MY LEAST FAVORITE FILMS OF 2021

Since I saw so few new movies in 2020, I didn't have a listing of my least favorite films that year. But now that I've gotten back in the groove, I have unfortunately seen some movies that I did not find much enjoyment. I'm sure there are people who may love these movies on this list but they didn't work at all for me:

"HOUSE OF GUCCI"

The second film that Ridley Scott directed last year ends up on this list. "House of Gucci" is a painfully, overwrought drama based on the real-life crime involving family members of the Gucci fashion dynasty. Lady Gaga returns to acting on the big screen as Patrizia Reggiani, a young woman making a modest living working as an office manager for a small trucking firm owned by her father. Her life changes when she meets Maurizio Gucci (Adam Driver) at a party. After pursuing him, she eventually captures his heart but Maurizio's father, Rodolfo (Jeremy Irons) sees her as nothing more than a gold-digger. Maurizio marries Patrizia anyway and promptly disinherited. Patrizia becomes pregnant, hoping this will help win them back into the family. Maurizio's uncle, Aldo (Al Pacino) welcomes them back, bringing the couple into the business and helping to mend Maurizio's relationship with his father. A power-hungry Patrizia soon wants more control over the company, first using Aldo's dimwit son, Paolo (Jared Leto) to gain more shares. After beginning an affair, Maurizio soon ends his marriage with Patrizia. And she in turn with her psychic, Pina (Salma Hayek) creates a plan to end his life. Since there were so many powerhouse actors on set, it seems like Scott simply gave up control and let them all have at it. The performances are wildly inconsistent with each of the actors appearing like they are in completely different movies. We have Gaga and Driver delivering high drama while Pacino and Leto (buried under heavy make-up) seems to be working hard on an Italian comedy farce. This is a fascinating story and think that "House of Gucci" would have been better served as a television mini-series. But with a different director, script and cast.

"DEAR EVAN HANSEN"

Due to the critical acclaim, award-collecting and the rabid fanbase who saw the play multiple times, I was intrigued to go see the stage musical, "Dear Evan Hansen" years ago. And I have a confession: I didn't like the show. At all. I still cannot comprehend the appeal of this tragic and appalling story of a teenager suffering from anxiety who makes a bad situation worse by falsely claiming to be a close friend of a fellow student who has committed suicide, then bonding with his grieving family based on this dishonesty. Now we have the movie adaptation of "Dear Evan Hansen" from director, Stephen Chbosky which only reinforces my issues with this narrative. Ben Platt, who originated the role on Broadway and won a Tony Award, plays Evan Hansen who has broken his arm after falling out of a tree. Evan's therapist recommends that he writes letters to himself for positive reinforcement and his mother (Julianne Moore) suggests that he gets people to sign his cast as a way to make new friends. After a classmate, Connor (Colton Ryan) signs his cast, he reads Evan's letter which mentions the crush he has on his sister, Zoe (Kaitlyn Dever), sending him off in a rage. Desperate for answers, Connor's parents (Amy Adams and Danny Pino) approach Evan after the letter addressed to "him" is found with Connor when he ended his life. The script by Steven Levenson (who wrote the book for the play) opens up the story yet still fails to produce much sympathy for Evan and create an emotionally satisfying drama. The bombastic, pop-structured songs by Benj Pasek and Justin Paul are largely unmemorable, unable to enhance the film in any meaningful way. And all this chatter about Platt looking obviously too old in the role of a high-school teen remains the least of this film musical's glaring problems.



"LAST NIGHT IN SOHO"

Edgar Wright's "Last Night in Soho" is a time-shifting, psychological thriller that's beautifully stylish yet regrettably lacking in meaningful substance. Ellie (Thomasin McKenzie) is an old soul who loves the sounds and style of the 1960's. Dreaming of becoming a fashion designer, she's accepted to attend the London College of Fashion. Ellie has grown up in a small, rural town and struggles to fit in the big city with her fellow students. One night, Ellie has a vivid dream where she's transported to the swinging London scene of the '60's in the sexy form of Sandie (Anya Taylor-Joy), an aspiring singer. Sandie captures the attention of a shady, nightclub owner (Matt Smith) who hires her to perform. These dreams inspire Ellie's work yet over time they become more intense and disturbing, causing her to become extremely disoriented. The film looks great thanks to the production design by Marcus Rowland, Odile Dicks-Mireaux's perfectly mod costumes and exquisite camerawork by Chung-hoon Chung. However the script by Wright and Krysty Wilson-Cairns starts off promising with a fun, classic horror vibe but becomes convoluted and middling by the final act. The performances are solid, which includes Terrance Stamp and Diana Rigg, in her final screen role, as Ellie's landlord, but their efforts are sadly wasted. The only consistent highlight to be found in "Last Night in Soho" (which really isn't saying much) is it's soundtrack; a lively collection of '60's pop-rock songs by largely British acts.



"ETERNALS"

"Eternals" was adapted from a short-lived Marvel comic book created by Jack Kirby in 1976. Inspired by elements of Greek, Roman and Inca mythologies, The Eternals are a group of ten super-powered, human-like alien beings sent to Earth by their creators, the Celestials around 5000 BC to protect the planet from the Deviants, another alien group also created by the Celestials that have gone rogue who are far less human and causing destruction on Earth. Lead by the wise, Ajak (Salma Hayek), the Eternals, include Sersi (Gemma Chan), Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Phastos (Brian Tyree Henry), Druig (Barry Keoghan), Gilgamesh (Don Lee), Makkari (Lauren Ridloff), Sprite (Lia McHugh) and Thena (Angelina Jolie), all have various cosmic powers. After finally defeating the Deviants centuries later, the Eternals separate across the globe, awaiting to be called to return home. Now in present day, the group is called back together after more powerful, mutated Deviants are rising to create a new threat. But there are lingering tensions between members of the Eternals and dark secrets which jeopardizes their mission. Chloe Zhao, last year's Oscar-winner for Best Director, was brought on board to helm this project, hoping she would bring an aesthetic not usually found in the Marvel Cinematic Universe. The director's vision seemed to have tried to find a balance between an introspective story and standard super-hero action yet never fully succeeding. And if the story sounds hard to follow, it most certainly is with the screenplay by Zhao along with the team of Patrick Burleigh, Ryan Firpo and Kaz Firpo not offering much depth or insight into these characters, leaving them thoroughly underdeveloped. The main problem with "Eternals" is that the film is far too gloomy and confusing to offer much fun or excitement.