Entertainment

Best Film of 2021: Sales soar, box office take a hit, in hits from ‘Belfast’ to ‘West Side Story’


Still, there are movies that are important for a variety of reasons, some as much related to what they represent as the film itself, during what is clearly a period of film development and film evolution. .

How much premium content is there? As a pretty cool sign, the four films seriously considered for this list were shot in black and white: “Belfast,” “C’mon, C’mon,” “Passing,” and “The Tragedy of Macbeth.”

It’s also worth noting that a number of other admirable films were omitted, starting with “Dune”, which played a bit too obvious like “Part One”, feel almost incomplete until “Part Two” sees the light of day. “King Richard” represents another close call, with the power of its performances (especially Will Smith) elevating an otherwise rather conventional sports framework.

What made the cut? Let’s start with a group that nods to a genre that delivers quality beyond the box office:

‘Western Story’, ‘Mark, Mark… Boom!’ and ‘Above ‘

& # 39;  West Story & # 39;

All three of these films may be up to individual standards, but the thrill of three stand-out musicals in a year was partially offset by their commercial struggles, with only “Tick, Tick” ” – Lin-Manuel Miranda’s impressive directorial debut – is without question the underperformance at the box office due to Netflix’s refusal to provide such data.

However, these films deserve credit in part for encouraging more of them, with the understanding that more bats will inevitably mean artistic and/or artistic strikes. financial, it’s “Annette” and “Dear Evan Hansen.”

‘Shang-Chi’ and ‘Legend of the Ten RingsandEncanto’

Tony Leung and Simu Liu in & # 39;  Shang-Chi and the Legend of the Ten Rings.  & # 39;
Recognize Disney with a double blow to include by launching Marvel’s Asia’s first superhero vehicle and a fun animated musical (also with music from Miranda) is about a matriarchal Latinx family who survived a refugee experience to settle in Colombia. Both movies are pretty good on their own, but together make a stronger statement.

‘Coda’ and ‘Belfast’

Caitriona Balfe, Jamie Dornan, Judi Dench, Jude Hill and Lewis McAskie in & # 39;  Belfast.  & # 39;
The coming-of-age story is almost completely relegated to indie shelves, but Apple TV Support Story + about the hearing child of deaf parents hitting the wrong note, an example of taking a very basic sample and making it light up.
Ditto for Kenneth Branagh’s semi-autobiographical trip returns to the violent Ireland of his youth, in a film that shows the formative role of popular culture in the young protagonist’s life, while providing a timely illustration of the number of people related to bigotry and division.

‘Spider-Man: There’s No Way Home’

Zendaya and Tom Holland in & # 39;  Spider-Man: No Way Home.  & # 39;
A very its own interesting sequel, shown here primarily because of the reassuring signal it sends about its ability to draw people to the theater. That said, the movie’s blockbuster numbers also highlight the gap between such horror franchises and more dramatic fare – a party or (more often) famine scenario has become the norm. into a deep hole in the pandemic.

‘The Power of the Dog’

Benedict Cumberbatch in & # 39;  The power of the dog & # 39;
Another title that benefits from Netflix’s sponsorship, allowing writer-director Jane Campion to adapt a story very, very fire retardant, with one of the longest-running bonuses of any movie released this year. Even with a splendid cast headed by Benedict Cumberbatch, this is the kind of movie where streaming is increasingly possible and certainly many people have watched because of it.

‘Licorice Pizza’

Cooper Hoffman and Alana Haim in & # 39;  Licorice Pizza.  & # 39;

A lighthearted script by director Paul Thomas Anderson, looking back at life in LA’s San Fernando Valley in the 1970s, confirms a kind of VFX-based filmmaking. In that sense, despite the problematic aspects of its central relationship, the film stands out alongside less successful examples of that in 2021, including Wes’ “The French Dispatch” Anderson and “Nightmare Alley” by Guillermo del Toro.

‘Drive my car’

Hidetoshi Nishijima and Toko Miura in & # 39;  Drive my car.  & # 39;
Although Japanese director Ryusuke Hamaguchi’s film airs at three hours (so it’s uneconomical), it’s a compelling story of loss and forgiveness, and is based on an early response, perhaps. is the best position to expand international film’s representation in the following Oscar race Breakthrough of “Parasite” in 2020.

‘Escape’

& # 39;  Run away & # 39;  using animation in a documentary about a refugee story.

In a year filled with great documentaries, it’s hard to think of a film that blends different genres more nimblely than this Danish film, which uses animation to tell the story of Amin Nawabi , who fled Afghanistan for Denmark with a small future as a gay young man raised under an oppressive regime.

Though used in part to obscure Amin’s identity, the animation adds a vivid and almost hypnotic quality to those memories, bringing the story together in a completely original way.

‘Summer of the soul’

Sly Stone appeared in the documentary & # 39;  Summer of the soul.  & # 39;
Questlove’s director debut Sifting from newly discovered footage of the 1969 Harlem Cultural Festival offers a fascinating opportunity to look at that historic moment, and how that period has resonated from half a century ago to the present. . In a wedding year memorable for music and cinema, the combination rarely gets better than this.

‘Being a Ricardian’

Nicole Kidman in & # 39;  It's Ricardos.  & # 39;

An entertaining and creative look at genius Lucille Ball through an eventful week in the heyday of “I Love Lucy,” Aaron Sorkin’s film is presented here primarily as a rebuke to with the eccentric crowd protesting against casting before seeing the film. Arguing the film’s merits is all you want (and the reaction has certainly been mixed), but Nicole Kidman and Javier Bardem’s performance as Lucy and Desi Arnaz is a reminder that it’s often wise not to. It is wise to remove the angry voices emerging from social networks.

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