The Reel Life's Year in Film: Best of 2021

With the hellish year that was 2021 finally behind us, it's time to see where everything ranked on my Year in Film Best of 2021 list.

Scream (2022) - Review

 

Given how much the series pulls from whatever horror trends are the most popular during its release, it's no surprise that the best “Scream” sequels tend to come out when the most time has passed in between releases. Case in point, while not as fantastic as the original or as shocking and precise as “Scream 4,” this latest entry, simply titled “Scream (2022),” is a worthy addition to the series, still providing plenty of fun and plenty of blood.

This newest entry instead chooses to follow Sam Carpenter, played by Melissa Barrera (“Vida,” “In The Heights”), as she deals with a new Ghostface killer hunting down her and her friends after her younger sister Tara, played by Jenny Ortega (“The Fallout,” “You”), was attacked. Eventually, she ends up enlisting in the help of Ghostface survivors and “Scream” series veterans Sidney Prescott, played by Neve Campbell (“Scream (1997),” “Party of Five”), Gale Weathers, played by Courteney Cox (“Friends,” “Cougar Town”), and Dewey Riley, played by David Arquette (“Never Been Kissed,” “Eight Legged Freaks”).

In terms of balancing both likability and kill-ability, this new cast walks that tightrope line effortlessly. It’s not so brutal as to feel ruthless or heartless, but also not so blase as to remove any threat from the violence. It also has its fair share of new fan favorites, like Tara’s best friend Amber, played by Mikey Madison (“Better Things,” “Once Upon a Time in Hollywood”), or the movie loving Meeks-Martin twins, Mindy and Chad, played by Jasmin Savoy Brown (“Yellowjackets,” “Sound of Violence”) and Mason Gooding (“Booksmart,” “Love, Victor”) respectively. By extension, the strong cast helps to back up the mystery and makes figuring out “whodunnit” and the subsequent killer reveal exactly what it needs to be: the best part of any “Scream” movie.

Helming this newest entry is the directing duo of Matt Bettinelli-Olpin and Tyler Gillett, also known as Radio Silence (“V/H/S,” “Ready or Not”) and they know this material well. Having directed a few black comedy horror films before, they move through the proceedings like aged pros. Do they have as deft a hand as Craven? Of course not, few if any do. There are moments where a kill lingers a bit too long or is too over the top, but they nail it 95% of the time and it helps create a satisfying mystery.

Likewise, the script from James Vanderbilt (“Zodiac,” “Ready or Not”) and Guy Busick (“Urge,” “Ready or Not”) knows exactly when to play up the meta-narrative elements and when to focus on the moment to moment plot. In this age of horror films retconning everything after the original film to make a “faithful” sequel, “Scream (2022)” doesn’t go down that route but is plenty happy to satirize it. There are broad jabs and references to “elevated horror” like “Midsommar” and “The Babadook” as well as toxic fandoms and more specific Hollywood references throughout. Rian Johnson directing a highly divisive eighth installment in a beloved fan favorite franchise? I wonder what that could be referencing?

Just like the previous films in the series, Ghostface remains an extremely effective killer. Not only does the “whodunnit” aspect still work extremely well, almost like a grown up version of “Scooby-Doo,” but the embracing of the unmasking extends even to the promotional material, with the poster proudly proclaiming “The killer is on this poster.” But the physicality is also so refreshing in the age of superhuman foes. Seeing a potential victim trip up the hooded killer or stab them and see it hurt adds so much to the threat and the potential escape, heightening the excitement just as much as ever.

In the simplest of terms, “Scream (2022)” faithfully continues the series without feeling like a shambling corpse of itself. It’s still funny, thrilling, and scary, easily getting you invested in the cast of potential teenage fodder. It might not be as fresh as the original 25 years ago, and some of the beholdence to that original can come across as corny, but it's still an overall good time and just an all around well made horror film for fans and fiends alike. 4/5

Belle (2021) - Review

 

For those unaware, or for those who only pay attention to Japanese animated films when they have the name “Ghibli” attached to them, “Belle,” the ninth film from Mamoru Hosoda (“The Girl Who Leapt Through Time,” “Mirai”), is yet another reminder of how doing just that can shut out an incredible amount of art from region. Hosoda continues to prove that he’s one of the best directors working today, effortlessly blending spectacle and emotion with gorgeous sequences of animated wonder that will take your breath away.

