (Tick, Tick ... Boom!)

-For me, this one is a pretty easy choice. Garfield was next-level in TTB, and showed why he is such a uniquely talented actor - a guy who can do pretty much everything and anything. This was one of *the* performances of the year, and the one that I think is going to stick with a lot of people in a very real and even life-changing way.

Will Win: Will Smith (King Richard)

- I really dug Will Smith's turn in King Richard - it's an incredible performance and arguably Smith's best-ever role. Did I love it as much as I did Andrew Garfield's turn in TTB? Not quite. But I think the story behind the story here is just too much for voters to resist - one of Hollywood's most beloved modern superstars coming back to do A-level work after several years of not-quite-A-level projects. I can't begrudge Will Smith getting his due.

BEST ACTRESS:

Should Win: Kristen Stewart (Spencer)

- I know the Kristen Stewart fans are vocal and they are legion. And I count myself among them, because to me Stewart is pretty much always great - whether she's running from underwater monsters or portraying an iconic member of the British royal family. For whatever reason though, she seems divisive to some (maybe olds who can't get over her Twilight days). But to me, this is actually an easy pick. Her role in Spencer was freaking incredible. She helped make this story of Princess Diana into one of the most tense, nail-biting, horror-movie-esque films I've ever seen. Give her the Oscar!

 

Will Win: Olivia Colman (The Lost Daughter)

 

- This one is really, really tough to call. There are a lot of big names but few of the featured movies feel unanimously acclaimed or praised. Obviously, per above, I'd love to see Stewart take home a surprise trophy - but I'd still bet on an awards favorite like Colman - whose work in The Lost Daughter was undoubtedly incredible - to walk away the winner.


BEST SUPPORTING ACTOR:

Should Win: Ciaran Hinds (Belfast)

- For me this is a two horse race between Hinds and Troy Kotsur from Coda - and I loved both performances. However, I think Belfast is the better overall film, and I thought Hinds had the more memorable scenes. Belfast has one of the best portrayals of a kid/grandparents relationship I've ever seen in a movie, and Hinds is a huge part of why it's so great. 

 

Will Win: Troy Kotsur (Coda)

 

- Again, I loved Kotsur in Coda and will be more than happy for him if he wins. And I do think he has that momentum, as does Coda as a whole. But man, Kotsur really is the heart and soul of that film in a lot of ways, and he helps elevate the movie with his funny, heartfelt, and affecting performance. 

 

BEST SUPPORTING ACTRESS:

Should and Will Win: Ariana DeBose (West Side Story)

- I predict a clean sweep for West Side Story in all of the major categories in which it's nominated. But of those categories, this one is easily the biggest lock. DeBose crushed it in West Side Story, and her stellar performance combined with the overall quality of the film makes her the biggest sure-thing in this year's Oscar race. I loved Judi Dench in Belfast, Aunjanue Ellis in King Richard, and Jessie Buckley is one of my faves - but this one goes to DeBose.

 

BEST DIRECTOR:

Should Win: Paul Thomas Anderson (Licorice Pizza)

- Honestly, this one is kind of a toss-up for me between PTA and Spielberg. Spielberg directs West Side Story on god mode, and is likely to take home an award for that. I also really love the work Kenneth Branagh did directing Belfast and what Ryusuke Hamaguchi did with the fantastic Drive My Car. But again, at the end of the day, I go with Licorice Pizza and PTA's incredible prowess behind the camera. I mean, the backwards-driving scene in this movie is so viscerally thrilling and riveting and incredibly directed - it might be the action scene of the year, even in a year filled with Marvel movies and a Fast & Furious. So Licorice Pizza has that, but it also has such a powerfully immersive vibe - capturing a time and place (the San Fernando Valley in the 70's) but also a feeling (coming of age, caught in the liminal space between childhood and adulthood) in a powerful way that flat-out immerses you in the world and in the headspace of this movie. 

 

Will Win: Steven Spielberg (West Side Story)

 

- It's funny how the mood changes. In recent years, some pretty damn amazing movies from the legendary Spielberg have felt like an Oscar afterthought. But like I sad above, West Side Story is unique in that it's a total populist crowd-pleaser - full of colorfully-choreographed musical numbers and catchy songs ... but also elevates beyond that thanks to some darker and more socially-relevant updates from writer Tony Kushner. But the hype has built for this one, and in these uncertain times people take comfort in the fact that the Bearded One is still out there making great movies, seemingly better than ever. This is Spielberg's to lose - and as a lifelong fan, it's hard to really argue.

