It’s that time again – time to look back and select our favourite films of the past year. It’s been more difficult than usual, because of course, many of the films we saw in the early months of 2021 had to be watched on small screens at home. But we gave it our best shot. It’s probably also worth pointing out that the movies we’ve chosen are not necessarily based on their original scores, but on how much they’ve stayed with us since first viewing them.

Promising Young Woman

‘Emerald Fennel’s debut film is fresh, funny, terrifying and compelling…. and Mulligan is perfect for the central role: one minute she’s all sweet vulnerability, the next a steely avenging angel.’

Minari

‘… gentle, lyrical and beautifully understated, yet in those lovingly crafted twists and turns lies a powerful message about the importance of family and the folly of blind ambition.’

Nomadland

‘Chloe Zhao’s extraordinary film draws a line that can be traced back to the pioneers of the Old West – or perhaps more accurately to the migrant workers of Steinbeck’s Of Mice and Men…’

The Father

‘… Hopkins takes his character through a range of moods and manifestations – from grandstanding showoff to sly insinuator – before delivering a final, desperate scene that is absolutely devastating.’

Another Round

‘This is a film that highlights the powerful allure of alcohol, a film that makes you understand why so many of us can’t help but dance to its tune.’

Limbo

‘Ben Sharrock has created a mesmerising, slow burn of a story, the bleakness undercut by moments of humour and genuine poignancy. The result is curiously heartwarming.’

Last Night in Soho

‘Edgar Wright swoops and soars and segues through the various unearthly set pieces with consummate skill and, while terrible things happen to Ellie, she is never allowed to be ‘the victim.’

Dune

‘After the long shutdown of the pandemic, what we need next is an epic – a big sprawling sci-fi adventure with stunning alien landscapes and awe-inducing special effects…’

The Last Duel

‘Both Damon and Driver excel as men driven by their own overbearing privilege, while Comer dazzles in every frame, clearly on the verge of becoming a major star of the big screen.’

Petite Maman

‘… relates its intimate story over just seventy-two minutes and yet, in its own muted way, it’s a magical experience, with a central premise that stays with me long after the credits have rolled.’