Tag: best of

Best of 2024: Tom’s Picks

Best of 2024: Tom’s Picks

Tom Parry

With 2024 having drawn to a close, Rating Frames is looking back at the past twelve months of cinema and streaming releases that have come our way. In the third and final of our series of articles, Tom Parry is taking a look at his ten favourite films of the year that was.

The resilience of the medium we know as cinema truly knows no bounds. Having survived a once-in-a-century pandemic and endured the dual strikes of unions representing America’s screenwriters and performers, 2024 proved – from an artistic perspective, at least – that the industry is as strong and creative as ever, with several titles catching the eye of yours truly.

As with previous end-of-year reflections compiled by this writer, the list below is dominated by English-language and blockbuster pictures, in part due to the shortage of arthouse theatres in regional Victoria and lack of opportunities to visit Melbourne; but had circumstances been different, he is confident the structure of this list would remain much the same.

10. The Apprentice

Director Ali Abbasi envisaged this biopic would sway undecided voters ahead of last year’s U.S. Presidential Election, though as the box-office returns and subsequent vote-count suggest, he failed miserably in achieving that goal. Yet what he does succeed in doing with The Apprentice is offer an astonishing re-creation of 1970s New York; elicit uncanny, lifelike performances from Sebastian Stan and Jeremy Strong; and provide a surprisingly nuanced examination of a man whose single-minded pursuit of wealth and fame turned him into the physical embodiment of every negative stereotype we associate with his countrymen.

9. Conclave

Applying the term “mature” to a feature-length drama, for most, conjures in the mind imagery, actions, themes and language inappropriate for younger audiences; yet it can also be used to define a production which is nuanced, composed and cerebral – all apt descriptions for Conclave. Here is what can be considered a political thriller without politicians, or Glengarry Glen Ross (1992) without the excessive swearing, taking viewers behind the façade of pageantry and into the halls of power, complete with excellent performances, great dialogue and a fantastic narrative that hooks until the very last twist.

8. Anora

For the better part of a decade, Sean Baker has made it his mission to document those on the margins of American society, a pursuit that has rightfully brought him countless accolades and admirers. He may well have reached his directorial and screenwriting peak with his latest effort Anora, a film so mesmeric that it has placed within in the Top Ten of this year’s Best-Of lists by all three of Rating Frames’ resident scribes – though Arnie and Darcy both seem to have neglected mentioning the ever-delightful Igor (Yura Borisov), one of the best characters of any picture in recent years.

7. Perfect Days

Despite earning high praise at the Sydney and Melbourne International Film Festivals the year prior, it wasn’t until March of 2024 that Wim Wenders’ Japanese drama received a theatrical release in Australia. That decision flies in the face of what is a beautiful story, one that’s tranquil and almost poetic in its observations of an otherwise unremarkable man who cleans toilets for a living. Add to that the gorgeous cinematography and impeccable soundtrack, and Perfect Days pretty much lives up to its title.

6. Super/Man: The Christopher Reeve Story

The 72nd iteration of MIFF was the first time since a certain global pandemic that yours truly attended an in-person screening in the Festival’s namesake city, an occasion marked at The Capitol with this very documentary. Its moving screenplay – yes, tears were shed – explores Reeve’s upbringing, early career as stage actor, casting as the Man of Steel, paralysis and charity work, told via interviews with some very famous and unexpected talking-heads (Jeff Daniels! Glenn Close! Susan Sarandon!) plus unseen home-videos and archival footage. An intimate portrait that offers a heartfelt tribute to its subject while not shying away from his faults.

5. The Wild Robot

Amid Disney’s ongoing cultural and commercial dominance, and increasing competition from Sony Pictures Animation, the once-mighty DreamWorks had in recent times gone from being a pioneer of the industry to a studio at-risk of losing its prestige. That belief was immediately dispelled with the arrival of The Wild Robot, a feature-length production which not only proved a better film than any of its animated contemporaries released last year, but is also its studio’s most-impressive effort since the How to Train Your Dragon movies, complete with a talented voice-cast, stunning visuals, touching screenplay and rousing score from Kris Bowers.

4. The Iron Claw

Here lies a biographical narrative far better than it has any right to be. Distributed on our shores last January and lost in the thick of Awards Season, The Iron Claw recounts the lives of the famed Von Erich brothers, their contributions to the sport of wrestling, and the tragedies which impacted them as they pursued glory. Among its impressive elements are the cinematography, perfectly-curated rock soundtrack, and raw, compelling script that, astonishingly, had to be toned-down because the family’s actual story proved too sad and unbelievable. A must-watch, even for non-wrestling types (this writer included).

3. The Holdovers

Yet another release that made a belated appearance in Australian theatres, and unfairly so, since The Holdovers would have made for ideal festive viewing had it been brought here just one month earlier. Beneath the sardonic, caustic veneer of a history teacher (Paul Giamatti), anarchic rebellion of a student (Dominic Sessa) and remoteness of a cook in mourning (Da’Vine Joy Randolph) lies a transfixing, warm and sweet – yet never saccharine – tale embodying all the best qualities of Christmas.

2. Dune: Part Two

Arnie and myself have quite differing tastes when it comes to cinema, but on one count we are in strong agreement: the sequel to 2021’s Dune is the second-best release of 2024. Canadian auteur Denis Villeneuve provides with Dune: Part Two the Empire Strikes Back (1980) to its predecessor’s New Hope (1977), a follow-up that builds upon the lore of its established characters and setting, and pairs them with even-more impressive visuals, sound and music. Also, kudos to Villeneuve for leaning heavily into the religious allegories of Frank Herbert’s original text.

1. Challengers

The sheer number of quality pictures meant choosing this final list of ten proved much harder than in previous years, and deciding where to place the Top Five was a more difficult decision still. All came close to usurping the honour of being this writer’s ultimate favourite of 2024, yet only one prevailed – chiefly due to its flamboyance and idiosyncrasy.

Expertly helmed by Luca Guadagnino, Challengers boasts a tense, pulsating techno soundtrack from Trent Reznor and Atticus Ross; a non-linear narrative with a conflict that remains engaging throughout; fun camera angles and photography during its tennis sequences; and morally-ambiguous characters who defy the traditional concepts of a protagonist, yet never succumb to being antagonists. Put simply, there’s been no other film quite like it in the previous 12 months – and perhaps ever.

Honourable mentions: Civil War, Monkey Man, Kingdom of the Planet of the Apes, Kinds of Kindness, Unbreakable: The Jelena Dokic Story

Best of 2024: Arnie’s Picks

Best of 2024: Arnie’s Picks

Arnel Duracak

With 2024 having drawn to a close, Rating Frames is looking back at the past twelve months of cinema and streaming releases that have come our way. In the first of our series of articles, Arnel Duracak is taking a look at his ten favourite films of the year that was.

While my 2024 viewings came in just short (36 new releases) compared to my 2023 viewings (37), there were a few titles that I had anticipated for a while and that really delivered to land on my top 10 list. Comparatively, I do think my 2023 top 10 was a stronger one overall, however I was pleasantly surprised to see what titles rounded off my ranking. I was also rather disappointed that I didn’t manage to catch some films at the cinema like The Brutalist, Didi and I Saw the TV Glow, however I’m hoping that 2025 will be a bigger year for my cinema viewings.

10. Blink Twice

As far as compact thrillers go, you’ll be hard pressed to find one as spicy, twisty and horny as Blink Twice.

Zoë Kravitz manages to blend just the right amount of suspense and teasing while bringing plenty of edginess and humour about through her script — and this is her directorial debut, mind you!

Channing Tatum also flips the charming sex appeal he’s come to be known for on its head by using it as a means to deliver a punchy, sometimes intense, performance.

While the film didn’t blow me away in ways that a similarly paced and executed film like Get Out (2017) did, Kravitz never lost my attention, even if the ending rounded off rather cheesily.

9. Challengers

Speaking of spicy and horny, Luca Guadagnino’s Challengers saw the phrase “sexy tennis” circulate all over social media.

It’s his second film of 2024 along with Queer (he’s had a busy year!) and it served up a hot and heavy treat, with Zendaya, Mike Faist and Josh O’Connor acting out a love triangle both on and off the court.

I don’t remember too much from the film which is probably why it’s lower on my list, but one thing that did stick in my mind was Trent Reznor and Atticus Ross’ pulsating techno score which was stuck in my head for at least a week after seeing the film.

The final sequence did also stick in my mind as being one of the most creative, well executed from last year, with zany camerawork and all around clever direction.

The film is worth a watch, especially when you hear that the great Andy Murray admitted he “didn’t really understand it.”

8. Gladiator II

Almost 25 years have passed since Gladiator (2000) took the world by storm, and Ridley Scott finally delivered his much anticipated sequel.

To Paramount’s relief, it proved to be a success, both at the box office (grossing over $400 million) and in its reviews and ratings.

As a massive Ridley fan, Gladiator II more than makes up for the sloppiness of Napoleon (2023) as it picks up some years after the first film and brings a level of freshness to the blockbuster scene now that Marvel’s reign has slowed down.

While the film does play it a bit too safe by essentially treading similar ground in terms of plot and structure to the first film, it rounds off the original with flashier set pieces and just… more… everything. I mean, sure, John Mathieson bitched about Ridley’s abruptness with shooting things without properly lighting a scene while on a podcast (no doubt a big reason he’s been able to churn out as many big films in recent years as he ever has), and sure there might be some historical inaccuracies (was the Colosseum really that flooded and filled with sharks?), but it’s Ridley Scott so that’s got to count for something?

7. Beetlejuice Beetlejuice

If you thought the length of time between Gladiator and its sequel was long, it’s been almost 40 years since Beetlejuice (1988) came out, but alas, Tim Burton’s long awaited follow up to his classic proved a success as well, raking in over $400 million at the box office.

