---

Streaming services continued their dominant ascension with The Power of the Dog, Coda, and The Mitchells vs. the Machines all placing in the top 10 Best Movies overall of 2021. Streaming was  also the place curious and adventurous viewers found worthy documentaries, covering topics ranging from classic rock (The Velvet Underground) and folk tales (Woodlands Dark and Days Bewitched) to riots (Attica), athletics (Changing the Game), algorithms (Coded Bias), and politics (Mayor).

The order reflects Tomatometer scores (as of December 31, 2021) after adjustment from our ranking formula, which compensates for variation in the number of reviews when comparing movies or TV shows.

The Power of the Dog (2021)

94%

CODA (2021)

94%

The Mitchells vs. the Machines (2021)

97%

The Velvet Underground (2021)

98%

Luca (2021)

91%

Coded Bias (2020)

100%

Mayor (2020)

100%

Changing the Game (2019)

100%

Woodlands Dark and Days Bewitched: A History of Folk Horror (2021)

100%

Attica (2021)

100%

The Boy Behind the Door (2020)

97%

7 Prisoners (2021)

98%

Playing With Sharks (2021)

96%

The Amusement Park (1973)

97%

Slaxx (2020)

96%

Passing (2021)

91%

The White Tiger (2021)

92%

Come From Away (2021)

98%

No Sudden Move (2021)

92%

The Disciple (2020)

96%

© 1990-2024 by IMDb.com, Inc.

If you’re wondering when the biggest Blockbusters will eventually be released – then look no further than here. We’ve rounded up some of the most anticipated films of this year and the next, along with their (ever-changing) release dates and trailers. 

We’re regularly updating this article with all the film delays that are so far confirmed, and we expect movie release dates to be pushed back as the weeks continue. If you’d like a full breakdown of this, check out our article on
every movie delayed because of coronavirus. 

Cruella

Cruella release date: 28 May 2021

Starring: Emma Stone, Emma Thompson, Emily Beecham, Dev Patel

Disney is continuing to plough on with the live-action remakes, and next on the list is an origin story of the villain on 101 Dalmatians – Cruella de Vil. Set in 1970s London, the film follows young aspiring designer Estella. When she catches the Eye of renowned fashion icon Baroness von Hellman, she goes down a wicked path that shapes the cruel woman she will become. 

A Quiet Place Part 2

A Quiet Place Part 2 release date: 28 May 2021

Starring: Emily Blunt, Millicent Simmonds, Noah Jupe

The sequel to the horror hit A Quiet Place is coming this year. The Abbot Family may have survived the horrors of the last film, but that was just the beginning. Now they must navigate the outside world, and fight against the creatures that lie beyond the sand path. Prepare for a few hours of minimal dialogue, but maximum suspense. 

In the Heights

In the Heights release date: 18 June 2021

Starring: Anthony Ramos, Corey Hawkins, Leslie Grace

Lin Manual Miranda is best known for the musical Hamilton, but before that he wrote In the Heights, which has now been adapted for the big screen (and small, as it will simultaneously release on HBO Max). In the Heights follows a bodega owner who has mixed feelings about closing his store and retiring to the Dominican Republic after inheriting his grandmother’s fortune.

F9

F9 release date: 25 June 2021

Starring: Vin Diesel, John Cena, Michelle Rodriguez, Tyrese Gibson

Nothing can see to stop the Fast Furious saga – not even a global pandemic –  with the ninth film following up from 2017’s The Fate of the Furious being delayed until next year. This title will introduce Dominic Toretto’s younger brother Jakob (John Cena), an assassin who has been hired by an old foe – Cipher. Dwayne Johnson will unfortunately not be appearing in this film due to scheduling conflicts. 

Top Gun: Maverick

Top Gun: Maverick release date: 2 July 2021

Starring: Tom Cruise, Miles Teller

Tom Cruise is back in one of his biggest roles ever as he returns to the cockpit that made him a star. He’ll be playing with the boys once again in Top Gun: Maverick, as he switches roles and becomes an instructor. Complicating matters is that one of his students is none other than the son of the late Goose – played here by the always brilliant Miles Teller. Trailers so far suggest the aerial stunts will be jawdropping, but can the film recapture the rest of that ’80s magic?

