I’m starting 2022 by looking back at my top 10 choices for the best movies of 2021, the year in which we rebounded from the ever present Covid threat by returning to cinemas, allowing us to experience the kinds of pictures we were spared of in 2020.
It’s been a fascinating year and, as always, film choices subjectively differ among many a reviewer. Here were the pictures that both affected me the most, and seemed to contain the greatest artistic measure, from 10 through to number 1.
Would love to know your thoughts as to your top 10 choices…
There is a debate coming about Spider-Man: No Way Home, set to go down in cinematic lore as both the end and a new beginning for Tom Holland’s Peter Parker. A debate around just how much fan service has now arrested control of popular cinema.
While No Way Home will almost certainly do gigantic box office business, even by the metrics of the hugely successful Marvel Cinematic Universe, not everyone is going to embrace the ambitious steps Jon Watts’ film takes. This isn’t, after all, simply the concluding beat of a three-film trilogy, such as we saw in Sam Raimi’s Spider-Man 3 (and let’s not forget there was talk of a fourth for a time afterward). No Way Home is the conclusion of seven previous Spider-Man adventures, not to mention Holland’s web as a character within the wider MCU itself.
In that sense, Marvel have crafted a sequel quite unlike any other here, by tapping into the burgeoning concept of the ‘multiverse’ in the way audiences have previously understood to be the point of parallel universe stories: to depict alternate versions of the same characters. The MCU has thus far established the concept on more of a conceptual level in outings such as Loki, or even irreverently in the last Spider-Man film Far From Home or in elements of WandaVision. Here, the franchise goes for broke in providing audiences with long-standing closure that, had the MCU not been as rampantly successful, would never have happened.
For some, like this writer, the result is joyful. Others will find it infuriating and strangely reductive. And either way, No Way Home could be a sign of times to come, should it be the huge success people are predicting.
You know when people say “don’t watch this one unless you’ve seen the last one”? Well, that statement may just peak with Spider-Man: Far From Home, particularly when it comes to the Marvel Cinematic Universe.
The ‘one’ in particular isn’t even the previous solo Spider-Man film, 2017’s Homecoming, because the MCU has changed the game when it comes to how sequels work. Homecoming introduced the supporting characters in Peter Parker’s direct orbit but Jon Watts’ precious picture was neither Tom Holland’s first bow as the character, and Homecoming serves as an important part of the ongoing, overarching narrative in the first era of the MCU which concluded recently with the ‘one’ I am talking about – Avengers: Endgame. That’s the film you need to have seen before Far From Home as Watts’ Spider-Man film serves as an extended epilogue to the epic conclusion to the Infinity Saga, not to mention a coda to that first, decade-spanning era.
Far From Home is about the legacy of an era which reinvented exactly what the ‘superhero movie’ was. Marvel Studios, under Kevin Feige’s aegis, took the formula and tropes we had come to know and understand from the previous three decades since 1978’s seminal first Superman adaptation, through a legion of Batman movies and beyond, and subverted them pretty much from the get-go. Robert Downey Jr’s Iron Man didn’t spend half a dozen films hiding his identity as Bruce Wayne did – he came out and told the world right at the end of his origin story. The MCU interweaved characters and narratives to develop the first ongoing, television-style serialised structure in cinematic history. Along the way it brewed up broad comedy, epic action, science-fiction and half a dozen other genres—often within the same films—inside which the traditional ‘superhero’ nestled.
What we have seen in previous Marvel pictures before Endgame, and which Far From Home makes abundantly clear, is that Marvel’s self-aware subversion of that formula has become their formula itself.
Spider-Man: Homecoming is probably the cheekiest title Marvel have ever given one of their films, simply for the fact the subtitle is both literal and figurative. Spider-Man, probably Marvel’s most famous superhero alongside the Hulk, finally comes home with Jon Watts’ entry to the Marvel Cinematic Universe.
Sony Pictures have owned the rights to the character for many years and have made repeated attempts over the last fifteen to launch a franchise with our friendly neighbourhood web-slinger. The first time, under Sam Raimi’s direction, we had the original Spider-Man trilogy starring Tobey Maguire as Peter Parker. There he fell in love with Kirsten Dunst’s Mary-Jane Watson and battled the Green Goblin, Doctor Octopus and Venom (plus half a dozen more in the third film it seemed). Poor critical buzz partly put paid to a planned fourth Raimi Spider-Man film after 2008.
Then came the reboot. Out went Raimi, out went Maguire. In came upcoming star Andrew Garfield as Peter and Marc Webb, best known for the divisive (500) Days of Summer, behind the lens. Emma Stone joined as Gwen Stacy, the other well-known Peter Parker love interest, and this time he battled a new Green Goblin and, again, thanks to the power of sequelitis, half a dozen bad guys including Electro in the second film, which also Sony planned to use as a backdoor way of teeing-up a Sinister Six spin-off movie. Despite how the two leads impressed, the knives were again out critically and any chance of a trilogy died a swift death.
The famed Sony hack was the first indication they were hatching plans with Marvel to bring Peter Parker into the MCU. The Amazing Spider-Man 2 came out in 2014 and just two short years later, at the start of 2016, another rising star in Tom Holland popped up to portray the character in Captain America: Civil War. In a film rammed with established superheroes, within a story very much in the middle of an ongoing story arc eight years to that point in the making, Holland shone brightly immediately in his extended cameo. He was Spider-Man, and he was back where he always should have been.