The Best Movies of 2021

Director: J Blakeson

Starring: Rosamund Pike, Peter Dinklage, Eiza González, Chris Messina

Distributor: Netflix

Where to Watch: Netflix

Most people watched I Care a Lot for the first time at home on Netflix in the midst of a nationwide lockdown due to the ongoing pandemic––an opportune time to take in a story about the effects of late-stage capitalism. In it we see Rosamund Pike’s Marla conspire with her girlfriend Fran (Eiza González) to liquidate and cash in on the assets of elderly victims by placing them under involuntary conservatorships. The duo pay off their co-conspirators at the hospital and nursing home for access to vulnerable old people with money in the bank, serve said old people papers, and abduct them from their homes––legally––to place them in assisted living without access to the outside world. And Marla does it all with a sociopathic smile on her face––her poppy powersuits and sharp blonde bob make her the inconspicuously evil corporate villain most of us have met at least once or twice.

Critics argue that I Care a Lot caved to problematic queer tropes, especially in its ending––there’s merit to that argument, but in my opinion, it did more right than wrong in the way of bringing dynamicism to on-screen queerness within the universe of a dark comedy thriller. There’s no explicit mention of Marla’s queerness; it’s neither made into a plotline via a traumatic coming-out story nor a target on her back by the many enemies she makes through her fraudulent guardianship scheme. Her idyllic, villainous, femme4femme relationship with Fran is simply treated as unspoken exposition the way straight relationships always are on-screen, which may not be the progress we want, but it’s progress nonetheless. And then there’s that other trope of villainizing people of marginalized identities on-screen, which one might argue this film does by making the ring leaders of the scheme two queer women––but this story isn’t so straightforward. In the I Care a Lot universe, nobody is likeable, so we’re not spoon-fed who to root for or against. You likely won’t walk away from the film with a special connection to any of its characters––its draw is the sociopathic back and forth between power-hungry edgelord Marla and weirdo CEO Roman (Peter Dinklage) that keeps you engaged to the twisted end. —Lou Delaney

Director: Alan Taylor

Starring: Alessandro Nivola, Leslie Odom Jr., Jon Bernthal, Corey Stoll, Michael Gandolfini, Billy Magnussen, Michela De Rossi, John Magaro, Ray Liotta, Vera Farmiga​​​​​​​

Distributor: Warner Bros. Pictures​​​​​​​

Where to Watch: HBO Max

Many Saints has its flaws for sure, but it had its moments and that twist was one for the books. The world of Tony Soprano was brought back to life by the show’s creator David Chase in a much-needed and highly-anticipated prequel. We needed to see how TV’s favorite mob boss came of age and why everyone worshiped Uncle Dickie so much. Now, should they have given us more on Dickie’s business acumen and Tony’s come up? Absolutely, and I hope we get more on Tony’s rise in the sequel (if there is one), however, confirming how much of a piece of shit Uncle Junior really is was well worth the price of admission. Here’s to another Sopranos Story. The North Jersey streets need that. —Angel Diaz

Director: Nia DaCosta

Starring: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo, Kyle Kaminsky, Vanessa Williams

Distributor: Universal Pictures

Where to Watch: Amazon Prime Video

The easiest way to approach most films in 2021—especially films that are either parts of a massive franchise or have a lot of hype going into them—is to curb your enthusiasm. At least that’s what I’ve learned. I’m not even sure if that’s what happened with the 2021 Candyman requel—a term I’ve seen a few times and am unsure if it’s actually a real word, but there’s no other way to describe a reboot/revival of a franchise ala the Halloween trilogy that started in 2018. Anyways, entering this film as a huge Candyman fan isn’t a problem; DaCosta and Abdul-Mateen did a brilliant job of satiating my hunger for new Candyman content in the cinema. It’s hard to pin down where things went wrong; it felt like the film understood the Candyman lore, but in choosing to refocus what Candyman actually means, we lost the plot. There was a wonderfully-built arc showing Anthony’s descent into madness, but when it was time for that madness to turn violent, it felt more like a hard left into the ultraviolence than something with a bit more meaning. For a film that felt like it gave us both a new outlook on Candyman and where Candyman can go next, it sucks that the end result feels muddier than it should’ve been. —khal