Beetlejuice Bettlejuice takes all of the quirkiness of the first film and goes bigger at every turn. While the plot isn’t as refined as the original, Burton takes audiences deeper into the ‘Afterlife’, with production designer Mark Scruton creating a world teeming with tangible sets and props. It’s a testament to how Burton likes to work which is very much by not taking shortcuts, building out sets and staying true to the practicality from his beginnings.

Frequent collaborators Danny Elfman and Colleen Atwood are also back and do a great job reinvigorating the world through their craft. Of course, what is a Beetlejuice sequel without the man himself; Michael Keaton, while noticeably older and wrinklier, still delivers his all in just as whacky a performance as in the original.

Burton’s latest muse, Winona Ryder successor (but not replacer), Jenna Ortega, fits the bill of the director’s artistic vision and really takes her learning’s on Netflix hit, Wednesday, to deliver a sound performance.

6. The Wild Robot

With some big titles in animation popping up in the last year ranging from Inside Out 2, Moana 2, Flow and Memoir of a Snail, it was the beached service robot who took the cake for me.

While I’m yet to see the latter two of those animations, Chris Sanders’ The Wild Robot is a wholesome animation that doesn’t ram woke messaging down your throat and undercut genuine storytelling with political agendas. The film is enveloped in a coat of warmth and lets its heartfelt story of companionship do the talking.

The animation is equally unique and has a Bob Ross quality to it in how the environment is presented, with a scratchy, paint-brushy style that gives it its own flavour among some of those aforementioned films.

When a film can make you care about whether a young goose will be able to learn how to fly, I think that’s a winner.

5. Megalopolis

For anyone that has tried to review Megalopolis out there, I commend you but I don’t envy you.

Francis Ford Coppolla’s self-funded, futuristic epic became an unexpected comedy at the screening I attended along with fellow Rating Frames colleague, Darcy.

Many have written off the film as being a nonsensical, convoluted mess, but in that sentiment lies the very foundation of the film’s angle which is that shit just doesn’t make sense and the more we try to make sense of the world around us while ignoring its structural flaws, the more we fail to see the bigger picture and prevent our own demise.

That interpretation may well fall on deaf ears and others may simply say “whatever Coppolla was smoking, I’ll have some of that”, but Megalopolis is a trip in and of itself and beckons to be experienced.

4. Anora

After the success of The Florida Project (2017) and Red Rocket (2021), Sean Baker’s Anora hits like a freight train and some more. In what is an emotional roller coaster with a clever script that’s at once humorous and full of anguish, Anora caught me off guard and left me in limbo with its final shot.

Sean Baker has a knack for showing people that deserve better in life go through the motions, often coming agonizingly close to some form of a “break” from the difficult lives they lead only to have it all snatched away in the blink of an eye.

He’s a real actors director, with those helming his productions being laid bare (sometimes literally) as he gets the most from their performances. Whether that’s Simon Rex struggling as an actor before Baker gave him the reigns to struggle as a washed-up pornstar or Mikey Madison this time around as a struggling stripper who thinks she’s hit the lottery with a Russian billionaire’s son — the central performance is the make or break aspect to his films.

Anora will make you laugh, cry, laugh some more and then break you by the end, and it just leaves me craving Baker’s next work.

3. Ferrari

As a Michael Mann diehard, watching Ferrari was like a wet dream.

Mann’s films are characterised by their brash, uncompromising antiheroes, figures who are driven and work oriented, who struggle to balance the personal with the professional. It’s why when his film about automotive titan Enzo Ferrari was announced, it just made perfect sense as the next obsession for him.

While Ferrari is less brazen in terms of its set pieces, playing out more as a melodrama that’s focused on a period of Ferrari’s life, Mann’s ability to build out and showcase Ferrari’s larger-than-life status and the constant tension he manages to build until that final harrowing sequence, is just vintage Mann.

2. Dune: Part Two

Denis Villenueve’s Dune: Part Two took the learnings of the first film and doubled down on them even more to create a bigger, more expansive world from Herbert’s writing.

The fact that more happens in the second half of the book compared to the first is represented on-screen, with greater scale, jaw dropping set-pieces and just more oomph compared to the first film which prioritised more methodical, patient worldbuilding and establishing.

The Arrakis of Part Two looks incredible, with Greig Fraser once again using his eye for macro detail to shoot the deceptively beautiful sandy vistas at a high quality — earning him a deserved Best Cinematography nomination at the Oscars. That Villeneuve once again didn’t receive a Best Director nomination at this year’s Oscars is a massive miss on the Academy’s part, but Part Two‘s success at the box office and critical acclaim hopefully make up for that.

1. Furiosa: A Mad Max Saga

In what was my perhaps my most anticipated film of 2024, George Miller’s Furiosa: A Mad Max Saga blew me away, coming close to the perfection of Mad Max: Fury Road (2015).

No one understands this world better than Miller, and with Furiosa he’s gone for bigger and better at almost every turn. Looking back, my biggest fault with a pretty faultless film is that it’s still anchoring itself to the quasi-mythological Max character as its selling point (at least in the title, and towards the end). It’s hardly an issue, but Furiosa is very much a standalone piece from Miller’s original trilogy, with Fury Road even being a standalone given Mel Gibson obviously wasn’t involved in that film, and the screentime Hardy did have rendered him more a side-character to Charlize Theron’s Furiosa.

If any of that can be viewed as a shortcoming (and even I’m hardly convinced of it as I’m writing this), then Furiosa‘s high-points just took the cake for me ahead of anything else in 2024. It might be that seeing this in IMAX and hearing the roaring V8 engines in that soundscape was the cinema experience I’d be craving, but more than that, Miller’s prequel doesn’t compromise on creating a unique, new experience amidst all of the familiarity it’s bringing back to entice lovers of the previous films — Fury Road, especially.

From every car flip, gun shot and extraordinary set-piece, Furiosa is a ride worth taking and proves that taking a practical route to filmmaking wherever possible is what really creates the authentic, lived-in atmosphere that a post-apocalyptic film like this is striving to achieve.

Honourable mentions: Inside Out 2 and Monkey Man

Best of 2023: Tom’s Picks

Best of 2023: Tom’s Picks

Tom Parry

With 2023 having drawn to a close, Rating Frames is continuing to look back at the past twelve months of cinema and streaming releases which have come our way. In the second of our series of articles, Tom Parry takes a look at his ten favourite films of the year that was.

It’s been a most productive film-viewing period for yours truly. He began 2023 settled in Gippsland, with opportunities for cinema visits proving few and far between; but as the year passed its midway point, he found himself landing a new job and returning to his hometown of Bendigo, thereby allowing him additional time to see the newest releases and, better still, make more frequent journeys to Melbourne to see what he otherwise would not be able to in regional Victoria.

While this writer hasn’t viewed as many new releases as his contemporaries — and he’s still eagerly awaiting a chance to see Yorgos Lanthimos’ Poor Things (2023) — he did visit the theatre more often than he did in 2022, meaning he can once more utilise the Top Ten format to which everybody is most accustomed.

10. Bottoms

Its synopsis reads like the plot of a seedy adult film: A group of lesbian high-schoolers start a Fight Club as a means to lose their virginities to cheerleaders. Yet look beyond this raunchy premise, and there’s a picture that subverts the “traditional” Hollywood teen sex comedy through its queer representation, message of female empowerment and left-field gags.

Neat gags they are too, with Bottoms (2023) being one of the funnier comedies to emerge in recent times; it also boasts a great soundtrack and fantastic cast, with Ayo Edebiri being the standout as co-lead Josie. While the screenplay could use more originality — its use of the juvenile, overdone “Liar Revealed” trope particularly frustrates — the film nevertheless remains one of the most energetic and refreshing comedies to emerge in recent times.

9. Past Lives

The romance genre relishes in the cliché of the Star-Crossed Lovers — a pair of individuals who are ideally suited for one another, yet destined never to be together. Such is the premise of writer-director Celine Song’s debut feature, which draws upon her own life experiences to craft a tender, stirring and beautifully-told narrative.

Song admirably refuses to adhere to the genre’s conventions, telling the story at her own pace and largely without conflict, all while eliciting a stellar performance from lead actor Greta Lee and brilliantly utilising natural light to bathe her scenes (as evidenced above). Though it is a gorgeous product, viewers must note that Past Lives (2023) is also a slow-moving film that takes some length to reach the crux of its story.

8. Elemental

At one stage, this feature-length animation looked destined to become Pixar’s first box-office bomb, owing to muted returns from the opening weekend of its theatrical run. But as the weeks passed, interest in the film remained steady as audiences found resonance with its tale of a migrant daughter struggling to meet the expectations of her parents, and the bond she forges with a young man whose personality could not be any more different.

Elemental (2023) is enjoyed best when viewed as a romantic-comedy — its tale of a mismatched duo who develop feelings for each other proves the most gripping aspect of what is, ostensibly, an allegorical examination of racism through a fantasy lens. Adding to the enjoyment is the beautiful score of Thomas Newman, and creative imagery rendered to the high standards of Emeryville.

7. Suzume

‘Twas a long wait for Makoto Shinkai’s latest feature to reach our shores, coming five months after its Japanese release and nearly 14 months after its world premiere. It sees the famed Japanese animator return to the fantasy genre once more, telling of a teenage girl who is tasked with preventing a series of supernatural calamities and delivering yet another compelling, wonderfully-told story in the process.

All the Shinkai hallmarks are present in Suzume (2022), including references to Japanese fables, natural disasters, adolescents pining for the affections of another, and trains. (He really does love his trains.) Yet there are also plenty of improvements over his previous works, including a rousing orchestral soundtrack, a screenplay filled with tension and humour, and Shinkai’s most detailed and cleanly-animated illustrations to date.

