The 2022 Seattle International Film Festival begins on on April 14th and runs through April 24th. UW Film Club will be covering as many films as possible so that you know which films to see! Throughout the festival, this article will be regularly updated with capsule reviews for festival films with the newest additions at the top. Check back every few days to see what’s new! Continue reading “SIFF 2022 Capsule Reviews”
Another year has passed us all by, far too quickly for my tastes. In my preamble to my list chronicling the top films of last year, I noted how the year marked a “new reality of everything being bad all the time in every way.” Unfortunately for all of us, not only does this remain true, but everything around us continues to get worse. A shame.
Thankfully, however, we have the power of cinema to hold us over until it all comes crashing down. And, on the bright side, this past year has actually been an exceptional year in the medium, and a marked improvement on the dip in overall quality we saw in 2020 (for obvious reasons). The 110 new releases from 2021 that I had the pleasure of watching this past year were full of highs and lows like any other year, yet the cream of the crop has undoubtedly risen above and beyond, providing me with some truly profound and deeply impactful experiences that I won’t soon forget. My full list of rankings can be found here.
2021 was a great year for film in many ways: breakout performances, unique approaches to filmmaking, and best of all, all the movie memes possible. Streaming made films more accessible than ever before, as movies hitting these platforms allowed people to catch everything from the most obscure indies to remakes, reboots, and franchise hits. Watching things from home has also increased our participation in discourse about movies, as the comfort made us more captivated by these films’ charm.
And thankfully, we had some great films to watch and discuss. Comebacks from old actors, passion projects, and many festival and international films that weren’t as accessible as they were before. Like said Maddie in her Top 10, I also watched around 50 new releases this year, but there were both many films I was hoping to watch (Licorice Pizza, Red Rocket, Spencer, and The French Dispatch, for example) and many films I was very close to choosing in my top 10s that I ultimately didn’t for various reasons that could be summed up as “not strong enough,” even if they did have a high chance of being there.
The Suicide Squad (directed by James Gunn)
Annette (directed by Leos Carax)
Deadly Cuts (directed by Rachel Carey)
Shang-Chi and the Legend of the Ten Rings (directed by Destin Daniel Cretton)
Save Yourselves! (directed by Alex Huston Fischer)
The Harder They Fall (directed by Jeymes Samuel)
Judas and the Black Messiah (directed by Shaka King)
Barb & Star Go to Vista Del Mar (directed by Josh Greenbaum)
Dune (directed by Denis Villeneuve)
Bo Burnham: Inside (directed by Bo Burnham) – I wasn’t sure if this counted as a “film” or not, as it is a comedy special, but I highly encourage anyone with Netflix to watch it.
John M. Chu’s adaptation of Lin-Manuel Miranda’s stage musical is incredible. There’s just a lot of positive energy in the way that Chu and everyone working with him present the film – maximalist joy is seeping through the big dance numbers and gaudy color palettes, and the intertwining of hyper-specific and broad themes is integrated perfectly through its cast’s delivery of joyful and heartbreaking moments make this one of the best movie musicals that I have seen in a while. It’s like if Spike Lee directed a musical: while there’s no real struggle aside from the ever-present anxieties of immigrants living in a racist country, you’re watching a microcosm of New York’s Washington Heights neighborhood and the diverse groups of people that make it up.
As much as Miranda’s touch is present throughout the film, it’s a blessing to have Anthony Ramos give it his all as the star, using the full breadth of his charm to assure even the biggest skeptics that he can sing, act, and dance. But nobody, not even Ramos, can hold a candle to Olga Merediz, the sole original Broadway performer to reprise her role as Abuela Claudia, and it’s surprising that the musical’s showstopper turned into the most moving and inspirational song of the film, her solo song “Palencia y Fe,” was an Oscar snub. All the songs on the film are high points and absolute bangers: they keep the emotions high, even in poignant moments. The vibrant, populous background and constant choreography help sustain them, greatly amplifying the joy that it brings.