Director: Janicza Bravo

Starring: Taylour Paige, Riley Keough, Nicholas Braun, Ari’el Stachel, Colman Domingo

Distributor: A24

Where to Watch: Amazon Prime Video

A24’s Zola had one of the hardest jobs that looked mad easy. Back when Zola dropped her iconic Twitter thread back in 2016, the immediate thought was “make this a movie.” It took another three years before people could even see it, then another year and change before the world got to check the flick out. Accented with chirps to signify when each new tweet was being introduced to the story, the film plays it fairly close to how the story was laid out to us, and that works until it doesn’t anymore. It’s not even like the film is bad; Paige and Domingo are fire every time they open their mouths, and even guys like Nicholas Braun get to have fun and be zany in this dark comedy. The problem is, the film still feels like it’s missing something, or rather, there may have been room to flesh certain things out. Not saying sticking to the tweets was a bad move, but if there was ever a time that would have allowed us to get more meat on these bones, it was now. Again, after reading (and re-reading) the thread for a few days straight six years ago, I was very familiar with how Zola’s tale ends. One just wishes that in a film like this, with such a unique tale, dynamic score (seriously, Mica Levi’s the real MVP), and strong performances, the end result would be greater.  —khal

Director: Mikey Alfred

Starring: Ryder McLaughlin, Vince Vaughn, Miranda Cosgrove

Distributor: Illegal Civilization

Where to Watch: Amazon Prime Video

I could give two shits about skateboarding. (Full disclosure, I can’t even ride a bike.) Still, ask me about North Hollywood and I will talk your damn ear off. Following L.A. high schooler Michael (Ryder McLaughlin) as he struggles to find his path, he eventually lands on the near-impossible dream of becoming a pro skateboarder. Like I already said, two shits, but that’s OK because it’s not the topic or double-ollie-who-gives-a-damn that’s meant to grab you. It’s the struggle. A struggle that is made evident, both in front of and behind the camera, as a cast of largely unknowns—and first-time writer/director Mikey Alfred—put their all into stunning scenes which must have needed a few hundred takes to get right. A mix of subculture, Los Angeles vibes, coming-of-age feels, and good old-fashioned passion makes this the kind of film I haven’t seen since the 1995 classic Kids, but I have no doubt will earn it a following every bit as large. Just remember, you heard it here first. —Nate Houston

Director: Michael Sarnoski

Starring: Nicolas Cage, Alex Wolff, Adam Arkin​​​​​​​

Distributor: Neon

Where to Watch: Hulu

Pig is definitely a weirder sell based on its synopsis alone, but like the grizzled Nicolas Cage who stars in it, the movie has a heart of gold buried underneath its tough truffled exterior. Basically like John Wick meets Fight Club, but with a pig, Michael Sarnoski’s screenplay follows Cage as a nomadic former-master chef who lives out his days hunting for truffles in the Oregon wilderness with his farmyard companion, when all of a sudden his only tether to happiness is stolen from him, sending Cage down a spiral of revenge to retrieve the animal.

Beyond the amazing acting from Alex Wolff and Cage, the interesting commentary on the classist culinary machine that high-end restaurants operate under, and the genuinely suspenseful and tragic story that ensues all because of some truffles, I think Pig is such a compelling film because it has a central message that is delivered with gut-wrenching precision. All of its main characters—from Wolff and his restaurant mob boss father to Cage—had lost something important to them, and the final act of Pig shows that no matter how you try to replace it, whether with a pet or a culinary crime syndicate, it’s only temporary and that hole in your heart will remain. Who would have thought you’d get all that from a movie about a pig! —Jordan Rose

Director: Wes Anderson

Starring: Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, Owen Wilson

Distributor: Searchlight Pictures

Where to Watch: Amazon Prime Video

Three years ago, an Honest Trailers episode for “Every Wes Anderson Movie” was released, and it’s pretty damn accurate. I won’t rehash the video crazy, but just know that the running theme is that every Wes Anderson film follows similar patterns, from the casting of certain characters to Bill Murray and Owen Wilson always having to be around to the consistent effort put into those color pallettes. If Anderson’s films (or films about journalism) don’t interest you, it’d make sense to skip over this one, and I wouldn’t fault you. At a certain point, all of Anderson’s projects move in similar patterns, but you know what? Dude has a style, and is very good at making quality films within that style. It also helps that everyone from Adrien Brody to Jeffrey Wright is in this; even if you get bored with all of that Wes Andersoning going around, you are at least treated to great work from this talented cast. —khal