 

BEST ORIGINAL SCREENPLAY:

Should and Will Win: Licorice Pizza

- This is a tough one, in that a.) Licorice Pizza is still somewhat divisive, and b.) a lot of my favorite screenplays from this past year were not even nominated. Where are thou, Spencer, The French Dispatch, and the great animated film The Mitchells vs. The Machines? All that said, Licorice Pizza's got the goods. Some fantastic dialogue, some hilarious exchanges, characters that are complex and layered and that feel utterly real - even in spite of the film's nostalgia-tinged, dreamlike vibe.

 

BEST ADAPTED SCREENPLAY:

Should and Will Win: Drive My Car

- I only recently saw Drive My Car, but man, I really dug it. It's now an easy pick for me in this category - as the film's poetic, elegaic screenplay and unique sense of tone and pacing makes it feel uniquely affecting and like something truly special. I think this one's got a shot, and I hope a win here continues the recent trend of international films not being treated as lesser-than in key Oscar categories.

 

BEST ANIMATED FEATURE:

Should Win: The Mitchells vs. The Machines

- One of my hands-down favorite movies of 2021, I think Mitchells should win all of the awards. All of them! A new animated classic, this film is funny, delightful, visually-stunning, and has a lot of good stuff to say about being yourself, being part of a family, and accepting and celebrating our differences. I absolutely loved this movie and I'd love to see it take home a surprise Oscar win.

Will Win: Flee

- Full disclosure, I've not yet seen Flee. I hear it's great, and I want to watch it. And it's probably deserving of a win. I do think it's weird that Animated Movie is even a category. Historically this means "Kids & Family," but an adult-oriented movie like Flee totally skews that and pits some very different types of films against each other in fairly awkward fashion. I say do away with this category. Have a Best Kids & Family category and then a Best Achievement in Animation category that celebrates visuals specifically (and I say this as someone who loves animation in all forms).

 

BEST INTERNATIONAL FEATURE:

Should and Will Win: Drive My Car

- Look, if there's one rule of the Oscars, it's that an international film nominated for Best Picture will end up winning Best International Feature. This is the way. That said, Drive My Car is a pretty remarkable film that certainly deserves this win. I highly recommend giving it a watch!

 

BEST VISUAL EFFECTS:

Should and Will Win: Dune

- Dune was legit one of my favorite movies of 2021, and I wouldn't at all be upset if somehow it won Best Picture. I think the sequel will end up getting more serious Oscar consideration if it lives up to the high standard of the first movie - but I also think, at the least, Dune deserve recognition in the here and now for how flat-out amazing and awe-inspiring it looked.


BEST DOCUMENTARY:

- Should and Will Win: Summer of Soul

 

BEST FILM EDITING:

- Should and Will Win: Tick, Tick ... Boom!

BEST CINEMATOGRAPHY:
 

- Should Win: Dune

- Will Win: The Power of the Dog

BEST PRODUCTION DESIGN:

- Should Win: Dune

- Will Win: West Side Story

BEST ANIMATED FILM SHORT:

- Should Win: ???
- Will Win: Robin Robin

BEST DOCUMENTARY SHORT:

- Should Win: ???
- Will Win: Audible

BEST LIVE ACTION SHORT:

- Should Win: ???
- Will Win: The Long Goodbye

BEST COSTUME DESIGN:

- Should Win: Dune

- Will Win: Dune

BEST MAKEUP AND HAIRSTYLING:

- Should Win: Dune

- Will Win: The Eyes of Tammy Faye

BEST SOUND:

- Should and Will Win: Dune

BEST ORIGINAL SCORE:

- Should and Will Win: The Power of the Dog

BEST ORIGINAL SONG:

- Should and Will Win: "Dos Oruguitas" - Encanto

And ... there you have it. Should be an interesting show!

Celebrate film!

THE BEST OF 2021 - The Best MOVIES Of The Year

 

THE YEAR IN MOVIES - 2021

- While the state of the movies is very uncertain (as is the state of the world, come to think of it!), I can say one thing about 2021: after over a year without seeing a movie in a movie theater due to the raging pandemic, going back to the movies this past Spring was, truly, amazing. My first movie back, post-vax, was In The Heights. Seeing it on the big screen, in the ol' Burbank AMC 16's first-rate Dolby theater, was an experience I won't soon forget. The colors, the sound, the immersiveness and *bigness* of it all gave me chills. Because, man, as much as I'd made the best of a year of movies at home - for me, a passionate theater-goer, it just wasn't the same. So I was eternally grateful to go back to the movies in 2021. And as each new at-the-movies milestone rolled around - my first big action movie (F9!), my first new Marvel movie (Black Widow!) ... my residual nervousness of being in any sort of crowded indoor space was, mostly, offset by the feeling of sheer relief that, once again, I could go to my happy place.

