By Brett Blake Though still not a “normal” movie year, 2021 certainly saw the return of a fairly broad selection of releases, from big (BIG!) blockbusters to small indies. Streaming offerings increased in prevalence, but so too did the theatrical experience (certainly compared to 2020, anyway!). Overall, I think the year was a solid -- if not great -- one. I’m not sure there will be many films we look back on as total masterpieces, but there were plenty of very good movies out there to entertain us. Here is my take on the best of what the year served up! Honorable Mentions: NOBODY, A QUIET PLACE PART II, NO SUDDEN MOVE, SHANG-CHI AND THE LEGEND OF THE TEN RINGS, THE VOYEURS, GHOSTBUSTERS: AFTERLIFE, CENSOR, GODZILLA VS. KONG 10. THE NIGHT HOUSE Rebecca Hall contributes an impressive portrait of the way grief can spiral out of control. Couple that with some effectively spooky moments and some strong direction, and you’ve got a terrific haunted house story. 09. BEING THE RICARDOS A pretty compelling combo of showing the inner workings of 1950s sitcom television and digging into the powerful and sharp personalities of Lucille Ball and Desi Arnaz, both of whom are played with ample nuance by Nicole Kidman and Javier Bardem. 08. PIG Potentially Nicolas Cage’s greatest performance. Not only is this a quirky look at the culinary world’s more odd corners, but it’s also a surprisingly, deceptively emotional story about a man finally coming to grips with the death of his wife after avoiding it for a long time. 07. THE LAST DUEL Ridley Scott does “period epic” as well as any director ever has, and while this does not join the ranks of his very best films, it is a handsomely-mounted and well-acted look at the ways in which three people can view a horrible incident through three different prisms. 06. WEST SIDE STORY Some questionable adaptation choices aside, this movie shows Steven Spielberg operating at full strength from a visual standpoint. Very few (if any) other filmmakers have such a confidence in terms of staging a sequence, and there are moments in this film that are as vibrant and energetic as we’ve seen from Spielberg in quite a while. 05. BROADCAST SIGNAL INTRUSION A noir/horror fusion that lingers long after it ends. In drawing from some real life unsolved incidents, the film takes “investigation story” tropes and focuses them around an idiosyncratic mystery that only becomes more sinister and ambiguous as it moves towards its resolution. It also features one of the best musical scores of the year. 04. LAST NIGHT IN SOHO Edgar Wright’s love letter to/deconstruction of 1960s British thrillers showcases his gift for using the camera and editing in engaging ways, and while some of the story turns might not fully satisfy, it’s a striking movie to look at and listen to. 03. THE GREEN KNIGHT The most singular, unique take on classic Arthurian legend since EXCALIBUR. Relentlessly moody and packed with (enjoyably) odd moments, the movie rests on the capable shoulders of its lead, Dev Patel, who really nails his character’s arc in a quite satisfying way. 02. SPIDER-MAN: NO WAY HOME Fan service done the right way. It’s not hyperbole to call NO WAY HOME a bit of a remarkable juggling act, not just because it manages to pay-off (in an unexpectedly meaningful way) the nostalgic investment of viewers stretching all the way back to 2002, but also because it tells a proper, wonderful Spider-Man story about Tom Holland’s Peter Parker learning that doing the right thing often requires personal sacrifice. 01. DUNE The most staggering and overwhelming cinematic experience of the year. Frank Herbert’s classic science fiction novel has been re-adapted for the big screen by Denis Villeneuve in a way that emphasizes the scale of Herbert’s worlds. Cinematography, production design, costume design, editing, score, and -- especially -- sound design combine to deliver a visual and auditory feast.
Here's to a great 2022!
