115 Movies Like Dune (2021) (Page 3)

With a title like this, it was expected that Do Not Expect Too Much from the End of the World would be critical of today’s current circumstances, but the film takes a more startling approach. Radu Jude’s longest narrative feature is a day in the life of a disgruntled, underpaid production assistant, and as she drives between interviewees injured from work accidents, the film alternates between the black-and-white, terribly mundane reality, her Tiktok-filtered satirical rants as Bobiță, and an old colored film of a Romania decades past. It's a cynical depiction of how vulgar it is to be alive today, but it’s also more honest as Jude refuses to cling to the past.

Genre: Comedy, Drama

Actor: Adina Cristescu, Adrian Nicolae, Andi Vasluianu, Dorina Lazăr, Ilinca Manolache, Ioana Iacob, Katia Pascariu, László Miske, Nicodim Ungureanu, Nina Hoss, Ovidiu Pîrșan, Rodica Negrea, Șerban Pavlu, Uwe Boll

Director: Radu Jude

Earnest, beautiful, and tender, Luca Guadagnino's Bones and All is many things: a road trip movie that sweeps the midwest deserts of 1980s America; a coming-of-age story that brings together two outsiders into an understanding world of their own; and a cannibal film that is unflinchingly flesh deep in its depiction of the practice. Bizarrely, these seemingly disparate elements work harmoniously to create a film that you won't soon forget, not least because of its rawness. 

As the aforementioned outsiders, Maren and Lee (Taylor Russell and Timothée Chalamet, respectively) are bewitching—individually sure but especially when they're together. They have a bond that is quite difficult to replicate onscreen, charged as it is with so much chemistry and warmth. The background players also bring their a-game when called for, especially Mark Rylance as the disturbing stalker Sully, Michael Stuhlbarg as the creepy but good-willed Jake, and Chloë Sevigny as Maren's stark mad mother. 

It's worth repeating that this movie goes all in on the gore, so steer clear if you don't have the heart for these sorts of things. But if you do, the viewing experience is rewarding. Bones and All is as romantic as they get, and rather than bury its message, the many layers on top of its core serve as a meaningful puzzle to unpack and unravel long after the credits roll.

Genre: Drama, Horror, Romance

Actor: Andre Holland, Anna Cobb, Brady Gentry, Chloe Sevigny, Christine Dye, David Gordon Green, Hannah Barlow, Jake Horowitz, Jenny McManus, Jessica Harper, Johanna McGinley, Madeleine Hall, Marcia Dangerfield, Mark Rylance, Michael Stuhlbarg, Sean Bridgers, Taylor Russell, Timothée Chalamet, Tom O'Brien

Director: Luca Guadagnino

Rating: R

Whether or not you’re familiar with director Pedro Almodóvar’s body of work, Parallel Mother stands as a gorgeous melodrama, a striking story about motherhood and our ties to the past. On one level, it’s a simple but engaging drama about a misunderstanding that ensues between two women. But on another, it’s a deep dive into a nation’s cruel history, as well as an observation of people’s commitment to never letting that part of themselves go. 

The film references Almodóvar’s past films but it also works as a standalone, a perfect starting point for moviegoers interested in exploring his oeuvre. Of course, Penelope Cruz continues to be a powerhouse, each line delivery an emotional gut punch, while relative newcomer Milena Smit is stirring, a true revelation, as her director calls her.

Genre: Drama

Actor: Adelfa Calvo, Agustín Almodóvar, Aitana Sánchez-Gijón, Ana Peleteiro, Arantxa Aranguren, Carmen Flores, Chema Adeva, Daniela Santiago, Inma Ochoa, Israel Elejalde, José Javier Domínguez, Julieta Serrano, Milena Smit, Penélope Cruz, Rossy de Palma, Trinidad Iglesias

Director: Pedro Almodóvar

Rating: R

Despite being based on a 19th-century serial novel, Lost Illusions feels remarkably close to contemporary concerns about fake news and the devaluing of art for profit. But as the story is also, obviously, set in the 19th century, all this bribery and these backdoor dealings are done entirely through the written word and by sending runners from one Parisian theater to the next—and the result is uniquely thrilling. Nearly every character is a terrible person (like in an old-timey Goodfellas way) and it can get tiring seeing the film glorify their hustle, but the energy it brings is rare to find in any other period drama.