You can read Joe’s review of In the Heights here.
Every year I seem to have one film on this list that my friends in this club don’t entirely agree on, which they in turn call a “hot take.” Two years ago, it was Long Shot, and now, it’s Trent O’Donnell’s directorial debut Ride the Eagle. Primarily known for his off-screen work on various sitcoms including Brooklyn Nine-Nine and The Good Place, O’Donnell manages to create a wonderful slice-of-life dramedy that is completely ridiculous yet relaxing to watch. It just looks and feels nice, and offers plenty of warmth. Throw in a great script, beautiful shots of the Portland/Vancouver area, and Jake Johnson’s finest performance yet, and you really have the ideal comfort movie going.
This movie surpassed my expectations greatly, as I didn’t think it was going to achieve all of its goals that it seemed to tease at in the beginning, yet I was pleasantly surprised in the way everything was handled. Johnson’s character is an Adam Sandler-esque manchild, but he doesn’t use gimmicky humor or live a super-depressing life. The film features dogs heavily, but doesn’t lean on cute-dog reaction shots or go for easy dog jokes. It’s smarter than that, as it maintains its breezy tone and avoids leaning to heavily on one theme or style to represent the complicated feelings of the very human experience of grief.
It’s not surprising for me to have multiple musicals on this list, but it is surprising that Lin-Manuel Miranda was involved in both of them. Miranda’s directorial debut features a story that is both original and universal, through the perspective of composer Jonathan Larson (Andrew Garfield), and he really turns it into what Twitter has dubbed “Black Panther for theatre kids.” Miranda takes Larson’s songs and visually presents them in an enticing way through both engaging musical sequences and Garfield’s wonderful performance. Tick, Tick…Boom! is an ambitious film that takes an extra step than what a simple script and sheet music could ever do.
The praise this film is getting are highly deserved. I almost see this movie as an homage to the entire history of the musical genre, as Miranda combines realism and fantasy to capture Larson’s struggle to make it big, while paying close attention to real-world issues like HIV, capitalism, and “playing it safe” because of America’s unfortunate displays of anti-intellectualism.
I’m convinced that Michael Showalter can’t make a bad film. Wet Hot American Summer is one of my favorite comedies of all time, and The Lovebirds was in my Top 10 just last year, so seeing him make something much more serious, even though it’s not completely devoid of humorous or at least lighthearted moments. The Eyes of Tammy Faye breaks away from the “biopic curse,” as Showalter breaks the rules of biopics to bring the signature style we saw in the rest of his work to expose the infamous Bakker family of televangelists for who they really were. The film presents detailed dedication to every visual detail, acting as a simultaneous period piece and love letter to ‘70s and ‘80s Christian television. It may be appealing to a niche market, but the film certainly nails it.
Part of why I really enjoyed this film came from Jessica Chastain’s remarkable transformation into Tammy Faye Bakker as the lead character and narrator. She nailed Bakker’s looks, the voice, the mood, and the fearlessness, vulnerability, and stubborn hope that came with this incredibly complex role, further cementing her. There was no question in my mind that she would be nominated for all of these acting awards, because she does more than simply re-enact Tammy Faye Bakker: she is Tammy Faye Bakker.
Last Night in Soho is a prime example of how directors can still embrace their signature style with a new genre or unexpected twist to truly make something unique. Edgar Wright, one of my favorite directors of all time, dishes up his usual: witty, rapid-fire dialogue, myriad everyday characters, dizzying sound design, and – of course – bright colors everywhere. Yet the excessive symbolism, fantasy sequences, and tragedies make it a one-of-a-kind psychological thriller that only Edgar Wright can do.