6. Saltburn

Having won Best Screenplay at the 93rd Academy Awards for Promising Young Woman (2020), anticipation was justifiably high for Emerald Fennell’s second directorial effort. Her follow-up takes place in England, where a scholarship student at a prestigious university (Barry Keoghan) befriends a classmate from an aristocratic family (Jacob Elordi) and is subsequently invited to spend the summer at their sprawling estate.

A beautifully twisted thriller, Saltburn (2023) possesses a sharper edge and level of savagery that Fennell’s debut feature sorely lacked. Her direction once again is confident and assured, her characters nuanced and complex, the performances great and the soundtrack fantastic. This author’s only issue with the film is that it doesn’t adequately explain or justify the actions of its main character.

5. Broker

First premiering at the Cannes Film Festival last year, it would be another nine months before this feature-length Asian drama gained a limited theatrical release in the Antipodes — a very apt length of time to wait, when one considers the subject matter. Broker (2022) follows a ragtag group of criminals who form an emotional bond while trading orphaned babies to infertile couples for money. Though the premise is somewhat cheesy, the final product is anything but, with director Hirokazu Kore-eda delivering a story which is equal parts charming and poignant.

Fellow Rating Frames scribe Darcy Read has long been a champion of this feature, having listed it in his Best of 2022 list and reviewed it glowingly and at-length back in March. There’s not much that can be added to his remarks; all that this writer can offer is a reiteration of Darcy’s praise.

4. Mission: Impossible – Dead Reckoning Part One

Seldom can a film series lay claim to having improved with each and every instalment; Mission: Impossible is one of the few. For the franchise’s seventh feature-length outing, the ante and excitement is upped once more as secret agent Ethan Hunt (Tom Cruise) faces his most threatening antagonist yet: a faceless, internet-borne Artificial Intelligence program that can not only predict his every move, but distort the truth as it sees fit.

Dead Reckoning Part One (2023) is filled with exhilarating action sequences, including a car chase through the streets of Rome, a duel of close-quarters combat in a narrow alleyway, fisticuffs on a runaway train, and plenty of throwbacks to the series’ past. In doing so, M:I7 eclipses the thrills of Mission: Impossible – Fallout (2018) to position itself as one of the greatest action movies of all time.

3. Spider-Man: Across the Spider-Verse

Not for the first time, Sony Pictures Animation floored all expectations with their latest feature-length release, surpassing the very high bar the studio itself had set four-and-a-half years earlier. The studio’s successor to the much-adored Into the Spider-Verse (2018) is an improvement in many regards, placing a greater focus on the struggles of Gwen Stacy (voice of Hailee Steinfeld) while also continuing with the narrative of Miles Morales (Shameik Moore).

There are many aspects in which Across the Spider-Verse (2023) proves a better film than its predecessor, particularly in the screenplay department — the story here is less clichéd and more original — and visually, with no shortage of lush images to gaze at. Impressively, the film does this while also sharing its precursor’s qualities, such as a talented voice-cast and awesome soundtrack.

2. John Wick: Chapter 4

Turns out that 2023 delivered not one, but TWO of the greatest action movies ever made. The more impressive example proved to be the fourth entry in the Keanu Reeves-starring John Wick franchise, which once again has the professional hitman seeking revenge against the figures who have wronged him, and simultaneously trying to avoid the network of bounty hunters who wish him dead.

Plenty of the franchise’s trademarks are present here, including the exceptional stunt-work, astonishing set-pieces, brilliant choreography, immaculate sound design and gorgeous lighting, all richer than ever. It’s best appreciated by those who have seen and enjoyed the three previous instalments — anybody walking into John Wick: Chapter 4 (2023) without doing so is bound to be confused.

1. Oppenheimer

Since helming The Dark Knight (2008), Christopher Nolan has been revered by cinephiles as one of the artform’s best directors, his every film greeted with fervent enthusiasm. Subsequent releases have been met with overblown mania, such as Interstellar (2014), while others earned muted praise, like Dunkirk (2017). But for his portrait of scientist J. Robert Oppenheimer (Cillian Murphy), the hype and audience response is truly deserved.

Despite its three-hour length and multitude of secondary characters, Oppenheimer (2023) is never boring nor baffling — it’s enthralling from beginning to end. Within the picture is a fantastic screenplay dealing with complex themes, strong performances from the entire cast, a remarkable score from Ludwig Göransson, dexterous film editing, great sound design, incredible practical effects, and a surprisingly tense bomb-testing sequence.

What’s here is Nolan’s magnum opus; his crowning achievement, the picture which shall come to define him years from now. At the risk of being rash, it could well become this writer’s favourite film of the decade.

Honourable Mentions: Babylon (released January 2023), Creed III, Guardians of the Galaxy Vol. 3, Dumb Money, The Killer.

Best of 2022: Tom’s Picks

Best of 2022: Tom’s Picks

Tom Parry

In a normal year, this writer would have no difficulty whatsoever in listing his favourite feature-length releases from the past 12 months. But 2022 was not a normal year.

Having obtained full-time employment for the first time in his life, moved even further away from Melbourne than he was before and settled into a place of his own, no time was left for his one true love: the cinema. What few spare moments he did have were spent returning to old favourites, viewing classics from yesteryear, fixated on streaming services or – on the very rare occasion – watching a blockbuster at his nearest theatre.

What’s more, these limited opportunities for moviegoing meant that several of the year’s most-heralded films weren’t seen until awards season, including The Northman, Glass Onion, Guillermo del Toro’s Pinocchio and the eventual Best Picture winner, Everything Everywhere All at Once, among others.

As a consequence, the well-established Top 10 format of this website (as utilised by Arnie and Darcy in their retrospectives) has been eschewed on this occasion, with yours truly instead listing seven of the pictures he enjoyed most in a very busy, cinema-sparse year.

The Batman

Oh, how people groaned when Warner Bros. announced they were rebooting Bruce Wayne’s adventures for the third time in two decades. “What,” they asked facetiously, “can this movie bring to the table that hasn’t already been done before?” In response came a dark and gorgeous spectacle that ranks among the best superhero blockbusters of all time.

There’s so much to admire about Matt Reeves’ picture, from an all-star cast that delivers fantastic performances across the board, to the exquisite cinematography of Greig Fraser, to the fusion of visual elements from Batman films past. And then there’s the exceptional score of Michael Giacchino, who borrows a simple four-note motif from Nirvana and utilises it to great effect. It’s not a perfect film – its screenplay lacks the narrative heft of Christopher Nolan’s Dark Knight trilogy, for instance – but in terms of thrills, The Batman can hardly be faulted.

Turning Red

Every time Pixar appears to have lost its mojo, along comes a film that reminds everybody of their creative might. 2022’s reminder came from Domee Shi, writer-director of the critically-acclaimed short film Bao, who delivered a feature with a level of vim and originality not witnessed in the studio’s output for some years. And this is coming from a man who really, REALLY loved Soul (2020).

What particularly makes Turning Red delightful is how it forgoes Pixar’s hallmarks and tropes for a distinctive art-style, self-aware protagonist, rapid editing and energetic animation, all while delivering a resonant and timeless coming-of-age story. If anything, the picture serves as a convincing argument for Emeryville to take more risks with their material.

The Drover’s Wife: The Legend of Molly Johnson

This would likely have made yours truly’s Top 10 of 2021, had it been released as scheduled – it was originally slated to premiere at the 69th Melbourne International Film Festival before a spike in Covid infections curtailed that plan, and its subsequent opening in theatres. Cinemagoers finally got a taste of what they missed in May – a Meat Pie Western that proved to be the best Australian production of the year, hands-down.

Juggling treble roles of star, writer and director, Leah Purcell (pictured) handles the grim and at times confronting material with confidence and professionalism. A stellar cast of familiar faces lend further gravitas to proceedings, while the acoustical score of Salliana Seven Campbell proves an ideal accompaniment, and Snowy Mountains a stunning backdrop. All of these elements ensure The Drover’s Wife as a fine addition to a rich, growing list of First Nations stories.

Top Gun: Maverick

It was the sequel nobody asked for that became a must-see cinematic experience and earned praise as one of the best films of 2022 – an acclamation that’s being repeated here. After all, when a picture boasts a bevvy of practical effects, impressive stunt-work, exceptional cinematography, fantastic sound editing and a diverse cast stacked with many likeable, talented actors, it’s hard not to fall in love with it.

What makes Top Gun: Maverick even more enjoyable is how it pays tribute to the first Tony Scott-directed production, via the opening credits and a touching cameo from The Iceman himself, Val Kilmer. Had it evoked its 1986 originator even further and added just a tad more cheese, it would have likely become this writer’s favourite picture of the year.

The Bob’s Burgers Movie

What a shame this had to be released the same week as Top Gun. Had it not, a much larger audience may have paid witness to a bright, wholesome and entertaining caper that ranks as one of the best film adaptations of all time. That’s no mean feat, given its Emmy-winning source material is considered one of the best television programmes currently on-air.

Many qualities carry over from its originator, including the terrific voice-cast, quirky tone and catchy songs, while adding exceptional animation and an intriguing mystery with some great turns. While it doesn’t quite satisfy every itch that fans have ever held, it does fulfil co-director and producer Loren Bouchard’s promise of being accessible to those who don’t watch the Belcher family’s adventures on TV. For that reason alone, The Bob’s Burgers Movie is worth a watch.

Nope

Having floored the cinematic landscape with his debut feature Get Out (2017) and delighted just as much with his follow-up effort Us (2019), anticipation was rightfully high for Jordan Peele’s third directorial effort. Not only did he deliver yet again with another smart, engrossing horror flick, he also did the impossible: made a whole generation afraid of clouds.