Of course, that relief was somewhat fleeting. For one thing, a lot of my favorite LA-area theaters didn't survive the pandemic - notably the iconic Arclight Hollywood. Since moving to LA in 2005, I've had countless memorable movie-going experiences there. Avengers: Infinity War opening night, Q&A's with filmmakers, landmark movies seen for the first time with great crowds who loved film as much as I did. While some Arclight locations eventually re-opened under different corporate banners, we're all still waiting for news about the Hollywood location (and its historic Cinerama Dome) and crossing our fingers that it returns in some way, shape, or form.

For another thing, a lot of movie theaters failed to adapt as things evolved with the pandemic. When I went back that first time to see In the Heights, there was social distancing in place. Soon enough, social distancing was gone and it was back to business as usual. Later, some theaters thankfully began requiring proof-of-vax for admission, but others - like my local theaters here in Burbank, did not. The reason is that the City of LA is requiring this for theaters, whereas LA County - which includes surrounding areas like Burbank and Glendale - does not. I'm sure there are similar discrepancies across the country, and it's kind of ridiculous. Here's hoping that, as long as this pandemic is ongoing, more local governments get with it and require proof-of-vax for theaters, indoor restaurant dining, etc. And ... it's not just that. Pre-pandemic, theatergoing could be marred by inconsiderate people talking, checking their phones, etc. Now, post-pandemic, we have to worry about people not properly wearing their masks or, worse, deciding that they absolutely must scarf down a bucketful of popcorn even in the middle of an airborne pandemic. Why, people - why?! To adapt, my moviegoing has become much more strategic in the backend of this year - sticking to theaters requiring proof of vax, searching for emptier theaters, and going at off-peak times when possible. Not ideal, but worth it, to me, to see movies on the big screen.

Now, all of that said ... people, we've got a lot to talk about when it comes to movies. For one, we're seeing a total paradigm shift in who goes to movies and when and how often. The success of Spider-Man: No Way Home at the box office over the last few weeks has raised a lot of questions, and led some to be more optimistic about the future of movies and movie theaters. But was this one an anomaly - a lighting-in-a-bottle convergence of buzz and hype and fandom and multiple multiversal Spider-Men and people wanting to get to the movies at least one more time before new variants made the pandemic worse? And even in the face of Spider-Man's success, is the writing still on the wall for any smaller, non-event films of the low or mid-budget variety? Or, is it more so just that studios - desperate to attract big name talent, have let big name directors have carte blanche with their projects, even if those projects (say, remakes of sixty-year-old musicals) are not exactly hyper-commercial? The fact is, there's A LOT happening now, and it's still a total wild west in terms of where the movie business is at and where it's going. There's no question: streaming has changed everything. And once again, some of the year's best movies were Netflix or Amazon or even Apple originals. And even if many of those films received limited theatrical releases, people's behavior has changed irrevocably, and many are just perfectly fine watching films on their TV at home via streaming services they're already subscribed to - thank you very much. The problem, of course, is that this leads to more passive viewing selection vs. proactively seeking out the best stuff. It also hurts the overall movie-watching experience - because while many may not want to admit it, most can't go for a few hours anymore without multitasking on their phones. This is why the theater, in my view, is so vitally important to preserve. Putting screen size aside, movies are best enjoyed and appreciated with one's full attention given - with as few distractions as possible. The greater the immersion, the better. That's why I love seeing even smaller indie movies in a theater. For me, it's just a different, better experience.

So how do we save theaters? That's a question slightly above my pay grade. But I think lower ticket prices, more safety measures during the pandemic (requirement of vax!), promotional partnerships with streaming services, more premium viewing experiences, and more "eventizing" of movies (even smaller ones!) can go a long way. Here in LA, Licorice Pizza was released early in just one theater in Westwood. But seeing the film became a real event - the marquee was done up with 70's-style flare (matching the movie's setting), and a pop-up pinball arcade was opened adjacent to the theater. It was a real scene, and was super cool. And people went in droves to see the movie. More stuff like this!

Now, all of that said, it was great to be able to watch great content at home during times when going to the theater was not a good option. Windowing is continuing to shift, and I do think that movies becoming available for early digital PVOD rental, only a few short weeks post-theatrical, is a net-positive for the business. My sense is that a lot of movies - especially older-skewing ones - have had a good chunk of change added to their overall revenue because of early at-home availability.

Of course, there's also a more macro question here: does the next generation of potential movie-goers even care that much about movies? In a world of shortform social media videos, gaming, etc. - does sitting still for 2 or 3 hours to watch one thing really appeal to Gen Z and younger? It will be interesting to see if many movies are able to break out in the next few years with younger generations, save for the occasional Spider-Man-sized event.

