With the end of 2021 just around the corner, let's have a look at the films released so far this year that were scored the best of the best by IGN's critics.
But first, a few notes: IGN rates its movies on a scale of 0-10. The "best reviewed" movies listed here all scored 8 or above. The IGN review scale labels any film scored 8 as "great," 9 as "amazing," 10 as "masterpiece". That said, read on for the best movies of 2021 -- listed in score order -- from The Father, the only film to earn the rare 10/10 review score in 2021, to a new entry in the beloved Ghostbusters franchise to a big-screen adaptation of one of the most beloved plays of all time and much more...
Read the Review: “Not everything works in Steven Spielberg’s West Side Story — how could it, when the 1961 classic is nigh unimpeachable? — but his visual translation of some of the original’s latent ideas makes it a complementary piece. At once rougher and more dazzling, it has tremendous high points that seldom overlap with its predecessor, resulting in a remake that feels both hyper-charged and wholly justified. A true thing of beauty.” - Siddhant Adlakha
Read the Review: “Gintama: The Very Final is exemplary of what a series swan song should look like. It gives all of its personalities a chance to shine, serves up satisfying battles, and retains its signature humor all the way to the end. Fans will undoubtedly wish they had a bit more time with Gintoki and the crew, but this is an ending anyone could be satisfied with.” - Brittany Vincent
Read the Review: “Encanto dazzles both visually and narratively, with vibrant songs and stellar animation. Stephanie Beatriz leads a superb voice cast who help bring a film to life that is grounded but also feels like a magical delight.” - Andrea Towers
Read the Review: “Writer-director Mike Mills gets the very best from Joaquin Phoenix by pairing him with the young Woody Norman. Their pitch-perfect chemistry enlivens this quiet road drama about the perspectives of our youth with emotionality that won’t leave a dry eye in the house.“ - Matt Dougherty
Read the Review: “Introducing, Selma Blair is a deeply impactful documentary that works on many levels. It functions as a coming out party for the real woman behind the roles that have mostly defined her public persona, and as a “gloves off” informational journey about living with, and trying to combat the symptoms of, multiple sclerosis. The doc accomplishes both with humor, honesty, dignity, and a staggering level of vulnerability from Blair.” - Tara Bennett
Read the Review: “Belfast is a love letter to both a city, and the ghosts of Kenneth Branagh’s past. There’s clearly soul-searching going on as he re-examines events from his childhood, and how they affected those he loved, and the decisions they made. Yet that story is told with a lightness of touch that belies the serious subject matter, making for a sometimes sad, frequently tender, and often joyous affair that celebrates family, film, and the people and places that turned Branagh into the man he is today.” - Chris Tilly
Read the Review: “Director Jason Reitman does his father and fans proud with a funny, sweet, and spooky family movie that proudly takes on the legacy of Ghostbusters, while also introducing something exciting and new. It helps that Mckenna Grace is the kind of talent that only comes around once in a generation: charming, authentic, and the beating heart of this already heartfelt movie. Get ready to fall in love with the Ghostbusters all over again.” - Rosie Knight
Read the Review: “The Harder They Fall both subverts and embraces the Western tradition with some spectacular shootouts, slick dialogue, and a top-notch ensemble cast firing on all cylinders. Add a rollicking soundtrack to all of that and you’ve got fun and suave modern Western that smartly places a Black narrative squarely at its center.” - Hanna Ines Flint
Read the Review: “The French Dispatch is both an ode to print journalism and one of Wes Anderson’s most richly detailed films. While based on real journalists and articles, each of its smaller segments is painted in Anderson’s signature whimsical style, culminating in one of the most effective and thoughtful stories of his career.” - Siddhant Adlakha
Read the Review: “A gorgeous black-and-white film that harkens back to several cinematic eras, Joel Coen’s The Tragedy of Macbeth twists an old tale just enough to keep it fresh, but relies on tremendous lead performances by Denzel Washington and Frances McDormand to make the familiar feel exciting.” - Siddhant Adlakha
