The Best Movies Of 2021

“Belfast” mesmerized with a lyrical ode; “Dune” dazzled with a visual feast; “King Richard” enthralled with a crowd-pleaser; and “Tick, Tick… Boom!” beckoned with a beating heart and a spunky soul. As we bid our fond farewells to 2021, we wanted to look back at some of cinema's tours de force that captivated our hearts.

From hilarious comedies to tear-jerking dramas and from engaging musicals to action adventures, here are our favorite films of 2021.

The Best Movies of 2021

“Belfast” — Jude Hill, Lewis McAskie, Caitriona Balfe; directed by Kenneth Branagh

A story steeped in nostalgia and unfeigned sentiments, “Belfast” is writer-director Kenneth Branagh’s semi-autobiographical ode to his birthplace, a city that both beckons and disenchants with childhood memories near and dear to the filmmaker’s heart.

Set in the summer of 1969, the film is lensed for a perceptibly mostly black-and-white flashback to an idyllic world suddenly propelled into chaos against the backdrop of the Troubles between Protestants and Catholics, as told through the eyes of a precocious boy named Buddy (Jude Hill).

Final word: Lyrical and heartfelt, Branagh’s “Belfast” paints a deeply arresting naiveté trapped between the horrors of war and the tranquility of innocence.

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“CODA” — Emilia Jones, Marlee Matlin, Troy Kotsur; directed by Siân Heder

Adapted by writer-director Siân Heder from the 2014 French film "La Famille Bélier," the coming-of-age dramedy puts a spotlight on children of deaf adults (CODA) as Ruby Rossi (Emilia Jones), the sole hearing member of the Rossi clan — scintillating mom Jackie (Marlee Matlin), riotous dad Frank (Troy Kotsur) and explosive older brother Leo (Daniel Durant) — navigates the family’s trials and tribulations.

Indeed, for their fishing business to thrive, her family depends primarily on Ruby, who serves as an intermediary between them and the hearing world.

However, complications arise when the 17-year-old discovers her passion for singing. Suddenly, the teen is torn between her family commitment and her artistic pursuits, compounded by the burgeoning romance between our heroine and her duet partner Miles (Ferdia Walsh-Peelo).

Final word: Heder has managed to deliver a delicate yet entertaining film devoid of treacly sentimentality, allowing viewers to feel every strand of genuine emotion anchored in nuanced performances.

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“Don’t Look Up” — Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep; directed by Adam McKay

Adam McKay’s sci-fi dramedy offers a view of contemporary America through the prism of a climate change satire decidedly ensconced within the frameworks of an impending doomsday.

At the core of the story, not only does it depict the depressing and dysfunctional state of current political and media ecosystem, but it also lampoons people’s myopic tendencies stemming from their failures to recognize an ill-advised course of action at hand.

In the film, Leonardo DiCaprio and Jennifer Lawrence play a pair of astronomers who discover a gargantuan comet bound to collide with Earth in approximately six months, decimating all forms of life in the planet. Armed with scientific data, the scientists go on the record, warning everyone about the looming doom — but to no avail.

Final word: A satire dramedy for today’s modern America, McKay’s “Don’t Look Up,” though uneven in its execution, is nevertheless highly entertaining and deeply perceptive.

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“Dune” — Timothée Chalamet, Rebecca Ferguson, Zendaya; directed by Denis Villeneuve

A story steeped in conquering the fear of the unknown, Denis Villeneuve's "Dune" explores the complexity of human relationships along with the daily struggles we face surrounding love, freedom, loyalty and survival.

Simply, the film — based on Frank Herbert's 1965 sci-fi novel — reflects our daily lives so much so that its focus lies mainly in the strength of its characters dealing with an internal strife.

Timothée Chalamet plays Paul Atreides, a young man born into a wealth of destiny and superpower beyond his understanding. The crux of the question in the movie is whether Paul is the chosen one to lead the planet of Dune in generations to come.

Final word: "Dune" is a visual feast. The colors are vibrant, and audiences will feel as if they had been transported to this intergalactic star. The Oscar-nominated Villeneuve has managed to make this film quite breathtaking, an opus to behold.

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"King Richard" — Will Smith, Aunjanue Ellis; directed by Reinaldo Marcus Green

Reinaldo Marcus Green's latest outing is a sports biopic, introducing the man behind Venus and Serena Williams' stellar trajectory to worldwide dominance in the sport of tennis. That man is none other than the Williams sisters' father, Richard Williams (Will Smith).

Set in South Central Los Angeles in the 1990s, the film depicts how Richard's 78-page plan and vision made it all happen — of course, not an overnight success by any measure. But to understand the crux of it all, one must delve into the remarkable life of Richard Williams, who had a tough upbringing.

Final word: Smith is on fire, delivering an Oscar-caliber performance as the hard-driving monarchical figure who helps steer his daughters' career path to greatness against all odds. Plus, the film is a crowd-pleaser, with a stirring tribute to the power of hard work and determination.

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"Licorice Pizza" — Alana Haim, Cooper Hoffman, Sean Penn; directed by Paul Thomas Anderson

Meandering as "Licorice Pizza" does, Paul Thomas Anderson’s coming-of-age dramedy follows the misadventures of a 15-year-old boy named Gary (Cooper Hoffman, son of the late Philip Seymour Hoffman), and Alana (Alana Haim), a 25-year-old woman living an unfocused life.

Peculiar yet charismatic, the duo's relationship turns into a blossoming unlikely romance that takes place in Los Angeles in 1973. Along the way, they meet a few actual '70s Hollywood fixtures such as the hairdresser-turned producer Jon Peters (Bradley Cooper) and a William Holden-like actor (Sean Penn). By the end, the film feels and flows like a dream.