Finally - whew! - we got A LOT of movies in 2021. Remember: a number of "2020" movies didn't actually come out in 2020. And so a lot of early 2021 movie viewing, for me, was catching up on films like Nomadland, Minari, I Care a Lot, One Night in Miami, and The Father that, while eligible for this year's awards season, had only screened for a handful of critics the year prior. So you'll still see those films on my Best Of list below. Also, because of production delays and COVID concerns, a huge number of movies were back-loaded into the last couple months of the year. So we had the usual parade of Oscar hopefuls in October, November, and December - but ALSO a ton of pushed-back blockbusters like Dune, The Eternals, Ghostbusters: Afterlife, and Spider-Man: No Way Home. Thank the movie gods that Dune eventually re-released in IMAX in December, after its initial October run was cut short. This meant, too, that many a movie got lost in the shuffle. Movies already challenged by older audiences staying home also had to deal with an insanely crowded marketplace (which included not just theatrical releases, but streaming movies too). It meant that some great films like Nightmare Alley and Red Rocket perhaps didn't get the attention from fans that they deserved.

So ... it was a year of many movies, and a year of a lot of very good movies. Even great ones! Where 2020 was sparse, 2021 was overstuffed. Even with all the movies I've seen (and I've seen ... a pretty good amount!), there are still a ton of strong-word-of-mouth films I still haven't got too. I still want to check out Drive My Car, Lost Daughter, and Parallel Mothers among others. But, I can only watch so much, and so, here's my list.

DANNY'S BEST MOVIES OF 2021:

1.) Nomadland

- Seen by select critics in 2020, Nomadland released to the public early this year and, over the last 12 months, no other film has stuck with me as much. A powerful, unforgettable film, I wholeheartedly endorsed the movie's Best Picture and Best Director win at the 2021 Oscars. Chloe Zhao created a masterwork with this movie, and Frances McDormand delivers an all-time great lead performance. This is a poignant film about a broken America and the people barely getting by within the systems we've created.

2.) Licorice Pizza

- I'll confess - this was a very tough year to narrow down my favorites. And with Licorice Pizza in particular, I went back and forth ... a lot. A couple of things about the movie nagged at me. I wish that writer/director Paul Thomas Anderson had ironed out some tonal issues, in which a racist character somewhat invites us to laugh with him as opposed to at him. And yet ... I get what PTA was going for. And still ... I can't shake the feeling that this was the best new release film of 2021 - a masterful look at a moment between eras, between childhood and adulthood, between failure and success. It's funny, heartbreaking, and feels "real" in a way that few other movies in recent memory do. It's got some of the year's most laugh out loud moments (Bradley Cooper!), most amazing performances (Alana Haim!), and most memorable sequences (that backwards truck drive is one for the ages). An imperfect (but such is life, and such is art) masterpiece, and one of PTA's best films to date.

3.) Pig

- Through work, I'd been hearing about this one and anticipating it for a long while. But when I finally saw it (back in theaters, baby!), my already-high expectations were not just met, but far surpassed. Because this is that rare beast - a Weird Nicholas Cage Movie that's also a Great Nicholas Cage Movie. And when those twain do meet, it's a beautiful thing indeed. Pig has it's moments of vintage Nic Cage Cage-iness, but it's also incredibly powerful and moving and thought-provoking - a soulful meditation on love and loss that hit me as hard as any movie has hit.

4.) Spencer

- This one floored me. Much like the movie Jackie, this is historical biopic as horror story - a look at how royalty - and its glaring spotlight - trapped Princess Diana in a literal and psychological prison that she wanted nothing more than to escape from. Anchored by a seminal performance from Kristen Stewart as Diana, this one is a jaw-dropper. And it's got the best movie ending of the year to boot.

5.) Dune

- The best big-budget blockbuster of 2021, Dune gave me that chill-inducing sense of awe and wonder that only a select handful of sci-fi and fantasy epics have ever been able to provide. Directed with incredible imagination and sense of scale by Denis Villeneuve, seeing Dune in IMAX was a monumental cinematic experience. Bring on Part 2.

6.) Tick, Tick ... Boom!

- This Netflix original is, somehow, Lin-Manuel Miranda's first-ever directorial effort for film - and he absolutely knocks it out of the park. A musical tour de force about the life of Rent creator Jonathan Larson, the film brilliantly weaves together Larson's music from his one man show into a meta-story about the ingenue's life and creative struggles. Filled with memorable songs, this one's also got a career-best performance from star Andrew Garfield that's more than deserving of Oscar gold.

