The 10 Most Entertaining Films of 2021

People sure do crank out those Top 10 lists fast these days, don’t they? Hell, a few I saw come out Mid-December, well before a few films were even screened for critics. It’s all about the clickery these days, quickest to the mat gets the takedown. I, on the other hand, wanted to catch as many potential competitors for these spots as possible. By the end of 2021, I have personally watched hundreds of movies and, unlike many years prior, there were not as many great ones in 2021 as I would have liked. More importantly, that we all deserved after the absolute shit show of 2020.

2021 was also the litmus test for studios and streamers. Due to obvious reasons, studios took their movies to streaming to try to see if they could squeeze those movie dollars out of the people who felt safer – or more comfy – at home watching from a barcalounger. Disney+ added a $30 price tag for digital, and in the process lost $600 million while also forgetting to mention it to Natasha. Whoops. Meanwhile, Warner Bros. committed to releasing every release to theaters and HBO Max day-and-date, which led to the studio failing to generate much in the way of domestic box office success (worldwide did a bit better on a few).

I’ve said it before, and I’ll say it again: a movie theater is a magical playground for me. Every year, I saunter into countless auditoriums with nothing more than an expectation that what I am about to see will transport me to another world. Occasionally I learn about a struggle I was unfamiliar with or a persevering spirit, and just as often I catch dazzling heroics leaping off the screen. The variations are innumerable, yet that feeling of discovering a fresh 120 minutes or so of escapism – plus 6 hours of trailers – never fails to entice me to immediately embark on this endeavor yet again. Movies are my passion.

Of the hundreds of films I saw in 2021, as least 70 were in the theater. I committed to the endeavor I love, masks and all. And while hundreds seems insane, it only scratches the surface of the content at our fingertips. If you toss in the 500+ scripted television shows currently available, we truly are living in a crisis of riches. Quality stories covering every race or creed, ages young and old! It truly is a crisis of riches. Where the hell are they getting the money to pay for all of this anyway?

But the time has come to whittle that total down to the essentials, the bare bones, and deliver my 10 most entertaining films of 2021. I try to stay away from the term “Best” for this list because it feels like elitist nonsense. What I enjoy isn’t necessarily what you like, so how are my choices any “better” than yours? Some entertain me for artistic reasons, cultural significance, occasionally it’s derring-do, and every once in awhile, it’s old-fashioned web-slinging from my favorite childhood hero that finally remembered who the hell he truly is!

Every year when I compile this final list, some internet warrior always feels the need to point out how “you rated X movie higher than that OTHER movie in your written review or on your podcast, so HOW can it be a better movie now?!’, so let me address that right now: You are absolutely correct, and also, shut it. The plain truth is that some movies play better with repeat viewings – Cruella and Werewolves Within are prime examples of this – while others roll the opposite way. Such is the way with life. So take a breath, slap together your own Top 10 and post it in the comments, I’d love to compare.

2022 is in full swing, so let’s break down the Top 10 Most Entertaining Films of 2021!

Aaron

Honorable Mentions: Ghostbusters: Afterlife, The Mauritanian, Shang-Chi and the Legend of the Ten Rings, Pig, tick, tick …BOOM!, The Harder They Fall, Fear Street 1994, The Little Things, Last Night in Soho, A Quiet Place 2

10. Val

Growing up, I rewatched Real Genius about a bazillion times. That number FEELS right. I can’t remember the number of times I remarked that Kent should really stop touching himself or reflect on that timeless Socrates quote (if you know, you know). Then his career took off and he was everywhere, dropping timeless performances almost as quickly as rumors of his difficulty to work with spread: Top Gun, The Doors, Kiss Kiss, Bang Bang, and the Oscar-deserving Tombstone. Enigmatic, intoxicating, fascinating. This was Val Kilmer.

Then he disappeared.

Did he retire? Did Hollywood shun him? Or was it the often rumored medical condition he was afflicted with? Turns out it was mostly the latter, with a tinge of the former. In VAL, Kilmer (with narration by his son, Jack) takes us into his own life, and offers up his version of numerous events. Walking in, I felt it was going to be a typical vanity project where a fallen idol tries to recapture their glory by shining a brighter light on themselves and their perceived accomplishments.

