My Top 10 Favourite Films Of 2020 (So Far)
Okay so obviously, 2020 has been a weird year and even though the film industry has (rightfully) been put on pause, there have still been some great films released. I can honestly recommend you check out every film on this list as you're bound to find something to help pass the time but I've also included trailers to help you make your choice.
10) THE RENTAL (Dir. Dave Franco)
For just over an hour, Dave Franco's directorial debut plays out as an increasingly tense character focused thriller with great performances from Dan Stevens, Alison Brie, Toby Huss and Shiele Vand. If the film maintained that tone through the final scenes, I think it would be receiving far more acclaim. As it is, there is a sudden shift in the last 15 minutes that will make or break this film for many people. Personally, while the ending doesn't quite work for me, I can't deny that I have been thinking about this film a lot since watching it and I was engaged enough by the relationship drama and performances in the first hour that I have no qualms putting it on this list. Though, to be honest, had 2020 seen a regular year of cinema releases I doubt THE RENTAL would have made my Top 10.
9) THE WAY BACK (Dir. Gavin O'Connor)
I've included two trailers for this entry as neither really captures the tone of the film, that lies somewhere inbetween the character drama of the first and the uplifting sports drama of the second. If you've seen director Gavin O'Connor's earlier film, WARRIOR (2011), then you'll be familiar with the tone THE WAY BACK is aiming for. The film tackles alcoholism in a more complex fashion then you might expect from a sports drama, and Ben Affleck delivers one of his career best performances. This film doesn't anything terribly innovative, but is a powerful and nuanced exploration of cycles of abuse and addiction whilst also providing more entertainment then that description might suggest. I wouldn't be surprised to see THE WAY BACK pick up several nominations in whatever form the 2021 Academy Awards ends up taking.
8) THE KING OF STATEN ISLAND (Dir. Judd Apatow)
Confession time, I barely even knew who Pete Davidson was but I was still ready to hate this film. A bit part player on Saturday Night Live, best known for his romantic life, writing a dramedy based on his own life seemed like a recipe for narcissistic disaster. With that in mind, I was thrilled to find out I was wrong. It would be easy to credit Judd Apatow with how entertaining this film turns out, but Davidson proves a charming lead as the loveable loser Scott. Moreover, the script incorporates the real life tragedy that saw Davidson lose his firefighter father in the events of 9/11 into Scott's backstory and ends up providing a quite moving look at the paralysing nature of grief. Davidson handles both the comedy and emotion of the role well but is supported by a stellar cast including Marisa Tomei, Bill Burr, Pamela Adlon and Steve Buscemi. Burr is particularly good, playing against his stand-up persona as a loving father and Scotts mothers new boyfriend. Overall this is a funny and heartfelt comedy, more akin to Apatow's early work in the TV show FREAKS & GEEKS than the high profile comedies he became famous for. Well worth a watch.
7) GRETEL & HANSEL (Dir. Oz Perkins)
I'm torn with this film. I think objectively, it's probably not very good but Oz Perkins' directorial choices and the design work in the film have created something visually distinctive and memorable. This retelling of the classic German fairytale is not too disimilar in approach to the early work of Guillermo Del Toro, but lacks that filmmakers thematic resonance. Still, GRETEL & HANSEL features great performances from Sophia Lilis and Alice Krige and is easily one of the most unique films you'll see in 2020.
6) BIRDS OF PREY (Dir. Cathy Yan)
This was quite simply the most fun I had at the cinema this year before lockdown kicked in. Margot Robbie and Cathy Yan's passion for this film is tangible in every frame. The film delivers great comedy and action in equal measure with Mary Elizabeth Winstead, Jurnee Smolett-Bell and Ewan McGregor particularly memorable in supporting roles. By no means a perfect film but a promising start and a great platform for future stories featuring these characters. Also, the film has the most relatable hangover scene in movie history. Just great fun all around.
5) COLOR OUT OF SPACE (Dir. Richard Stanley)
In recent years Nicholas Cage has found success within the
horror genre, particularly with his roles in MOM AND DAD (2017) and MANDY
(2018) and he continues that trend in director Richard Stanley’s adaptation of
the H.P.Lovecraft short story, COLOR OUT OF SPACE. But whilst those earlier
films milk the value of an unrestrained Cage, here Stanley mines the value in a
more muted performance for most of the film’s runtime. When the actor does
inevitably go “full Cage” it is timed perfectly with the film’s own decent into
Lovecraftian madness. The pacing of Stanley’s film is judged perfectly, and the
surreal effects of “the color” build to a wonderful crescendo. Throw in solid
performances from Joely Richardson and Madeleine Arthur, alongside a typically
burnt out turn by Tommy Chong, and you have a horror film that though
overlooked on release, I believe will enjoy a long legacy as a cult classic.
