2021 - The Year In Cinemas

[Above: Edgar Wright's Last Night in Soho]

    It has actually been an incredible year for cinema. Although I didn't manage to return to my usual 'one cinema trip per month' routine (an early lockdown put pay to that, when I wasn't able to use the ticket I'd booked to see Wonder Woman 1984 in January), I've more than made up for lost time. I took two trips in May, August and September, three trips in July, and FOUR in November! In fact, I was so spoiled for choice - catching up on last year's delayed films as well as watching plenty of new releases - that, for the first time, I even subscribed to a Limitless account.

   So which films did I see and when, which were my favourites, and which were the (few) movies that got away from me? Read on for my seasonal mini-reviews!

MAY 2021

Films: Ammonite & Nomadland

   The very day that cinemas re-opened, my cinema buddy Tommy Draper and I went to catch Ammonite at Derby Quad. In spite of a couple of teenage girls who clearly couldn't wait to come back and chat loudly on the back row (!), it was wonderful to see Francis Lee's latest. I support people's reservations about casting straight actors in LGBTQIA+ roles, but I also applaud Kate Winslet's raw and brave performance, and I love the film's textural sound design and world-building.

   Next up, I caught this year's worthy OSCAR-winner, Chloe Zhao's stunning Nomadland. Beautiful cinematography aside, I was surprised by how emotional I found this film; post-pandemic, and having just handed in my notice at my day job, the message of getting back to one's self, treasuring the small moments, and moving at a steadier pace really hit home.

JUNE 2021

Film: Cruella

   I only saw one film in June, Disney's Cruella origin story (of sorts!). I had expected to enjoy the film, but it actually exceeded those expectations, with a fantastic 70s soundtrack, incredible costume design and a super fun plot with Emma Thompson devouring every scene she was in, in the best way possible. Only negatives? I felt some of the side acting was a little wooden, and the way they forced in the original 101 Dalmations characters towards the end was way too clumsy - it should've just been a standalone film.

JULY 2021

Films: Supernova, Another Round & Black Widow

   As with Ammonite, Supernova was another film which drew criticism for casting straight actors as gay characters and, likeable as Colin Firth and Stanley Tucci are, I couldn't quite buy their chemistry, even playing a couple who have been together for a long time. It was also very disappointing how quickly an interesting road trip plotline was cast aside for kitchen sink drama, with great back-and-forth dialogue, early-on, making way for predictable lines and heavy cliches.

   My disappointment in Supernova, however, was soon forgotten when I watched a film which - like Cruella - really exceeded my expectations. Another Round was a masterful piece of filmmaking, and took the top spot for me this year, even with so many more cinematic expeditions to come. It helps that this was the perfect cinema trip, as it was our first time visiting a cute, quirky independent cinema called The Northern Light in Wirksworth. The film itself blended together social commentary with Full-Monty-esque underdog comedy, ultimately creating a beautiful, celebratory portrait of life, and with an ending that literally made me cheer. I've also been a little bit in love with Mads Mikkelsen ever since...

  Before the month was out, I also saw the much-delayed Black Widow, and it was lovely to see the first female avenger finally get her own movie. I was, however, surprised by how dark in tone the film was (definitely not one to show to my niece!), with a memorable grunge-filled opening credits. And I was a little disappointed by the CGI-laden, gravity-defying battle that came at the end, but hey, Marvel's got to Marvel!

AUGUST 2021

Films: The Suicide Squad & In the Mood for Love

   The first film this month was The Suicide Squad, a film that had a lot to prove after the disappointment of its 2016 predecessor. It did that and then some, giving us a wonderful piece of barmy but brilliant escapism, with villains as bonkers as DC intended. Only two small criticisms; the near-schmaltzy scenes felt a little out of place in a film with this high a gore count, and I also wish they hadn't portrayed Harley Quinn as just a dumb blonde who passively falls into sequence after sequence; she is supposed to have a physcologist's brain, albeit a warped one, and the animated Harley Quinn series gave us a much better version of the character this year.

   Next up was a completely different (and much older) film; Derby Quad had a Wong Kar Wai season, and I'd never seen any of his work but I'd heard great things about In the Mood for Love, so Tommy and I went to see it, partly as research for our upcoming short film. I think that In the Mood for Love really is a film that needs to be seen to be appreciated, as the language of cinema really oozes from every frame, with cinematography, production and costume design perfectly in sync. It is a little slow in pace for some tastes, but the patient will be rewarded with some gorgeously tender and unique character moments.