Read the Review: “Inu-Oh blends art styles and animation techniques to deliver a roaring cacophony of rock music, with electrifying performances that feel like what Bohemian Rhapsody aspired to be. Even if the first act relies too heavily on explaining its setting, director Masaaki Yuasa tells a poignant story about the importance of art in preserving history, about memory and artistic defiance, all while inspiring headbanging through each musical number.” - Rafael Motamayor
Read the Review: “Titane is a ferociously f*cked up film that revels in sex, violence, and the allure of flashy cars and sultry women. However, under the hood of this stylish crime-thriller is a tenderness almost as shocking as its outlandish plot twists. Co-writer/director Julia Ducournau delivers a superb sophomore effort, which surpasses her cannibal horror-comedy Raw in provocative content and twisted laughs. Newcomer Agathe Rousselle is an extraordinary find, hurling herself face-first into grisly violence, lusty dances, and nerve-rattling emotional terrain. Co-star Vincent Lindon is a remarkable scene partner for a battle of wills or a tender surrender. Together, this terrific trio has created a frenzied film that is both sickening and sublime. “ - Kristy Puchko
Read the Review: “Part homage, part modern update, the new Candyman film by Nia DaCosta is a creeping descent into a violent past which refuses to stay hidden. Like prior films in the series, it adds new wrinkles to the urban legend, but it also remixes the mythology in ways that are both surprising and completely fitting.” - Siddhant Adlakha
Read the Review: “Val can be challenging viewing at times. If you remember what a big star Kilmer was at his peak, it’s hard not to be shocked by his health struggles (even as he says he sounds worse than he feels). If one chooses to be cynical about it, there’s a bit of career rehab at play as it attempts to soften his perceived rough edges. But for everyone else, Val is a rewarding experience that will prove both engrossing and emotional.” - Zaki Hasan
Read the Review: “James Gunn absolutely kills it with The Suicide Squad. The film is a bloody, chaotic ride from start to finish that finally does justice to Task Force X. It’s endlessly shocking and funny, and its showcase of F-list DC villains is nothing short of brilliant.” - Joshua Yehl
Read the Review: “One of the best things about The Long Halloween is how it isn’t meant to exist within the universe of animated features DC has been producing for the last several years, and instead stands apart as a self-contained detective story that, while rewarding familiarity with Batman and his universe, can play effectively regardless of how ensconced one happens to be in DC Comics arcana. It’s a compelling story adapted with care and performed with conviction. Taken together, both parts make for not merely one of the best Batman animated movies, but one of the best Batman movies, period.” - Zaki Hasan
Read the Review: “The Green Knight is truly astounding. Defying the standards for Arthurian legend adaptations, it heavily favors atmosphere and mood over action and monologues. Substantial performances marry with director David Lowery's sumptuous style to create a film that is sensational, less about story than the experience. If you can get on the wavelength of such an artful quest, you’ll be rewarded. Once you’ve found that footing, The Green Knight is a heart-rattling, loins-riling, and head-spinning trip that packs a profound punch.” - Kristy Puchko
Read the Review: “Pig subverts the expectations of the average revenge-thriller and accentuates the deep emotional scars that often underscore these stories. It features a measured, meticulous performance from Nicolas Cage, who turns his usual explosiveness inward as he searches for his kidnapped truffle pig, resulting in a melancholy John Wick for the Portland restaurant scene.” - Siddhant Adlakha
Read the Review: “A Fear Street movie didn’t need to be this good. Let’s be frank: director Leigh Janiak and company could have cobbled together a rehash of one of Stine’s plotlines that boasts some sexy slasher fun slathered in nostalgia. That would have been fine, popcorn-worthy entertainment. But Janiak went above and beyond, using Stine’s books as a guide to pen her own scorching chapter in Fear Street’s legacy. She wrote it in blood, and the result is extraordinary. Fear Street Part 1: 1994 is a film rich with character, world-building, Easter eggs, and scares. Horror fans will be grinning over a visual allusion, then be pulled to the edge of their seat by this slaughter-packed adventure, then catch themselves screaming at a harrowingly portrayed murder. Those who aren’t in the club may not understand its dark allure. But for the rest of us, Janiak delivers top-notch horror that relishes teen angst, terror, and the unadulterated thrills of Fear Street. And this is just the start…” - Kristy Puchko