4) UNDERWATER (Dir. William Eubank)
Sometimes all I need from a film, particularly a sci-fi or
horror film, is an interesting concept or situation played out with interesting
or likeable actors. In that sense, UNDERWATER overdelivers. The story is
simple, a deep sea research/mining station experiences a catastrophe and those
who survive the initial threat must try and escape a supremely hostile
environment. That those initial survivors include Kristen Stewart, Vincent
Cassell and John Gallagher Jr means I would have been along for the ride had
director William Eubank simply played that premise out. But as the film reveals
itself to be a monster movie, my engagement only grows. I won’t spoil the
revelations of the final act, but UNDERWATER has a much larger scale then the
premise might suggest. If I have one criticism of the film it is that it starts
with the disaster, as I personally would have enjoyed an extra 10 or 15 minutes
to get to know the cast before all hell breaks loose. Regardless this is a
great little movie with a typically excellent performance from Kristen Stewart
and easily one of the year’s most pleasant surprises.
3) PALM SPRINGS (Dir. Max Barbakow)
I have enjoyed Andy Samberg’s work with The Lonely Island
and on BROOKLYN NINE-NINE but in feature films, I don’t typically enjoy his
work. I might even have passed on this film had it not been for the presence of
Cristin Milioti, whose most high profile work to date is likely as the titular
‘Mother’ in the final season of HOW I MET YOUR MOTHER. That she was easily the
highlight of that season coupled with her excellent work in the BLACK MIRROR
episode “USS Callister” (as well as working with Scorcese in THE WOLF OF WALL
STREET) suggested that it was only a matter of time before she found her
breakout starring role, and in my opinion she is the best thing about the
time-loop romantic comedy PALM SPRINGS. Which isn’t to take anything away from
Samberg as while for the majority of the film he is simply employing his usual
comic persona there are a couple of moments of dramatic acting on his part,
particularly a dramatic roadside confession, that revealed new depths in the
actor. I now cannot wait for Samburg’s inevitable “comedian does drama” turn
that seems customary for all SNL alums. This film may not be particularly
original, with even the recent excellent slasher movies HAPPY DEATH DAY (2017) and
HAPPY DEATH DAY 2 U (2019) getting in on the now familiar GROUNDHOG DAY (1993) time loop
setup, but a solid script and great performances from Milioti and Samberg make
this film a standout.
2) THE INVISIBLE MAN (Dir. Leigh Whannell)
Leigh Whannell had his original success in Hollywood as
co-writer (and in the initial instalment, co-lead) of the SAW franchise. In the
16 years since that film hit theatres it Whannell’s frequent creative partner,
James Wan, who has enjoyed the most success off the back of that franchise
occupying the directors chair not only for SAW (2004), but also INSIDIOUS (2010) and
INSIDIOUS: CHAPTER 2 (2013), THE CONJURING (2013) and THE CONJURING 2 (2016), the 7th
instalment in THE FAST AND THE FURIOUS series and most recently AQUAMAN (2018).
Whannell first directorial efforts were comparatively low-key by comparison
with neither INSIDIOUS: CHAPTER 3 (2015) or UPGRADE (2018) enjoying the critical or
commercial success of Wan’s work. Yet it is clear both men share a love of
practical efforts and traditional Hollywood filmmaking and Whannell finally
found the right balance with THE INVISIBLE MAN, a film that received not only
positive reviews but was a huge success for it’s relatively minor budget.
Whannell’s film is a masterwork of building tension and suspense, with frequent
use of empty space providing more genuine scares than many of its modern horror
contemporaries. While Whannell’s patience and belief in his audience is
laudable, the real secret weapon in this film is Elizabeth Moss’ phenomenal
performance as a woman being driven slowly insane by a threat, only she
believes is there. Whannell and Moss together deliver a take on an old premise,
that manages to fell important and vital in a modern setting, with the film
tackling a system that fails to prevent psychological and emotional abuse and
instead protects the abusers. A powerful and tense film, and a huge boon to all
involved.
1) DA 5 BLOODS (Dir. Spike Lee)
Spike Lee has been one of America's most distinct directorial voices for over 30 years and it is a testament to his passion that DA 5 BLOODS feels as vibrant and relevant as it does. While another entry in the well worn genre of films centred around the Vietnam War might not seem to be a neccessity in 2020, the unflinching way the film tackles racism and prejudice makes it feel uncomortably vital. The film's story is deceptively simple. During the conflict in Vietnam, five African-American soldiers discover a cache of gold bars and agree to hide this fortune until the war is over and they can recover it safely. Over 40 years later and the remaining 4 men return to a vastly different country to recover their prize. Lee uses this set up to explore not only the discrimination the soldiers have lived through, but also their feelings on the Vietnam people and the trauma caused to that country by the war. The film plays out as a surprisingly entertaining mix of war movie and heist film. I could be recommend DA 5 BLOODS on that merit alone, but it becomes an absolute must see thanks to Delroy Lindo's phenomenal performance as the provocative and bigoted Paul, for whom the return to Vietnam unearths deep seated psychological trauma. I don't know what the Oscars will look like in 2021 but if Lindo isn't nominated something has gone terribly wrong. Another memorable film from Spike Lee and a worthy follow up to the brilliant BLACKKKLANSMAN (2018).
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