SEPTEMBER 2021

Films: Herself & The Green Knight

  Autumn came around, and I found myself invited to a special Birds Eye View screening of Herself at Nottingham's Broadway, thanks to the BFI Network, and I really appreciated the ticket as it wasn't the kind of film I'd normally seek out for myself. Although the film was tonally uncertain, like it wasn't sure if it wanted to be a hard-hitting drama or a feel-good romp, it was very enjoyable with some good performances, and its debut writer (and also lead actor) Clare Dunne definitely deserves some kudos.

  And then, finally, after over a year of waiting, I was able to see the film I'd most looked forward to: David Lowery's The Green Knight. I was so pumped up to see this film that it probably could've done anything and I still would've loved it (I'm a fantasy nut, but I also love most A24-produced indie films, so this ticked every box for me), and I was particularly buzzing as we'd just been to my film Lepidopterist's big screen debut at Paracinema Festival a couple of hours before. I will admit, I could've done without the penultimate chapter, as the film was starting to drag a little too much by then, but I applaud the director's commitment to telling a full Arthurian saga; furthermore, although every scene looked exquisite, Gawain's challenge to retrieve Winifred's head from a lake was a particular stand-out moment. Highly recommended.

OCTOBER 2021

Films: Dune 

   As I excitedly told anyone who would listen, I was so incredibly lucky enough to see Dune ahead of its cinema release, at a private screening with a Q&A from director Denis Villeneuve himself! This was one of the many perks of having been accepted as a member of Directors UK this year. The film was, of course, flawless - and during a particularly intense battle scene, I looked round and saw many of my fellow directors leaning forward in their seats, completely gripped and in awe, which was a wonderful sight to see. I'm just sorry that this wasn't one of my favourite films of the year; it doesn't help that I'd just done my first post-pandemic trip to London to see the film, so I had a little anxiety and I was worn out before the film even started! Furthermore, despite my love of fantasy, I'm not the biggest sci-fi fan. The film's near-monochromatic, Bauhaus stylings didn't appeal to my personal senses, and I also don't like sandy settings (it's why I don't like Westerns), so I just don't think this was the film for me! But I will see the sequel when it comes out, and I'm looking forward to it.

NOVEMBER 2021

Films: The French Dispatch, Last Night in Soho, Eternals & The Power of the Dog

   I really was spoiled for choice with films in November, and that's when I finally caved in and purchased my Limitless subscription! 

   The first film this month was The French Dispatch, which I know disappointed a few Wes Anderson fans, but I enjoyed it as the humour really landed for me. I could've done without the middle chapter (maybe I was a bit Timothy-Chalamet'd-out after Dune!) but Benicio Del Toro's prison-set chapter was like a perfect short film, and I thought the sporadic use of colour throughout the film to enhance emotions was really well done.

   Film number two was Last Night in Soho, another long-anticipated and much-delayed picture. From the very first scene, I was hooked. I wanted to go wherever the film wanted to take me, and I lost myself in striking visuals and breathtaking camera trickery. I did feel that the ending was a little too neat, with loose ends not so much tied together as discarded, so much so that I kept expecting there to be a twist (which never came), and that was disappointing - but it didn't totally taint everything that had gone before.

   For Eternals, I went in with very low expectations - having read lots of bad reviews - and I actually really liked the film. Cinema has the power to bring long-lost cities and historical events back to life, and I really think Eternals achieved that, showing me places I'd never see otherwise, like a magical version of National Geographic! And although the film's beautifully diverse cast of heroes didn't always make logical sense from a story perspective, I didn't care, as it was just so great to see such representation on screen.

   The last film this month was The Power of the Dog, made by one of my cinematic heroes, Jane Campion - and while I hope that, one day, directors won't be notable by their gender, I do believe that Campion is the greatest female director working today. Annoyingly, this was another film trip where people spoke all the way through the film, even after I politely asked them to stop, but the film was so incredible that I was almost able to ignore them. No one does quiet intensity quite like Campion, and the script and actors said so much by saying so little. All that being said... I don't think I can list this as one of my favourite films of the year, and I can't compliment or recommend it as much as I originally wanted to. There has been a lot of articles about the depiction of animal cruelty in the film - PETA have even boycotted the film, and whether or not it's real, the scenes are difficult to watch. So until I have proof as to what's staged and what isn't, I can't commit my heart fully to this film.