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By Brett Blake I’ve watched over 300 movies (and counting) so far in 2021. Some were new releases, others were films I revisited, and most were films from prior years that I saw for the first time. That third group is the subject of this list, which is comprised of the ten best/favorite/most intriguing older movies that I saw for the first time this past year! It’s an eclectic collection, including the action, comedy, horror, adventure, and science fiction genres, and it also features a couple of fairly big “blind spots” for me that were finally filled-in. To be considered for inclusion, it had to be a film released in the United States any time prior to 2021. Having said that, there are two movies I briefly want to mention -- THE KID DETECTIVE and THE EMPTY MAN -- that technically meet that standard, but which didn’t really get any traction until 2021, effectively making them just a bit too on-the-edge to make the cut. That said, they are both very good films that people should check out! Consider them honorable mentions. With all that said, let’s take a look! In no particular order... RONIN (1998) Impressive, exciting filmmaking from director John Frankenheimer, whose style here is visceral and clever, but never overly flashy just to be flashy. The story is pretty classic “heist action thriller” stuff, with eclectic characters tossed into tense situations and forced to work together (or not!) in pursuit of a valuable MacGuffin. Casting is on point, with a great assortment of personalities bouncing off each other, which is always one of the big draws of this type of yarn. The big car chases in here are some of the very finest of their type, truly thrilling setpieces that would probably overwhelm any other movie that wasn’t as well-constructed, top to bottom, as this one is. It’s virtuoso stuff. There’s also great dialogue (courtesy of David Mamet) that perfectly walks the line between being memorable without being too cute for its own good. All in all, this is great action cinema. THE MAN WHO WOULD BE KING (1975) A lavish production, well-mounted by John Huston, marrying classic adventure formula with top-notch craft and technical execution. Oswald Morris’ photography vividly brings the landscapes and locales to life, Edith Head’s costumes are a convincing departure from her usual glamorous style, and Maurice Jarre’s score enhances the story’s sense of humor and its emotional backbone. But what is most surprising is the way in which the film ultimately functions as an ode to friendship. Sean Connery and Michael Caine are a flat-out incredible leading duo here; both turn in performances that are extremely entertaining, but also ones that are gradually revealed to have more depth than one might initially think. They’re a hoot together, but there are darker layers, particularly as we get deeper into the story. And more than anything else, it is these two who are the reason that this is a very, very good film. CROSSROADS (1986) Mixing coming-of-age and road trip tropes, a healthy serving of blues, and a dash of whimsy, CROSSROADS is a completely unexpected delight of a film. It weaves together several stands that you wouldn’t think should work together, and it does it extremely effectively. Ralph Macchio, as he did in THE KARATE KID, again plays a youth who has to learn from an elderly master, but it doesn’t feel like he just recycling that performance; he’s also decently convincing with a guitar. The real star here, though, is Joe Seneca, who contributes a performance so authentic and so compelling that he should have been Oscar-nominated for it. It’s a truly wonderful turn. Good music, good performances, and good, idiosyncratic writing all make for a thoroughly entertaining ride. Why has this movie fallen through the cracks over the decades? F/X (1986) A super fun, unique concept for a thriller, and one that is executed quite well. It’s -- at least partially -- a love letter to practical special effects, makeup, and stunts, made even more interesting viewing these days since so much of that work has shifted over into the digital realm. Bryan Brown’s a really solid leading man (is there a reason he didn’t have a bigger career as a lead?), and the entire supporting ensemble backing him is filled with entertaining turns (especially Brian Dennehy). The character writing is particularly good, giving almost all of the parts at least some amount of personality, and that adds a level of charm which elevates the vibe of the entire project. Good score from Bill Conti, too, which sounds quite unlike his other scores from this general period. MIDNIGHT RUN (1988) Comfortably in the pantheon of the best “buddy” movies of the 1980s. Robert De Niro and Charles Grodin, as a duo, are essentially perfection here, tackling roles that might have been caricatures in other hands, but are instead executed at an extremely high level by two gifted performers who