Among the elements that make this film a winner are the impressive photography of the surehanded Hoyte van Hoytema; the spooky, ethereal score of returning Peele collaborate Michael Abels; the great performances of the entire cast; and an ingeniously-designed UFO – sorry, UAP – that’s bound to influence every science-fiction film that follows. Also, don’t be fooled by that lowly “M” rating – despite possessing less violence and blood than its contemporaries, Nope is nothing short of a scary and most terrifying feature.

Puss in Boots: The Last Wish

As one of the strongest years for the medium of animation in recent memory, 2022 gifted no shortage of great offerings, be they stop-motion, hand-drawn or rendered with computers. DreamWorks provided the metaphorical cherry atop a most delicious cake in December’s final days with a sequel that could not be more different to its predecessor.

Contained within Puss in Boots: The Last Wish is a mature, pensive screenplay where complex, nuanced personalities grapple with conflicts that are usually reserved for adult-oriented dramas, not animated children’s films – a surprising and most-welcome move. Paired with these thoughtful musings is an art-style that, pleasingly, borrows just as many cues from oil paintings or storybooks as it does from Spider-Man: Into the Spider-Verse (2018).

Best of 2022: Arnie’s Picks

Best of 2022: Arnie’s Picks

Arnel Duracak

Picking out any 10 films from a year with stellar titles is never an easy task; this was especially the case for my 2022 list. In fact, not since 2017 have I had to think as much about the films on my end-of-year list. From David Cronenberg’s return to directing almost eight years since his last feature, to James Cameron’s return to Pandora almost 13 years since Avatar, right through to Tom Cruise’s return to the character that propelled him to A-class status — there was no shortage of the epic, iconic and memorable. That’s just a snippet of the below, so here’s my best 10 films of 2022.

10. Crimes of the Future

Having not directed a film since Maps to the Stars over eight years ago, David Cronenberg’s latest, Crimes of the Future, sees the body-horror mastermind return in resounding fashion.

The film, which I view as one of the dark-horse titles on my list, delivers all the signature Cronenberg goodies that audiences love (blood, guts and more guts) but in a much more toned down display. Of course, Cronenberg never does gore for the sake of it, but instead explores mankind’s deepest rooted fears —experiments gone wrong, tech turning on us etc.— while using the grotesque to amplify his concerns.

Crimes of the Future is no different in that regard, as it looks to a time ahead where humans have a changed digestive system and a hunger that can only be fed through the likes of plastic. Performance art meets the grotesque, with Saul Tenser (Viggo Mortensen) growing organs almost at a whim, and his partner in crime, Caprice (Léa Seydoux) removing them to a much appreciative audience.

Howard Shore’s hauntingly subtle score gives weight to the eeriness at play and even heightens Mortensen and Seydoux’s already brilliant, nonchalant performances. It’s a film that’s creepy but clever in its creepiness, one that captures the festering of the human body and the need to adjust the way we live as our bodies change. That’s only part of it, of course — the real crime is not watching the latest Cronenberg.

9. Hit the Road

There’s few films in 2022 that will throw you an emotional curveball like Panah Panahi’s Hit the Road. Panahi, son of legendary Iranian filmmaker Jafar Panahi, crafts a road trip story that explores the struggle of separation, something that is a staple of Iranian filmmaking and a harsh reality in a country with a turbulent political standing.

Politics aside, the film is peppered in the humour often found in similar works from the region —Jafar Panahi’s, in particular— as it incorporates everyday family bickering and banter that I’m sure everyone who has ever been on an “are we there yet” type road trip with their family, has experienced. Films like this often require a convincing ensemble to help hit home that tense but loving family feel, and fortunately the ensemble here do an excellent job.

8. Kimi

A covid-era film that doesn’t make covid its main story point? Count me in.

With an overlooked performance by Zoe Kravitz who nails the agoraphobia-isolated character with her very blank, “leave me alone” facial expressions, Kimi sees Steven Soderbergh pack a lot of nuance into this smaller-scale crime-thriller. The result is a nail-biting search for answers as Angela Childs (Kravitz) is forced by circumstance to venture outside after hearing what she suspects is a sexual assault or a murder, on the Kimi device (this film’s equivalent to Amazon Alexa).

Obvious comparisons have been made to Alfred Hitchcock’s Rear Window (1954), though the films are entirely separate in how they approach their subject matter.

7. The Batman

Matt Reeves’ The Batman represents a fresh take on the caped crusader, one that is more akin to the ‘Arkham’ video games in that it explores the Batman’s more detective leanings.

What follows is a crime-thriller worthy of the highest praise and one that is reminiscent of the likes of classics in the sub-genre including Seven (1995). Greig Fraser’s cinematography is wonderous and keeps in line with the very gothic leanings that Reeves is going for here. Michael Giacchino’s score is equally inspired, with the composer using church bells and low hums to create an eerie sensation.

Reeves no doubt looked to the Christopher Nolan and Tim Burton’s films when figuring out how he would approach this, and there are obvious correlations like the gothic-vibe from Burton’s films and the development of the Riddler being very similar to that of the Joker in Nolan’s The Dark Knight (2008). Yet, this film is unequivocally Reeves’. Sure he drew on the films that came before his, but this is a film made up of close-knit conversations, measured action sequences, and clever storytelling. The rowdiest this film gets is during a truly memorable chase sequence involving Batman’s custom V8 Batmobile.

The cast is just as committed, with Robert Pattinson’s emo-like appearance being fitting for the darker aesthetic; Zoe Kravitz once again fits the part perfectly playing Catwoman; Collin Farrell shines as Oswald Cobblepot in what has been a stellar year for him; and the likes of Paul Dano and Jeffrey Wright do well in their parts as well. In fact, all aspects of production come together brilliantly like cogs in a machine. The end product is a welcome addition to the ever-growing Batman story.

6. Jackass Forever

When it comes to practicality in filmmaking, Johnny Knoxville and his crew of misfits are the ones you can count on to put on a show.

Jackass Forever is a film nestled in its own comfy corner of cinema. Yes, Buster Keaton, Charlie Chaplin and Jackie Chan are incredible actors and stuntmen who have put their bodies on the line for the sake of entertainment, but it’s the man-child Jackass group who have done it because they find it fun to face death.

Yet, Jackass Forever isn’t just people doing things that are best left to the imagination, it’s also a culmination of 20+ years of commitment to pushing the boundaries of what can be done in front of the camera. For all of its death-defying moments, Jackass Forever feels like a warm hug that throws you a sucker punch when you’re least expecting it. Bringing in the classic faces that have laid the groundwork for Jackass, along with some new and equally risk-embracing ones, this is a film that celebrates the unimaginable, and doesn’t hold back on the bruises.

It’s a film, like the others in the series, that is built up of ‘firsts’ both in terms of what you’re seeing and for the cinema broadly, and deserves the highest of praise for what it achieves.

5. Ambulance

You either love him, hate him or tolerate him, but there’s no denying the Michael Bay is a man of the cinema — particularly action cinema.

Ambulance, like all of Bay’s previous films, is set on displaying the biggest and wildest action sequences you can get. The film hits like a heavy dose of adrenaline, and it keeps you infused right from its early stages until its heartfelt finale. 

The film is a testament to Bay’s unabashed approach to direction where he keeps the tension boiling, turns up the temperature gradually, and then drops the heat to a boil again while never turning it off. The best examples of this are found in the way the film’s technical elements work together to sing Bay’s chaotic tune: the piercing score, the snappy cross-cutting, the canted camera angles, and the mobile drone camerawork that takes the audience and positions them in unfamiliar situations. 

Ambulance works because even with all the absurdity leading up to the characters finding themselves in this dire chase situation (let’s face it, no one would escape that many LAPD officers and vehicles), there’s never any respite to dwell on that aspect of the film. Bay knows what he’s doing and you can either buckle up for the ride, or dive ride out the passenger seat.

4. The Banshees of Inishiren

In what is quite clearly a spiritual successor to McDonagh’s equally witty and heartfelt debut feature In Bruges (2008), The Banshees of Inisherin paints a perplexing picture of the human condition against the beautiful backdrop of a fictional Irish town during the Irish Civil War. 

It’s a story of two friends —Colm (Brendan Gleeson) and Pádraic (Colin Farrell)— who decide not to be friends anymore (well, at least one of them decides). But more than that, The Banshees of Inisherin is about the fleeting nature of life; the realisation that nothing lasts forever even if we want it to.

McDonagh’s script here is easily his most realised — even if In Bruges still contains some of my favourite lines from any movie ever. He manages to mesh together humour and poignancy in ways that no other director does, and it leaves you in a state where you’re not sure whether to laugh, cry or both.

Gleeson and Farrell are at the top of their game (as is the rest of the cast), and I wouldn’t be surprised if we see the male acting categories be swept up by this duo in the coming awards season.

3. The Fabelmans

Anything I say about Steven Spielberg is superfluous at this stage, and honestly if The Fabelmans is anything to go by, Spielberg tells (or shows) you everything you need to know about him anyway.

This is ultimately Spielberg’s visual diary, one that at once examines the very youthful promise of endless possibility —with the only limitations being your imagination (as symbolised by the camera)—, and the navigation of expectation, of the un-imaginary and the tangible (the reality that hits when the record button is turned off).

It’s clear that Spielberg and co-writer and frequent collaborator, Tony Kushner, have dug into the nitty gritty of the directors’ life. There is a level of verisimilitude coursing through the film whether it be in the performances, the very raw and grounded screenplay that avoids glossiness, or John Williams’ moving score — the duo have cashed in all of the chips Spielberg has accrued and pulled no stops.

The Fabelmans paints an interesting portrait of self-actualisation, of finding your place in the world and pursuing what you love even if it means confronting hard truths in the process. This is Spielberg’s world, and we’re living in it.

2. Avatar: The Way of Water

No one does blockbusters quite like James “Jim” Cameron, and Avatar: The Way of Water is the proof in the pudding.

