20 Best Movies of 2021

From the moment you hear that opening, guttural, rumbling din — possibly via your TV speakers, hopefully through a theater’s huge sound system — Denis Villeneuve’s long-awaited take on Frank Herbert’s sci-fi magnum opus announces itself as something epic, immersive, huge. No other movie arguably made better use of its big-screen canvas as Part One of his two-part adaptation, turning the author’s sprawling tale of warring royal houses, giant sand worms, corporate capitalism run amok, indigenous cultures, religious allegory, and hero’s-journey adventure into the sort of overwhelming, otherworldly experience that befits a saga. But for all of its size and scope, it also feels like an oddly personal movie — as if the French-Canadian filmmaker made a bespoke blockbuster that filtered his own obsessions and visual fetishes through both the source material and vintage Heavy Metal magazine covers. Everyone from Timothée Chalamet to Rebecca Ferguson, Oscar Isaac to Jason Momoa, and a sterner-than-thou Charlotte Rampling to a slimy, fat-suited Stellan Skarsgård add their shades and colors to the piece; yes, it could certainly use more Zendaya, but considering what Villeneuve has done with this initial outing, we’re willing to wait for Part Two to see her get her due.

It is a truth universally acknowledged that a 21st-century Homo sapien in possession of good fortune must be in want of dependable Wi-Fi. Take that away, and chaos reigns. Both a satire of our social dependency on tech and a surprisingly funny, tender take on dysfunctional family dynamics, this animated comedy from writer-directors Mike Rianda and Jeff Rowe is not a Luddite manifesto: The internet is where Katie Mitchell (Broad City‘s Abbi Jacobson) puts up the goofy short movies that get her into film school out West. Dad (Danny McBride) suggests turning her college move into one last Mitchell road trip. Unfortunately, that’s the same moment the singularity happens, and few things ruin family traveling more than an unstoppable robot army. The mix of the sensitive and the ridiculous, of love and anarchy spread over the commentary, somehow syncs up to a T. Remember: There is no “we” in iPhone.

An elderly widow (the late, great South African actor Mary Twala) is preparing to meet her maker. Before shuffling off this mortal coil, however, she must stand up to local priests, politicians and other patriarchal figures who are in the process of flooding her village in the name of “progress.” Writer-director Lemohang Jeremiah Mosese’s film makes you feel as you’re watching a fable or a myth unfold, deftly moving from Twala’s gnostic presence — she somehow keeps the film floating along while also giving it a sense of gravitas — to surreal moments of chaos, destruction and, yes, rebirth. You are never sure if the mysterious lesiba-playing narrator is God, the Devil or Death himself, or whether the juke joint where he’s telling his tale is heaven, hell, or purgatory. But you do know that this small, determined old woman’s final act of defiance is righteousness personified. A revelation, this movie.

In which Guillermo del Toro takes a break from stories about beautiful monsters and gives us a straight shot of monstrous human beings with no chaser. The Shape of Water director doesn’t sand the edges off of William Lindsay Gresham’s infamous 1946 novel about a carny (Bradley Cooper, all stubble and flop-sweat desperation) who turns a sideshow mentalist act into a nightclub sensation with his lady love (Rooney Mara). Enter a cosmopolitan psychiatrist (Cate Blanchett) who never met a scam she didn’t like, and that whistling sound you hear is someone’s already-in-progress moral descent gaining velocity. It’s a near-perfect throwback noir, complete with weak men and femme fatales and a bushel of bad apples, although the ecosphere of grifting and con artistry also make it one of the few films to capture the Trump era in all its flim-flam slipperiness.

Making good on the promise of his autopsy-of-a-judicial-system debut Court (2014), filmmaker Chaitanya Tamhane returns with a look at young man (Aditya Modak) dedicated to playing and studying Indian classical music. What starts as a creative pursuit inherited from his father turns into an all-consuming obsession, and as the years pass, the idea that his passion may be greater than his talent starts to tear him up. It’s an intriguing, beautifully composed character study that asks a number of questions: What happens to an artist’s soul when they are incapable of becoming a master? Can you be a righteous defender of an art form and also a complete asshole? And at what point does “protecting” a cultural tradition start to cut off its life supply? Netflix slid this on to their streaming service like it was a dirty secret back in April, with a few limited, little-publicized screenings in theaters. It just makes us want to shout that much louder: Attention must be paid.

A young boy growing up in Afghanistan in the 1980s watches as his older brother goes AWOL after being forcibly recruited by the Mujahideen to fight the Soviets. Thanks to the efforts of another sibling living abroad, the whole family is able to leave the country and eventually settle in Europe. Years later, this nameless, now-grown protagonist is a successful academic who’s settled down with a supportive boyfriend. When the Danish director Jonas Poher Rasmussen asks him to recount his story for the camera, however, you can see how being uprooted from his home has never quite been resolved. The result is both an intimate exploration of trauma as well as a chronicle of the universal 20th-century refugee experience, in which that word in the title is a constant way of life. The fact that Rasmussen animates this immigrant’s tale somehow makes it even more graceful and gutting; there’s a sequence near the end that earns the sobs it inspires precisely because of how it’s presented.