Thomasin McKenzie and Anya Taylor-Joy give viewers an emotional and psychological rollercoaster with their performances that makes them want to hug them by the time the film ends. The social thriller aspects only make this film stronger, as it taps into real-world issues of domestic violence, sexual abuse, depression, mental health, and loneliness. Some of the scenes used to portray these issues and their effects are mesmerizing, leaving you wondering how Wright could make something so magical. It may take a little patience, as even I was slightly bored at the start, but hang in there, because this wild ride is absolutely worth it.
Zola King’s viral Twitter thread, “The Thotessy,” aka “Dante’s Infern-Hoe,” among other colorful names, seems to be a hard thing to translate into a film, yet after watching Janicza Bravo’s sophomore feature, I’m convinced that you can turn anything with a narrative into a cinematic experience if you at least have the right direction. I saw Zola as a modern epic poem, similar to the original Twitter thread about Zola King’s garish weekend in the mythical land of Florida, because of how its irreverence is heightened through the visual medium like a less obnoxious version of Harmony Korine’s Spring Breakers.
Bravo’s direction of this dark comedy embraces the spontaneous and gaudy vibes that the original story gave us while still immersing us in the humanity of its participants – we are not simply observing these people going through them . We’re empathizing with Zola (Taylour Paige) and Stefani (Riley Keough) when they’re feeling themselves, and laughing at Nicholas Braun’s character’s homemade rap videos and eccentric delivery of “schmoney,” but at the same time we are exposed to Zola King’s real-world story, and her ever-increasing desire to “get the hell home.” I want to see what else can be adapted into a film like this.
One of the movies that I will admit to making a lot of memes about after I watched it was The Power of the Dog. This film and The Harder They Fall do the same thing in that they reclaim and rewrite the Western genre, but Jane Champion’s take is a perfect critique of the toxic masculinity that has not only shaped the American frontier but has a lot of residue in contemporary American culture. Champion is always an intelligent director, but the way she was able to portray such beauty and moral ambiguity in a genre that I now want to explore more makes this a beautiful viewing experience. The lack of genre cliches is additionally refreshing, as the typical Western genre is one not really known for changing it up.
It is a slow burn, and drags on for a little too long, but it’s really not a bad thing. It allows you to think and lulls you into a rhythm. When you expect it to get boring, the actors pull off another great performance: Benedict Cumberbatch and breakout star Kodi Smit-McPhee fill much of the emotional content through both their complex interactions and their unspoken, internal worlds. Kirsten Dunst reminds you of the impossible constraints women in this period dealt with, and the damage done by psychological abuse. This film is groundbreaking, and I can’t wait to see what comes next for Champion, all the actors involved (but especially Smit-McPhee), and the Western genre.
You can read Jonathan Shu’s review of The Power of the Dog here.
The bronze medal of my 2021 list goes to Shiva Baby, the only time I have ever sympathized with someone saying “the struggle is real.” I haven’t really seen many people talk about this film, so I’ll leave a quick review here in case you’re unfamiliar: while at a Jewish funeral service (the titular “shiva”) with her parents, a college student has an awkward encounter with both her sugar daddy and her ex-girlfriend, all the while she’s trying to fund her own college experience in unconventional way. Equal parts fun and horrifying, Emma Seligman’s directorial debut, an adaptation of her short film of the same name, is a coming-of-age story taking place somewhat late in the coming of age, which can almost be a horror film in the way Eighth Grade was due to how viewers are able to relate to the protagonist.
I love movies that not only make you guess things, but invite you to do so. Shiva Baby’s jumping between a comedy, a dark comedy, and a thriller at every turn is a prime example of the latter. Its more farcical moments are held together by solid writing and a very believable plot, and Rachel Sennot’s performance as the lead, a Jewish girl who doesn’t fit into her society’s constraints on what a Jewish girl should be, is one of my favorite performances of this past year due to her similarly unpredictable blend of levity and vulnerability. It’s a very dynamic film that shows how relentlessly and unforgivingly insensitive people can be in a bourgeoisie society, played out over the course of one girl’s activities over one afternoon. The pacing is a weak point, as the film feels rushed and incomplete at times, but it is still a very brilliant and original take on Jewish American culture and its utter hypocrisy.