The Way of Water takes audiences to the far beyond of Pandora, namely to its oceanic vistas that, on their own, make the 13 year wait between the original and the sequel all the more worth it.

Cameron, of course, is no stranger to pushing the boundaries of what is achievable at such a scale; if a project isn’t ready to be pursued, be it because of a lack of technological development or the moment just not feeling right, he won’t pursue it. That was the case with Avatar (2009) which he decided to eventually make almost a decade after writing the treatment. He saw Peter Jackson’s development of motion capture with Gollum in The Lord of the Rings films and King Kong in King Kong (2005) as turning points for technology in cinema, as well as Davy Jones in Gore Verbinski’s The Pirates of the Caribbean films.

But The Way of Water blows all of these titles out of the water with what it achieves visually (and that’s coming from a died hard Jackson and Pirates fan). From the refined look of the Na’vi including the way they move under water and their human-like movement generally, to the bumped up frame rate at 48fps which adds extra fluidity to proceedings — The Way of Water is a visual masterpiece that represents a pivotal turning point in visual effects and motion capture.

Aside from its technical marvels, it’s also a sum of all of Cameron’s experiences up until now. His brilliance ultimately rests in his unmatched understanding of scale — of how to get all of his story points in a basket while showcasing them in the biggest way possible.

He clearly cares for this world and everything within it, and he pours his heart and soul into each and every frame to the point where you can’t help but care for it as well.

1. Top Gun: Maverick

Do you feel the need for speed? I sure did.

Top Gun: Maverick is the Terminator 2: Judgment Day (1991) of 2022. The perfect sequel to Tony Scott’s iconic Top Gun (1986) and one that goes above and beyond its predecessor in (almost) every department (save for maybe how iconic it is, though we should maybe give it 36 odd years).

Joseph Kosinski’s film is the one that I’ve though about the most throughout 2022, so much so that I’ve been desperate to buy its original poster which has now ignited a fascination with poster collecting that I never knew existed.

Whether it be the death-defying air-scapades that prove how much of a madman Tom Cruise truly is, or the care with which this sequel is able to revisit and reimagine its titular character — there’s no shortage of brilliance behind every decision. The stakes are raised, and Maverick is forced to come to terms with his past, find his place in the world, and pass the torch on to the younger generation — directions in characterisation that screenwriters Ehren Kruger, Eric Warren Singer, and frequent Cruise-collaborator, Christopher McQuarrie, do a great job of balancing.

This film will make you nostalgic, will leave you in awe, and will sit with you long after its end credits roll by.

Honourable Mentions: Glass Onion: A Knives Out Mystery, Ticket to Paradise, Guillermo del Toro’s Pinocchio, Puss in Boots: The Last Wish, The Northman and Good Luck to You, Leo Grande.

Best of 2022: Darcy’s Picks

Best of 2022: Darcy’s Picks

Darcy Read

With films returning to their native home of the theatre, 2022 delivered an interesting year of releases. Returning to some sort of cinema normalcy, even if the industry has been quite radically changed by Covid, the year has been full of quality films, including a large suite of self-reflexive stories from filmmakers old and new, to surprising and uber-entertaining box office hits, and the return to form for some incredible directors.

My 2022 list is surprisingly different to my most anticipated list from March, with Nope being on both lists, as my favourite works of the year came from unexpected places. This list includes two debut features (Hit the Road, Aftersun), a film from a filmmaker I’ve struggled with in the past (Armageddon Time), and a filmmaking blindspot I need immediately filled (Tár). While no five-star classics exist in this year of film, an impressive level of depth made this a difficult list to order and will no doubt change years from now. But for now, here is my list of the best films of 2022.

10. Hit the Road

A cheeky but politically and thematically resonant road trip dramedy of a young Iranian family attempting to smuggle their son out of the country to avoid military duty.

Panah Panahi, son of legendary filmmaker Jafar Panahi, is no stranger to the industry, but what he is still able to achieve on a debut feature is remarkable. Weaving in a deft political statement with a director well aware of where he is crafting his films, Hit the Road is elevated by a delightful and emotive family ensemble, centred by a lightning rod performance by Rayan Sarlak as the little brother.

9. Moonage Daydream

Filmmaker Brett Morgen, known for his wonderful 2015 documentary, Cobain: A Montage of Heck, declared this an experience about Bowie, not a biography of David Jones, and he truly delivered on this promise. Moonage Daydream (2022) is a deeply arresting piece of nonfiction cinema that operates as a mood piece that will be put up next to the very best in the genre.

The film weaponises its breathless propulsion in sly and interesting ways that sneaks up on you emotionally, much like Bowie’s very best work. It takes time to show its form to you, but once it does its effect is moving and profound. Morgen found something deeply relatable in his pursuit of capturing the figure of Bowie on film, unveiling a beautiful portrait of isolation for an artist that created community, showing us an image of the chameleonic legend that you won’t soon forget.

8. Broker

A master of humanist cinema, Hirokazo Kore-eda has crafted his most challenging makeshift family yet. Following a duo of child brokers of babies left at the local church’s baby box, Broker is complicated but deeply enriching in its portrayal of morality in the greyest of areas. Not of the same quality as Kore-eda’s Japan set masterpieces After Life (1999) and Shoplifters (2017), but is still one of the year’s best.

7. Nope

The film that grew on me the most this year. Peele has crafted a deeply engaging and entertaining riot of a sci-fi, Hollywood western that breezes through its first two acts to crescendo at a massive final act with a truly unique antagonist. While the film does lack in character work, its wielding of spectacle while also throwing those audience compulsions back in our faces is extraordinary, and is a brilliant use of the massive studio budget Peele is able to receive for these original stories.

6. Armageddon Time

Armageddon Time is emotionally devastating in ways that evolve beautifully over time, lingering long in the heart like a critical memory. What allows the emotion to thrive is the outstanding cast that could all individually contend come awards season. A gorgeous ensemble that introduced layers of nuance and understanding to each character over the runtime, highlighted by Banks Repeta and Anthony Hopkins.

5. Everything Everywhere All at Once

Floating along a constant stream of intertextuality, self-referentiality, and reverence to the films that paved the way to gift this film into audiences’ laps—The Matrix (1999), In The Mood for Love (2000), any Charlie Kaufman film—Everything Everywhere feels like a cinematic miracle that is at risk of breaking at any point.

Everything Everywhere is a technical marvel of small-budget filmmaking, from its mind-blowing costume and production design to its sound design and visual effects, but the real hero of the film is editor Paul Rogers. Rogers’ work here is nothing short of miraculous. Tasked with building a feverish momentum for over two hours while having each individual emotional moment land with as much impact as each comedic or absurdist one. Rogers moulds the filmmaking duo’s creative madness into a deeply resonant and enjoyable work, not just another overly ambitious indie that feels more like a creative dare than a work of art with deep truths. Don’t take for granted what an achievement this film is.

4. Aftersun

The debut feature of the year (in a uniquely stacked debutant class), Charlotte Wells’ memory drama of a young father bringing his 12-year-old daughter on a holiday to Turkey is so beautifully crafted, teeming with empathy and respect for the perspectives of both individuals’ experiences. Paul Mescal is enthralling in the year’s best performance as Calum, a tortured bird that must force himself to put up a front to protect his daughter. There are some ideas explored in Aftersun, like the fear of parents with mental illnesses handing it down somehow to their child, that will obliterate you. Wells wields a flexible script that is explored with care and restraint that is extraordinary for a first-time feature filmmaker, making her the director to watch in the next few years.

3. The Fabelmans

Spielberg’s whole heart is on the screen, warts and all. What makes The Fabelmans succeed is its lack of pure saccharine while still maintaining his signature warmth. The power of Spielberg’s clear-eyed and impassioned filmmaking, mixed with Kushner’s deft hand at profound characterisation, allows the audience to see themselves in every character. This is as much a film about Mitzi and Burt as it is about Sammy, with Kushner able to establish an extraordinary amount of emotional depth out of these personal stories for Spielberg whilst never feeling overly soft or cruel to their lives. 

2. The Banshees of Inisherin

A densely compacted fable on friendship, breakups, art, passions, and how one chooses to spend a life, that is never less than wonderfully entertaining. A brilliant balancing act that consistently grounds itself in the earth of its characters, never allowing its more ethereal themes to float into wistful abstraction. McDonagh is at the top of his game both as a writer and director here, allowing the non-dialogue-heavy moments to shine as much as the musicality of his feckin’ barbs.

McDonagh has grown exponentially as a visual storyteller, allowing his sharp pen to relax and using the other aspects of cinema to communicate his themes and ideas in deeply rewarding ways. 

1. Tár

In a year without a true five-star film, several films on this list could have made it to number one, and perhaps in a couple years this order will change, but as of posting, this film has a way of burrowing into my subconscious and bubbling up every other day. American films just aren’t like this anymore. A provocative thriller that has no easy answers that will have you enthralled over its long but rewarding 158-minute runtime.

Todd Field returns after a 16-year absence from the cinema with the year’s best film about a deeply flawed figure that’s warts are shown under a fierce precision, never allowing a scene to end with an easy answer. Tár is a tangled web of clashing ideas that have sparked some of the best film writing around an American film in who knows how long. Field has crafted a film of ideas that gives nothing to the audience easily, but rewards all who view this strange and entrancing object.

Tony Gilroy described the film as “hard and perfect on the outside. Mayhem brewing within. Masterwork.” These competing forces of interiority and external poise are the powerful tempest that builds throughout Tár, creating a singular viewing experience, and one of the year’s best films.