Director: Lana Wachowski

Starring: Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jessica Henwick, Jonathan Groff, Neil Patrick Harris, Priyanka Chopra Jonas, Jada Pinkett Smith

Distributor: Warner Bros. Pictures​​​​​​​

Where to Watch: HBO Max

For all of the talk surrounding if revivals/reboots are necessary and the wild idea of making more original content, it’s dope that a film like The Matrix Resurrections exists. Sure, it’s a sequel coming 18 years after the third film in the series turned many people off. What Lana Wachowski was about to do with the franchise is more of a reinvention. It’s not a movie engineered for mass audiences to jump in and take the ride; one may actually recommend you running back the previous three films, just to at least familiarize yourself with The Matrix, as Resurrections both refers to its lore heavy while also twisted it on its head. At the heart of the tale are Reeves and Moss, who are seasoned enough to pick things up where they naturally left off, all the while giving this machine a real heart. It’s fucking meta, both in regards to its own world and the world of reboot culture in general, and but for those of you who take the pill and fall deeper into the rabbit hole, you’re actually rewarded for your effort. Definitely one to put the blinders on and focus on...after some required viewing, that is. —khal

Director: Chloé Zhao

Starring: Frances McDormand, David Strathairn, Linda May, Swankie

Distributor: Searchlight Pictures

Where to Watch: Hulu

One of America’s most well-worn axioms is: “It’s not the destination, it’s the journey.” But, cliche as Ralph Waldo Emerson’s quote may be, there’s truth within. Chloé Zhao’s multi-Oscar-award-winning Nomadland optimizes this axiom, detailing the travels of Fern (an extraordinary Frances McDormand) in the wake of a vast personal tragedy amongst 2008’s Great Recession.

As Fern—and the audience—become further intertwined into the nomadic lifestyle, Zhao’s direction takes on a near documentary feel, charting the interconnectedness and belonging of the nomads. Zhao’s stunning photography captures the southwest’s splendorous sprawl; majestic landscapes are rendered in a painterly fashion, evoking the work of artists like Mark Maggiori. Nomadland’s naturalistic style extends to its inherently humanistic approach, as the film focuses on the ties—grief, love, loss, understanding, acceptance, decency—that bind us together at our best. At times, the movie feels as if it’s a collection of small moments, yet that’s a feature, not a bug; their presence lingers long after the movie ends. 

So, yes, the effectiveness of Nomadland’s tale lies within the journey and what happens along the way. It’s about the spaces, places, and people we find in our travels between what’s past and what’s next. What’s more human and moving than that? —William Goodman

Director: Ridley Scott​​​​​​​

Starring: Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, Salma Hayek, Al Pacino​​​​​​​

Distributor: Metro-Goldwyn-Mayer​​​​​​​

Where to Watch: In theaters

House of Gucci is an instant classic that just makes sense. It’s indulgent in every regard, in the best ways: from the maximalist wardrobe to Lady Gaga’s fittingly over-the-top acting, to the sheer length of the film––clocking in at just under three hours. Many of its reviews focus on Gaga’s and Adam Driver’s horrible Italian accents and whether the film was truly camp. (Yes, the accents are bad––Driver seemingly gives up on his midway through the film, and Gaga toggles between Gaga-doing-an-Italian-accent and Coney Island Russian lady for its duration––and yes, it’s camp.) But the real question is, how did this film not get made sooner?

Based on Sara Gay Forden’s 2000 book, The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed, director Ridley Scott’s take on the story lets us in on the Gucci dynasty drama by way of Patrizia Reggiani (Lady Gaga), a quietly domineering social climber. She meets Maurizio Gucci (Adam Driver), an unassuming heir to the family business, at a Gatsby-esque disco party, and pursues him, borderline stalking him to get him to take her out. He falls in love with her vitality, despite her lower social class, and surrenders his stake in the family fortune to marry her. But of course power-hungry Patrizia finds them a way back in.