DECEMBER 2021

Films: House of Gucci

   And finally, unfortunately, my last cinema trip of the year (for reasons I'll go into shortly) was to see House of Gucci. I haven't walked out of a film since The Desolation of Smaug - and that was only because I'd already seen the film in cinemas once already, and was killing time before catching a bus - but I really wanted to leave during Ridley Scott's latest. The story of the real-life Gucci family is fascinating, but you can know everything you need to just by reading about it on the internet, and the film struggled to fill the gaps in-between the facts. As a result, character's actions seemed to come out of nowhere with minimal motivation, and some scenes were clearly filler (a scene where two characters searched for their car in a car park comes to mind!). I will give the film one point for Jeremy Irons, but I'll knock off all the other points for Jared Leto's ridiculously OTT and borderline-racist portrayal of Paolo Gucci. A fat suit does not and should not equal an Oscar, and I hope the Academy realises that, come awards season. His performance would've been better placed in Bo Selecta!

   Anyway, I'll stop ranting about House of Gucci now (it's like my reaction to Joker all over again!), but I am sorry to have ended my string of great cinema trips on such a sour note.

THE ONES THAT GOT AWAY

   Unlike last year (when I went to see any film that was on, even though it was slim pickings, to support cinemas), this year there were so many great films that my schedule - and my budget - wouldn't allow me to see them all. Obviously the fact that I couldn't see Wonder Woman 1984 in cinemas was out of my control, although I did catch it on DVD at a movie night a few months later (and unfortunately... it wasn't worth the wait. But I was still glad to finally see it!). Promising Young Woman was another example of this - I kept hoping it would have a cinema release in the UK, but ultimately had to except that it wouldn't, and it became another movie night treat.  On other occasions, I just had to prioritise the films I most wanted to see, particularly during busy weeks or when films only had limited releases.

   So the titles I wanted to see, but missed, included: Tove, Limbo, The Last Duel, Antlers and Petite Maman  - all of which I hope to watch soon - and I also chickened out from seeing Nia DaCosta's Candyman, as I'm not great with horror films! Finally, I had been really looking forward to seeing A24's Lamb, and I even had tickets to go and see it at Derby Quad this week, but as our beloved Guinea Pig Ziggy has just passed away (too young, and completely unexpectedly), my partner Edward and I decided that watching a melancholy film about loss and 'fur babies' might not be the best plan. I'll catch the film on DVD or on demand when I can.

THE BEST OF THE REST

   Long ago as it feels, there was a lockdown in 2021, so television shows and on-demand films really were a welcome treat when cinemas were shut. As a result, one of my media highlights of the year came early on, when we got Disney + to watch Wandavision. Although the show descended into typical Marvel madness by the end, I love how many risks they took with the styling, with early episodes perfectly homaging The Twilight Zone and the work of David Lynch. It was also, for all its magic moments, a heartfelt vignette of grief.

   Other Disney+ highlights included Raya and the Last Dragon (which we watched the first day we could get into our living room in our new home, with the laptop perched on top of moving boxes!) and the brilliant Shang Chi, which I subsequently regretted not seeing in cinemas. Also, although I was disappointed to hear that Peter Jackson's latest wouldn't be getting a big screen release, having now seen Get Back, I can see that Disney+ has enabled the director to finally have the almost unlimited run length he's always dreamed of!

  Away from Disney+, I also enjoyed the final season of American Gods (a vast improvement on season two, so it was a shame it's been cancelled), and I've now seen all of Sex Education. Yes, I'm late to the party, and yes, it's a wonderful show! 

   There's one more title to mention on this blog post, and if it weren't for Wandavision then my TV highlight of the year would've definitely been Midnight Mass. It's a series that gets under your skin, unsettling you so steadily that you don't realise you're afraid until you're terrified, and it's particularly uncomfortable for someone like me who grew up in a church-heavy environment. I felt like it dropped the ball a bit with the final episode, same as Wandavision, but otherwise it's a must-see. It's also a masterclass on pitching, as the series' fantastic concept could easily be described in a sentence, maybe even in two words.

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   In conclusion, this year has been a treat for cinephiles, obviously a high improvement on last year, and it's so wonderful to be able to go to cinemas again. Even with all the tickets I've bought this year, it's still an experience I won't take for granted. 

  It's also reminded me of the importance of the cinema experience as a whole; the way a cold screen or audience members talking can really disrupt the way I view a film, whereas a perfect trip to a cute independent cinema on a warm Summer day helps to make a brilliant film even better. That's probably my biggest takeaway from this cinematic year.

   Taking the above into account, my top films were Another Round, Nomadland, The Green Knight, Last Night in Soho and - I say this tentatively - maybe The Power of The Dog.

   There's plenty of films on my list for 2022 already, even if we now have to wear masks in screens again. The latest Matrix film will be the next one I see, but I'm also particularly excited to watch Guillermo del Torro's latest offerings, Nightmare Alley and Pinnochio, and also The Northman, and the latest interpretation of The Batman, away from the DCU, this time starring Robert Pattinson.

Sophie