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65 Best Movies of 2021 Top New 2021 Films to Stream Now

65 Best Movies of 2021 Top New 2021 Films to Stream Now

This scary movie isn’t for the squeamish, but the mix of paranoia and claustrophobia create almost unbearable tension…and the “who has it/who doesn’t” part resonates even more these days. Set in the early 1900s, Daughters of the Dust is about the Gullah—a community of African-Americans who lived on the sea islands off the coast of Georgia and South Carolina—and tells a multi-generational tale that carries some heavy themes. Director Julie Dash chooses to tell the story with a novel-like feel—you get absorbed in the visuals and the haunting tone and the story just seems to flow from event to event as you come along for the ride. A bandit attacks a young bride and her samurai husband, and the recap of the event is told and retold from different perspectives throughout the movie. I created an important storytelling innovation and one that would inspire the term “Rashomon-like” for any of the hundreds of movies after it that borrowed the same technique.

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There are no easy answers proffered by this tender and compassionate film, just an irreconcilable combination of happiness, relief, and frustrated longing for an unachievable happy ending. It’s tempting to call Unforgiven Clint Eastwood’s love letter to the Western genre where he got his start, but this isn’t exactly a sweet and sentimental movie. The story of an aging gunfighter reluctantly pulled back into his old violent ways is harsh and brutal, but the inevitable slow burn from retired cowboy to shotgun-wielding avenger is deliberate and precise.


  • Documentarian Heidi Ewing’s first narrative feature recounts the true-life story of Ivan and Gerardo, a gay Mexican couple who fled their fraught home lives for a new start in America.
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  • The film explores the relationship between a lonely man (Joaquin Phoenix) who starts having a deep, romantic connection with his new operating system, Samantha (Scarlett Johansson).
  • Amid endless agonizing over the State of Cinema, the actual releases proved a bounty for film lovers, whether fans of the art house or the multiplex.
  • Director Chloe Zhao populates the movie with real-life transients rather than actors, but it’s McDormand who is the anchor for the whole experience.
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  • No, this is a case where no one’s coming out clean, and Chinatown is a hardboiled mystery with zero soft spots.
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  • Jordan Peele’s Nope didn’t make as much noise as Get Out or Us, but it might be the director’s most accomplished film.
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A crime thriller that moves at the glacial pace of a long, drawn-out Minnesota accent, Fargo has at its heart (in every sense of the term) the unforgettable character of Marge Gunderson. Brought to life by Frances McDormand, Marge, the ultimate feminist hero, is sweet and honest (and heavily pregnant), but also a hell of a great cop. Her adventure moves at her own speed, and along the way, there are thrills and laughs. A tale of mistaken identity, North by Northwest is about an advertising executive pursued across the United States by a mysterious organization who believes he is trying to thwart their sinister plans. The adventure unfolds with style, a mix of suspense and wry humor, all of which star Cary Grant delivers flawlessly. It’s known for the iconic “crop duster” chase scene, but the movie is a blast from start to finish—one of director Alfred Hitchcock’s finest.

A woman who loses everything during the Great Recession (Frances McDormand) embarks on a nomadic existence across the United States and meets a host of colorful and tragic characters. Director Chloe Zhao populates the movie with real-life transients rather than actors, but it’s McDormand who is the anchor for the whole experience. A lonely high school English teacher (Robin Williams) with dashed hopes of becoming a novelist struggles with his job and single-parenting his obnoxious, sleazeball teenage son.

But we tried to stay true to our love of movies, these movies, and others that didn’t make the cut. (Remember, it’s only 50!) The final list is a reflection of that love, but also of a system that favors certain stories and storytellers at the expense of others. If the list is not a model of representational balance, call us out — we can take it — but http://trymarketingonline.com/ also continue to call out an industry that hasn’t given us a more diverse landscape of voices to love, hate and argue over. The Social Network tells a fictional account of how Mark Zuckerberg, a Harvard college student, and his friends created the most important social networking site of the early 2000s, and all the drama and millions that followed.