Honourable Mentions: After Yang, Barbarian, Crimes of the Future, Kimi, Top Gun:Maverick, RRR, The Northman, and Lingui

The 5 Best Johnny Depp Performances, Ranked

The 5 Best Johnny Depp Performances, Ranked

Arnel Duracak

Geoffrey Rush has hailed him as “one of the great character actors of our time, trapped in a leading man’s body” and whether you love him or hate him, there’s no denying that Johnny Depp has cashed in some of the most unique and memorable performances of the last 30 or so years. From Edward Scissorhands, Ed Wood, and Donnie Brasco right through to Captain Jack Sparrow, Willy Wonka and Sweeny Todd  — there’s no shortage of the irreverent and iconic. These are Johnny Depp’s five best performances, ranked.

5. Donnie Brasco in Donnie Brasco (1997)
Johnny Depp as Donnie Brasco

Directed by Mike Newell and based on a true story (‘Donnie Brasco: My Undercover Life in the Mafia’), Donnie Brasco represents the first real instance where Depp plays a straight shooting, no nonsense character on the big screen.

Depp’s character, Joe Pistone, infiltrates the New York mafia under the guise of Donnie Brasco where he befriends Lefty Ruggiero (Al Pacino) and works undercover to expose mafia leader Sonny Black (Michael Madsen).

It is through the Depp/Pacino on-screen dynamic that this film separates itself from simply being another cliched 90s gangster, mafia type ordeal. Pacino plays a much more heartfelt character while channelling all the qualities (loud voice, edgy movements, alluring eyes) that have underpinned his performances prior.

Depp compliments Pacino’s supporting role by matching him in those qualities while also proving that he has more reach as an actor should he be offered the right role to display it. He plays the anxiousness of this character so effectively and you can sense the difficulty of his characters position as an informant through this anxiousness.

4. Ed Wood in Ed Wood (1994)
Johnny Depp as Ed Wood

The first of two Tim Burton collaborations on this list, Ed Wood is perhaps best known for Martin Landau’s Oscar winning support performance, but Johnny Depp’s portrayal as the titular cult classic filmmaker was just as profound.

Like the real Edward Wood, Depp has certain eccentricities that can come across as quite peculiar, and they have allowed him to play strange characters, like Wood, on-screen in ways that other actors would not have. Depp’s casting as Wood can be considered a “perfect fit” by Richard Dyer’s work on Star Theory, as his star image fits perfectly with all the traits of the character, and he leans into the strangeness of Tim Burton’s own unique vision to bring the character to life.

In this way, Depp’s performance as Ed Wood is the first real instance where the actor finds a balance between the humorous characteristics he would later inject into his performances to a greater extent, as well as the more heightened moments of ecstaticity.

3. John Dillinger in Public Enemies (2009)
Johnny Depp as John Dillinger

Depp’s performance as the notorious American gangster/outlaw John Dillinger is perhaps the most contentious on this list. That might be due to the film in question, with Public Enemies being one of Michael Mann’s less layered works compared to say Heat (1995) or Collateral (2004), but it works because Mann is able to get the best out of his performers.

John Dillinger was evidently quite a misunderstood man by Mann’s depiction as he was more interested in taking from the state rather than from regular folk and found a certain connection to the people, and they to him. Depp can be seen as quite a misunderstood figure as well if not for his really uncanny demeanour, then definitely for the way he approaches his work and collaborations.

His performance as Dillinger is quite a strong one in that sense and it also represents a return to performances and films more akin to Donnie Brasco and a later mafia-esque film in Black Mass (2015).

2. Edward Scissorhands in Edward Scissorhands (1990)
Johnny Depp as Edward Scissorhands

Edward Scissorhands is easily one of Depp’s best performances due to how well the actor brings Tim Burton’s interest in outsiders and outcasts to light. Burton has never been shy on exploring characters who separate themselves from the public eye (like in his Batman films) or characters immersed in strange, gothic settings (like in 1988’s Beetlejuice).

A large reason why films like Edward Scissorhands and Sweeny Todd: The Demon Barber of Fleet Street (2007) work is because the synergy between Depp and Burton allows them to get to the heart of why these characters are the way they are.

There’s no doubt that Burton has nurtured Depp’s performances in ways other directors haven’t, but it’s in that very strangeness where Depp is at his best and can convince you that there could well be someone like Edward Scissorhands (figuratively speaking) out there. This performance is one of his best due to how well he uses his facial expressions, physicality and gestures, as the character rarely (if ever) actually speaks.

1. Captain Jack Sparrow in Pirates of the Caribbean (2003-2017)
Johnny Depp as Captain Jack Sparrow

It wouldn’t be a ‘best performances by Johnny Depp list’ without the iconic Captain Jack Sparrow. Aside from the fact that Gore Verbinski’s original Pirates trilogy is one of the most audacious and well worked in cinema history, it simply wouldn’t be as memorable without Depp’s very individualised performance as Captain Jack Sparrow.

Depp not only imbued Sparrow with his own signature idiosyncrasies and oddness, but he also drove a majority of the creative choices around the character. From the Pepé Le Pew and Keith Richards inspired look/feel, to the very specifics of how he walked and talked — this character went against the grain of expectation that Disney had initially wanted.

Depp subverted the image of how pirates historically acted and carried themselves by playing the role in a very caricature like manner. He injected Sparrow with a certain flamboyance courtesy of his gestures, and gave him a drunken demeanour even when Sparrow was at his most sober. Depp went as far as to suggest that the character should walk normally when he is on the ship, while being off-kilter and erratic when on land.

All of these choices alongside the bravado with which Depp delivered them through his performative toolkit are what gave the Pirates franchise such clear bearings. There is no Pirates of the Caribbean without Jack Sparrow and there is no Jack Sparrow without Johnny Depp.

Notable omissions: Sweeny Todd in Sweeny Todd: The Demon Barber of Fleet Street (2007), William Blake in Dead Man (1995), and Ichabod Crane in Sleepy Hollow (1999).

Best of 2021: Arnel’s Picks

Best of 2021: Arnel’s Picks

Arnel Duracak

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the last of our end-of-year articles, Arnel Duracak will be revealing his ten favourite pictures of 2021.

In arguably one of cinema’s most challenging years ever, 2021 surprisingly stood the test of time to become one of the best years for films and film lovers in the 21st century.

There were films by Paul Thomas Anderson, Steven Spielberg, Wes Anderson, Denis Villeneuve, Todd Haynes, Edgar Wright, Jane Campion, David Lowery, Lana Wachowski, Steven Soderbergh, M. Night Shyamalan, Shaka King, Zack Snyder, Sean Baker, Mike Mills, James Gunn, Lin Manuel Miranda, Adam McKay, and Ridley Scott (two from him) all coming last year, and that’s just the tip of the iceberg.

My point is, as impacted as cinema was in 2021, there was a silver lining in terms of the films we got from the large pool of iconic filmmakers available. My list is a sum of my experiences with some of those filmmakers and their films, and here’s to a promising 2022.

10. The Last Duel

Having one new Ridley Scott film these days feels like a rarity that needs to be savoured, but two? Now that’s like seeing a UFO. But The Last Duel isn’t just rare because it’s a film from a legendary filmmaker in his later years, it’s also a film that doesn’t come around too often. In fact, this film is Ridley Scott at his directing best, all the while bringing in the grit and tension that make his films so enjoyable.

Through a chapter like structure, this film is about the closest thing we have to Scott’s iconic Gladiator (2000) as it keeps you engaged right throughout courtesy of some clever editing and writing, and it sees Jodie Comer deliver her best performance yet (even outshining her male counterparts Adam Driver, Matt Damon, and Ben Affleck to a lesser extent given his minimal on-screen time).

The Last Duel is also memorable due to its practical filmmaking (incorporating practical combat rather than taking the easy route through CGI), well worked story, and captivating performances. Unfortunately, Scott’s other film of 2021, The House of Gucci, doesn’t hit the same high as this one but both are worth watching if not for want, then for the icon that is Ridley Scott.

Currently streaming on Disney+.

9. Nobody

I can only imagine that screenwriter Derek Kolstad’s logline to get this screenplay green-lit was “John Wick but with Bob Odenkirk dialled up to 11”. Nobody is the John Wick (2014) of 2021 and this was one of the first films I saw in a packed cinema at the start of 2021. It was an exhilarating experience and one that got me excited to get back into the cinema.

With a relatively simple premise that sends Odenkirk on a revenge killing spree after his daughter’s Hello Kitty bracelet is nabbed during a failed house robbery, Ilya Naishuller’s Nobody is a joy ride from start to finish. While the film doesn’t capture the awe and suddenness that came with seeing a rampant Keanu Reeves in John Wick back in 2014, Nobody is still a rowdy 90 minutes at the cinema.

The closing sequence is one of my most memorable from last year with a shotgun wielding Christopher Llyod going berserk alongside Odenkirk — Doc and Saul Goodman really paint the town red here.

Currently streaming on Prime and Binge.

8. The Mitchells vs. The Machines

When adding films to my top of the year list, I kept asking myself “why does this film deserve a spot on my list?”; in the case of The Mitchells vs. The Machines the answer was pretty simple: there wasn’t an animation like it in 2021.

Michael Rianda does a stellar job with telling a story about family and the drama of family life, while also managing to tap into ever present fears around technology as it becomes more advanced. This animated road movie is essentially We’re The Millers (2013) meets I, Robot (2004) but it’s actually funny and it actually handles its subject matter quite well.

The animation style here has been spoken about a bit, and while it does take a bit of time to adjust to the striking style like with Spider-Man: Into the Spider-Verse (2018), the animators prove that animation doesn’t need to be a cookie cutter process.

Currently streaming on Netflix and available on DVD.

7. Minari

The second of my two 2020 films seen in 2021 courtesy of Australia’s awful theatrical schedule, Minari is a compelling piece of storytelling by Lee Isaac Chung that focuses on themes of family, loss, the American dream (or whatever that means today), and the immigrant experience.

With a cast that gives it their all (comprised of Steven Yeun, Han Ye-ri, and Youn Yuh-jung whose performance won her an Oscar), a well written script, and excellent direction, Minari has a bit of everything for everyone.