Instead, what we received was a searing tale of one man’s rise-and-fall-and-rise-again in the harsh entertainment industry. Sure, his roles are discussed, but not as much as what it means to be an “artist”. That word that is often bandied about with pretentiousness and disdain gathers true meaning here. Kilmer explains himself as best he can – for better or worse – as well as opens himself up to the world. His current medical condition has its limitations, and VAL affords us a peek into Kilmer’s window of struggle, and by the end opens up our own hearts to the humanity of not only this man, but the place of an artist in this world.

9. Werewolves Within

When you think of the better video game adaptations, typically your mind is peppered with countless nonsensical films ripe with minimalist plots, bad dialogue, and bombastic special effects. Rarely do you reflect back on those zippy horror-comedies stacked with character development, mystery, and a sharp wit. Mostly because they don’t actually exist… until now.

Sam Richardson and Milana Vayntrub lead a talented supporting cast on a quippy adventure as a small town seeks to identify the murderous werewolf in their midst. Richardson’s Finn is a new forest ranger investigating several murders during a blizzard, and his performance is one-step removed from Tom Hanks-level nice as he quickly attempts to secure his inner bravado. Milana Vayntrub’s Cecily is the local postmaster assisting Finn, and her comedic timing is in full display, reminding everyone why she’s so much better than those AT&T ads. Give both of these two high-profile roles STAT.

Equal parts Clue, Knives Out, and The Howling, Werewolves Within affords director Josh Ruben (Scare Me) another winner, weaving together a gleefully madcap tone all its own, and tying in Mishna Wolff’s smartly paced script to deliver the most fun horror film of the year.

8. Zack Snyder’s Justice League

As much as the DCEU is a mixed bag, I’m as surprised to see this on my list as you are. The #RestoreTheSnyderverse movement was never one I really had much affiliation for, nor did I think this would ever happen. Invest millions in finishing a four-hour opus of a movie that kinda flopped and divided fans more viciously than the Star Wars prequels? Who the hell is gonna OK that insanity? Well, HBO Max did.

And. It. Was. Glorious!

Before you go on your “DC is hot garbage” rant, please know how little I give a shit. Start your own site, podcast, blog, or whatever and spend countless hours being mad at what others enjoy. That’s not how this works. I WANT to enjoy a movie I sit down for. I can’t even understand how some people HATE a director so strongly they would watch 4 hours of it just so they could bitch about it. Move on, no one cares. And clean your room before your mom gets home.

SO instead, I’m focusing on the positive. For all of the faults of Man of Steel (Pa Kent’s death was idiotic), Batman v Superman (those effects were not that special), and Josstice League, Zack Snyder’s Justice League was four hours of riveting cinema I wish to whatever God you pray to I could have witnessed on an IMAX screen. THIS was the film I always dreamed of for these beloved DC characters. It’s almost like Snyder actually was building to something the whole time, and Warner Bros. kept putting everything in the hands of focus groups instead of their director.

Unlike many of Snyder’s films, the slo-mo here clicks, the characters pop off the screen, the story gels, everything just works. Finally. Does it make me want to #RestoreTheSnyderverse? Absolutely not. That ship has sailed. But does it make me happy to have an HBO Max subscription so I could witness the glory of Superman, Batman, Wonder Woman, Aquaman, Cyborg, and the Flash coming together in a story that actually mattered? Absofrickinlutely.

7. Cruella

I tell you what I didn’t need this year, another origin story for Cruella de Vil. Glenn Close had two movies, the cartoon did plenty, why on earth do I need to see HOW Cruella become such a puppy hater? I’m as flabbergasted as you are, because I was absolutely ENTHRALLED.

It took all of 30 minutes for me to know I was going to love Cruella, this film I had zero interest in. Craig Gillespie’s crisp direction, making the film seem as though it had a $200 million budget, the insanely catchy soundtrack that never failed to instigate a tingle or two, Emma Thompson tossing out her best Miranda Priestly, all of it fused together into this delightfully madcap origin story I never needed, and now somehow need so much more of.