Black Widow

Black Widow release date: 9 July 2021

Starring: Scarlett Johansson, Rachel Weisz, Florence Pugh, David Harbour

Black Widow is the first standalone film for avenger Natasha Romonov. Set between Captain America: Civil War and Avengers: Infinity War, Black Widow is on the run for not obeying the Sokovia Accords and assisting Steve Rogers, whilst dealing with a ghost from her past – Alexei Shostakov/Red Guardian (played by David Harbour). This film will be released both in cinemas and via Disney Plus Premiere Access. 

The Suicide Squad 

The Suicide Squad release date: 6 August 2021

Starring: Margot Robbie, Idris Elba, John Cena

Alright, the first Suicide Squad didn’t exactly live up to the hype. However, we still have high hopes for the follow-up. Not only is it directed by the mind behind Guardians of the Galaxy, James Gunn, it also features a stellar cast line-up of old and new faces. Convicts from Task Force X are sent on a mission to destroy a Nazi-era prison and laboratory. 

Candyman

Candyman release date: 27 August 2021

Starring: Yahya Abdul-Mateen II

Producer Jordan Peele and director Nia DaCosta stood in front of a mirror and chanted ‘Candyman’ five times to bring this venerable horror franchise back to life, but it looks like we’ll be glad they took the risk. Peele’s own Get Out and
Us look like strong influences, but this will likely be a much more outright horror flick, with gore aplenty. And apparently loads and loads of bees.

Shang-Chi and the Legend of the Ten Rings

Shang-Chi and the Legend of the Ten Rings release date: 3 September 2021 

Starring: Simu Liu, Tony Leung Chiu-wai, Awkwafina

The MCU is expanding once again, and this film will be the first in the series starring an Asian-American hero as the lead. Shang-Chi is known as ‘The Master of Kung-Fu’, and will be going head-to-head with the REAL Mandarin (not Ben Kingsley’s version as seen in Iron Man 3) and the terrorist group, the Ten Rings.

Dune

Dune release date: 1 October 2021

Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Issac, Josh Brolin, Zendaya

There’s a lot of hype for Dune, the first part of a two-half adaptation of the 1965 novel of the same name by Frank Herbert. This sci-fi epic follows a son from a noble family who must travel to the most dangerous planet in the galaxy to ensure the safety of his family and people by sourcing and protecting a valuable asset that affects human life greatly. It’s got an all-star cast, and if done right could be the next big series in Science Fiction. 

The Eternals

The Eternals release date – 5 November 2021 

Starring: Angelina Jolie, Richard Madden, Kumail Nanjiani, Kit Harington

A new area of the Marvel Comics will be explored with The Eternals. This film will follow a race of immortal aliens created by the Celestials, who have been living on Earth in secret for thousands of years. Following Avengers: Endgame, a tragic turn of events brings them out of hiding to fight against an ancient enemy called the Deviants.

No Time to Die

No Time to Die release date: 8 October 2021

Starring: Daniel Craig, Christoph Waltz, Léa Seydoux, Ralph Fiennes, Rami Malek

We’ve all been waiting for Bond 25 since Spectre, which was a whopping five years ago. Bond has left the service and has retired to Jamaica, but is dragged back into action when an old friend shows up asking for help. Craig’s films tend to go up and down, but as this is his last film we’re hoping that it will finish his run on a high. 

e

Ghostbusters: Afterlife

Ghostbusters: Afterlife release date: 12 November 2021

Starring: Paul Rudd, Finn Wolfhard

Paul Feig’s female-led reboot may have flopped pretty hard, but Sony isn’t giving up the ghost just yet. It’s recruited writer/director Jason Reitman – son of the original creator Ivan Reitman, and acclaimed filmmaker in his own right – to reboot the reboot and instead make a sequel with a new cast, new threat, and a few familiar faces making cameo appearances.

Spider-Man: No Way Home

Spider-Man: No Way Home release date: 17 December 2021

Starring: Tom Holland, Zendaya, Jamie Foxx

Tom Holland’s MCU Spider-Man is back for a third instalment, and the film is gearing up for something big. At the end of Far From Home, Spidey’s identity was compromised by a very familiar face – so it looks like someone is out to get Peter Parker. In addition, several actors from previous films have been tipped to reprise their roles, including Alfred Molina as Otto Octavius/Doctor Octopus and Jamie Foxx as Electro. It looks as if Spidey will exploring the multiverse in the MCU…

The King’s Man

The King’s Man release date: 22 December 2021

Starring: Ralph Fiennes, Gemma Arterton, Rhys Ifans 

The King’s Man is actually the third film in the Kingsman series, but this time it’s an origin story about how the spies came to be – which means a brand new star-studded cast, lead by Raph Fiennes. This British action flick was meant to hit cinemas in 2020 but has now been pushed back. 