I don’t really know how to describe Titane. It’s a simple story of finding unconditional acceptance, mixed with gender-bending, blood/motor oil combinations, and bodies being pushed to impossible limits. Amidst all this violence, nightmare fuel, and neon colors, we see a warm and delicate soul. It’s not just a colorful Climax-style art-horror piece, as it adds sci-fi elements, a relatable, self-destructive protagonist played masterfully by Agathe Rousselle in her feature debut, and, of course, cars. The eccentricities add to the honesty and relatability, in a way, presenting the film as evident of David Lynch’s non¬-Dune work for a new generation, and they make you love it at every moment. This was one of the biggest award snubs in the U.S. for sure.
Titane is not just 90-ish minutes of sex, blood, and bodily mutilation, but 90-ish minutes of blazing chaos that comes with the need for acceptance. Ducournau wrapped this simple concept in one of the most off-the-rails ways possible. I need more like this. More of Doucournau’s wild imagination, more films with shocking moments at every turn, heck, more French movies like this!
Online film festivals have made watching movies you would never think about watching really easy. Thank God Together Together, my favorite SIFF watch, is now widely distributed, because it is honestly one of my favorite movies of all time. I went into this film completely blind, not even knowing what it was, and now I have watched it twice, become obsessed with its lead actress, and still think about this movie constantly.
Together Together, aside form being a TERF’s worst nightmare, is an easily likable satire of surrogacy that embraces its awkwardness and the value of meaningful friendships that can come from it. It’s funny, and it subverts a lot of your expectations because you expect the leads to end up together when they really end up as just friends. While the core plot revolves around the pregnancy aspect of surrogacy, the little details we get to know about the two and their unlikely chemistry make the film engaging and really fun to watch. Their relationship is never explored from a sexual angle, which most clichéd rom-coms would. Ed Helms and Instagram terror Patti Harrison are wonderful as the leads, with the supporting cast ably pitching in when they can (Julio Torres especially). This film turned Harrison into one of my favorite discoveries of 2021, as it got me into her comedy and her roles in shows like Shrill and Made for Love, both of which I enjoyed greatly, too.
Back to Together Together, the script pulled me into the emotional wavelength that Nicole Beckwith was presenting, particularly how the leads just become friends and don’t get romantically involved at all, and the actors finding nuances and little details to play in every scene and the care they put into building them up as people really elevated my viewing. It helps that there aren’t any giant contrivance points along the way or like this or that misunderstanding that blows up all over, instead those points are filled how a connection is formed through sincerity and vulnerability.
I also got this sense underlying much of the film that perhaps Beckwith was playfully satirizing how a lot of people, especially “traditional” couples, don’t take surrogacy seriously (the birthing class scene is a great example), and that helps to ground the main characters as genuine people trying to navigate a world where many are fake. Every aspect of this film is perfect for me, and I loved every minute of it. If you watch anything from this list, please watch Together Together.
You can read Joe’s review of Together Together here.
I saw four movies in theaters in 2020, which is an impressive fact when you consider that theaters were only open three months that year. In 2021, thanks to widespread vaccination availability, I was so excited to be able to return to seeing movies on the big screen. Many highly anticipated releases that were delayed due to the pandemic finally got their moment to shine. Continue reading “Sarah Kelley’s Top 10 Films of 2021”
A year of recovery? As I close the chapter of 2021, I look back to about this time last year with some pessimism. As the news of a vaccine broke, surely, I hoped, the theatrical experience I loved would return with a glorious triumph. But with vaccination skepticism and new variants came yet another glimpse at the possible future of cinema. One where, as of this writing, 6/10 projected best picture nominees had a wide release via a streaming platform. In a year stacked with old 2020 and scheduled 2021 releases, what happened that caused major films from major filmmakers with major actors, like The Last Duel and West Side Story, to bomb at the box office? It may be that the traditional 40-65-year-old demographics that go to the movies felt unsafe in a dark, enclosed space during a raging pandemic. It may be that people are generally willing to wait longer for cheaper prices of VOD. It may just be people don’t hold movies at the center of their pop-culture diet anymore.
