Best Movies of 2021: In movies from “Belfast” to “West Side Story”, streaming soars and box office damage

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However, there are still some movies that are important for various reasons, and some of them have the same relationship with what the movie itself represents. This is obviously the evolutionary period of movies and movies.

How much quality content is there? As a rather interesting sign, four films were seriously considered for inclusion in this list. They were shot in black and white: “Belfast”, “Come on, Come on”, “Passing by” and “The Tragedy of Macbeth” .

It is also worth admitting that some other admirable movies have been omitted. Starting from “Dune”, its performance is a bit as compelling as “Part One”, and it feels almost incomplete until the “Part Two” is released. “King Richard” represents another close match, and its outstanding performance (especially Will Smith) enhances the otherwise fairly traditional sports framework.

What caused it? Let’s nod from a group of people to genres with higher quality than box office revenue:

‘West Side Story’,’tick, tick…prosperity! and ‘In the highlands’

'West Side Story'

All three films can be individually qualified, but the excitement of the three outstanding musicals within a year is partially offset by their business struggles, only “tick, tick”-Lin Manuel Miranda is impressive Profound directorial debut-not questioned The poor box office performance due to Netflix’s refusal to provide such data.

Nonetheless, these films deserve collective praise, partly to encourage more people, because people understand that more bats will inevitably mean an artistic and/or financial strikeout, just like “Annette” and “Dear Evan” Hansen”.

“Shangqi” and “Ten Rings Biography”andcharm’

Liang Chaowei and Liu Simu in
By launching Marvel’s first Asian superhero car and a lively animated musical (also with Miranda music), the matriarch of a Latino family survived the refugee experience in Colombia, which brought Disney A double whammy. Both films are very good in themselves, but together they make a stronger statement.

‘end’ and ‘Belfast’

Catriona Balff, Jamie Donan, Judy Dench, Jude Hill and Lewis McAskie in'Belfast.  '
The growth story in the bones is almost completely relegated to the shelves of independent movies, but the story about hearing children of deaf parents supported by Apple TV+ is correct. This is an example of using a very basic template and letting it shine.
Kenneth Branagh’s semi-autobiographical journey returns to Ireland, where he was ravaged by violence in his youth. Same as above, this film shows the role of popular culture in the life of the young protagonist, and at the same time illustrates it in time. Human losses related to prejudice and division.

“Spider-Man: No Way To Go”

Zandaya and Tom Holland in Spider-Man: No Way To Go.
A very pleasant sequel appeared here mainly because it sends a reassuring signal that it allows people to enter the theater. In other words, the number of blockbusters in this movie also highlights the gap between the franchise rights of such blockbusters and the more serious theater ticket prices-a feast or (more common) famine scene has become a huge one during the pandemic. The gap.

“The Power of Dogs”

Benedict Cumberbatch in
Another benefit from a work sponsored by Netflix allows screenwriter and director Jane Campion to adapt a very, very slow story, which is one of the longest lasting returns of all the movies released this year. Even if Benedict Cumberbatch has an excellent cast, it is also that streaming media is increasingly making this kind of film possible, and it will certainly be watched by more people as a result.

‘Licorice Pizza’

Cooper Hoffman and Alana Haim at'Licorice Pizza.'

A light play by director Paul Thomas Anderson, which looks back at life in the San Fernando Valley in Los Angeles in the 1970s, confirms some kind of director-driven filmmaking. In this sense, despite the problems with its central relationship, the film stands out among examples of poor performance in 2021, including Wes Anderson’s “French Express” and Gilmour Del Toro’s “Nightmare Alley” “.

‘Drive my car’

Nishijima handsome and Miura Dongzi in
Although Japanese director Ryusuke Hamaguchi’s film was released within three hours (so there is no economic credit), it is a fascinating story of loss and forgiveness, and based on early reactions, perhaps it is most likely to expand internationally in subsequent Oscars “Parasite”, the representative of the film, will make a breakthrough in 2020.

‘Escape’

'Escape' uses animation in a documentary about refugee stories.

In a year full of wonderful documentaries, it’s hard to think of a film that combines different genres more flexibly than this Danish film, using animation to tell the story of Amin Nawabi, who fled Afghanistan to Denmark as a living As a gay youth growing up, he believes that the future is bleak. An oppressive regime.

Although part of the purpose is to conceal Amin’s identity, the animation adds a vivid and almost hypnotic quality to these memories, linking the stories together in a completely original way.

“Summer of Souls”

The cunning stone seen in the documentary
Questlove’s directorial debut was selected from the newly discovered shots of the Harlem Cultural Festival in 1969, providing a fascinating window to understand that historical moment and how that period echoed from half a century ago to the present. In a year of unforgettable music and movie weddings, this combination rarely has more lucrative returns than this.

“Become Ricardo”

Nicole Kidman (Nicole Kidman) in

During an eventful week in the heyday of “I Love Lucy”, an interesting and instructive observation of the genius of Lucille Bauer, Aaron Sorkin’s film is here mainly to Condemnation of premature fanatics who opposed casting before the movie. Arbitrarily argue about the merits of this movie (of course the reaction is complicated), but the performances of Nicole Kidman and Javier Baden as Lucy and Desi Arnaz remind people to turn off social media. Angry voices are usually wise.


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