Matrix 4

The Matrix 4 release date: 22 December 2021

Starring: Keanu Reeves, Jonathan Groff, Carrie-Anne Moss 

It’s been a good few years since we last saw a Matrix film, but Neo and the gang (well some of them) are back for some more mind-bending and gravity-defying action. We don’t know a lot about the plot yet – and considering that the last Matrix left things on a pretty final note, we’re not sure how the story shall continue. In addition, Hugo Weaving – the actor who played Mr Smith – is not in the movie. Therefore, we may have a new villain on our hands. 

Morbius

Morbius release date: 21 January 2022

Starring: Jared Leto, Matt Smith, Adria Arjona 

Jared Leto has traded DC for Marvel – playing the role of the antihero Morbius, who has vampire bat-like powers (oh the irony). This film is only in association with Marvel, so it’s similar to Tom Hardy’s Venom. However, whether or not this film ties into Spider-Man’s story is up in the air (what with the whole Disney-Sony drama), as Michael Keaton appears at the end of the trailer. However, we aren’t sure if he’s playing the Vulture. Only time will tell. 

The French Dispatch

The French Dispatch release date: 28 January 2021

Starring: Benicio del Toro, Adrien Brody, Tilda Swinton

Wes Anderson is back with another comedy-cum-drama epic. The French Dispatch is set in a fictional French city in the 20th century, following three separate storylines. Inspired by the director’s love of The New Yorker, it will act as a love letter to journalists who work at an American outpost. There’s also appearances from the likes of Bill Murray and Owen Wilson.

The Batman

The Batman release date: 4 March 2022

Starring: Robert Pattinson, Zoë Kravitz, Paul Dano, Andy Serkis, Colin Farrell 

This may be a while off yet, but since we have a first look at the new Batman, we couldn’t not include it. Taking place in the DCEU, this will be a reboot of the Batman franchise following Ben Affleck stepping down from the role. It will follow a younger Batman who isn’t yet an experienced superhero, and include numerous familiar DC icons such as Catwoman, Riddler and Penguin. 

The Flash

The Flash release date: 4 November 2022

Starring: Ezra Miller, Kiersey Clemons, Billy Crudup

Another DC character to get a standalone movie will be The Flash. Plot details are still very limited at the moment – which is no wonder considering that the film is two years away. However, we know that Andy Muschietti will be directing the flick, which is good news considering that the film has struggled with several directors leaving the project. 

From an artistic perspective, 2021 has been an excellent cinematic vintage, yet the bounty is shadowed by an air of doom. The reopening of theatres has brought many great movies—some of which were postponed from last year—to the big screen, but fewer people to see them. The biggest successes, as usual, have been superhero and franchise films. “The French Dispatch” has done respectably in wide release, and “Licorice Pizza” is doing superbly on four screens in New York and Los Angeles, but few, if any, of the year’s best films are likely to reach high on the box-office charts. The shift toward streaming was already under way when the pandemic struck, and as the trend has accelerated it’s had a paradoxical effect on movies. On the one hand, a streaming release is a wide release, happily accessible to all (or to all subscribers). On the other, an online release usually registers as a nonevent, and many of the great movies hardly make a blip on the mediascape despite being more accessible than ever.

2021 in Review

New Yorker writers reflect on the year’s highs and lows.

When tracking the fortunes of ambitious movies, it’s important to keep an eye on the spread—not, as in sports betting, the handicap of numbers but the aesthetic spread that separates the most original films of the day from prevailing commercial norms. The past two decades have been a time of peaceful revolution in the movies. Established auteurs, from Spike Lee to Martin Scorsese, have found liberation through the rise of independent producers, and ultra-low-budget outsider independents—including Greta Gerwig, Barry Jenkins, the Safdie brothers, Joe Swanberg, the late Lynn Shelton, and others in their orbits —have broken through to the mainstream and shifted the very core of commercial cinema. (Among the marks of the narrowed spread are the overwhelming success of such distinctive movies as “Moonlight,” “Us,” and “Little Women,” and the franchise stardom of Adam Driver.) But these shifts have led to an industry snapback—a reconquest and occupation of studio terrain. The hiring of Terence Nance to direct “Space Jam 2” was a welcome sign of progress; his departure from the project, in July of 2019 (reportedly because of creative differences), was a sign that the winds of Hollywood were pushing back to familiar shores. (The movie, titled “Space Jam: A New Legacy,” came out in July; it isn’t good, but it’s high on the year’s box-office chart.) The double whammy of overproduced mega-spectacles in theatres and audiovisual snackables at home is a sign that, even if theatrical viewing bounces back, movies’ place in the market is likely to be even more tenuous.