understand nuance. They’re been handed some wonderful dialogue (ditto for everyone in the cast, really), and the arc of their relationship is one of the more satisfying things I’ve seen in any movie recently. There’s also a super fun supporting cast, including Yaphet Kotto, John Ashton, Dennis Farina, and Joe Pantoliano, all portraying efficiently-sketched and colorful characters; you hardly ever get an assortment of memorable players like this in movies anymore. Very catchy Danny Elfman score, too. This is a film that is just constantly entertaining all the way through. THE FINAL COUNTDOWN (1980) A great science fiction premise with an excellent central dilemma. There’s a great deal of enjoyment to be found in intelligent characters trying to work their way through an absolutely baffling situation. A good cast of veterans perform their parts with credibility, which makes the outlandishness of the plot’s main conceit believable enough to overcome potential audience resistance. Splendid aerial photography and some trippy effects courtesy of James Bond main title designer Maurice Binder round things out nicely. There’s also a terrific score courtesy of John Scott, at times evocative, mysterious, and even kind of haunting, and at others unabashedly heroic. This is very good genre entertainment. THE KISS OF THE VAMPIRE (1963) As expected with Hammer, this is more-than-competent gothic horror with no shortage of enjoyable atmosphere. Clifford Evans, so good in CURSE OF THE WEREWOLF, is also great here as a gruff, drunk professor who must rise to the occasion. Beyond that, the blood is oversaturated, the photography is good (from future 007 and RETURN OF THE JEDI cinematographer Alan Hume), and the vampire shenanigans do some different things with the concept than Hammer’s usual, Dracula-adjacent take on the subject; in this film, they’re depicted as being a cultish secret society, which is a nice change of pace, and they’re defeated via occult rites (rather than conventional anti-vampire means) in a memorable finale. This wouldn’t make it into the very top tier of Hammer’s horror output, but it’s right in that next level. LAURA (1944) Often referred to as a classic, and I now see that it’s totally justifiable! The storytelling here is just extremely engaging, handing out information and revelations in ways that continuously keep us on the hook; it’s really a wonderfully-constructed screenplay in that regard, and it also features consistently sharp dialogue. Gene Tierney, as the titular Laura, is strikingly beautiful, but beyond that, her performance is quite excellent; her turn here is calculated for maximum effect, making it very easy to understand why three very different men would be captivated by her. Laura is described at one point as having “authentic magnetism,” and that a very fitting phrase for Tierney’s performance. Dana Andrews, Clifton Webb, and Vincent Price get to play three distinctive, memorable personalities, and Webb, in particular, is a real delight, truly savoring the witty barbs given to his character in the writing. Otto Preminger’s direction is excellent throughout, using the camera in interesting ways to heighten the dramatic intent of each moment. HELL HOUSE LLC (2015) Yes, really! A quite above-average found footage yarn that offers several effectively creepy moments, as well as a solid hook. The movie spends time hinting at the lore and mystery it’s going to be playing around with, which nicely serves to build anticipation. A few of the performances sometimes betray the attempted “reality” of the format’s conceit, but for the most part, things are convincing enough to allow a viewer to buy in. And there are certainly a handful of beats that are genuinely unsettling, which is more than can be said for plenty of found footage horror films. 52 PICK-UP (1986) A mid-‘80s crime thriller from Cannon Films. Should be (possibly fun) sleazy junk, right? In actuality, this is a wonderful neo-noirish tale, with the old-school trio of director John Frankenheimer (with his second film on this list), writer Elmore Leonard, and star Roy Scheider elevating this thing way above what it otherwise might have been. Scheider’s terrific in this as a guy whose mistakes threaten to derail his life, but who won’t go down easily. Leonard obviously knows how to craft a compelling tale, so the plotting here is tight (the second half, where Scheider starts turning the tables, is highly entertaining), and Frankenheimer’s no-nonsense -- but assured -- direction is a perfect fit for the material. There is a bit of the Cannon sleaze, but in this case, it actually serves to enhance the seedy world of the crooks in this story. Toss in the fun supporting cast -- which includes the likes of Ann-Margret, John Glover (simultaneously funny and intimidating), Clarence Williams III, Kelly Preston, and Vanity -- and you’ve got something of a lost gem. By Brett Blake Despite much doom and gloom about the slow death