For instance: I haven’t seen The Lost Daughter, C’mon C’mon, The Tragedy of Macbeth, or Ghostbusters: Afterlife. Nayman: I also had a kid this year-bringing our household’s grand total to two–which didn’t so much poison my movie brain (can’t poison something that’s already toxic) but cut into my movie-viewing time so significantly that I’ve missed enough key 2021 titles to make me wonder about making a list in the first place. ![]() It made me feel as good about this stage of my life as anything that isn’t my daughter. Shot in gorgeously creamy black and white across L.A., New York, and New Orleans, it’s a movie not without scares or drama, but ultimately warm and refreshingly free of guile. He uses a proxy uncle character, played with the record-flip softness that Joaquin Phoenix likes to break out after every Joker or so, to animate the parental love for a young boy ping-ponging between precocity and arrested development. After tackling his father (2011’s Beginners) and his mother (2017’s 20th Century Women), Mills is focusing on his child and his relationship to parenting. I’m pairing it with C’mon C’mon, another of Mike Mills’s gentle and episodic works of miniature opera. Gyllenhaal is a first-time writer-director and hers is the most assured debut of the year, anchored by four terrific performers (Olivia Colman, Jessie Buckley, Dakota Johnson, and Dagmara Domińczyk) tasked with four visions of motherhood-one in repose, one in retreat, one in recalcitrance, and one in anticipation. It’s a movie that withholds judgment, but shows women constantly confronting the joy, toll, and simmering frustration of motherhood. In Maggie Gyllenhaal’s often unsettling adaptation of Elena Ferrante’s novel, she crafts a portrait of mothers at the end of their wits that is perceptive and relatable and fearless. But what I had not anticipated is how this can work in other directions. I’m a cliché dad, prudish and fragile, and that’s OK with me (for now). Where once I could a watch an endangered child on-screen and hardly bat an eyelash at the fictional terror, now I recoil at even the suggestion of a little girl or boy in peril. Sean Fennessey: Adam, I had a kid this year-our first-and it’s poisoned my movie brain. ![]() The Lost Daughter/ C’mon C’monĭirected by Maggie Gyllenhaal (Netflix)/Mike Mills (A24) Ideally, horror movies show us things we can’t unsee Glass’s money shot has been living rent-free in my mind’s eye for months now. Topping it all off, Saint Maud sticks the landing with an ending that basically burns a hole through the screen. Glass knows how to ratchet tension, but also how to let scenes breathe. It’s a beautifully made movie, as finely embroidered and darkly enveloping as a funeral shroud, and it’s carried by a heroic lead performance by Morfydd Clark as a woman whose belief that she can talk to God could be taken equally as delusions of grandeur or the pinnacle of humility. (However, let’s give a silver medal to James Wan’s Malignant for proving that the right way to spend all that Aquaman collateral was on a movie about a sentient tumor.) In a moment when critics and fans are caught up in debating the phenomenon and cinematic vocabulary of “elevated horror,” Saint Maud passed the audition as handcrafted, high-minded festival fare with Big Themes that didn’t sacrifice scares. And unless you count the 40th anniversary rerelease and restoration of Andrzej Zulawski’s magnificently messed-up and terrifying Possession, no other horror movie came close. Nayman: Back in April, I wondered whether anything would clear the bar set by Rose Glass’s uncannily well-executed debut. In a moment when a company like Netflix can claim that Red Notice amassed 328 million hours of total viewership without producing a single receipt, it’s hard to feel certain about anything-except the fact that Red Notice isn’t on either of our lists. In terms of the bigger picture, moviegoing-and with it, processes of evaluation and canonization-may be getting back to something more like normal, and yet larger questions about the industry’s overall health and how films will (or won’t) reach audiences remain urgent and unanswered. ![]() Even when there were instances of crossover in our lists, we seemed to be coming at the films themselves from different angles. The upshot of this exercise wasn’t just to spotlight as many worthy movies as possible, but to contrast different ideas about what constitutes cinematic value beyond taste. This year, in the spirit of The Last Duel, Sean Fennessey and I decided to put our lists head-to-head-yet we still didn’t find room for the best Ridley Scott movie of the year, which will only make Sir Ridley crankier. Last year, I wrote about how hard it was to get two movie lovers to agree on a mutual top 10.
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