Read the Review: “Voices shake and voices bellow in this film adaptation of Lin-Manuel Miranda’s first Broadway hit. Set in a steadily gentrifying Manhattan neighborhood, In the Heights moves smoothly between cinematic realism and the magic of the stage, in a defiant musical about what it means to belong, and what it means to be remembered. It is one of the most moving and joyful films this year.” - Siddhant Adlakha
Read the Review: “Justice Society: World War II easily ranks among the best of long-running DC Universe Movies series. It draws just the right amount of inspiration from the source material while also pulling from adventure movies like Raiders of the Lost Ark to spin an entertaining superhero yarn. It deftly avoids the pacing issues that have plagued so many of these movies and manages to take full advantage of nearly every member of its ensemble cast. Clearly, Warner Bros. should be putting Barry Allen at the center of these animated films more often.” - Jesse Schedeen
Read the Review: “Intense and atmospheric, Keith Thomas’ The Vigil invigorates demonic horror by centering on Jewish traditions, especially those concerning death. Part haunted house, part tech thriller, and entirely grounded by Dave Davis’ harrowing performance, the film never loses sight of questions of cultural identity, and the ways it intersects with personal and collective trauma.” - Siddhant Adlakha
Read the Review: “Barb and Star Go to Vista Del Mar is extraordinary because – like its fluffy-haired heroines – it makes no apologies for what it is. Mumolo and Wiig have created a story that is proudly deranged, setups that are savagely silly, and centered all that around two delightfully daffy caricatures of middle-aged women that feel fresh yet familiar. In the playful mugging of Star or the funny fretting of Barb, we might recognize family members, friends, neighbors, or even – in jolting moments – ourselves. And this unrepentantly silly comedy says that's okay! Barb and Star might be ridiculous but they are also wonderful, warm, and happy. And their film not only celebrates that but also gives us an addictive taste of what is to be Barb and Star at Vista Del Mar. (And I do mean addictive. As I write this, I've already watched my rental three times. You better believe I'm praying for a sequel.)” - Kristy Puchko
Read the Review: “This religious horror film has been building buzz on the festival circuit, and it's easy to understand why. Rather than resting on jump scares or some grisly-looking villain, its horror is found in hurtling audiences into the headspace of a damaged anti-hero, who is all too familiar with hell on earth. Hell is loneliness. Hell is other people. Hell follows Maud whether she's caring for the sick, trolling for a hookup in a seedy bar, or subjecting herself to stomach-churning, self-inflicted body-horror. Echoing this, the sound design moves from the creaks of Maud's tormented mind to the tear of a pulpy scab and the squish of blood in grungy sneakers. The spooky spectacle is not just in spurts of gore, skittering bugs, or visions of damnation, but in the stingy lamplight that caresses curves of flesh yet sinks them into an inky shadow, a constant reminder of doom. In sight and sound, every second of this film is alive with art and agony, making Saint Maud a righteously haunting horror offering that deserves to be worshipped.” - Kristy Puchko
Read the Review: “Derek DelGaudio's In and Of Itself is a beautiful, powerful performance that employs art, illusion, storytelling, and its own audience to explore aspects of identity, isolation, and our own desperate drive to figure out who we are as individuals. There's nothing quite like it, which, as goes the uniqueness of humanity, is the point.” - Matt Fowler
Read the Review: “The Father is a devastating masterwork by first-time director Florian Zeller, based on his play Le Père. The film follows an old man with dementia (Anthony Hopkins) and manipulates its editing and set design until you can longer trust your perceptions — much like its main character. It features career-best work from all involved, including Hopkins, as a man trying desperately to cling to his old life, and Olivia Colman as his daughter, who cares for him at great personal cost.” - Siddhant Adlakha
What are the best movies you've seen so far this year? Let's discuss in the comments!
Continue reading...
But first, a few notes: IGN rates its movies on a scale of 0-10. The "best reviewed" movies listed here all scored 8 or above. The IGN review scale labels any film scored 8 as "great," 9 as "amazing," 10 as "masterpiece". That said, read on for the best movies of 2021 -- listed in score order -- from The Father, the only film to earn the rare 10/10 review score in 2021, to a new entry in the beloved Ghostbusters franchise to a big-screen adaptation of one of the most beloved plays of all time and much more...