Accent aside, Gaga disappears in the role of Patrizia, delivering a character that feels complicated and real. Driver’s Maurizio feels authentic too, shifting from smitten to totally inaccessible as his wife starts getting too cozy within the family business. The titular family is furious with the movie-–making it all the more enticing to catch while it’s still on the big screen. —Lou Delaney

Director: Adam McKay

Starring: Leonardo DiCaprio, Jennifer Lawrence, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Scott Mescudi, Himesh Patel, Cate Blanchett, Meryl Streep

Distributor: TK

Where to Watch: Netflix

By now, we all know a thing or two about what it’s like dealing with a looming worldwide threat that a lot of people just can’t seem to take seriously. Adam McKay’s Don’t Look Up explores the story of two scientists discovering that a massive comet is about to hit earth. The problem? No one seems to care. The film is a satirical take on what it’s like when our culture and our society is too wrapped up in celebrity news, political divisiveness, and social media, and how dangerous that can be when facing a real threat, like climate change or a deadly virus. The film stars Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Jonah Hill, and has appearances by Ariana Grande, Kid Cudi, and Tyler Perry. That alone should be a major incentive to watch it. 

DiCaprio and Lawrence play the two mid-level scientists who are trying to warn the world about the comet, and head to the White House to meet with President Orlean (Meryl Streep) and her team, which includes her son Jason (Jonah Hill), to find a solution. It’s not DiCaprio’s best work, and his character is not the center of the story like they usually are, and the same goes for J.Law. In this film they both relied on the assistance of Jonah Hill as the president’s hilarious son, and Timothée Chalamet, who both provide some of the films funniest and best moments. (One particular moment where Chalamet’s character Yule expresses his love for Fingerling potatoes might just be my favorite part of the whole thing.) There is so much going on in this film, and while it might be hectic and chaotic, it simply works. McKay couldn’t have timed this story any better as it mirrors what our reality has been like these past couple of years. Some might think the satire and comedy is too over-the-top, but if you've been paying attention, its beyond realistic. 

At this point in the COVID game, a film that gets me to go to a movie theater has to be fun, exciting, and entertaining as hell. The film as a whole has to be more appealing than being safe and comfortable at home. After the Don’t Look Up trailer dropped, I knew it’d be worth standing in line at a theater for, and I can honestly say that it was. And it’s even better now that it's available to stream on Netflix.  —Karla Rodriguez

Director: James Gunn

Starring: Margot Robbie, Idris Elba, John Cena, Joel Kinnaman, Sylvester Stallone, Viola Davis, Jai Courtney, Peter Capaldi

Distributor: Warner Bros. Pictures​​​​​​​

Where to Watch: HBO Max

The Suicide Squad works so well because it understands what it wants to do the entire time and doesn’t get lost in the loud explosions of the superhero genre. From the bombastic mind of director James Gunn, this rendition of DC’s band of titular misfit supervillains forced to do hero work is so much better than its predecessor, Suicide Squad, because it doesn’t take itself too seriously. Gunn seamlessly meshes gore with humor and still finds time to flesh out each of the backstories of our main cast that aren’t household names. Not too dissimilar from what he’s done in past movies with Marvel like The Guardians of the Galaxy, Gunn is an expert at making an audience of casual comic book fans care about a lexicon of lesser-known characters. Daniela Melchoir’s portrayal of Ratcatcher 2 was one of the most compelling characters in the squad, and she is probably the least recognizable villain. Gunn also does a great job of humanizing the least human characters of his films, as he does here with Ratcatcher 2’s rat Sebastian and the giant sentient alien antagonist Starro. And therein lies the beauty of The Suicide Squad, it gives every character, good, bad, or ugly, a heart, and that’s one of the core themes for this group of villains-for-hire that makes them so endearing. Couple that with inspiring performances from Margot Robbie, Idris Elba, John Cena, and more, and The Suicide Squad is not only one of the best DCEU movies yet, but one of the best movies of 2021. —Jordan Rose

