King Richard | Screenlife Reviews

We can all agree that by and large 2021 was not a good year. Thankfully, in one aspect, particularly the movies, it was a rousing success. We had everything from terrifying horror films and boundary-pushing animation to heartstring-pulling dramas and top notch action flicks. After a year at the movies and at home glued to every streaming service under the sun we’ve come up with a list of our personal top ten films of the year. Granted we didn’t get a chance to see everything and while we recognise some films here have their problems, these are the ones that made us the happiest to escape to from the scourge that was 2021.

But first, some honourable mentions. Godzilla vs. Kong brought the long awaited earth-shaking showdown of Kaijus on the scale they truly deserved. Jungle Cruise was the spiritual successor to 1999’s The Mummy we never knew we needed, anchored by the terrific chemistry of Dwayne Johnson and Emily Blunt. The Suicide Squad was the hilarious, action-packed retcon of the abysmal 2016 instalment that proves James Gunn a master of the superhero (or in this case antihero) film. Nobody created an unlikely action hero out of veteran character actor Bob Odenkirk; a quirky, white-knuckle thriller from the creators of John Wick. Finally, the well overdue screenwriting return of Ben Affleck and Matt Damon, The Last Duel, proved a thrilling, at times harrowing follow-up; an awful subject matter told in a non-conventional, always engaging way.

10. King Richard

Will Smith gives the performance of the year as the Williams’ patriarch; a deeply flawed yet deeply caring character who has carefully structured a plan to ensure his daughters dominate the game of tennis. Reinaldo Marcus Green’s film succeeds by focusing not on the successes of Venus and Serena throughout their competitive lives, but through its examination of the adversity and struggles they underwent to get where they are today. Saniyya Sidney and Demi Singleton quickly vault to the top of the pack as two of the most promising talents working today, but it’s Jon Bernthal who is the MVP supporting player, with an unusually quirky performance as coach-to-the-stars Rick Macci. An emotionally stirring sports biopic filled with heart, King Richard hits with all the force of a Williams’ sister serve.

9. Boiling Point

A kitchen caper that quickly moves beyond its one night in one location shot in one-take gimmick (no sneaky cuts here either, just one incredibly well choreographed 90 minute shoot) thanks to a carefully measured and constantly rising sense of tension, Boiling Point is, as well as an incredibly effective slow-burn thriller, a showcase for the talent that is Stephen Graham; a veteran English character actor who finally gets his time to shine here. Playing an overwhelmed chef on the busiest night of the year, Graham becomes superbly unhinged as problems are heaped on his shoulders, as a constantly roaming camera that moves from one disaster to the next contributes to a constant sensation that something is going to tip the scales here. When things do reach their peak and Graham self-destructs, it isn’t in a loud, overly melodramatic way, but a sad descent into the inevitable; a final gut wrenching piece of acting that cements Graham as a truly talented actor more than capable of carrying features like this.

8. Shang-Chi and the Legend of the Ten Rings

It’s not easy to break into a franchise as established as the MCU, but Shang-Chi and the Legend of the Ten Rings manages to introduce martial arts to the long-running Marvel series and make it look easy, with director Destin Daniel Cretton delivering some of the most exhilarating hand-to-hand combat since The Winter Soldier. What really cements Shang-Chi as a top-tier origin story is the deeply tortured, unconventional father-son relationship at its heart, thanks in no small part to Hong Kong cinema legend Tony Leung as Shang’s father Wenwu. He gives a gut-wrenching performance as a man who has returned to a pursuit of power after the death of his wife, tarnishing the relationships with his children in the process and stopping at nothing to obtain the power to resurrect his true love. Wenwu is one of the few MCU villains with a genuinely compelling driving force behind him and Marvel’s first Asian-starring superhero film is all the richer for it, even if Simu Liu isn’t given the material he deserves in his debut.

7. No Time to Die

Daniel Craig’s final outing as James Bond was a far more poignant affair than most had expected; a typical thrilling, action packed blockbuster sure, but one that gave Bond (and by extension Craig) time to reflect on his legacy. Cary Joji Fukunaga’s film feels like such a satisfying conclusion for Craig; his genuinely compelling romance with Léa Seydoux’s Madeleine reflecting the shift in Bond from macho-man cliché of old to a flawed, fully formed person craving a quieter life with someone he loves. The combat is a return to the crunchy, gritty hand-to-hand combat of Casino Royale that gives every bout the sense of life or death stakes; brutally violent and dangerous for a Bond that has stepped away from the game for so long. While Rami Malek’s villain falls short of being impactful or compelling, No Time To Die succeeds as a giant, multi-million dollar ride off into the sunset for one of the greatest Bonds to do it. Whoever is up next will have a tough time dethroning Daniel Craig.