Oh right, the best part: Emma Stone. Jesus, did she deliver. That isn’t a question, that’s a statement. I don’t care what Glenn Close did, Stone – for the FIRST time – gave a fully-fledged performance and developed an actual character we can oddly relate to and weirdly root for. Even when Cruella is doing dastardly things, Emma Stone entrances all of us with her gleefully outlandish character tics and reminds us how wonderful a truly delightful villain can be.

6. The Beta Test

A smug narcissist, Jordan is an elitist Hollywood agent out to do anything to land a client. Literally anything. He also happens to be engaged to the devoted Caroline, who seems to be completely oblivious to Jordan’s wandering eye. Randomly, a mysterious purple envelope appears one day that inquires about Jordan’s sexual predilections, and he curiously replies to see where this rabbit hole goes. He then receives a hotel key with a prescribed date and time to arrive. Once there, he is encouraged to wear a blindfold, engage in a bit of deviancy with a stranger, and then return to normal life. Which Jordan does, and as the intensity escalates watching the ramifications of his actions, the fun really begins.

It is difficult to explain too much of The Beta Test further without spoiling the joy of the journey, but consider it a modern-day takedown of the Hollywood system, primal obsession, and a scathing indictment of the pitfalls of social media all wrapped up in one. Jordan is the most unlikeable lead of the year – yes, even more than that lady who wants to make coats out of dogs – and thanks to Jim Cummings’ nuanced performance, we find ourselves oddly rooting for him almost as much as against him.

If you haven’t heard of The Beta Test before this, please do not let that stop you. There is an incredibly diverse world of independent film out there that demands to be seen, and this is yet another prime example of it. An engrossing narrative which plays off our own fears of social media intrusiveness, a taut vibe, tight editing, and a brisk pace combine for one of the most popcorn-worthy movies of the year.

5. Free Guy

Raise your hand if you never want to see the Free Guy trailer again in your lifetime. Everyone have their hand up? Good. I completely agree. By the time Ryan Reynolds and his effervescent smile finally arrived in movie theaters, I had suffered through that trailer more times than I’ve said the word “Covid” since 2020. It was a LOT. You ever see a trailer so often it actually creates an internal trigger? As in you physically jerk and twitch in your seat like an 8 year-old doing the pee-pee dance at the end of Spider-Man every time you have to see that damn grin again? That’s where I was with Free Guy. I wanted absolutely nothing to do with this movie by the time it came out.

But then something happened. Unlike most people who bitch about things on the internet, I actually watched it. Wild, right? Yeah, I sat down and placed a bet that Reynolds could turn my frown upside down as an NPC (Non-Player Character, newb) in a game who somehow achieves sentience. Dear whatever omnipotent entity you nod to, oh was I ever rewarded!

Free Guy was easily the most creative blockbuster I witnessed all year, and possibly  one of the best “video game” films ever made. Why? Because of the winsome duo of Ryan Reynolds and Jodie Comer, the gall of Taiki Waititi’s grandeur “so far over-the-top he’s plummeting to the earth right now” performance, and the focus of director Shawn Levy, surely. But mostly because of the originality stemming from creating a film that respects gamers more than mocks them and puts to screen why so many players love these multifaceted virtual worlds. It is a love letter to video games and – more importantly – to gamers themselves. Each and every frame holds yet another nod or Easter egg to a game somewhere in the backdrop. Much like Pop Rocks and Mountain Dew, Free Guy is an explosion of flavor and joy. And what year needed that more than 2021?

4. The Last Duel

Ridley Scott directing a story based on truth that occurred in France during the Middle Ages centered around ‘the rape of one man’s wife by another man’s friend featuring actors using their natural accents despite the locale or time period told from multiple points-of-view’ sounds about as close to a colossal garbage fire as one can get on paper. Instead, we witnessed a film that harnessed power and depth by showcasing how the horrific “event” transpired from the perspective of ego, arrogance, stubbornness, and finally what matters: the victim’s.