Taking a riff on the classic Beauty and the Beast fairy-tale, “Belle” follows high-school student Suzu, voiced by Kaho Nakamura in her film debut, who, despite her awkward personality, is actually world famous digital singer Belle in the online world U. After her latest concert is sabotaged by a player known as Dragon, voiced by Takeru Satoh (“Rurouni Kenshin,” “Dragon Quest: Your Story”), she attempts to seek him out and figure out why he is so violent, to the dismay of her producer and best friend Hiroka, voiced by Lilas Ikuta, also in her film debut, and vigilante warrior Justin, voiced by Toshiyuki Morikawa (“Black Clover,” “Batman Ninja”).

While the DNA of the story is clearly that of the original fairy-tale, Hosoda manages to change it up quite significantly by the end. It’s a love story technically, but not in the way many would immediately assume, and Hosoda’s love of technology that has shown through in works like “Summer Wars” is on full, gorgeous display here. Endless sweeping vistas showcase the massive reach of U, using scale in a way that is just awe inspiring. Yet, even in the smaller moments, the creativity allowed by being set in a virtual world is evident. From clouds that look purposefully fake to small glitches and details in a castle that isn’t supposed to exist, the virtual setting is completely interwoven into this tale.

Hosoda’s characters are also as delightful as ever. Nakamura does a great job as Suzu, awkward when she needs to be and grand when she needs to be. But, even as Belle, she never completely lets go of Suzu’s little charms and the inverse is also true. It's a performance that really sells that they are the same person, in both story and acting. Satoh manages this balancing act as well, arguably better than Nakamura thanks to some revelations that won’t be spoiled here. Even in a more comedic role, Ikuta arguably steals the entire show, and it's a testament to the skills of the entire cast that it's all pulled off so flawlessly.

Musically, the film has to be good. It’s not only who Belle is, but an integral part of the story outside of that. Thankfully, it's truly exceptional. Whether you know Japanese or not, it's impossible not to tap your feet to the music or feel your heart swell as the music builds to a gorgeous vocal climax. It’s the kind of musical work that will likely remain a career highlight for Taisei Iwasaki (“The Naked Director,” “Kekkai Sensen”), Ludvig Forssell (“Death Stranding,” “Metal Gear Solid V: The Phantom Pain”), Yuta Bandoh (“It Comes,” “Poupelle of Chimney Town”), and Miho Sakai.

There are plenty of twists and turns throughout the two-hour runtime of Hosoda’s latest tech opus, but they all feel integral and natural to the story as it plays out. None feel obvious, yet they also aren’t played as big, “rug out from under you” twists either. Everything is in service of the best emotional conclusion to the story and, while it is a story about a singing beauty and a violent beast in an online world, it never lets that get in the way of its massive, human heart.

The technology and fairy-tale elements never overshadow the fact that this is a story about a high school girl, and her awkward social life compliments the main story instead of taking away from it, with every event that happens further fleshing out Suzu as a character so that her arc is that much more emotionally satisfying. They’re treated with the same level of care and importance as the big sweeping fantastical moments and it deepens the connections to every character involved, not just Suzu.

While he’s certainly younger than Hayao Miyasaki, Mamoru Hosada has still turned out his fair share of classics and “Belle” can easily tie with “The Girl Who Leapt Through Time” as his magnum opus. It’s a tale of pure human love and care told with all the gorgeous technology in front of and behind the screen that Hosoda clearly loves. From the first moment, it puts a smile on your face and it never leaves: the music is incredible, the visuals are incredible, the performances are incredible, and it's all in service of a story that will make your heart shine and soar. 5/5