7.) The Mitchells vs. The Machines

- From some of the same folks who gave us the brilliant Spider-Man: Into the Spiderverse, The Mitchells vs. The Machines is one of the best animated family movies in recent memory. The movie is funny, timely, and has a great message about supporting your loved ones as they chase their dreams. It's also visually dazzling and full of imagination. And a stacked voice-cast, too. Highly, highly recommended.

8.) Red Rocket

- Sean Baker, who directed my top-ranked movie of 2017 with The Florida Project, does it again with Red Rocket. Simon Rex delivers an incredible lead performance (note the way he subtly and not-so-subtly changes his tone of voice depending on who he's talking to and in what context) - in a film that is a wild, memorable, satiric parable of an America on the verge of Trump-ian hell.

9.) The Father

- Another 2020 film that was only released to the public in 2021, The Father featured one of the best performances I've ever seen in a film from the legendary Anthony Hopkins (who rightfully won the Oscar at the 2021 ceremony). The film takes a grim subject - dementia - and creates a masterfully composed puzzle-box mystery around it ... leading to a film that has its share of melancholy but also never fails to entertain.

10.) The French Dispatch

- When it comes to Wes Anderson ... haters gonna hate. But for me, there are few things as awesome in film as Wes Anderson at the top of his game - and he surely is with The French Dispatch. The film has Anderson's usual hyper-attention to detail and precision and impeccably-arranged stylized aesthetic (and yes, it's quirky af). But this one's also got a real message behind the meticulously-designed sets and costumes, for The French Dispatch is, ultimately, a moving ode to the dying art of longform journalism (and, specifically, to The New Yorker). In chronicling the adventures of intrepid writers committed to delivering truth, Anderson - in his own whimsical way - reminds us of what we've lost in this social media age.

JUST MISSED THE CUT:

11.) Barb and Star Go To Vista Del Mar

- One of the funniest and most quotable comedies in years, Barb and Star was just the brand of absurdist comedy insanity we needed to get us through those dark days of early 2021. An instant cult-classic that you need to watch asap.

 

 

12.) Nightmare Alley

- This one had a lot of my favorite things - Film noir! Femme fatales! Weird carnivals! - but it still surprised me with some of the strange detours it took. It of course paid homage to classic film noir, but also with lurid shades of classic EC Comics - all with that unmistakable Guillermo Del Toro style and aesthetic. Cate Blanchett is the show-stealer, but the entire cast is excellent. Geek-out worthy for sure.

 

 

13.) The Sparks Brothers

 

- Edgar Wright's rock doc about the legendary cult-favorite band Sparks is a true marvel. I knew literally nothing about Sparks before watching this, but I now love them. This movie is one of the most creatively inspiring films I've seen in a long time - a wonderful ode to imagination, artistry, music, and free-thinking. It's the movie equivalent of a good friend geeking out to you about their favorite band. The passion is palpable.

 

14.) Minari

- Another 2020 holdover, Minari netted a well-deserved Best Supporting Actress Oscar win for Youn Yuh-jung. This story of one immigrant family struggling to live out the American dream - starring the always great Steven Yeun - is filled with fantastic performances, memorable moments, and a lot of heart. And it's surprisingly harrowing to boot.

15.) West Side Story

- Did we need another version of West Side Story? Probably not. And yet ... from moment one, this new adaptation is just Steven Spielberg, seemingly, showing off - directing the hell out of this movie with a level of skill that amazes, delights, and further cements his legend. Spielberg and writer Tony Kushner don't just dazzle us, they also cagily tweak the story to feel resonant to today's America. It's an impressive high-wire act that only two huge talents could pull off.

THE NEXT BEST:

16.) One Night in Miami

- Released in early 2021, though part of this past year's awards-season, One Night in Miami is a tour de force. The four main actors - depicting real life icons Cassius Clay, Sam Cooke, Jim Brown, and Malcolm X - were each incredible and awards-worthy. The great cast was matched by a razorsharp script that examined all sorts of issues of race, class, gender, and equality. And director Regina King nailed it too.

17.) Cyrano

- All hail Peter Dinklage. I mean, what can't this man do? In Cyrano, the Game of Thrones star kills it as not just a leading man, but a musical leading man! He sings, sword-fights, and romances his way through a hugely entertaining musical romance/adventure, directed with aplomb by Joe Wright. I can't wait for more people to see this one - it's a crowd-pleaser for sure.


18.) Annette

- What a year for Sparks! The cult-favorite band went mainstream this year - getting their own Edgar Wright doc, and penning the music for their own original movie musical to boot. And this movie, well - it's so gloriously weird. It feels like the closest we might ever get to a David Lynch musical. Adam Driver gives 1000% in this one and there are so many scenes/moments that I won't soon forget.