Director: Denis Villeneuve

Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem​​​​​​​

Distributor: Warner Bros. Pictures

Where to Watch: Amazon Prime Video

I was surprised at how much I loved this movie, even though I missed out on the IMAX experience and had to watch it for a second time on HBO Max because the movie screen at the theater I watched it on was shitty. I also was around 200 pages into the book before I lost it in another country and had to buy a new book with the “now a major motion picture” thingy on it like I’m some rookie. But anyway, the Harkonnens are the hardest villains out and Stellan Skarsgård as the Baron was just *chef’s kiss*—I mean this is why you go to the movies, to see performances like that. When Denis Villeneuve is in his sci-fi bag, it gets no better. He was able to build a world that even the GOAT David Lynch struggled to build and it was pretty close to scenes from the novel. They should’ve let him drop both parts back to back, though, I think it would’ve saved us the insufferable discourse about colonizers and the colonized. Maybe read the book first. —Angel Diaz

Director: Jon Watts

Starring: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx, Willem Dafoe, Alfred Molina, Benedict Wong, Tony Revolori, Marisa Tomei, Andrew Garfield, Tobey Maguire

Distributor: Columbia Pictures​​​​​​​

Where to Watch: In theaters

Watching the world react to the latest film in Sony’s Spider-Man Universe has been fun. Spider-Man: No Way Home, which tackles the MCU’s multiverse head-on, is either the greatest MCU film ever or the worst of Sony’s latest trilogy. This is not the time to debate this film, which Sony and Marvel desperately needed to have be a successful one. Sony bringing back some of their biggest bads thus far (including Alfred Molina’s Doc Ock and Willem Dafoe’s Green Goblin) alongside their other two Spider-Men was a huge gamble; lucky Doctor Strange (and the Marvel Studios crew) was around to make sure it all stuck. There were a lot of landings they had to nail, too; from three Spider-Men discussing their differences to some of the bigger battles, a lot could’ve gone wrong. With Jon Watts at the helm, the balance of melodrama and the stakes of the MCU and the wall-to-wall jokes doesn’t feel weighted to one side more than others, and the film is better for that; he even helped Andrew Garfield’s Peter redeem himself by being way more awesome than he was in his two Amazing movies. You feel every bit of this film’s two-and-a-half-hour runtime (plus two post-credits scenes!), but that’s because of what it is: an event movie on par with Infinity War and Endgame in terms of importance. The time to discuss that aspect of Sony’s current Spider-Man Universe is not now, however; just revel in 2021’s biggest blockbuster, and hope that Sony has found a way to continue to build onto this Spider-Verse without crippling Spidey’s momentum. —khal

Director: John Krasinski

Starring: Emily Blunt, Cillian Murphy, Millicent Simmonds, Noah Jupe, Djimon Hounsou, John Krasinski

Distributor: Paramount Pictures

Where to Watch: Paramount+

The only thing standing in the way of John Krasinski’s A Quiet Place Part II toppling its predecessor was, well, Krasinski himself. It wouldn’t have been the first time that a franchise’s future was ruined by doing too much in the sequel. That said, A Quiet Place Part II isn’t better than the first film—it’s very good, but not better. “Better” is hard to obtain when you a) already understand this world, and b) have removed amazing set pieces like the silo and other spots in the farmhouse. Forget all of that, though: A Quiet Place Part II is the best horror film to drop in 2021. Krasinski found a way to pull the curtain back on the mythos of the world he’s building while baking in tougher obstacles, bigger stakes, and a larger cast. It’s a delicate balancing act, and it feels like he’s got a future in this. While we won’t demand you go see this in theaters—your comfort level is a real thing, and you should move into the world at your own pace—but it’s amazing that the Quiet Place films continue to showcase how important sound is in cinema, especially in horror. The fact that there’s a third film on the way shouldn’t be a shock. We just hope that Krasinski can go three-for-three. —khal

Director: Jeymes Samuel

Starring: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, Deon Cole​​​​​​​

Distributor: Netflix

Where to Watch: Netflix

The Harder They Fall’s director and producer Jeymes Samuel set out on a mission to show the world that, regardless of what Western films have shown in the past, there were people of color in the Old West. The Netflix film tells the story of an outlaw named Nat Love (Jonathan Majors) who is seeking vengeance against his lifelong enemy Rufus Buck (Idris Elba), who killed his parents when he was a child. After Love learns that Buck has been released from prison, he gathers his own crew to go after his rival and seek justice. Buck has his own band of cowboys like “Treacherous” Trudy Smith (Regina King) and Cherokee Bill (LaKeith Stanfield) by his side, while Love has Stagecoach Mary (Zazie Beetz), Bill Pickett (Edi Gathegi), and Jim Beckwourth (R.J. Cyler) on his. Things quickly turn bloody and violent, with countless shootouts and explosions, giving true Western fans everything they love while having the stellar cast all together in one film makes this film a must-see not just for that group of movie lovers, but for everyone.  

