Tag Archive: Abel Korzeniowski


After the first of our two pandemic years, when we created last year’s preview of 2021 movies we admit we thought the year was looking iffy from a movie standpoint–so many films delayed or held back, others expected but canceled early in production, etc.  All year we wondered what we’d get to see and what we wouldn’t–and thanks to Netflix, Amazon Prime, Vudu, and similar streaming services, a smaller but still impressive array of movies kept us entertained, especially by way of genre content.

GenredomAs always, we’re after the best genre content of the year–with our top categories from the Best in Movies.  There are thousands of other places that cover plain vanilla dramas and the rest of the film world, but here we’re looking for movies we want to watch.

Come back tomorrow for our best print media picks and our annual borg Hall of Fame inductees.  And if you missed it, check out our Best Kick-Ass Genre Heroines of 2021 here and Best TV of 2021 here.  Wait no further, here are the Best Movies of 2021:

Best Superhero Movie  Venom: Let There Be Carnage (Sony). Overlooked like the original Venom, sharp writing and faithful adaptation of the comics made for the best, most fun superhero movie of 2021.  Runner-up: Black Widow (Disney).  Despite the delays it was worth the wait, and it stands as a rewatchable and fun movie. Honorable mention: Shang-Chi and the Legend of the Ten Rings (Disney), a great tie-in to characters from throughout the MCU.

Best Action/Adventure Film, Best Visual Effects: Jungle Cruise (Disney), another Disney rollercoaster ride translated to the screen; a film that surprised us as the next incarnation of a Raiders of the Lost Ark-level adventure.  Runner-up: Shang-Chi and the Legend of the Ten Rings (Disney).  A solid martial arts adventure, a bus scene out of Speed, and great finale action.

Best Film, Best Drama, Best Director (Simon Stone), Best Cinematography (Mike Eley) – The Dig (Netflix).  A powerful film, exploring life at the precipice of change, missed and almost missed opportunities, the fleeting nature of life, and the survival of humanity through what we leave behind.  Runners-up for Best Film: The Courier (Amazon), Black Widow (Disney), one of the MCU’s best contributions.

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Review by C.J. Bunce

The Courier is the movie that Tinker, Tailor, Soldier, Spy promised to be (and failed miserably at).  The excellent spy film starring Benedict Cumberbatch in yet another unique performance that only he could deliver was an unfortunate bit of pandemic collateral damage.  It premiered in January 2020 at Sundance Film Festival under the title Ironbark, and was slated to arrive in theaters to a wider audience last year.  That means it also missed Oscar contention for the 2020 contest, where The Courier easily would have been the best film.  Because of a brief March 2021 theater push, it is apparently still in the running for 2022 ceremony, which makes it the only major contender for not only the best film, but also Cumberbatch’s performance.  As the masses now finally get to see it, streaming to homes thanks to Amazon Prime (finally with an August release in both the U.S. and UK), we’ll just call it the best drama so far for 2021. 

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Escape from Tomorrow movie poster

“Don’t mess with the Mouse,” is a maxim in American intellectual property law.  Ask any law professor.  Those who challenge Disney in court usually lose.  But the view that Disney can’t be beaten is part of the myth Disney has created itself, and the success of the critically acclaimed independent film Escape from Tomorrow is throwing movie watchers’ pre-conceived notions of Disney as sacrosanct out the window.  Escape from Tomorrow was filmed nearly entirely on location at Disney theme parks without the permission of Disney.  It turns out there’s nothing Disney can do about it.  The result is better than just a stunt project, but it has its misfires as much as it has its triumphs.

The talented Roy Abramsohn, mainly a character actor who has shown up in TV series from Charmed to Medium to Monk and Without a Trace as well as a recurring role on Weeds, takes on the lead role of Jim, a father and husband of the Clark Griswold variety on his last day of vacation at Epcot and Disney World, the celebrated “Happiest Place on Earth.”  Jim just learned he’s lost his job and is having one of those days where everything goes wrong.  But this is no National Lampoon’s comedy.  Jim is living out his own House of Horrors.

Abramsohn in Escape from Tomorrow

Structurally, the film is brilliantly executed for a first effort.  Were you to go back and look at THX-1138 and Duel and predict the future of its directors, no one could have predicted Star Wars or American Graffiti or Raiders of the Lost Ark or Jaws.  Escape from Tomorrow is better than THX-1138, but not as compelling as Duel.  Does that mean we have a future genius on our hands?  Not likely, but it will make viewers take notice of the next projects of writer/director Randy Moore and cinematographer Lucas Lee Graham.

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