But some movies deserve a spot simply for being so boldly (borderline insanely) unlike anything else ever made before or since, that you just have to throw up your hands and accept them as vital and important. The Rocky Horror Picture Show is chaotic, amateurish, and nonsensical, but also has great songs and the kind of go-for-broke performances (especially from Tim Curry as the legendary Frank N. Furter) that you just have to stand up and applaud. A musical tribute to classic horror and sci-fi, it’s raunchy and strange and just really has to be seen to be believed.

Orson Welles’ epic masterpiece is a not-so-thinly veiled examination of the life and legacy of publishing giant William Randolph Hearst. It’s bold and mysterious with its use of fractured chronology, an incredibly innovative technique at the time. Some shots are so beautiful you’ll want to pause the movie and have them framed.

The two best meta-movies of the year, Jordan Peele’s “Nope” and Jafar Panahi’s “No Bears,” accentuate the negative in their titles, and take tough, contrarian stands against gauzy clichés about the magic of movies and the power of imagination. They remind us that magic is always the product of hard, unglamorous work, and that power is never innocent. I don’t think Canby and Godard were entirely right (feel free to discuss among yourselves), but after nearly four decades and innumerable interchangeable franchise sequels, it’s clear they weren’t entirely wrong. Yet, all these years later — and even as the industry struggles through yet another of its interminable crises — I am again heartened by all of the good and great movies that continue to be released. I have, many of them, this and every year, but if I can’t tempt you with one of my favorites of 2022, I suggest you watch a film or two by Godard. OK, it almost hurts to admit that this movie over-delivered on what most people expected from it.

That’s the set-up for this adaptation of a Stephen King short story that, despite the author’s reputation, is not really all that interested in the dead body part. The strength of Stand By Me is in the characters, their friendship, and the slow-motion realization that they are losing their innocence the closer they get to the missing boy by the side of the railroad tracks. It’s a moving tribute to being a kid that you can appreciate no matter how far removed from it you are. John Hughes pretty much defined the teen comedy in ’80s movies like Pretty in Pink and The Breakfast Club, but Ferris Bueller stands out for being—much like its lead character—a true original. A high school comedy that barely spends any time in high school (it’s kind of the point of the movie, after all), it’s witty and carefree and incredibly well-structured. The ending race home, for example, is a masterful use of editing, music, and physical comedy.

The Big Lebowski is about an aging stoner named Jeffrey “The Dude” Lebowski who is confused for a millionaire also named Jeffrey Lebowski by thugs looking to collect debts. When The Dude confronts the “Big” Lebowski, he sparks off a comedy of errors that involves kidnapping, German anarchists, porn, and bowling. The whole thing kind of feels like a traditional film noir detective movie, except the guy who is supposed to be the detective is just a befuddled guy off the street. A movie absolutely loaded with quotable lines and hilarious characters, it’s no wonder it inspires intense devotion among its many fans. The tale of Sir Gawain and the Green Knight has always been open to interpretation, and few have taken those threads and woven such a dreamlike and challenging spectacle.

Facing racist hostility even from those who are helping him, Det. Virgil Tibbs (Sidney Poitier) is nonetheless determined to solve his case—and Poitier is a pillar of poise and strength throughout. ” is the standout line, but Tibb’s slap of racist plantation owner Endicott is the movie’s real mic drop. Like any trend or era, the Blaxploitation period of the 1970s was definitely a mixed bag when it came to quality—some movies were made just to cash in, with little care about production value or story. But if you are interested in checking out movies from that era, few can top Gordon Parks Jr.’s Super Fly. The story of a cocaine dealer named Priest as he attempts one last big score, the movie is carried by an incredibly charismatic Ron O’Neal, Park’s distinctive visual flair, and Curtis Mayfield’s incredible music. Whenever a new ‘best of all time’ list is published, it’s typically not meant as some grand proclamation solidifying that art form’s greatest achievements.

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