Midlands Movies Top 20 Films of 2021
Midlands Movies Top 20 Films of 2021
With the remnants of the pandemic still affecting the box office, we may have however finally turned a corner in 2021 with the release of a number of delayed blockbusters, as well as exciting indie filmmakers getting their work out across various platforms to expose smaller films to a wide audience.
For me, it’s great to see a host of famous filmmakers lead the pack with critic-pleasing releases (Ridley Scott with 2 films, Steven Spielberg, James Gunn & co). And some brilliant lower-budget films came in their wake showing productions getting back on track after years of hardship.
Let’s start though with what I’ve missed and sadly won’t be included. In wishing to publish my best-of list before Xmas and the UK release schedule bottlenecking in December, the hotly anticipated Spider-Man: No Way Home, Matrix Resurrections, The Power of the Dog, Titane and West Side Story are currently missing a watch from me so will sadly not be included here.
And very close but missing the final cut were a mix of excellent features including Old (M. Night Shyamalan), The Dissident (Bryan Fogel), The Wolf of Snow Hollow and The Beta Test (both from Jim Cummings), Assassins (Ryan White), Hunter Hunter (Shawn Linden), Judas and the Black Messiah (Shaka King), No Sudden Move (Steven Soderbergh) and Misha and the Wolves (Sam Hobkinson).
But as always, you have to make some very tough choices each year to get the list down to just twenty movies and so here are the final choices for my favourite films of 2021.
Michael Sales
UPDATE (31/12/2021): Having caught more films in the gap between publishing this article and the end of the year, five (!) films would be added to this list:
- Titane
- Spider-Man: No Way Home
- The Trip
- Tick Tick Boom
- The Rescue
Run (Dir. Aneesh Chaganty)
Tonally Run is reminiscent of pulpy early-90s thrillers like The Hand that Rocks the Cradle and Misery but it also balances the more serious themes of control and manipulation with rousing thriller tropes. And this results in it ending as an entertaining and extremely suspenseful movie held together by a dynamic double-header from the always-watchable Paulson and an exceptional performance from newcomer Kiera Allen.
Nobody (Dir. Ilya Naishuller)
And much like Taken, this film’s biggest draw is really its skilful re-contextualisation of a familiar and level-headed character actor into an action star we can truly believe is both a good guy and a bad ass!
No Time To Die (Dir. Cary Joji Fukunaga)
After the misstep of Spectre, Daniel Craig was “persuaded” back to take on the iconic role one more time in an unexpectedly emotional and deep exploration of the legendary spy. Craig has never been better bringing both toughness and a sensitivity not seen before. Viewers will be shaken and stirred by the film as it deliver plenty of real stunts and action, fulfilling character development and a surprising and satisfying conclusion to the saga cementing Craig's position as one of the best Bonds of all time.
The Vigil (Dir. Keith Thomas)
With a small cast and budget, The Vigil's world building is excellent and the insights into the customs of the Jewish faith are engaging throughout The tension is consistently kept high creating the fear and suspense needed for a haunted house flick (of sorts). Yet despite some horror tropes viewed elsewhere, the distinctive traditions rarely seen on screen help elevate The Vigil to a one-of-a-kind horror with enough terror (and surprising solemnity) to rise above the pack.
The Courier (Dir. Dominic Cooke)
The film illuminates a little-known, but hugely important, aspect of Cold War history where one man’s individual strength became the catalyst that prevented possible global conflicts. Audiences should definitely take a snoop at The Courier - as it’s a great espionage drama with a terrific Cumberbatch central performance as a small-scale man hiding big-time secrets.
I Care a Lot (Dir. J Blakeson)
The film sits firmly as a satirical thriller that amps up all its aspects to the extreme to get an audience’s emotions boiling with rage. With likeable actors playing unlikeable people, I Care A Lot has lots to recommend it, all held together by Pike’s forceful and accomplished take on this low-life law-breaker.
The Card Counter (Dir. Paul Schrader)
A dirty, seedy but extremely watchable parable on the “American Dream” trope, Schrader doubles down on familiar themes he’s hit before. Yet The Card Counter uses a brilliantly introverted Oscar Isaac performance and cold but meaningful cinematography to further explore the internal and global values of the modern United States and the effects on its discarded citizens.
A Quiet Place Part 2 (Dir. John Krasinski)
I agree with our writer Guy Russell's review when he said... "Its a fine balancing act, to successfully release a “monster” movie and then deliver a sequel that can stand head to head with the original and other classics of the genre,. The extraterrestrial aliens are shown more but still have a mystique about them, and retain their chilling vagueness which is the most important aspect of creating a truly terrifying movie."
The Suicide Squad (Dir. James Gunn)
So despite my scepticism that anything could be made from the DCEU corpse, Gunn proves he can polish even the dullest of franchise turds into something incredibly watchable and fun with huge energy and blockbuster thrills. This is how you do it.
