“Drive My Car”: There is a tranquility to the Japanese drama “Drive My Car,” which filmmaker Ryusuke Hamaguchi adapted from a Haruki Murakami short story about a widowed actor who develops a connection with his chauffeur, while putting together a multilingual production of Uncle Vanya.
But perhaps more extraordinary is what a great film it is as director Joanna Hogg and her star/stand-in Honor Swinton Byrne unpack Julie’s tragic first love and her evolution as an artist.ĥ. “ The Souvenir Part II ”: Art house films don’t typically get sequels with numerals on them for many reasons, most of them boring and money related, so it’s a bit of a miracle that “The Souvenir Part II” even exists. The best part is it’s not even finished yet.Ĥ. There was so much baggage and failure and missed opportunities swirling around “Dune” that it’s kind of miraculous that they were able to make something this clear-eyed, thrilling and visually unique. “Dune”: A bigger-than-IMAX vision that is as smart as it is spectacular, Denis Villeneuve’s “Dune” is far and away the best blockbuster of the past few years. Awash in Southern California calm and optimism, this is a playful and joyous ode to the big personalities, embellished stories, endless possibilities and endearing Hollywood-adjacency of a place that barely exists anymore.ģ. “Licorice Pizza”: It’s a rare film that makes you nostalgic for a time and place you never knew, but Paul Thomas Anderson’s breezy, sunny “Licorice Pizza” does just that for the San Fernando Valley of Gary Valentine (Cooper Hoffman) and Alana Kane’s ( Alana Haim ) youths. Not only is she one of the richest characters that has ever graced our screens, it’s the kind of film that will bury itself in your subconscious.Ģ. Despite the idyllic Greek seaside setting and the intoxicating premise of a solo vacation, the unease hovers oppressively as we follow the brilliant, passionate, selfish, cruel and inscrutable Leda Caruso (Olivia Colman) through some unorthodox choices, past and present. “The Lost Daughter”: There’s an element of danger, real and theoretical, permeating every moment of Maggie Gyllenhaal’s electric adaptation of the Elena Ferrante novel.
The Associated Press' film writers picks for best movies of 2021:ġ.
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