A subtle yet not unheard of form of storytelling (Rashomon anyone?), this approach afforded the audience the time to invest in these characters, the ability to empathize with even the worst of them, before demonstrating how destructive and short-sighted superficial judgments can be. It is a clear reflection and condemnation on our society as a whole and our continued failure as a society to not take horrid claims such as Marguerite de Carrouges’ (Jodie Comer) seriously. Far too often, if we look up to a Jacques Le Gris (Adam Driver) or if we respect the honor of a Sir Jean de Carrouges (Matt Damon), society will form predetermined viewpoints on what “actually happened” based solely on those perceptions, completely ignoring the fact they were never there in that room at that moment, and everyone has a “public face”.

The script from Ben Affleck and Matt Damn reflects how deserving of those Oscars they were, and the addition of Nicole Holofcener’s voice as the writer for Marguerite pinpointed the above fallacies with a meditative daze. The Last Duel is a film that sets us up smartly and swiftly, telling us Jacques and Jean’s version of the story, before punching us all in the face with the truth, Marguerite’s truth. Every actor delivers – thankfully without a forced French accent to be found – and Jodie Comer triumphs most of all as she cements her place as one of the most exciting actors emerging today. An absolutely powerful film.

3. In the Heights

I keep saying that I don’t like musicals, but maybe I just don’t like the classics. The past few years (The Greatest Showman, Sweeney Todd) have proved that if the right talent is behind it, I can get on board with this ridiculous concept of people singing their problems away in absurd song-and-dance numbers that easily obstruct traffic in scathingly annoying ways.

In The Heights – a tale of vocally talented Latinos struggling with their futures in New York’s Washington Heights – was easily the most fun I had in a theater all summer. Hands down. Hands up. Take a step to the right, to the left, rumba, samba, cha-cha-cha! In The Heights serves as a love letter and celebration of the Hispanic community. Dreams, aspirations, hard work, family, friends, food, and fun. These are the pillars of the culture. Leaving the dried up stereotypes of the past on the curb with the rest of the trash, In The Heights showcases the warmth and beauty inherent within Latinés the world over. If you are part of this culture, you’ll immediately feel at home. If you are not, you’ll instantly want to move in, and Abuela Claudia will be there to embrace you with open arms.

Director Jon M. Chu (Crazy Rich Asians) adapts Lin-Manuel Miranda’s stage musical, and delivers a cinematic reinterpretation of In The Heights that effusively goes broader and bolder than most adaptations ever dare. A few dazzling effects and incredible set-pieces – “96,000” is one of the most fantastic musical sequences ever put to film – and it is completely evident why Chu was the person for this job.

As for Miranda himself, the Hamilton maestro has revolutionized the modern musical with his ability to combine and collaborate skillfully between multiple styles, compositions, and genres. Miranda’s lyrical Olympics flow naturally here with the storytelling, where he infuses his story INTO the music, blending both into a seamless art that constantly engages the mind, body, and swagger.

In The Heights is the crowd-singing, chair-shaking, summer fever-inducing, electrified block party we all needed after the past couple of years. If you have not yet experienced this gem of a film, rectify that as soon as possible. Like Abuela herself, it will instantly flood your living room with love and happiness.

2. Violet

You probably have not heard of Violet, and that is the damn shame of having far too much content out in the world. This is an absolutely intoxicating film that brilliantly captures on the screen one of the few things in the world we as humans all carry with us: that frickin’ voice in our heads guiding us for better or worse throughout the world at large. It can be terrifying, humiliating, or even gratifying, but that voice is there. We all have it. And Violet brings it to life.

Olivia Munn stars as Violet, a Hollywood executive in charge of developing films to bring to market, and she’s damn good at it. By all accounts, Violet is the entire reason why her small production house has flourished as well as it has. Though the employees that report to her often take advantage of her inability to confront situations head-on, she is beloved by colleagues, respected by friends, and an intelligent, charming woman by all accounts. So why can’t Violet believe in herself?