West Side Story
Grade: 9
Read the Review: “Not everything works in Steven Spielberg’s West Side Story — how could it, when the 1961 classic is nigh unimpeachable? — but his visual translation of some of the original’s latent ideas makes it a complementary piece. At once rougher and more dazzling, it has tremendous high points that seldom overlap with its predecessor, resulting in a remake that feels both hyper-charged and wholly justified. A true thing of beauty.” - Siddhant Adlakha
Gintama: The Very Final
Grade: 9
Read the Review: “Gintama: The Very Final is exemplary of what a series swan song should look like. It gives all of its personalities a chance to shine, serves up satisfying battles, and retains its signature humor all the way to the end. Fans will undoubtedly wish they had a bit more time with Gintoki and the crew, but this is an ending anyone could be satisfied with.” - Brittany Vincent
Encanto
Grade: 9
Read the Review: “Encanto dazzles both visually and narratively, with vibrant songs and stellar animation. Stephanie Beatriz leads a superb voice cast who help bring a film to life that is grounded but also feels like a magical delight.” - Andrea Towers
C’mon C’mon
Grade: 9
Read the Review: “Writer-director Mike Mills gets the very best from Joaquin Phoenix by pairing him with the young Woody Norman. Their pitch-perfect chemistry enlivens this quiet road drama about the perspectives of our youth with emotionality that won’t leave a dry eye in the house.“ - Matt Dougherty
Introducing, Selma Blair
Grade: 9
Read the Review: “Introducing, Selma Blair is a deeply impactful documentary that works on many levels. It functions as a coming out party for the real woman behind the roles that have mostly defined her public persona, and as a “gloves off” informational journey about living with, and trying to combat the symptoms of, multiple sclerosis. The doc accomplishes both with humor, honesty, dignity, and a staggering level of vulnerability from Blair.” - Tara Bennett
Belfast
Grade: 9
Read the Review: “Belfast is a love letter to both a city, and the ghosts of Kenneth Branagh’s past. There’s clearly soul-searching going on as he re-examines events from his childhood, and how they affected those he loved, and the decisions they made. Yet that story is told with a lightness of touch that belies the serious subject matter, making for a sometimes sad, frequently tender, and often joyous affair that celebrates family, film, and the people and places that turned Branagh into the man he is today.” - Chris Tilly
Ghostbusters: Afterlife
Grade: 9
Read the Review: “Director Jason Reitman does his father and fans proud with a funny, sweet, and spooky family movie that proudly takes on the legacy of Ghostbusters, while also introducing something exciting and new. It helps that Mckenna Grace is the kind of talent that only comes around once in a generation: charming, authentic, and the beating heart of this already heartfelt movie. Get ready to fall in love with the Ghostbusters all over again.” - Rosie Knight
The Harder They Fall
Grade: 9
Read the Review: “The Harder They Fall both subverts and embraces the Western tradition with some spectacular shootouts, slick dialogue, and a top-notch ensemble cast firing on all cylinders. Add a rollicking soundtrack to all of that and you’ve got fun and suave modern Western that smartly places a Black narrative squarely at its center.” - Hanna Ines Flint
The French Dispatch
Grade: 9
Read the Review: “The French Dispatch is both an ode to print journalism and one of Wes Anderson’s most richly detailed films. While based on real journalists and articles, each of its smaller segments is painted in Anderson’s signature whimsical style, culminating in one of the most effective and thoughtful stories of his career.” - Siddhant Adlakha
The Tragedy of Macbeth
Grade: 9
Read the Review: “A gorgeous black-and-white film that harkens back to several cinematic eras, Joel Coen’s The Tragedy of Macbeth twists an old tale just enough to keep it fresh, but relies on tremendous lead performances by Denzel Washington and Frances McDormand to make the familiar feel exciting.” - Siddhant Adlakha
Inu-Oh
Grade: 9
Read the Review: “Inu-Oh blends art styles and animation techniques to deliver a roaring cacophony of rock music, with electrifying performances that feel like what Bohemian Rhapsody aspired to be. Even if the first act relies too heavily on explaining its setting, director Masaaki Yuasa tells a poignant story about the importance of art in preserving history, about memory and artistic defiance, all while inspiring headbanging through each musical number.” - Rafael Motamayor