of physical media, 2021 was actually a fantastic year for movie buffs on that front. Not only did the major studios continue to present their new films with (in many cases) pristine 4K disc releases, but many of the studios also delved deep into their back catalogs to bring quite a few oft-requested titles to the market, or to provide updated versions of previously-lackluster Blu-ray editions (either through their own home video arms or by licensing titles out to boutique labels). What follows is my take on the best releases of the year. True, this is EXTREMELY subjective, and my personal affection for many of these movies themselves likely biases me to some degree, but that can’t be helped! Some honorable mentions: - THE TEN COMMANDMENTS: 4K (Paramount Home Video) - SPACEBALLS: 4K (Kino Lorber) - SPEED: 4K (Walt Disney Home Video) - SCREAM (Paramount Home Video) - ZACK SNYDER’S JUSTICE LEAGUE (Warner Home Video) - TALES OF THE UNCANNY (Severin Films) And now, the Top Ten in no particular order... DOCTOR X (Warner Archive) Filmed in a unique, early color process (circa 1932) that has been hard to truly replicate on home video up to this point, DOCTOR X has been lavishly restored with stunning picture quality that makes it a must-see for fans of early ‘30s horror. TWISTER (Turbine) The good folks at Germany’s Turbine licensed this movie for its 25th anniversary, and the result features one of the most spectacular sound mixes I’ve ever heard in the home environment. This is a disc that could truly blow the roof off the place, and in the best way. EXPLORERS (Shout! Factory) A quintessential “kids on an adventure” movie from the 1980s, EXPLORERS has long been seen as something of a compromised vision due to behind-the-scenes issues, and the special features on this release -- with full participation of director Joe Dante and several studio executives -- finally bring to light the problems during production with unusual candidness, which only makes the finished film more worthy of appreciation. “Dark Disney” Triple Feature: THE BLACK CAULDRON / SOMETHING WICKED THIS WAY COMES / THE WATCHER IN THE WOODS (Disney Movie Club) Yes, I’m technically cheating by including three releases as one, but they’re kindred spirits, being examples of the type of risks Walt Disney Pictures was willing to take in the early-mid 1980s on darker, spookier material. Though light on extras, these discs feature good picture quality, but more than anything else, Disney’s willingness to embrace these interesting films (even through their exclusive “Movie Club” service, which limits their reach a bit) is worth celebrating. THE FRESHMAN (Mill Creek) A bare-bones release from budget-friendly Mill Creek label, nobody could make the case that this edition of THE FRESHMAN features an otherworldly-great transfer, or anything like that. It certainly looks better than it has since its theatrical release, but the real win here is that we got any Blu-ray release of THE FRESHMAN at all; it’s too good a comedy (with too good a Marlon Brando performance) to have remained in DVD-only obscurity. LAKE MUNGO (Second Sight) A haunting and chilling ghost story with a growing fanbase, LAKE MUNGO has finally gotten the exhaustive home video treatment it deserves. With beautiful packaging and engaging supplements, it truly does justice to what is -- in my view -- one of the more underrated genre films of this century so far. SOME KIND OF WONDERFUL (Paramount Home Video) John Hughes’ pseudo-remake of his own PRETTY IN PINK has finally joined that film on the Blu-ray format, and in handsome Steelbook packaging, to boot. This movie’s often lost in the shuffle of Hughes’ other 1980s high school films, but it’s one of his best. BREAKDOWN (Imprint Films) Australia’s Imprint Films finally brought one of the 1990s' best thrillers to Blu-ray in 2021 with a nice assortment of extras, high-quality packaging, and a great transfer on the disc. BREAKDOWN’s fallen by the wayside a bit in the “Great Thrillers” conversation, but hopefully some are prompted by this release to check it out, because it’s terrific. KING KONG (Scream Factory) Boasting an extraordinarily frank audio commentary from Rick Baker (who designed and performed in the suit for the titular monster), this release of the often-derided 1976 version of the KONG story truly represents the movie getting the love it deserves. In addition to the worth-the-price-by-itself commentary, it also features the long-requested three-hour television cut of the movie for the hardcore fans. LEGEND (Arrow Video) Very close to a definitive release, this edition of LEGEND allows the film’s visual lushness to truly sing. Copious extras (new and carried over from past home video releases) round out the package, but the star here is the transfer, which looks absolutely stunning. LEGEND is a movie with several problems, but as a visual experience, it is unimpeachable.
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