Yet…
Another year of fantastic filmmaking has come to a close. Film fans far and wide will be sharing their favorites of twenty-twenty-one, and I am certainly no exception to the rule. I am so grateful for having gotten to see so many films this year, from virtual Sundance to better-than-usual streaming releases. Despite the fact that I watched more than 50 new releases this year, there are still many that I have not gotten the chance to see. I am sure that if I had seen them before writing this list, C’Mon, C’Mon, Licorice Pizza, and Red Rocket would have strong chances at making an appearance on this list. They surely would have to put up a fight with this phenomenal Top 10, however. So sit back, have a skim, and feel free to pass judgement on my personal assessment on some of the best that 2021 had to offer.
It’s difficult to overstate the deep cultural impact of The Matrix. It redefined the sci-fi film genre and shaped an entire generation of fans, it raked in $460 million worldwide, garnered multiple Oscars, and sent the already healthy careers of Keanu Reeves and Laurence Fishburne (the latter being somehow recast in the new one) into true stardom. I’m a fan myself, loving the first two films and believing Reeves’ Neo to be one of my favorite sci-fi heroes of all time, and I was so happy when the Wachowskis announced the series’ fourth installment: The Matrix Resurrections. It’s not a perfect film, but there’s enough of the old magic to delight longtime fans. The stars still radiate chemistry, there are plenty of cameos and sly nods to the franchise throughout, and the familiar themes have been subtly updated to make them more relevant than ever.
Sixty years since the film last graced movie screens, West Side Story is back. This time around, legendary director Steven Spielberg takes his shot at the classic re-imagining of Romeo and Juliet. Set in New York in 1957, The Upper West Side is divided between two teenage street gangs, the white Jets and the Puerto Rican Sharks. The two gangs have a bitter rivalry fighting for control of the neighborhood, but their quest seems futile as the neighborhood is set to be demolished to make room for Lincoln Center. One day, Tony (Ansel Elgort), a former Jet, locks eyes with María (Rachel Zegler), the younger sister of the Shark’s leader Bernando (David Alvarez). As the two gangs prepare for a rumble, the star-crossed lovers are caught in the middle, desperate to be together and also save the people they care about.
Continue reading “Review: ‘West Side Story’ Re-Imagines the Classic Tale For a Modern Audience”
King Richard, directed by Reinaldo Marcus Green, tells the story of how a father who came from nothing turned his daughters into world-renowned tennis players Venus and Serena Williams. This sports biopic demonstrates the importance of determination and how the increase in female empowerment can change the world.
Continue reading “Review: ‘King Richard’ Is an Inspiring Feminist Story”
Her first film in 12 years, Jane Campion’s The Power of the Dog is a venomous, suppressed exploration of masculinity on a disappearing Western front. Based on Thomas Savage’s book of the same name, the film follows two ranchers: Phil Burbank (Benedict Cumberbatch), and his brother, George (Jesse Plemons). George is stocky and plodding, wears suits and is always polite. Phil is lean and whip-smart, but with a cruel tongue and a savage instinct at the scent of any perceived weakness – including his own. He dominates the ranch, castrating bulls with his bare hands and commanding the property with the steely swagger of a true “cowboy”. So, when George disrupts the ranch hierarchy and unexpectedly brings home a wife, Rose (Kirsten Dunst), Phil utterly rejects her, beginning a campaign of psychological torture. But he faces an unlikely foe in Rose’s son, Peter (Kodi Smit-McPhee), as Phil and Peter’s growing relationship brings up deep secrets and a long-hidden yearning.
Continue reading “Review: ‘The Power of the Dog’ Finds Another Worthy Vessel”