Titane
Grade: 9
Read the Review: “Titane is a ferociously f*cked up film that revels in sex, violence, and the allure of flashy cars and sultry women. However, under the hood of this stylish crime-thriller is a tenderness almost as shocking as its outlandish plot twists. Co-writer/director Julia Ducournau delivers a superb sophomore effort, which surpasses her cannibal horror-comedy Raw in provocative content and twisted laughs. Newcomer Agathe Rousselle is an extraordinary find, hurling herself face-first into grisly violence, lusty dances, and nerve-rattling emotional terrain. Co-star Vincent Lindon is a remarkable scene partner for a battle of wills or a tender surrender. Together, this terrific trio has created a frenzied film that is both sickening and sublime. “ - Kristy Puchko
Candyman
Grade: 9
Read the Review: “Part homage, part modern update, the new Candyman film by Nia DaCosta is a creeping descent into a violent past which refuses to stay hidden. Like prior films in the series, it adds new wrinkles to the urban legend, but it also remixes the mythology in ways that are both surprising and completely fitting.” - Siddhant Adlakha
Val
Grade: 9
Read the Review: “Val can be challenging viewing at times. If you remember what a big star Kilmer was at his peak, it’s hard not to be shocked by his health struggles (even as he says he sounds worse than he feels). If one chooses to be cynical about it, there’s a bit of career rehab at play as it attempts to soften his perceived rough edges. But for everyone else, Val is a rewarding experience that will prove both engrossing and emotional.” - Zaki Hasan
The Suicide Squad
Grade: 9
Read the Review: “James Gunn absolutely kills it with The Suicide Squad. The film is a bloody, chaotic ride from start to finish that finally does justice to Task Force X. It’s endlessly shocking and funny, and its showcase of F-list DC villains is nothing short of brilliant.” - Joshua Yehl
Batman: The Long Halloween, Part Two
Grade: 9
Read the Review: “One of the best things about The Long Halloween is how it isn’t meant to exist within the universe of animated features DC has been producing for the last several years, and instead stands apart as a self-contained detective story that, while rewarding familiarity with Batman and his universe, can play effectively regardless of how ensconced one happens to be in DC Comics arcana. It’s a compelling story adapted with care and performed with conviction. Taken together, both parts make for not merely one of the best Batman animated movies, but one of the best Batman movies, period.” - Zaki Hasan
The Green Knight
Grade: 9
Read the Review: “The Green Knight is truly astounding. Defying the standards for Arthurian legend adaptations, it heavily favors atmosphere and mood over action and monologues. Substantial performances marry with director David Lowery's sumptuous style to create a film that is sensational, less about story than the experience. If you can get on the wavelength of such an artful quest, you’ll be rewarded. Once you’ve found that footing, The Green Knight is a heart-rattling, loins-riling, and head-spinning trip that packs a profound punch.” - Kristy Puchko
Pig
Grade: 9
Read the Review: “Pig subverts the expectations of the average revenge-thriller and accentuates the deep emotional scars that often underscore these stories. It features a measured, meticulous performance from Nicolas Cage, who turns his usual explosiveness inward as he searches for his kidnapped truffle pig, resulting in a melancholy John Wick for the Portland restaurant scene.” - Siddhant Adlakha
Fear Street Part 1: 1994
Grade: 9
Read the Review: “A Fear Street movie didn’t need to be this good. Let’s be frank: director Leigh Janiak and company could have cobbled together a rehash of one of Stine’s plotlines that boasts some sexy slasher fun slathered in nostalgia. That would have been fine, popcorn-worthy entertainment. But Janiak went above and beyond, using Stine’s books as a guide to pen her own scorching chapter in Fear Street’s legacy. She wrote it in blood, and the result is extraordinary. Fear Street Part 1: 1994 is a film rich with character, world-building, Easter eggs, and scares. Horror fans will be grinning over a visual allusion, then be pulled to the edge of their seat by this slaughter-packed adventure, then catch themselves screaming at a harrowingly portrayed murder. Those who aren’t in the club may not understand its dark allure. But for the rest of us, Janiak delivers top-notch horror that relishes teen angst, terror, and the unadulterated thrills of Fear Street. And this is just the start…” - Kristy Puchko