Coming from an immigrant background with refugee parents, this film really hit home in terms of the difficulties families experience when moving to a new country and the struggles of growing up relatively poor. If you haven’t seen Minari yet, what are you waiting for!

Currently available on home-video and on-demand services.

6. The Father

The Father is a heartfelt and considerate film that provides a unique outlook on the struggles of dealing with dementia from the perspective of a character dealing with the condition.

Director Florian Zeller directs his play of the same name and he’s evidently had the look of this film down pat for a while — focusing on enclosed spaces with lots of mid-shots, close-ups and extreme close-ups and using space to his advantage.

With Anthony Hopkins winning his second Best Actor Oscar and making history as the oldest actor to win a Best Actor Oscar at the ripe age of 83, this film is all about the performance. It’s an interesting idea to look at the condition from the perspective of the patient, and Zeller does so by brilliantly playing with time through smart editing and staging (take note Nolan).

While this film is technically listed as a 2020 release (as is another on this list), Australia unfortunately has an awful theatrical window so I’ve had to adjust accordingly and this film deserves a place on my list. 

Currently streaming on Prime Video and Foxtel Now.

5. Dune

Having read Frank Herbert’s novel of the same name shortly before its release, Denis Villeneuve’s Dune is blockbuster filmmaking at its very best that honours Herbert’s writing through visual splendour that only the cinema can offer.

The film has everything you want from a blockbuster: scale, mesmerising world-building, a lived in feel, a large ensemble, wondrous set pieces, a resounding score, and (for the most part) grounded storytelling.

Villenueve has once again proven his worth by tackling a piece of fiction and an iconic title often deemed unfilmable due to its scope and depth, and he’s left his imprint on it in the process. He incorporates his fondness for slow cinema with plenty of moments of recollection and contemplation to be had, and he sets the stage for a sequel that will no doubt have a lot more riding on it given the success of this picture (especially considering his 2017 feature, Blade Runner 2049 was a box office flop).

The film is not flawless given that characters aren’t all that interesting and the performances are quite mute (there’s not one that stands out from the other), but it’s a fitting first adaptation of half of Herbert’s novel and lays the foundation for a (hopefully) more spectacular part two.

Currently screening in theatres nationwide and will soon be on Blu-Ray.

4. C’mon C’mon

A film that was unbeknown to me for the majority of last year, C’mon C’mon is one of those cozy and warm films that you would just want to hug if it was a tangible object.

Mike Mills writes and directs this tender story of connection and self-discovery, with two resounding performances from the incomparable Joaquin Phoenix and newcomer Woody Norman. Phoenix plays Johnny, the uncle of Norman’s character Jesse, and the two of them spend the film together after Jesse’s mother leaves town for a week or so to tend to her mentally ill husband. What ensues is a sweet and earnest film that revolves around a shared journey of self growth as the two characters confide in one another and open each others eyes to the world around them.

The film is shot in black and white which works to its advantage as, even among the very colourlessness of the world, the two characters stand out like a sore thumb; in other words, by being in each others company and experiencing the world through unfiltered conversations (particularly from Jesse), these two become the most colourful parts of the world. Mills meticulously builds his story through the characters’ shared experience to the point where their bond and relationship leads Johnny to view the world in a different light and have a much needed awakening or wake up call.

Children and their world view is at the forefront of the film as Johnny interviews various child subjects due to his radio profession, but Jesse is his gateway to something more real, and Mills makes sure that reality is felt beyond the diegetic world. 

Releasing in select Australian cinemas on the 17th of February 2022.

3. In The Heights

In what felt like the year of the musical with West Side Story, Tick Tick Boom, Dear Evan Hansen, and Annette, it was In The Heights that reigned supreme in 2021. I’m usually not a big fan of the musical genre — with The Umbrellas of Cherbourg (1964) being an exception — but In The Heights rekindled my faith in the genre and in its future in cinema.

Jon M. Chu directs the hell out of this adaptation of Lin Manuel Miranda’s first successful broadway musical,  which is filled with brilliant choreography and item numbers, a dedicated cast, an infectious energy that sucks you in the longer the film plays out, and a considerate, thought provoking perspective on gentrification and the Latino community at its core.

I must say, I’m yet to see West Side Story, but In The Heights was really the film to get me excited for everything else that would grace our screens in 2021, and it came at the right time during the despondent events that continue to plague the world. 

Currently available for rent on Prime and for purchase on DVD.

2. Pig

Michael Sarnoski’s Pig moved me in ways that no other film in 2021 had. With a simple yet gripping story and an emotionally charged Nicolas Cage cashing in his best performance in years, this film hit all the right emotional chords for me — leading me to rewatch it a few days after my initial viewing.

Pig doesn’t go down the conventional route of a revenge thriller even though it might appear that that’s the direction Sarnoski is heading; instead, the film is about reflection, mourning and a wider commentary on how we forgo what we love in favour of a life of conformity in a capitalist system where we ultimately lose sight of who and what we are.

There are so many layers in Pig for a runtime of around 90 minutes, and had Licorice Pizza not been released, this would have been at the tippity top of my list. 

Currently available on home-video and on-demand services.

1. Licorice Pizza

That brings me to Paul Thomas Anderson’s latest, or the quintessential film of 2021. It takes everything we know and love about PTA — his undying connection to the San Fernando Valley, the 70s period, characters that are larger than life, the themes that underpin his work, the formal devices from his cinematic toolkit — and meshes it all into one. The result is a heartwarming tale of self-discovery and companionship, and one that traverses the fine line of adolescence and adulthood while managing to bridge the two worlds together.

Acting newcomers Cooper Hoffman (Phillip Seymour Hoffman’s son) and Alana Haim (from the pop rock band Haim), deliver captivating and confident performances of youth angst and free spiritedness. Their chemistry is magical and infectious and it’s hard not to see bits of yourself in their performances (such is the magic of PTA’s screenplays).

Licorice Pizza was always going to be a shoehorn for one of my favourite films of 2021 due to the man at its helm, but it deserves all the praise it has received and it deserves to be seen on the biggest screen you can find.

Currently screening in select theatres nationwide.

Honourable Mentions: Encanto, Annette, Judas and the Black Messiah, The Matrix Resurrections

Best of 2021: Darcy’s Picks

Best of 2021: Darcy’s Picks

Darcy Read

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the second of our end-of-year articles, Darcy Read will be revealing his ten favourite pictures of 2021.

The majority of the year was dominated by great television (It’s a Sin, The Underground Railroad) as cinemas were closed and films were delaying their releases as filmmakers faced massive challenges in production due to the pandemic. But absence makes the heart grow fonder as the last three months of the year had me going back to the theatre as often as possible.

In a year spent mostly watching films at home, it’s perhaps surprising to see the majority of my list be films seen in theatres, although that definitely influenced my enjoyment of each film seen on the big screen.

10. The Father

The earliest entrant on my list, with many lists placing it on the 2020 calendar instead, but a very small amount of the audience for Florian Zeller’s The Father actually saw the film that early, so here it is on my list. I am usually not fond of filmed plays, but Zeller’s work is undeniable and the care and consideration taken to adapt his own play into the medium of cinema is remarkable. 

Currently streaming on Prime Video and Foxtel Now.

9. Red Rocket

Sean Baker’s new feature Red Rocket is a unique prospect in modern American moviemaking. It is a difficult and enthralling challenge to the audience that even in its final moments, you aren’t sure what side of the fence you land. Mikey is a true antihero; a loathsome, motor-mouthed, hustling suitcase pimp returning home to Texas City after 20 years working as an adult film star in LA. The film will have you questioning your feelings and emotions throughout, with Baker expertly weaponising his humanist approach towards an individual that may or may not deserve retribution. You will never hear NSYNC’s ‘Bye Bye Bye’ the same way again.

Currently screening in theatres nationwide.

8. Wheel of Fortune and Fantasy

The year of Ryûsuke Hamaguchi will no doubt culminate in an Oscar for his critically beloved Drive My Car (2021), a film that no doubt would’ve been on my list if it was released in time (the film is not slated to release in Australia until February), but I hope the success of that film does not cloud the achievement of Hamaguchi’s other release of the year, Wheel of Fortune and Fantasy.

This extraordinary short film triptych floats elegantly through ideas of love, chance, and opportunity in three 40-minute short films that have stuck with me longer than most other films this year. You will bring yourself to each story and each viewer will no doubt have a different personal favourite with mine being the second story “Door Wide Open”, a compelling story that may have been my favourite film of the year if it was stretched into a feature.

Will hopefully be available online soon.

7. Pig

What originally sounded like a Nic Cage led John Wick (2014) film set in Portland, eventuated into a deeply human tale of art, creativity, and love set in the intoxicating world of Oregon fine dining. Michael Sarnoski’s feature debut Pig has the feel of a grizzled vet reflecting on a long career, making it all the more impressive and rewarding to watch. A name to keep an eye on for years to come.

Currently available on home-video and on-demand services.

6. The Velvet Underground

The film I have thought about more than any other this year. Director Todd Haynes’ The Velvet Underground has crafted an immersive world of 60s New York counterculture on the immortal band that had little to no live performances captured on film, whilst never feeling this absence. Haynes is one of the best working American directors and has crafted one of his most complete works celebrating his favourite band and arts movement. If only it could be seen on the big screen and have the opening credits and ‘Venus in Furs’ wash over a packed theatre.

Currently streaming on Apple TV+

5. Dune

There is an overwhelming visual splendour that can’t be overstated with a film like Dune. In an era of blockbuster cinema dominated by Marvel Studios, the visual flair that Villeneuve developed with the extraordinary Blade Runner 2049 (2017), and has deployed with precision here, is both refreshing and awe-inspiring. Dune is only half of Herbert’s story so rating it as a whole is difficult, but the film works so well on its own to more than earn its place on this list.