Go quest, young man: Eager to prove his potential as a knight in King Arthur’s court, a 14th-century gent named Gawain (Dev Patel) accepts a challenge from an ominous figure to strike him down with one blow. A sword is swung, a head is lopped off…and then Gawain is given a year before this mysteriously not-dead-yet stranger gets his chance to answer that strike. Our hero must then seek out his nemesis and rewrite his fate. Writer-director David Lowery (A Ghost Story, The Old Man and the Gun) is no stranger to seekers, spiritual searchers or rewiring sacred mythologies, and the way he both presents the Sir Gawain and the Green Knight poem as a boy’s adventure narrative and punctures the entire concept of honor and valor through violence is a woozy, wonderful thrill. Like all good medieval dramas, it has its share of hallucinogenic weirdness — talking foxes, loping giants, ghostly maidens — and ends not with a bang but with a magnificently mournful sigh.

Jane Campion’s first movie in 12 years is a Western that falls somewhere between revisionist and ragingly Freudian — a tale of brothers not characterized by anything resembling brotherly love. Set in a barely tamed Montana (even though the year is 1925), her adaptation of Thomas Savage’s novel introduces us to the Burbanks: George (Jesse Plemons) is the kind, quiet type who’s one polka-dotted tie away from being a dandy. Phil (Benedict Cumberbatch) is his rough-and-tumble cowboy of a brother, an earthy bully who once went to an Eastern college and returned to help run the family ranch. A woman (Kirsten Dunst, all vulnerability and silent-movie-star eyes) enters the picture and the household, causing conflict between the siblings; so, too, does her sensitive son (Kodi Smit-McPhee), who Phil takes a particular dislike to. The shots of dusty prairies and galloping herds give this an epic feel, but like so much of Campion’s greatest work, it’s the wild, wild interior frontiers she’s interested in exploring. And while the movie is an ensemble piece, it’s Cumberbatch who captures your attention as a toxic male characterized by rage and repression. His performance leaves scars.

A born-again Christian named Maud (Morfydd Clark) pines for a mission — and for her sins, she’s given one, in the form of a being a caretaker for a terminally ill choreographer (Jennifer Ehle). The longer she tends to her sick employer, the more she worries about saving this woman’s soul. But is Maud capable of offering salvation to the sick? Is she imagining these conversations with God, or does this pious heroine really have a direct line to divinity? Or perhaps that voice in her head belongs to some other, less heavenly messenger? Director Rose Glass’ feature debut can be savored as a welcome, disquieting new addition to that old time religio-horror canon. (There will be back-bending levitation shots.) Or you can look at it as a portrait of young woman finding a warped sense of empowerment in her madness… which makes this “possession” story twice as unnerving. No matter which way you look at it, the movie is a genuine revelation, and the sort of holy terror that restores your faith in a genre.

If Ahmir “Questlove” Thompson’s look back at the series of shows that took place in Harlem’s Mount Morris Park in the summer of ’69 had been nothing but musical performances, the fruits of his labor-of-love would still make for a near-peerless concert film: A 19-year-old Stevie Wonder jumping in front of his keyboard before banging out a manic drum solo. Nina Simone turning “Backlash Blues” into the equivalent of a boxing match. Sly and the Family Stone at their peak, reminding you that funk is both a noun and a verb. Mahalia Jackson and Mavis Staples together, taking everyone to church. What he gives us instead, however, is far more vital. It’s a contextualized look at a specific moment — in Harlem’s history, in African-American history, in American history — that reminds you just how much the music acted as a salve for state-institutionalized violence, a catalyst for change, and a celebration. The mere fact that it’s taken decades for anyone to see this footage is a crime. Thompson’s film is a step towards righting that wrong. It’s a reclamation in more ways than one.

Paul Thomas Anderson goes back in time — Los Angeles, San Fernando Valley, 1973 — and captures a beautiful, unlikely friendship blossoming between a high-school-age kid (Cooper Hoffman) and a twentysomething woman (Alan Haim). That’s the long and the short of Licorice Pizza, and when it comes to PTA making his memory-piece movie, that’s all you really need; it’s a rom-com (kinda) and a coming-of-age story (sorta) set in the Seventies that replicates the sort of amblin’, ramblin’, hang-out vibe of that era’s movies to a T. Vignettes collide into each other, but it’s more about the vibe here than anything else — that, and giving his young, first-time actors a showcase for their talents. (Memo to Hoffman and Haim: Please keep making movies.) Throw in a few priceless needle-drops and Bradley Cooper channeling a ripe vintage of showbiz narcissism as real-life movie producer Jon Peters, and you have the cinematic equivalent of a secondhand buzz.

A look back at a wartime tragedy recounted with breaking-news urgency, Jasmila Zbanic’s Oscar-nominated drama drops viewers into the town of Srebrenica, at the exact moment that the Bosnian Serb army’s tanks are rolling down its streets. Our tour guide for this nightmare is Aida (Izudin Bajrovic), a former teacher who now serves as an interpreter for the United Nations’ troops; she’s trying to ensure that her family is among the thousands of Muslim citizens who will be protected by peacekeepers in the safe zone’s shelter. When the U.N.’s officers are told that all residents must be transported to a new location, Aida fears the worst. History will prove her instincts are correct. Anchored by an absolutely stunning performance by Bajrovic — few actors have done more with a stressful scowl and a frozen mask of dread — this recreation of a real-life atrocity refuses to gin up a moral or a silver-lining message. It’s pitiless as a procedural yet somehow remarkably compassionate in its storytelling. And the film’s gut-punch of a coda reminds that even when things return to “normal,” time can only heal some wounds, not all.