6. The Mitchells vs. the Machines

Phil Lord and Chris Miller continue to push the envelope when it comes to animation, following up Oscar-winner Into the Spider-Verse with the arguably even better The Mitchells vs. the Machines; a frenetic, endlessly entertaining apocalyptic family road trip. On a purely animation level there’s simply nothing else like the Mitchells, a vibrant and unique style that feels alive in the doodlings and cutaway gags that appear on-screen borne out of the mind of film-obsessed Katie Mitchell (Abbi Jacobson). That creative energy is in stark contrast to family patriarch Rick (Danny McBride), making for some heartwarming and emotionally shattering moments as Rick fails to understand his daughter’s interests, struggling to connect with her where once they were as thick as thieves. The Mitchells is also extremely funny, which should come as no surprise given the comedy all-star voice cast (alongside Jacobson and McBride are SNL alumni Beck Bennett, Fred Armisen and Maya Rudolph), delivering mile a minute laughs that perfectly complement the frantically-fast pace set by the constantly evolving animation. A step forward in animation that never forgets to have fun along the way.

5. Candyman

Reviving a decades-old horror franchise proved to be the right move for Nia DaCosta’s Candyman reboot/sequel, an atmospheric nightmare that creeps its way into your brain and sends shivers down your spine with each terrifying revelation into the mythology of Candyman. Yahya Abdul-Mateen II gives an unhinged performance as Anthony, a painter who feels a particularly sinister connection to the legend and its effects on the neighbouring Cabrini-Green projects, losing himself the further he investigates. Coming from Jordan Peele (co-written with DaCosta and Win Rosenfeld), it should be no surprise that Candyman packs a good amount of social commentary into its gentrification-focused horror but it never feels forced, with DaCosta letting the commentary flow from the situations that the characters find themselves in, rather than bombarding you with preaching messages. When things lean into the horror they do so with reckless abandon; a gory, balls-to-the-wall crazy finale capping everything off and reminding viewers why they shouldn’t be saying the Candyman’s name five times.

4. Dune

Denis Villeneuve’s return to the world of sci-fi is nothing short of a masterpiece in big-budget filmmaking. A visual spectacle from start to finish, Villeneuve’s adaptation of Frank Herbert’s seminal novel about the political treachery and war between the Atreides and Harkonnen families for control of Spice (a precious mineral) amazingly never gets lost in the enormity of the source material, adapting a small portion of the books and doing it extremely well. Every planet is distinct, with production design that is, ahem, out of this world and Villeneuve uses scale to create some of the most jaw-droppingly impressive set-pieces in recent memory, whether that be the arrival of a giant sand-worm or the mass planetary evacuation of giant starships. At its core, Dune is a story about family legacy and with an all-star cast led by Timothée Chalamet and Rebecca Ferguson that grounded, relatable story shines through the spectacle, immediately investing you in Paul Atreides’ plight. The only negative is that we have to wait two years for the next instalment!

3. Spider-Man: No Way Home

Not only did Tom Holland’s third Spider-Man film live up to the hype that had been heaped onto it in the months up to release, but it flew past it; delivering a dark, more mature outing that never took the focus off Peter whilst juggling fan service and a complex story involving returning villains from different Spidey franchises. Alfred Molina and Jamie Foxx are a ton of fun reprising their roles here, but it’s Willem Dafoe’s Green Goblin that is the standout, the veteran actor slipping right back into where he left off in 2002, contorting his face to denote the different personalities at play in his head and bringing a chaotically evil energy to go up against Spider-Man’s youthful innocence. It’s the third act that truly cements No Way Home as a top-tier Spider-man film however, a rousing finale that brings together more than 20 years of on-screen history for a showdown that rivals Avengers: Endgame in terms of sheer unbelievable spectacle. If you haven’t seen it at this point, then you must be one of about three people – what are you doing?

2. Belfast

A slice-of-life examination of a youth lost during the Troubles in Ireland in the late 60’s, Kenneth Branagh’s semi-autobiographical Belfast is a refreshingly intimate film from the usual blockbusters he directs. We follow young Buddy (Jude Hill) as he navigates the everyday problems associated with school and crushes, whilst struggling to comprehend the riots and political upheaval that have his mother (Caitriona Balfe), father (Jamie Dornan) and grandparents (Judi Dench & Ciarán Hinds) so shaken. As uplifting as it is harrowing at times, Branagh strikes the perfect balance between the childlike wonder which Buddy (Jude Hill) views the world through and the shocking realities of the uprising happening around the young boy, harsh lessons he must learn at an age far too young to truly comprehend them. But it’s the exploration of the people around Buddy, his family and friends that make Belfast such a special film; a celebration of Irish spirit, the collective humour of the place and the struggles that the people have gone through. Branagh’s best work in years.

1. Malignant

The best film of 2021 also might be its weirdest; a shocking departure from James Wan’s usual horror efforts that makes for one of the most refreshing, off-the-walls crazy films you can experience this year. What could be mistaken for another Conjuring or Insidious instalment from Wan takes a dramatic turn in the third act, with a reveal you won’t see coming that completely changes the tone and outcome of the film. That might sound like a jarring shift but Wan pulls it off so masterfully, slowly building up the tension of the events unfolding around Madison (Annabelle Wallis) through his usual carefully controlled scares and atmosphere of pitch-black dread that that twist feels like a relief, a punctuation of camp amidst reminiscent of 70’s giallo horror. This bold embrace of the weird combined with the tried and tested Wan-ism’s might not be to everyone’s taste, but there’s one thing you can’t argue: you’ve never seen anything like Malignant before.