Dune (Dir. Denis Villeneuve)
A gorgeous-looking slice of sci-fi, Dune is a sandy and spice-y adaptation of Frank Herbert’s “unfilmable” opus. Dune retains the novel’s essence whist honourably toning down some of its dense subtext to make it accessible to those unfamiliar with the source. However, with an amazing soundtrack from Zimmer complementing the dazzling visuals and costumes, an excellent all-star cast ensures there’s still brains in this book-based blockbuster.
Pig (Dir. Michael Sarnoski)
This year’s Mandy or Colour Out of Space, Nic Cage thankfully ditches his straight-to-video bargain bin actioners for an exploration of a man’s personal demons in a stunning directorial debut. Cage’s disturbed man of the wilderness has his pet pig stolen and heads into the city to infiltrate bloody fight clubs and opulent cuisine society he once frequented as a chef with the star delivering a muted but tremendous performance with sensitive emotion and nuance. A subdued film which never flies off into obvious revenge-film territory (much to its kudos), Pig is an exceptional deep dive into one man’s soul.
Last Night in Soho (Dir. Edgar Wright)
Thomasin McKenzie gives a mesmerizing performance as the young fashion student out of place and out of time as she’s haunted by visions of Soho’s seedy history. From sumptuous musical sequences to unsettling nightmares, Wright’s Giallo-infused thriller plays it straighter than his previous comedic flicks but with superb support from Anya Taylor-Joy and a sleazy Matt Smith, Wright casts his quick-cutting visuals over a dark tale of gruesome visions in a perfect mix of the past and present.
The Last Duel (Dir. Ridley Scott)
With the three leads delivering in spades, The Last Duel exposes the medieval masculinity of Christian morals and chivalric feats but undermines these with an exploration of these seemingly honourable traits cutting out women, their rights and their strength. Scott should worry less about Marvel and marvel in his own films which still shows his master craftmanship within cinema.
Palm Springs (Dir. Max Barbakow)
With high energy and a fast-pace, lots of laughs and two well-cast leads playing to their strengths, Palm Springs cycles through its time-based plot without repetition and is more than satisfying given its spin on a well-trodden formula.
The Green Knight (Dir. David Lowery)
Haunting and challenging, The Green Knight explores melancholy leitmotifs of life and death as well as fabled gallantry and personal weakness. The film is also at times both puzzling and gruelling, but if you stay loyal to its ambiguity you’ll end up with a satisfying examination of mythical mortality during an extremely rewarding voyage.
Riders of Justice (Dir. Anders Thomas Jensen)
This blackly-comic Danish thriller sees a never-better Mads Mikkelsen as a tormented father seeking vengeance on a biker gang he believes caused his wife’s death. Whilst he struggles to cope with his teenage daughter, the film combines over-the-top violence alongside clever dialogue and even explores serious introspection issues of loss and male anger. The film’s visceral action moments combine with thought-provoking themes of fate and coincidence in an immensely satisfyingly cathartic trip with (a dark) heart at its centre.
Spencer (Dir. Pablo Larraín)
A horror movie in disguise, this fictionalised account of Princess Diana is bolstered by a great performance from its star Kristen Stewart who anchors what could have been familiar territory (see Netflix’s The Crown). The late Diana’s eating disorder, neuroses and bleak thoughts are all elegantly explored alongside more tender moments with her two young princes. The exquisite direction and similarities with The Shining (see our comparison here) make this a fantastically artful and measured movie that tackles Diana’s paranoia (or not) as she spends a holiday weekend staying with her “ghostly/ghastly” in-laws.
Class Action Park (Dir. Seth Porges & Chris Charles Scott III)
The doc contains both sentimentality and much regret which is a difficult trick to pull off, but it does so exceptionally. It finds the right balance between the exciting retro recollections of crazy 80’s Summers mixed with the melancholic memories of the tragedies that ultimately, and rightly, saw the park shut its doors. A mix of first-rate fun and shocking heartbreak.
Another Round (Dir. Thomas Vinterberg)
Mads again! Here he plays a teacher and husband who has lost his lust for life and gets together with 3 colleague friends to test a theory that humans should have a higher blood alcohol content. Cue a lot of drinking which provides an initial boost to their lives with their confidence returning and life seeming that little more “rosier”. But as the drinking gets out of hand, their antics go from pleasure to pain and have serious repercussions in their personal lives. A black comedy with added heart, a glass should be raise for its excellent drama – making this Oscar-winner is a brilliant Danish film sensitively tackling friendship, relationships and growing pains with a knowing eye.
Promising Young Woman (Dir. Emerald Fennell)
It's great to see Mulligan back on screen successfully delivering her character's damaged personality, which shrugs off any predictability. The spectacular (and Oscar-winning) script is appropriately witty when it needs to be, whilst the speeches and monologues are thrillingly intense without being preachy. A challenging but fulfilling movie, it ends as a kaleidoscope of weighty themes and energy and blends these aspects in such a great way it results in the most engaging movie of the year.