Currently screening in theatres nationwide.

4. The Power of the Dog

A striking film from a returning legend, The Power of the Dog is a slow build that creeps under your skin and never leaves. The most anxiety-inducing scene of the year can be found in the film between Benedict Cumberbatch, Kirsten Dunst, a piano, and a mocking banjo. Campion weaponises her emotive writing and filmmaking trademarks with a combination of sharp-toothed writing and superb performances that gives the film an off-beat flow that keeps its cards close to the vest and its audiences on the edge of their seat.

Currently streaming on Netflix.

3. The Green Knight

The 2021 released film I’ve rewatched the most, The Green Knight is a well of ideas that is a treat to return to. Each viewing uncovers new elements as well as cementing key moments in this peculiar and deeply rewarding fantasy story that revels in its ambiguity. The director David Lowery’s assuredness throughout the film to be comfortable leaving the audience confused for stretches of Gawain’s quest, knowing the emotionality of the film work as a guide rope through the darkness, is wonderful and all too rare in modern American cinema.

Currently streaming on Amazon Prime.

2. The Worst Person in the World

It’s the quiet moments mixed into the loud ones that make it special. A walk home alone from a party. A conversation with your distant father after he misses your 30th birthday. Taking a friend’s photo as you explore his old apartment building. Joachim Trier’s masterpiece The Worst Person in the World will knock you off your feet early on and send you tumbling down its emotional rapids for its runtime.

His previous film of his “Oslo Trilogy”, Oslo, August 31st (2011) (2006’s Reprise being the first entrant), has a consistent bleakness that slightly calloused the viewing experience, preventing an audience from falling in love with his wonderfully crafted characters. This is not the case with The Worst Person, which mixes humour and pure rushes of love with the ennui that will have you enraptured.

Not enough can be said about Renate Reinsve’s performance as Julie, a truly star-making performance that is by far the year’s best. Where Reinsve shines brightest is when Julie allows herself to be herself, a high we find ourselves chasing with her throughout the film’s 12 chapters. One such moment is the party meeting sequence between Julie and Elvind (Herbert Nordrum); 20 perfectly balanced minutes of the magically intimate waltz of words and emotions that make their inevitable coupling so exhilarating and is among the film’s several transcendent scenes.

For a film with a title like The Worst Person in the World that deploys a post-modern narrator commenting on Julie’s decisions other than merely describing them, Trier has crafted a coming-of-age story that is unbelievably kind and welcoming, which helps the audience feel looked after and willing to give themselves over to the film.

Currently screening at select cinemas.

1. Licorice Pizza

My most anticipated film of the year was always going to feature highly on this list, and Paul Thomas Anderson did not disappoint in this often surprising, frequently hilarious coming-of-age film. Licorice Pizza sees possibly my favourite director loosen his collar and explore ideas of adolescent stagnation whilst never indulging in the nostalgia of his own past. There is no doubt this film will eventually become my most-watched film of the year with an enchanting world that will no doubt grow and evolve as the years go by.

Licorice Pizza is my favourite film of 2021, coming from a filmmaker that feels at his most comfortable while also being able to thrill in equal measure. Anderson is a writer and filmmaker like no other working today. He has created a 70s coming-of-age film with two of the most realised characters of recent American cinema history in Gary and Alana that will live on long in my memory.

Allow this film to wash over you with its gorgeous visuals and recreation of the 70s in The Valley, and find yourself totally engrossed in a story of teenage and early 20s stagnation while searching for your place in the world.

In a year stuck at home with little else to do but take stock of one’s life, it feels only right that the two films that sang to me this year are two that were not these immaculately crafted pieces of artistic achievement but instead worked as mirrors, seeing myself in the eyes of each and every person shown on screen, both their emotional peaks and valleys.

Currently screening at select theatres nationwide.

Honourable Mentions: Zola, Malignant, In the Heights, Azor

Best of 2021: Tom’s Picks

Best of 2021: Tom’s Picks

Tom Parry

With another year having drawn to a close, Rating Frames is looking back at the best new releases of the last twelve months.

It was a difficult year for the medium, owing to numerous delays and cancellations – these retrospectives would be quite different had MIFF been able to run its full schedule – but there were still some excellent films released that we all wanted to celebrate.

In the first of our end-of-year articles, Tom Parry will be revealing his ten favourite pictures of 2021.

Unlike his fellow critics at Rating Frames, yours truly has spent the last twelve months away from Melbourne, avoiding protracted lockdowns yet also missing frequent visits to his favourite haunts – no theatre in regional Victoria can match the majesty of a communal screening at Nova, nor can any town provide the satisfaction of a post-cinema burger at one of Naarm’s many fried-food eateries.

This author’s temporary relocation has also meant being unable to see many of the titles listed by his two Melburnian counterparts (which shan’t be spoilt… for now) and as such, the following list is of a lesser quality than theirs. But the pictures below are just as worthy of acclaim, and at the very least, offer a more… egalitarian alternative to Arnel and Darcy’s choices.

10. My Name is Gulpilil

The passing of its main subject in November has given even further resonance to this pick, which was always intended to be his final on-screen appearance; yet even without that knowledge, My Name is Gulpilil remains one of 2021’s best, being a poignant, stirring narrative told by David Gulpilil himself – one that is open, honest and never shies away from his demons. It’s nothing short of a fitting, touching finale to a fixture and icon of the Australian screen.

Currently available on home-video and on-demand services.

9. Lupin III: The First

Here’s one that hasn’t been covered on Rating Frames, nor anywhere else by this author until now. Given a limited, brief theatrical release here last January – 13 months after debuting in its native Japan – Lupin III is (ironically) the umpteenth feature-length adaptation of the famed manga series; but it is The First to be drawn and animated via computer-generated imagery, looking fantastic whilst remaining true to the original designs of the manga. Witty, energetic and slightly absurd, it’s an adventure well worth seeking.

Currently available on Blu-Ray and select on-demand services.

8. The Mitchells vs. The Machines

Sony Pictures Animation is possibly the only studio countering the unassailable dominance of Disney and Pixar right now – where the Mouse House and its subsidiary are producing movies more formulaic than the last, Sony is taking the opposite approach and releasing films that are unique to all others, including their own. There’s much to love about The Mitchells vs. The Machines, chiefly an inimitable art-style and zippy animation, both of which need a large screen to be truly appreciated. (We want that theatrical release, Sony!)

Currently streaming on Netflix and available on DVD.

7. The Suicide Squad

It should come as no surprise to know that James Gunn’s The Suicide Squad is irrefutably better than David Ayer’s similarly-titled, hapless adaptation; indeed, the more surprising feat is how entertaining Gunn’s film is in its own right, not only besting DC’s recent output in terms of action, humour and heart, but also a majority of instalments in the MCU. Eccentric in nature and distinctive from the competition, it’s a gratifying alternative to the superhero norm.

Currently available on home-video and on-demand services.

6. Nitram

Director Justin Kurzel is no stranger to telling controversial stories, making him the ideal candidate to helm a feature about one of the most chilling events in Australia’s history. Just like his past work, Nitram sees Kurzel handle the sensitive material with restraint and grace, yet he doesn’t shy away from confrontation, demonstrating the brave, bold style of film-making that has been lacking in our industry of late. Be sure to watch for the turns of Judy David and Caleb Landry Jones as well.

Currently streaming on Stan.

5. Judas and the Black Messiah

A biographical drama that benefitted from a delayed and extended Awards season, as well as a powerful debut from an African-American director. There’s an enormous degree of nuance to Shaka King’s Judas, which never defines its characters as good or bad; instead, they’re a group of complex, fluid individuals who constantly evaluate their allegiances and question their choices. And of course, it’s lead by three of the finest actors of their generation, all of whom put forward captivating performances.

Currently available on home-video and on-demand services.

4. Evangelion: 3.0+1.0 Thrice Upon a Time

The highest-grossing theatrical release of 2021 in Japan, and with good reason. Hideaki Anno bids farewell to his medium-defining franchise by instilling Thrice Upon a Time with all the usual hallmarks – think philosophical screenplay, exquisite animation, haunting imagery, and majestic soundtrack – while easing back on the bleakness and rectifying the drawbacks of its predecessors. The result is a feature-length anime that ranks not only as the best animated picture of the year, but one of the greatest ever made.

Currently streaming on Prime Video.

3. Minari

A darling of Sundance and another latecomer to the 2020 Oscar race, it wasn’t until February of 2021 that the majority of Australians got to experience Lee Isaac Chung’s drama. Those fortunate enough to see Minari were treated to some astonishing performances from a gifted cast; and a pensive narrative, one that will particularly resonate with migrants regardless of where they’ve hailed from, or where they live now.

Currently available on home-video and on-demand services.

2. Summer of Soul

This music documentary and directorial debut of Ahmir “Questlove” Thompson very narrowly misses out on the top spot in this list, its only faults being some questionable choices for interview subjects, and the varying quality of concert footage. Otherwise, Summer of Soul is close to perfect, an insightful and compelling documentary about African-American pride that doubles as a showcase for the greatest musicians of an era gone by, such as Mavis Staples and Mahlia Jackson (pictured above).

Currently streaming on Disney+.

1. Spider-Man: No Way Home

As an unabashed fan of the Marvel Cinematic Universe – and to a lesser extent, the Spider-Man films – this was always guaranteed to be a personal highlight of 2021; yet even with the enormous hype surrounding it, Jon Watts’ threequel was still able to exceed expectations. No Way Home serves as a tribute to its forebears, drawing inspiration from their examples whilst also functioning as the perfect denouement to three separate franchises, all while not forgetting to be a fun, moving and thrill-laden blockbuster.

Currently screening in theatres; available on home-video March 23rd.

Honourable Mentions: Last Night in Soho, Dune, West Side Story, Amphibia: True Colours