Genre: Drama, History, Romance, Thriller

Actor: Alexis Barbosa, André Marcon, Benjamin Voisin, Candice Bouchet, Cécile de France, Édouard Michelon, Gaëlle Lebert, Gérard Depardieu, Isabelle De Hertogh, Jean-François Stévenin, Jean-Marie Frin, Jean-Paul Bordes, Jean-Paul Muel, Jeanne Balibar, Louis-Do de Lencquesaing, Maryne Bertieaux, Michèle Clément, Pierre Poirot, Saïd Amadis, Salomé Dewaels, Vincent Lacoste, Xavier Dolan

Director: Xavier Giannoli

There's a remarkable harshness to every moment of I Have Electric Dreams, even if it doesn't seem like much is happening. Beautiful textures in its cinematography and the dreamlike movement of its editing can't mask the pain that protagonist Eva feels, as she drifts through the ruin of her own family in search of any shred of comfort or anything she can still call her own. There's tension in every interaction she has, as this messy divorce has torn down any divide between parent and child—revealing Eva to be both more mature and more naive than she realizes, and revealing her parents as still stuck in their own insecurities. It's frequently difficult viewing that gets surprisingly graphic, but the film's ear for character is undeniable.

Genre: Drama

Actor: Daniela Marín Navarro, José Pablo Segreda Johanning, Mayté Ortega, Reinaldo Amien Gutiérrez, Vivian Rodríguez Barquero

Director: Valentina Maurel

One woman’s main character syndrome reaches shocking lows in this vicious Norwegian satire of social-media-era narcissists. Signe (Kristine Kujath Thorp) and her artist boyfriend Thomas (Eirik Sæther) are a deeply toxic couple who torture everyone around them with their constant, petty one-upmanship. When he lands a flashy magazine spread, though, Signe’s usual tactics for slyly redirecting attention her way don’t cut it anymore, and so this compulsive liar takes drastic action and begins overdosing on pills banned for their serious dermatological side effects.

Signe's Munchausen-esque actions have their desired effect: the physically dramatic results instantly make her the center of attention — but not indefinitely. As she craves increasingly bigger spotlights, the film toggles between reality and scenes from her imagination, including a morbid sexual fantasy in which her funeral proves so popular the priest becomes a bouncer, turning away sobbing mourners whom Signe noticed hadn’t visited her in hospital. The rampant narcissism on display here is at turns hilarious and excruciating: Sick of Myself’s sharp social observation skills make it feel, in places, like a movie by cringe-master Ruben Östlund. That stomach-turning effect carries through to the ending, which darkly suggests that, for someone like Signe, even narcissism itself is a condition that can be weaponized for attention.

Genre: Comedy, Drama

Actor: Alexander Berg, Anders Danielsen Lie, Andrea Bræin Hovig, Eirik Sæther, Erlend Mørch, Fanny Vaager, Fredrik Stenberg Ditlev-Simonsen, Guri Hagen Glans, Håkon Ramstad, Henrik Mestad, Ingrid Vollan, Jonas Bakke, Kristine Kujath Thorp, Kristoffer Borgli, Mohammad Afzal, Robert Skjærstad, Sarah Francesca Brænne, Seda Witt, Steinar Klouman Hallert, Terje Strømdahl

Director: Kristoffer Borgli

Documentaries about musicians — or anyone famous, for that matter — are often mythologizing puff pieces, essentially feature-length airings of PR material. But Against All Odds has more to it than flattery. It chronicles the rise of Australia’s first drill rappers, five young men of Samoan origin who soared to fame from their disadvantaged Sydney neighborhood after going viral and catching the eye of artists like the UK’s Skepta and Australia’s own The Kid Laroi. 

ONEFOUR’s rise from “the trenches” is compelling in itself — far more so than some of the dull origin stories that often pad out this kind of movie — but the documentary is given even more weight by its examination of the forces that sought to put out their fire: New South Wales police. ONEFOUR’s lyrics, which often reference violence, put them in the crossfires of a police tactical unit determined to, in one officer’s words, “make [ONEFOUR’s] life miserable until [they] stop what [they’re] doing.” Amazingly, the on-camera police interviews feature even more brazen admissions of the ways they “lawfully harass” ONEFOUR, a fact that makes this documentary an eye-opening portrait of both aggressive (and allegedly racist) policing and the resilience of the group in the face of it.

Genre: Documentary, Music

Actor: Celly, J Emz, Lekks, Spenny, YP

Director: Gabriel Gasparinatos

Rating: R

Generation-centric comedy is often of the “kids these days” variety — in which comedians make uninspired jibes about the youth of today while spectacularly lacking self-awareness of their own — but twenty-something stand-up Leo Reich thankfully upends that trend with his self-lampooning debut show. Reich takes a risk by unabashedly casting himself as a self-absorbed nepo baby in the opening — narcissism as a bit can become grating pretty quickly — but his perceptive abilities and readiness to both embody and commentate on Gen Z stereotypes are the saviors of this hour-long comedy special.

Stand-up isn’t the only medium he makes use of: the show is also part-musical, as Reich belts out wry musings on the contradictions of his generation — at once self-loathing but tending towards narcissism, cripplingly self-aware but no more enlightened for it — at intervals throughout. If there’s anything to lament here, it’s that Reich’s main character syndrome is so effectively paired with the doom-and-gloom context he paints (as he puts it, he’s spent way too much of his youth Googling "death toll") that the show’s aftertaste is a little too bitter — but then again, nihilism is another characteristic typically associated with zoomers, so you could argue this is simply supreme commitment to the bit.