19.) Free Guy

- I'm so glad I got to see this movie on the big screen, because Free Guy was flat-out awesome - legitimately one of the best original blockbusters in years. Ryan Reynolds, Jodie Comer, Taika Waititi, Lil Rel, Joe Keery (Steve from Stranger Things) all killed it. The movie had ncredible action and HUGE applause moments and some big surprises to boot. I was cheering in my seat. A razor-sharp script, tons of heart - what more do you need?

20.) The Card Counter

- The Card Counter draws clear comparisons to earlier Paul Schrader works like Taxi Driver. As with that classic film, this is a story about a loner with barely-suppressed rage trying to make sense of a broken world. I was also reminded of Schrader's First Reformed, in terms of its at times almost surreal/nightmarish vibe. I found it to be mesmerizing, disturbing, thought-provoking, and at times downright jaw-dropping. Oscar Isaac is phenomenal in it, too - delivering a strange but unforgettable performance in the lead role.


21.) Benedetta

- Legendary director Paul Verhoeven - he of Robocop, Starship Troopers, and yes, Showgirls fame - has only gotten more daring and fearless in older age. And Benedetta is both an over-the-top, shock-value-for-days satire, but also surprisingly profound to boot. I was hyped going in, but this one lived up to that hype for me 100%. What a crazy film!


22.) Belfast

- Written and directed by Sir Kenneth Branagh, Belfast is full of charm and heart and nostalgia - as it's based on Branagh's own childhood growing up in Belfast in the 60's, during the start of The Troubles. This one left me misty-eyed, thanks in large part to stellar supporting turns from Judi Dench and Ciarán Hinds.


23.) The Matrix: Resurrections

- Okay, some of you led me to believe that this long-awaited new Matrix movie was some random meta side story / quasi-reboot. But this was not that - it was a full-blown sequel, baby - and it was awesome! The movie was rife with clever and winking meta-commentary, yes - but there was real epicness too. Lana Wachowski and team gave us a movie that expanded on the mythology of the original films in interesting ways - and actually retconned a bunch of stuff to make more sense and/or feel more important than it did in the sequels. There was some incredible sci-fi imagery, cool action, and IMO there was actually *more* heart than in the previous movies - namely, I cared about the central Neo/Trinity relationship more in this one than I ever had before. This one is divisive, clearly - but I come down on the side of: "it rocked!"


24.) Titane

- Titane is right up there with director Julia Ducornau's Raw as an all-time visceral, disturbing, and just plain crazy film. It's incredibly strange and uncomfortable to watch at times, but man, does Ducornau know how to create some incredible imagery. Working heavily in metaphor, she tells the story of two extremely damaged people who form a strange connection that probably shouldn't be, but somehow is.


25.) In the Heights

- I had zero familiarity with the In the Heights musical going in to this one, but man, it was really Lin Manuel Miranda at his best - clever, catchy, funny, moving, poignant, and inspirational. Jon M. Chu did an amazing job directing - adding tons of big-screen-worthy visual flair to the story. Several sequences were total showstoppers.


MORE GREAT FILMS OF 2021:


26.) King Richard

- Will Smith delivers his best performance in years, and the entire cast of King Richard is so fantastic, top to bottom. Just an impeccably written, acted, and directed feel-good film - that will no doubt net awards attention for Smith. The true-life story of Venus and Serena William's rise to the top of the tennis world - and the driven dad who got them there - is a classic crowd-pleaser.


27.) No Sudden Move

- A crackling period-piece crime caper with one hell of a cast and some surprising twists. Surprisingly timely as well. David Harbour *kills* it in this one - I think this is my favorite performance of his to date. Benicio Del Toro, Don Cheadle, Jon Hamm, Brendan Fraser, Ray Liotta, Bill Duke, Amy Siemetz, Kieron Culkin, and <redacted> are great too (it's truly an all-star cast). Another fascinating and thought-provoking film from the always-unpredictable Steven Soderbergh


28.) The White Tiger

- Another early 2021 release that was a 2020 holdover, The White Tiger was a unique and fresh take on the classic rags to riches story - vibrant, colorful, unpredictable, and darkly funny. And a scathing and fascinating look at Indian society as well.


29.) Zola

- A funny and entertaining fever-dream of a film that's also got a lot to say beneath the surface about social media, trash culture, feminism, and America (among other things). Amazing cast, and Janicza Bravo directs the heck out of this one too.

30.) Judas and the Black Messiah

- A powerful film about the rise of the Black Panther movement and the controversy it created, this one features two great performances from Daniel Kaluuya and Lakeith Stanfield, and is a fascinating look at a not-often-dramatized chapter in the fight for racial equality.