While the Western is not based on a true story, Samuel wanted to include characters in his film who were based on real people who traveled West after the end of slavery. The all-star cast, which also includes Delroy Lindo, Deon Cole, and Danielle Deadwyler, did a hell of a job at portraying real-life Black cowboys from the 1880s. The soundtrack is reminiscent of The Great Gatsby’s from 2013, which was also executive produced by Jay-Z. The rapper enlisted the help of artists like Lauryn Hill, Jadakiss, Kid Cudi, Koffee, and more for the project. The music, the costume design, the acting, the story, and the action make this film one of the best Netflix has released this year. —Karla Rodriguez

Director: Lee Isaac Chung

Starring: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, Will Patton

Distributor: A24

Where to Watch: Amazon Prime Video

Minari is the kind of movie that’s best enjoyed whenever you have some quiet time for yourself. The semi-autobiographical A24 film by Lee Isaac Chung is about a South Korean immigrant family adjusting to rural life in Arkansas. Jacob (Steven Yeun) and Monica (Han Ye-ri) move their two children, Anne (Noel Cho) and David (Alan Kim) from California to help the father in his dreams of becoming a farmer, growing Korean vegetables to sell to Korean-American communities in Arkansas and neighboring states. The film might move slowly but it’s filled with tender, heartfelt moments, especially in the scenes between the children and their grandmother Soonja (Youn Yuh-jung), which landed the North Korean native the Oscar for Best Supporting Actress. The family struggles as they realize that their version of the American Dream includes living in a mobile home, marital issues, and struggling to find a church community that accepts them in their new town. The movie may have been categorized as a foreign film by the Golden Globes, but this story is as American as they come. —Karla Rodriguez

Director: Shaka King

Starring: Daniel Kaluuya, Lakeith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Darrell Britt-Gibson, Lil Rel Howery, Algee Smith, Dominique Thorne, Martin Sheen

Distributor: Warner Bros. Pictures

Where to Watch: HBO Max

Out of all of the amazing things that Judas and the Black Messiah did for the legacy of Chairman Fred Hampton, one of my favorite things is that this film gave us a unique piece of history: Judas is the first film with an all-Black production team to be nominated for a Best Picture Oscar. While the path for Black creatives in Hollywood starts with more Black faces on screen, the real change is done with the Black people in producer roles, cinematographer roles, key grips, best boys, and any other role that scrolls during the credits.

Daniel Kaluuya earned each and every Best Supporting Actor award he received (which include both the Oscar and the Golden Globe), bringing Chairman Fred to life on screen with all of his fiery passion. Despite the failed campaign for Lead Actor (how the hell are they BOTH Supporting Actors when the film’s title literally starts with Judas and?, LaKeith Stanfield’s turn as Bill O’Neal (a.k.a. the man who was planted to snitch on Chairman Fred to the feds, ultimately helping in Hampton’s murder) is strong. He nailed O’Neal’s conflict with his position and what his actions would mean for the movement, a performance that had an effect on him mentally. The film also featured so much Black Excellence from Black Hollywood in all shapes and sizes—Dominique Fishback alone is worth the price of admission. Shaka King’s direction (and that keen eye; Judas is a beautiful film in and of itself). The Lucas Brothers being able to step outside of the box they’d been pigeonholed into and make a statement for decades-long injustices being done to Black people in this country. “To this day,” Kenny Lucas explained during a conversation with Complex earlier this year, “the FBI still has the building named after J. Edgar Hoover. I think that that’s a testament to how disrespectful we’ve been to Hampton’s legacy.” 

Being able to craft a film that a) properly pays homage to the legacy of Chairman Fred, while b) putting on for Black Hollywood, and c) helping dismantle systemic racism? Your favorite film of 2021 could never. —khal