Genre: Comedy

Actor: Leo Reich

Director: Thomas Hardiman

Rating: R

With its origins as a full-length rock monologue, it's understandable if Tick, Tick... Boom! comes off as overly concerned with its protagonist's personal anxieties and not the larger social and health crises happening right outside his door. But while it really doesn't offer much insight into the AIDS epidemic, or even the art scene of 1990s New York, the helplessness that Jonathan Larson feels in the face of his own inability to save the world comes off as honest expression nonetheless. Andrew Garfield and a strong cast that includes Robin de Jesús and Vanessa Hudgens give purpose and energy to this somewhat messy character study that still manages to land its emotional beats.

Genre: Drama, Music

Actor: Adam Pascal, Alex Lacamoire, Alexandra Shipp, André De Shields, Andrew Garfield, Bebe Neuwirth, Ben Levi Ross, Bernadette Peters, Beth Malone, Bradley Whitford, Brian Stokes Mitchell, Chad Beguelin, Chita Rivera, Christopher Jackson, Chuck Cooper, Danielle Ferland, Danny Burstein, Daphne Rubin-Vega, Eddy Lee, Ehizoje Azeke, Eisa Davis, Elizabeth Chestang, Gizel Jimenez, Howard McGillin, Ilia Jessica Castro, Jeanine Tesori, Jelani Alladin, Joanna Adler, Joel Grey, Joel Perez, Jonathan Larson, Jonathan Marc Sherman, Joshua Henry, Judith Light, Judy Kuhn, Ken Holmes, Laura Benanti, Lin-Manuel Miranda, Marc Shaiman, Mason Versaw, Micaela Diamond, Michaela Jaé Rodriguez, Nick Blaemire, Phillipa Soo, Phylicia Rashād, Renée Elise Goldsberry, Ricardo Zayas, Richard Kind, Robin de Jesús, Roger Bart, Ryan Vasquez, Sheila Tapia, Stephen Schwartz, Stephen Sondheim, Steven Levenson, Tariq Trotter, Tom Kitt, Utkarsh Ambudkar, Vanessa Hudgens, Wilson Jermaine Heredia

Director: Lin-Manuel Miranda

Rating: PG-13

Like a Wes Anderson movie, The Last Black Man in San Francisco takes artistic risks and nails every one of them. There are many quirky, aesthetically well-studied, and even funny aspects to this moving story.

Jimmie has been maintaining a typical San Francisco Victorian house, regularly painting the windows and watering the plants. One small problem: other people live there and they don’t want him around. It turns out this was once Jimmie’s family house, having been built by his grandfather in 1948, and he misses it deeply.

This story is based on writer Jimmie Fails’ life, as he tried to reclaim his family home in SF. However, it’s not a movie that limits itself to gentrification. It transcends that to being about the universal yearning to find a place to call home.

Genre: Drama

Actor: Andy Roy, Daewon Song, Danny Glover, Finn Wittrock, Isiain Lalime, Jamal Trulove, Jello Biafra, Jimmie Fails, John Ozuna, Jonathan Majors, Mari Kearney, Mike Epps, Rob Morgan, Thora Birch, Tichina Arnold, Tonya Glanz

Director: Joe Talbot

Rating: R

A young lawyer has to defend a murderer after passing the bar only three months prior in this satisfying German drama. To make matters worse, the victim happens to be his mentor, a wealthy and seemingly kind-hearted business man. As for the perpetrator, he refuses to say a single word. Caspar, the lawyer, is from a German-Turkish background, which is a hint to where the complexity of this legal drama lies: in Germany's history and racial legacy. The Collini Case is satisfying to a fault, but if you’re looking for substance-filled entertainment, this is some of the best you’ll get.

Genre: Crime, Drama, Thriller

Actor: Alexandra Maria Lara, Anne Haug, Axel Moustache, Bettina Lohmeyer, Catrin Striebeck, Elyas M'Barek, Esther Maria Pietsch, Falk Rockstroh, Felix Everding, Franco Nero, Frederik Götz, Hannes Wegener, Heiner Lauterbach, Ilknur Boyraz, Jannis Niewöhner, Levi Kirchhoff, Ludwig Simon, Lutz Blochberger, Manfred Zapatka, Margarethe Tiesel, Max Wagner, Omid Memar, Peter Prager, Pia Stutzenstein, Rainer Bock, Sabine Timoteo, Sandro Di Stefano, Sina Reiß, Stefano Cassetti, Stephan Schad, Tara Fischer, Thomas Limpinsel, Thomas Stecher, Tom Jahn

Director: Marco Kreuzpaintner

Rating: Not Rated