Final word: Feature film neophytes Hoffman and Haim are magnificent in delivering the much-needed authenticity in their roles, while Anderson excels yet again with a refreshing maverick style of filmmaking.

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“Nightmare Alley” — Bradley Cooper, Cate Blanchett, Toni Collette; directed by Guillermo del Toro

An entrancing reimagining of the 1947 film noir, Guillermo del Toro’s “Nightmare Alley” paints a sordid picture of sociopaths, tricksters, higglers and creeps — all real-life monsters ensconced in the netherworld of showbiz sleaziness.

Adapted from William Lindsay Gresham’s 1946 novel, the film follows the story the unscrupulous Stanton Carlislie (Bradley Cooper), a handsome drifter trying to escape a seedy, dark past. In the 1930s, the desperate opportunist joins a traveling carnival and quickly rises from a carny underling to a highly paid showman.

Soon, the movie takes audiences to a glamorous and glitzy milieu as Stanton meets a femme fatale, the alluring psychiatrist Dr. Lilith Ritter (Cate Blanchett), setting in motion Stan’s nightmarish rendezvous with fate.

Final word: Del Toro’s “Nightmare Alley” brims with a lush look, high-wattage star power, atmospheric delight and technical adroitness. At times, it feels overly long. Still, it never fails to pique one’s interest.

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“Spider-Man: No Way Home” — Tom Holland, Zendaya, Benedict Cumberbatch; directed by Jon Watts

Directed by Jon Watts, "Spider-Man: No Way Home" brings a spectacular and dizzying fun adventure, delighting audiences with a wistful affection for the superhero's two-decade screen history — and a fascinating glimpse into his ever-evolving future universe.

The saga picks up after the events of 2019's "Far From Home." This time around, Peter (Tom Holland) is in the throes of chaos, and the entire world now knows that he is Spider-Man. Even worse, he has been wrongly accused of crimes he did not commit, leaving the young man in a vulnerable position.

What can Spider-Man do to rectify the grim situation? Can he turn back time to change the course of events in Peter's life?

Final word: Notably, the film's first half feels somewhat higgledy-piggledy because of the complexity of time and space in multiverses. Still, thankfully, the second half propels the entire film into great brilliance with the unfettered gusto of a web-slinger in action.

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“The Power of the Dog” — Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons; directed by Jane Campion

Jane Campion’s first film in 12 years, “The Power of the Dog,” based on Thomas Savage's 1967 bestseller, is a Western psychological drama thriller suffused with themes of love, sexuality, jealousy and resentment.

Set in Montana during the 1920s, the film centers on rancher Phil Burbank (Benedict Cumberbatch), who lacks empathy and consideration for other people, including his brother George (Jesse Plemons), whom he calls “Fatso.”

Phil's narcissistic tendencies become more apparent when George marries Rose (Kirsten Dunst), a lovely widow with a son named Peter (Kodi Smit-McPhee). Seething with anger, Phil treats his brother’s wife and her son with disdain, leaving both of them in tears and in fear.

But alas — Phil decides to have a change of heart. However, his motives are highly questionable, sending tremors of dreadful uncertainty throughout the ranch.

Final word: “The Power of the Dog” takes an incisive look into masculinity with a probing question about the true nature of a man’s man. What emerges in the end is a testament to Campion’s consummate brilliance in storytelling, as well as Cumberbatch’s best performance yet in a career-defining role.

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“Tick, Tick… Boom!” — Andrew Garfield, Alexandra Shipp, Robin de Jesus; directed by Lin-Manuel Miranda

Lin-Manuel Miranda’s feature directorial debut is a deeply poignant adaptation of a 2001 autobiographical musical by Jonathan Larson, the late musical whiz who revolutionized theater as the creator of “Rent.”

At its core, Miranda’s new film celebrates Larson’s hardscrabble journey to Broadway and immerses viewers into the playwright’s overwhelming passion for musical theater that transcends his creative process and artistic struggles.

In other words, it is an ode to Larson’s tenacity and genius, as well as the arresting lure and beauty of the musical theater.

Set in New York City in 1990, the film follows the story of Jon (Garfield), a young theater composer whose one-man show recounts his self-imposed pressure to succeed as an artist before he turns 30.

Alas, the show’s title, “Tick, Tick… Boom!,” is born, serving up a make-or-break countdown.

Final word: Miranda’s “Tick, Tick… Boom!” beckons with a beating heart and a spunky soul, anchored by Garfield’s sublime performance of a musical prodigy beaming with Broadway pursuits.

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“West Side Story” — Ansel Elgort, Rachel Zegler, Rita Moreno; directed by Steven Spielberg

Inspired by Shakespeare's "Romeo & Juliet," the movie is set in the 1950s on the West Side of Manhattan, a place that is undergoing rapid gentrification. As such, luxury apartments are being built in the neighborhood, displacing longtime white residents and incoming Puerto Ricans in the process.

Meanwhile, a turf war is brewing between two rival New York street gangs: One of them is the Jets, the white gang led by Riff (Mike Faist); the other one is the Sharks, the Puerto Rican gang led by Bernardo (David Alvarez). At the center of their conflict is the forbidden romance between Riff's best friend, Tony (Ansel Elgort), and Bernardo's sister, Maria (Rachel Zegler).

Rita Moreno’s screen appearances are brief but make an indelible impression, leaving you in awe. The iconic Oscar winner is utterly sublime as she embodies a character who becomes the fulcrum of the movie, bridging the gap between Steven Spielberg's take and the 60-year-old original film in which she appeared.

Final word: Spielberg's "West Side Story" elevates the grandeur of the 1961 masterpiece to new heights with unrelenting conviction, graceful execution and eye-catching clarity.

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