31.) A Quiet Place Pt. 2

- With quick, no-filler pacing, a smart script, some *killer* set-pieces, nonstop tension, and a great cast - A Quiet Place Pt. 2 is arguably one of the best horror sequels ever. John Krasinski ... man, this guy can seriously direct, too.


32.) Werewolves Within

- A nearly note-perfect horror/comedy/whodunnit that's often incredibly funny, Werewolves Within also has an amazing cast of "oh hey, it's that hilarious person from _________" actors. Seriously though - this is one of the best indie movies of the year and a must-watch new cult classic.


33.) House of Gucci

- What a year for Ridley Scott. I enjoyed this WAY more than I thought I might. It's ridiculously entertaining and insanely over the top (fitting, I suppose, given the subject matter). Adam Driver and in particular Lady Gaga are great, but ho-lee lord Jared Leto as Paolo Gucci is just INSANE. See also, Al Pacino. I’m going to need memes of his epic “NOOO! I’M DEAD!” freakout scene immediately.

34.) Riders of Justice

-  A darkly satirical revenge story that also has a genuine emotional core. Mads Mikkelsen is great (and this continues what I assume will be his Danish midlife crisis trilogy). Seriously though, highly recommended.


35.) Passing

- This Netflix original is a great directorial effort from Rebecca Hall. Ruth Negga and Tessa Thompson are excellent as the leads, in a film that is a thought-provoking, fascinating exploration of race, sex, and class in recent American history.


36.) The Harder They Fall

- A hyper-stylized Western revenge story with some serious Tarantino vibes, it featured an amazing ensemble cast and memorable characters - and some real visual panache from director Jeymes Samuel. Plus, a *killer* ending that really sealed the deal for me.


37.) The Many Saints of Newark

- I really enjoyed this long-awaited Sopranos sequel. The cast - from Ray Liotta to Corey Stohl (so great as younger Uncle June here) to Vera Farmiga to Michael Gandolfini was really strong. A welcome return to this world of the show.

38.) The Last Duel

- Anytime the great Ridley Scott gives us an historical epic, I'm all in. But, this one, really, is a much more deliberate and ambiguous drama than something like Gladiator - giving us the same story from multiple perspectives, a la Rashomon - in order to make a very timely point about how patriarchal societies can obscure the truth at the expense of women, and how that very much needs to change. Adam Driver and Matt Damon are both very good, while Jodie Comer (of Killing Eve fame) steals the show.


39.) PG: Psycho Goreman

- This movie is pure joy. A hilarious and ridiculous hand-crafted homage to 80's sci-fi and horror. A new midnight movie classic. This one deserves your love, so go rent it asap.

40.) The Alpinist

- An absolutely crazy story - filled with fascinating characters, as well as incredible freehand climbing footage. 2021 was a great year for docs, but this is one of the best.


41.) I Care a Lot

- A pitch-black satire of American greed, moral hollowness, and kill-or-be-killed mentality. Rosamund Pike definitely earned herself her Golden Globe in this one. And Peter Dinklage - so good.


42.) F9: The Fast & Furious Saga

- This much-delayed sequel was the perfect movie to welcome audiences back to <insert Vin Diesel voice> "the movies." An insanely over the top and breathtakingly entertaining bit of popcorn-movie magic, F9 was a step above 8 and featured kick-ass action and plenty of awesomely insane set-pieces.

43.) Spider-Man: No Way Home

- An incredibly fun spectacle, NWH had the epic, big-event, can't-miss feel that was a bit lacking in this year's other Marvel movies. But the funny thing is ... despite all the multiversal adventuring, big-name hero and villain appearances, and giant action scenes ... really, the reason, 100%, why this movie works as well as it does is simple: the relationships between Peter and his girlfriend MJ, and between Peter and his best friend Ned. It's a good reminder that no matter how big the spectacle, none of it matters if your story doesn't have a beating heart.


44.) Last Night in Soho

- Soho has some of the most visually-stunning scenes of Edgar Wright's directing career. Wright channels movies like The Shining and Suspiria to create a unique horror-mystery. It's fascinating to see Wright swing for the fences and try for something different, and I can't wait to see how he continues to evolve from here and what he tackles next.

45.) Encanto

- Encanto is a smaller-scale story vs. a lot of animated Disney movies, but it's got really fun music from Lin Manuel Miranda and a great and unique main character in Mirabel. There's also a great message here and some moments that I think will really resonate.

 

46.) Shiva Baby

- A dark comedy that's also practically a horror movie, Shiva Baby is so dead-on accurate in the way it portrays the awkardness and agony of coming of age in an overbearing Jewish family that I almost found it hard to watch at times. A really cool little indie film.