In one sense, this pattern is as old as the movies themselves: for every advance, there’s a reaction. In the earliest years of Hollywood, a century ago, a star-driven system gave way to a director-driven one, which studio executives then quickly clamped down on. What emerged was a top-down system that, ever since, has seemed, absurdly, like a natural and ineluctable state of the art. More recently, in the seventies, filmmakers such as Steven Spielberg and George Lucas came along to devise a new pop conservatism, rooted in television and nostalgia, that quickly pushed the most forward-looking of their New Hollywood peers toward the industry’s margins. The lesson is that there is nothing natural, inevitable, or immutable about the Hollywood way of doing things—neither the methods of production nor the dictates of style and form that result. (The absence of a unified and centralized documentary system is why nonfiction, as reflected in this year’s list, has continued its aesthetic expansion uninhibitedly.)

Even before the pandemic, it was becoming tougher for artistically ambitious, low-budget features to get any theatrical release, let alone achieve commercial viability. (Several of the best independent films that I’ve seen in recent years remain unreleased to this day.) But the economics of streaming services present their own peculiar challenges. With theatrical releases, viewers don’t pay for a ticket unless they want to see a movie. Streaming subscriptions, in effect, amount to paying in advance for movies before they are available, which means that platforms have an incentive to deliver the familiar—whether narrowly formatted star-and-genre movies or films by name-brand auteurs, who can easily draw interest. And the widening spread between the most profitable movies and the most original filmmakers risks putting pressure on directors to soften or suppress their most original inspirations, or to filter them into formats, genres, or systems that resist or counteract them.

There’s a danger worse than the studios and their overproduced, over-budgeted methods: a debilitated Hollywood that would relinquish its filmmaking dominance to an even smaller number of giant streaming services. Netflix and Amazon (and, to a lesser extent, Apple TV+) have done respectable jobs of producing and releasing artistically worthy movies, including some that are high on my list. They do it so that they can compete, as players rather than disrupters, with studios and major independent producers for prestigious artists and projects. But if theatrical viewing continues to shrink, taking with it the studios’ preëminence and turning independent producers and distributors into dependent husks, the big streaming services will have much less incentive to finance movies of any significant artistic ambition.

The economics of any individual movie are irrelevant to the progress of the art form; the pantheon of classics has no connection to the industry’s treasury. Yet the careers of filmmakers are inseparable from their ability to secure access to financing, and the history of cinema is a graveyard of unrealized projects that should serve as a cautionary tale against the squandering of worthy talent. Young filmmakers working outside the system and with scant expectations of getting in are the future of the cinema, which is an art form that doesn’t know what it needs until it gets it. The art advances through a generational takeover—which can happen only when movies seem worth taking over at all. As an avid moviegoer wary of the threat of contagion, I go to theatres cautiously, with careful attention to screenings where there are large numbers of empty seats around me. Yet each empty seat bodes ominously for the future of feature filmmaking over all. The cinema has weathered crises of many sorts, economic and political, but if movies themselves hold any lesson, a rebirth is as likely to resemble a zombie as a phoenix.

A note on this list: for last year’s picks, when releases were in flux because of the pandemic, I included movies that were available to stream through festivals and special series. Several of those films have had official releases in 2021, and I’ve included them again, to retain (or restore) adherence to the traditional calendar.

---

Wes Anderson’s wildly comedic, yet fiercely serious, adaptation of stories and personalities from the classic age of The New Yorker unleashes a self-surpassing torrent of dramatic and decorative complexity, philosophical power, and physical intensity. It’s an extraordinary film of the life of the mind-body connection, of history in the present tense.

---

What Paul Thomas Anderson lays out as a pugnaciously romantic coming-of-age story for a teen-age actor and a hectic trip of self-discovery for a twentysomething dreamer, set in the San Fernando Valley of the early seventies, turns wondrously and gleefully into his version of “Once Upon a Time . . . in Hollywood”—and a vastly superior one at that, owing to the wide-ranging scope of his tenderness, skepticism, humor, and insight.

---

Enter full date

to

or just enter yyyy, or yyyy-mm below

to