Top 25 Movies of 2021: Part 1 - Retirement Homes, Televangelists, and Some Other People (Honorary Mentions)

*NOTE: This list is compiled strictly of titles I saw over the course of January through December 2021. Whether due to availability or awareness, this list is subject to change though will not be reflected here. These are the titles that spoke to me directly at the time of publication and are definitely worth checking out. 

30. Some Kind of Heaven (Dir. Lance Oppenheim)

There is something satisfying about reaching the end of one’s life and retiring to a gated community. In this particular case, there’s a whole resort that caters to the nostalgic and frivolous nature of the elderly, recapturing moments of their youth as they ponder everything about life. It’s a powerful story that reminds audiences that even in old age, one can feel alive, coming to terms with brilliant realizations. Some of them are bittersweet while others show the potential to continue growing, experiencing moments of happiness that were previously restricted. For a generation that may seem useless to the larger society, it’s a chance to feel connected. Whereas most in their age bracket risk dying alone, surrounded by younger generations who don’t understand their personal experiences on an intimate level, it’s this revelation that gives them some joy in those cherished autumn years.

It’s the way that all lives should try to end. With enough money and mobility, anything is possible for these Florida residents. Oppenheim gives the audience a chance to witness one of the last fantasies one can experience on earth, witnessing the potential to live life to the fullest. As a result, it’s simultaneously an interesting look into a subculture as well as a reflection on what ultimately defines one’s life. For most watching, there’s still a chance to save a life from regret, to experience the plentiful joys of youth. It’s cautionary and beautiful, finding a look into retirement that is much more glamorous than the conventional nursing home scenario. By allowing them to embrace their interests, it also keeps them upbeat and positive, connecting with others. It’s more than another photo album trip to your grandparents. It’s the philosophical debate on our ever-important humanity in the first place. 

29. Mark, Mary + Some Other People  (Dir. Hannah Marks)

There are few people that have a knack for capturing being jaded in Los Angeles quite like Marks. In her second directorial feature, she explores how an unlikely couple struggle to hold onto their relationship. With constant deflections through jabbing, acidic humor, there is a constant distance between the central pair. Life has grown stale, in need of risks that could breathe meaning into the mundane. It is why they decide to do the only thing that’s reasonable: see other people. Well, not see other people as in break-up, but more in a polyamorous way. It works as a temporary solution, but what are the long-term subliminal impacts of this approach to hooking up?

It benefits from a solid cast who manage to improvise every scene with a hilarious force. The leads especially add depth to their characters’ struggle to feel hip, forcing them out of their own goofy corners of identity. The film is packed with fun small moments that capture the insecurities growing with each new development, finding essentially minutes-long cameos summating in delightful punchlines. Also, Marks knows how to make it all bittersweet, adding a slow progressing maturity, finding the actions leading to consequences outside of their control. It's a comedy that's sharp and witty, a spontaneous experience that plays like hanging out with friends for 90  minutes. Few films this year feel as alive with unexpected merriment quite like this even as it realizes that the highs cannot last forever. 

28. No Sudden Move  (Dir. Steven Soderbergh)

Even post-retirement, Soderbergh remains the master of a go-for-broke approach to filmmaking that is nevertheless interesting. With this wordy neo-noir, he assembles one of his most impressive ensembles in years to tell a methodical story. From the first frame, it’s difficult to know where he plans to go, but what’s clear is that it’s going to be a tense experience, constantly finding the threat of change to be the ultimate enemy. Take one step out of place and chaos would unfold. Everything must happen according to plan, and even then Soderbergh knows the thrills of the mishaps, the moments where everyone loses their cool and has to improvise a less resourceful plan.

As the title suggests, it’s one that often feels like it’s at a stand-off. Even then, there’s a turnstile of supporting roles that are sure to surprise, introducing new developments that keep the film moving forward. By the end, it may not be the liveliest drama, but its style and atmosphere more than make up for its absences. What’s there instead is an entertaining romp, producing conversation about socioeconomics and who deserves to hold power. It’s a throwback movie that benefits from not being prestigious, taking risks in small ways that make for compelling cinema. It may be the most conventional-looking of Soderbergh’s recent movies, but it’s far from a sign that he’s phoning in. If anything, it’s another reinvention in a career that has a never-ending amount of them.

27. The Eyes of Tammy Faye (Dir. Michael Showalter)

There was a point in the 1970s where church and state decided to not be separated. With the rise of televangelism, it made sense that those desiring to preach the word of God would take advantage of it. Given his piling up of financial woes, Jim Bakker decided to use his charisma to pay off debts. The only issue was that it came with a compromise, of promises that conflicted with his wife. It was a moment where religion on a public stage went from more accepting to something exclusionary, chastising the gay community in the wake of the AIDS crisis. Showalter knows how to make the excess both hilariously artificial and deeply sincere, allowing the 80s glitz to dazzle in a way that keeps even the more contemplative corners feeling alive.

It helps that Jessica Chastain is delivering an impressive performance as Tammy Faye, Bakker’s wife. She's an overall believer that there’s good in everyone. Even as she takes in the excess, producing wild Christian albums, and wearing make-up to campy heights, she has her heart in the right place. The conflict between the couple serves as a greater commentary on religion’s shift from empathy into something more commercial. Showalter asks where the purity of faith ultimately lies and if it can be redeemed. He explores a complicated issue with entertaining, sometimes soapy results. The tragedy is that televangelism took more lessons from Bakker than Faye, proving the temptations of capitalism outweighing genuine compassion. Even then, Faye’s goal of being a good person continues to march on, finding her own audience, camp and all, wherever she can. The film rightfully loves her as a piece of American history that shouldn't be forgotten. If anything, she embodies a complicated grey area that keeps religion from ever being seen as pure good or evil - which is quite an achievement in this day and age. 

26. Encanto (Dir. Byron Howard, Jared Bush)

With his fourth movie musical of 2021, Lin-Manuel Miranda has taken his audience to Colombia for one of Disney’s most dazzling stories in years. The Family Madrigal is full of talented people who all make the world a better place. The only issue is that Mirabel isn’t entirely sure where she fits in. When even the house tiles have more magic than she does, it becomes frustrating to deal with family gatherings. The animation pops with creativity, making the most of its surprisingly limited setting. It creates one of the more unique domestic dramas of the year. Even then, don’t let it fool you. The world of Encanto is still expansive and full of wondrous potential.

It also helps that Miranda’s bouncy soundtrack is complemented by dazzling sequences, so full of color, that help reflect each character’s unique perspective. What it lacks in singularity it more than makes up for with a celebration of life and personality. From the devious notes of “We Don’t Talk About Bruno” to the heartwarming “Dos Oruguitas,” it’s further evidence that the Moana (2016) scribe is destined to be a major force on film in years to come. It also helps that everyone is clearly having fun, producing harrowing drama and delightful slapstick that is sure to entertain the whole family. It may be one of the scrappier films that Disney has produced, but it only helps the imperfect characters it centers on to become all the more compelling and timeless. 

Coming Up Next: Musical Sex Scenes, Racial Politics, and Jamie