In the Heights
Grade: 9
Read the Review: “Voices shake and voices bellow in this film adaptation of Lin-Manuel Miranda’s first Broadway hit. Set in a steadily gentrifying Manhattan neighborhood, In the Heights moves smoothly between cinematic realism and the magic of the stage, in a defiant musical about what it means to belong, and what it means to be remembered. It is one of the most moving and joyful films this year.” - Siddhant Adlakha
Justice Society: World War II
Grade: 9
Read the Review: “Justice Society: World War II easily ranks among the best of long-running DC Universe Movies series. It draws just the right amount of inspiration from the source material while also pulling from adventure movies like Raiders of the Lost Ark to spin an entertaining superhero yarn. It deftly avoids the pacing issues that have plagued so many of these movies and manages to take full advantage of nearly every member of its ensemble cast. Clearly, Warner Bros. should be putting Barry Allen at the center of these animated films more often.” - Jesse Schedeen
The Vigil
Grade: 9
Read the Review: “Intense and atmospheric, Keith Thomas’ The Vigil invigorates demonic horror by centering on Jewish traditions, especially those concerning death. Part haunted house, part tech thriller, and entirely grounded by Dave Davis’ harrowing performance, the film never loses sight of questions of cultural identity, and the ways it intersects with personal and collective trauma.” - Siddhant Adlakha
Barb and Star Go to the Vista Del Mar
Grade: 9
Read the Review: “Barb and Star Go to Vista Del Mar is extraordinary because – like its fluffy-haired heroines – it makes no apologies for what it is. Mumolo and Wiig have created a story that is proudly deranged, setups that are savagely silly, and centered all that around two delightfully daffy caricatures of middle-aged women that feel fresh yet familiar. In the playful mugging of Star or the funny fretting of Barb, we might recognize family members, friends, neighbors, or even – in jolting moments – ourselves. And this unrepentantly silly comedy says that's okay! Barb and Star might be ridiculous but they are also wonderful, warm, and happy. And their film not only celebrates that but also gives us an addictive taste of what is to be Barb and Star at Vista Del Mar. (And I do mean addictive. As I write this, I've already watched my rental three times. You better believe I'm praying for a sequel.)” - Kristy Puchko
Saint Maud
Grade: 9
Read the Review: “This religious horror film has been building buzz on the festival circuit, and it's easy to understand why. Rather than resting on jump scares or some grisly-looking villain, its horror is found in hurtling audiences into the headspace of a damaged anti-hero, who is all too familiar with hell on earth. Hell is loneliness. Hell is other people. Hell follows Maud whether she's caring for the sick, trolling for a hookup in a seedy bar, or subjecting herself to stomach-churning, self-inflicted body-horror. Echoing this, the sound design moves from the creaks of Maud's tormented mind to the tear of a pulpy scab and the squish of blood in grungy sneakers. The spooky spectacle is not just in spurts of gore, skittering bugs, or visions of damnation, but in the stingy lamplight that caresses curves of flesh yet sinks them into an inky shadow, a constant reminder of doom. In sight and sound, every second of this film is alive with art and agony, making Saint Maud a righteously haunting horror offering that deserves to be worshipped.” - Kristy Puchko
Derek DelGaudio’s In & Of Itself
Grade: 9
Read the Review: “Derek DelGaudio's In and Of Itself is a beautiful, powerful performance that employs art, illusion, storytelling, and its own audience to explore aspects of identity, isolation, and our own desperate drive to figure out who we are as individuals. There's nothing quite like it, which, as goes the uniqueness of humanity, is the point.” - Matt Fowler
The Father
Grade: 10
Read the Review: “The Father is a devastating masterwork by first-time director Florian Zeller, based on his play Le Père. The film follows an old man with dementia (Anthony Hopkins) and manipulates its editing and set design until you can longer trust your perceptions — much like its main character. It features career-best work from all involved, including Hopkins, as a man trying desperately to cling to his old life, and Olivia Colman as his daughter, who cares for him at great personal cost.” - Siddhant Adlakha
What are the best movies you've seen so far this year? Let's discuss in the comments!
Continue reading...