47.) Coda

- This Apple TV original is a very sweet film with some fantastic performances and a seriously great cast as well. Emilia Jones delivers what feels like a breakout performance as the lead (though she's also great on Locke & Key!).

 48.) The Tragedy of Macbeth

- Joel Coen's Shakespeare adaptation is more straightforward than you might expect from one half of the storied Coen Bros filmmaking duo - but it's also one heck of a film. Visually stunning and anchored by a commanding lead performance from Denzel Washington, the film is arguably one of the definitive filmed versions of the material.


49.) The Power of the Dog

- Jane Campion's enigmatic Western thriller is a slow-burn ... and the kind of film that almost demands multiple viewings to fully wrap your head around its subtly-revealed plot. That's not to say that the film, as a whole, is subtle. It's a strange, hypnotic movie filled with evocative imagery, dialogue, and character moments - with Benedict Cumberbatch's lead performance being one of the year's most unforgettable. 


50.) Ghostbusters: Afterlife

- A fun reinterpretation of Ghostbusters as an Amblin-esque kid-adventure movie, this one hit my nostalgia buttons and left me eager for a sequel. Mckenna Grace was SO good in this too. She completely steals the movie as the new franchise hero, and I'd love to see her character's further adventures.

HONORABLE MENTIONS - OTHER RECOMMENDED MOVIES FROM THIS YEAR:

- The Eyes of Tammy Faye

- The King's Man

- Shang-Chi and the Legend of the Ten Rings

- The Green Knight

- C'mon, C'mon

- The Suicide Squad

- Don't Look Up

- Reminiscence

- Roadrunner

- The United States vs. Billie Holiday

- Final Account

- Black Widow

- Shang-Chi and the Legend of the Ten Rings

- Candyman

- Copshop

- Halloween Kills

- Venom: There Will Be Carnage

- Fear Street 1994 / 1666 / 1978

- Under the Volcano

- Stillwater

- Malignant

- Port Authority

INDIVIDUAL 2021 AWARDS (Oscar 2022-Eligible Movies Only):


BEST LEAD ACTOR:

1.) Andrew Garfield - Tick, Tick ... Boom!
2.) Simon Rex - Red Rocket
3.) Peter Dinklage - Cyrano
4.) Nicholas Cage - Pig
5.) Tie: Will Smith - King Richard, Oscar Isaac - The Card Counter

(2021-Eligible Additions: Anthony Hopkins - The Father, Steven Yeun - Minari)


BEST LEADING ACTRESS:

1.) Kristen Stewart - Spencer
2.) Alana Haim - Licorice Pizza
3.) Agathe Rousselle - Titane
3.) Rachel Zegler - West Side Story
4.) Kristen Wiig and Annie Mumolo - Barb and Star Go To Vista Del Mar

(2021-Eligible Additions: Frances McDormand - Nomadland, Rosamund Pike - I Care A Lot)


BEST SUPPORTING ACTOR:

1.) Ciarán Hinds - Belfast
2.) Bradley Cooper - Licorice Pizza
3.) Al Pacino - House of Gucci
4.) Jared Leto - House of Gucci
5.) Mike Faist - West Side Story

(2021-Eligible Additions: Leslie Odom Jr. - One Night in Miami, Daniel Kaluuya and Lakeith Stanfield - Judas and the Black Messiah)


BEST SUPPORTING ACTRESS:

1.) Cate Blanchett - Nightmare Alley
2.) Ruth Negga - Passing
3.) Judie Dench - Belfast
4.) Ariana DeBose - West Side Story
5.) Rebecca Ferguson - Dune

(2021-Eligible Additions: Youn Yuh-jung - Minari)


BEST DIRECTOR:

1.) Paul Thomas Anderson - Licorice Pizza
2.) Denis Villeneuve - Dune
3.) Lin-Manuel Miranda - Tick, Tick ... Boom!
4.) Steven Spielberg - West Side Story
5.) Wes Anderson - The French Dispatch

(2021-Eligible Additions: Chloe Zhao - Nomadland)


BEST SCREENPLAY:

1.) Spencer
2.) Barb and Star Go to Vista Del Mar
3.) The French Dispatch
4.) Zola
5.) The Card Counter
6.) Pig
7.) Free Guy
8.) The Mitchells vs. The Machines
9.) Licorice Pizza
10.) Werewolves Within

(2021-Eligible Additions: Nomadland, The White Tiger, The Father, Minari, One Night in Miami)


And that's a wrap on the Best of 2021. Yeah ... I'm ready for a nap. See you guys in 2022 - hopefully in theaters, probably on Netflix, and who knows - maybe in the metaverse!