It turns out that Violet has an inner-voice and he persists with a vigorous disdain for Violet. Voiced phenomenally by Justin Theroux, Violet refers to this ever present self-doubt as her “committee”. When she describes it to others, they often fail to understand as they themselves approach each day rife with confidence. Meanwhile, every situation is a struggle for Violet as she fights off the urge to cater to this ever darkening mouthpiece, to which she typically succumbs.

Justine Bateman writes and directs Violet with a clear and concise vision, this is a STATEMENT. Make no mistake, this film is overflowing with ingenious originality, yet also drips with profound and subtle nods to the #MeToo and Time’s Up movements. In order to convey Violet’s various mental states, Bateman uses the many tools in her filmmaking arsenal to illustrate exactly where Violet’s mind is at all times. With a less confident director, these attempts could come across more contrived or exhausting, here they inspire. Bateman took several chances, and delivered every time.

Led by a surprisingly powerful performance from Olivia Munn, Violet is a fantastic take on the importance of self-reflection and mental health in regards to our own internal dialogue. Bateman and Munn both deserve to be in the Oscar conversation, as Violet is easily one of the best films of 2021.

1. Spider-Man: No Way Home

Peter Parker was the first character that ever connected with me as a child. Unlike so many superheroes these days or those days, Peter felt REAL, genuine, tangible. A mild-mannered kid whose father wasn’t really his father (same as me), who was invested heavily in intelligence and facts despite being very uncool (same as me), who wanted to help people more than gloat or tower over them (same as me). To this day, I have never felt more connected to a character than I have with Peter Parker and his journey through life. It may sound ridiculous, but as a kid struggling through multiple issues, Peter was the bright light shining through my window, guiding my way.

Therefore, I take the character of Peter Parker and Spider-Man very personally. Some people may not understand that or mock it, but don’t we all have something like that? A reminder of our past that guided our future, that we protect our vision of as we navigate through life? These are the reasons why I have not particularly loved the previous MCU Spider-Man iterations, as not one of them felt like Peter Parker or Spider-Man so much as “Tony Stark’s spawn gets Spidey sense”.

Tom Holland started off a bit whiny, but grew into a strong Peter Parker all his own. Unfortunately, the movies around him often completely lost that essence, as in each of those films it was always more connected to Tony Stark than the guy in the title. Hell, even the VILLAINS were all connected to Tony Stark. In Spider-Man’s OWN movies! What the hell is that about? Oh right, money. Stark is mega-popular, so let his narcissistic principles guide Peter Parker instead of the simple teachings of a common man who taught Peter all about great responsibility. You know the line.

Needless to say, walking into No Way Home, I was expecting a good film, nothing more. In fact, with all of the rumors of returning Spideys and former villains, I was getting a real Batman & Robin vibe, if I’m being completely honest. Too much, all at once. Then, the film started. It was an hour of “okay, sure, this is fun, awesome” – typical MCU feelings. But then… a character said the line. A portal opened, and then ANOTHER portal opened!

Decades of movie love came flooding over me. Suddenly, I am applauding like the most obnoxious theater-goer, I am crying like my puppy ran away, I am smiling wider than I ever allow anyone in the real world to witness. I had achieved maximum impact, and my emotions could not take anymore. This was a devoted love letter to EVERY Spider-Man fan. It took 6 movies to do what the other Spider-Man films each did in half of one, but by the end, I also finally had MY Peter Parker back. His selflessness, an everyman with great power. Peter. The way I know and love him.

Spider-Man: No Way Home may not be the “Best” film of the year by many people’s standards. But what it did was what all of the greatest movies in cinema can do, it lifted my spirits and reinvigorated my imagination. People of all ages, races, and sexes all around me cheered for the same moments, applauded the same scenes, cried at “Are you ok?”. It was akin to arriving at Jurassic Park, watching Indy escape the boulder, pumping a fist at Luke blowing up the Death Star.

This IS cinema, Mr. Scorsese. And I, for one, will never forget it.