It might seem strange for the film adaptation of the story of two of tennis’ biggest stars to not actually focus on the athletes themselves, but King Richard – the story of Richard Williams, father of Venus and Serena – is all the richer for it; an examination of the quirky, controversial figure that forged two of the sporting world’s greatest athletes. Anchored by an Oscar-worthy performance from Will Smith, King Richard might not break from sports biopic tradition but tells its somewhat predictable story with so much heart and emotional warmth that it is impossible not to root for the sisters and their family as they tackle a sporting system that feared the change these two titans of tennis brought about.

As a struggling family from Compton, California, the Williams’ are a far cry from the usual privileged, wealthy crowd that populate the states gorgeously manicured tennis clubs, yet that doesn’t stop father Richard (Smith) from campaigning tirelessly to secure a coach for daughters Venus (Saniyya Sidney) and Serena (Demi Singleton). Having established a plan for both his daughters to achieve superstardom before they were even born, Richard and wife Brandy (Aunjanue Ellis) train the girls day in and day out at a local Compton court, constantly harangued by local thugs and gangsters.

But when Paul Cohen (Tony Goldwyn), coach to tennis legend Pete Sampras, agrees to take Venus on as a student, the family’s fortunes begin to change and her star begins to rise as she dominates the junior circuit. When the family make a defining move to Florida to train both girls under Rick Macci (Jon Bernthal), Richard is put at odds against Macci, his restrictive and singular vision for their success conflicting with the tried and tested methods to achieve tennis fame. But as the girls begin to gradually change the tennis landscape, all of his doubters are finally forced to consider the genius that is Richard’s plan.

You could argue that telling the story of Venus and Serena’s plethora of success would be a predictable, almost one-sided affair, and screenwriter Zach Baylin wisely shifts the story to find adversity in their upbringing; how being African-American affected how they were treated by opposition and how the family was only able to escape the harsh, uncomfortable realities of Compton through sheer determination and perseverance. Indeed that’s the admittedly clichéd message at the centre of the story here but Baylin uses the character study of Richard in an intriguing way to show how his plan and adherence to it often conflicted with his family’s wants and needs; creating a complex, flawed character who struggles to see beyond his own vision, regardless of how this impacts his family and the relationships he forms.

Smith is simply phenomenal as Richard, the best he has been in years as he completely loses himself in the Williams patriarch, a feat you could argue on its own isn’t easy for someone with as recognisable and distinct a public persona as Smith. His devotion to his family and seeing them succeed is born out of a troubled past tainted by racism and poverty, an almost rage-like compulsion that will not be derailed by anyone. This works the best when Richard invariably butts heads with someone questioning his methods, whether that be a local thug, police officer or tennis coach; a quiet fury creeping into his voice and a quiver in his lip as he teeters on the edge of a full meltdown. His tough love approach to his family makes for some incredibly impactful moments of genuine connection between him and his daughters; tear-jerker moments that manipulate the audience to beautiful effect.

Relative newcomers Sidney and Singleton prove that they have tremendous skill, particularly Sidney, who imbues Venus with a fierce confidence and an infectious playfulness at the sheer joy of being able to finally play the game against challenging opponents. Arguably the (ever so slightly) less successful of the two sisters, it is somewhat refreshing that the film places majority of its focus on Venus, who is initially selected to receive coaching and play in professional matches whilst Serena patiently waits in the wings, learning the same skills through recorded footage of Venus’ training sessions.

If Sidney is pent-up energy and excitement finally released then Singleton is the quiet, fierce competitiveness of Serena waiting to burst forth and obliterate the competition, with the young actress giving a nuanced look at Serena’s self-reflection and mild resentment towards being left out whilst her sister takes centre stage. Jon Bernthal, one of the best character actors working today, continues that streak here as the quirky, exasperated coach Rick Macci; a nasally, overly confident man who truly believes in the girls’ talent and pushes back at their father in order to see that potential fulfilled.

Like one of the Williams’ sisters fearsome serves, King Richard is an extremely effective crowd-pleaser featuring one of the best performances of the year from Will Smith. What it lacks in changes to the traditional sports biopic formula it makes up for in sheer heart, culminating in a fist-pumping, tear-inducing finale that beautifully ties together its message of staying strong in the face of adversity. Some might look at Richard Williams methods and disagree with the harshness of them, but a combined 30 grand slam wins later, you can’t argue with the results.

King Richard stars Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, Mikayla Lashae Bartholomew, Daniele Lawson, Layla Crawford & Jon Bernthal – In Australian cinemas January 13th and streaming in the US on HBO Max now.