2020 has been an awful experience for everyone and while cinemas have been closed for most of the year, there have still been some great films released that you might have missed. With that in mind, here are my favourite films of the year. These are based more on personal taste than objective, critical worth but I highly recommend them all and I've thrown in trailers so you can make your own minds up. Enjoy.
*** Some of the entries on this list appeared on my previous blog entry so I've copied some of the text from there.
25) JUNGLELAND (Dir. Max Winkler)
I've been a big fan of Jack O'Connell's since his debut on SKINS back in 2009 and this film is probably the best showcase for his talents since 2013's STARRED UP. The mix of toughness and vulnerability he brings to this low budget crime thriller is a large part of what makes it work. Jessica Barden and Charlie Hunham provide strong support (even with Hunham's wandering accent) but this really is O'Connell's show. Well worth a watch but probably won't linger long in the memory.
Trailer: https://www.youtube.com/watch?v=Dxcib_ixmT8
24) BIRDS OF PREY (Dir. Cathy Yan)
Easily the most fun I had at the cinema in 2020, Margot Robbie's enthusiasm for the character of Harley Quinn remains as compelling as ever. Cathy Yan's choice to express Quinn's madness in the film's aesthetic remains an astute one, and the character's energy carries much of the film through a fairly standard plot. Memorable performances from Jurnee Smollett-Bell and Mary Elizabeth Winstead help to reveal new sides of Robbie's Quinn and Ewan McGregor and Chris Messina are great villains. Here's hoping for a sequel that can take bigger risks with the story being told.
Trailer: https://www.youtube.com/watch?v=x3HbbzHK5Mc
23) BLOOD QUANTUM (Dir. Jeff Barnaby)
The zombie genre may seem well and truly exhausted by this stage but Jeff Barnaby proves that there is still some mileage to be found in the living dead and by choosing to set the film on an Indian Reservation, the potential for socio-political commentary is rife. Familial conflicts and racial tensions are the backbone of Barnaby's film, but he doesn't forget to bring exciting setpieces and memorable gore. The cast bring an authenticity to their performances and help to deliver on the film's explorations of morality. Overall a great time and highly recommended for any horror fan.
Trailer: https://www.youtube.com/watch?v=TkG9Mfi6x_w
22) MANK (Dir. David Fincher)
I imagine this film will be a lot higher on some other people's lists, and not without good reason. Fincher's astute decision to tell the story of alcoholic screenwriter Herman J. Mankiewicz's writing of CITIZEN KANE (1941) in the very style employed by Orson Welles in his masterpiece is inspired. That Fincher so ably captures the visual style employed by Welles, whilst also making the film feel fresh is an accomplishment in and of itself. Gary Oldman is typically excellent in the title role and is supported by some wonderful performances. That being said, I feel the script is the film's great weakness and with the exception of a few key scenes, MANK largely left me detached emotionally and similarly to some of Fincher's other films, is largely an example of style over substance. But with style this compelling, that will be more than enough for a lot of people.
Trailer: https://www.youtube.com/watch?v=aSfX-nrg-lI
21) THE NEW MUTANTS (Dir. Josh Boone)
This is where personal preference really starts to dominate this list as THE NEW MUTANTS is by no means a great film. I've been a fan of the X-Men franchise for almost 30 years now, but I've always been disappointed by the live-action films. The X-Men film's have always prioritised action and (shallow) social commentary but a large part of what makes the comics so popular for so long is the usage of soap opera melodrama and some just plain weird ideas. The films have traditionally balked at these later ideas but THE NEW MUTANTS dives right in. As much a late 90's high school horror film as it is a superhero tale, the film's cast nail the morose introspection and hormonal chaos of the source material and the final act of the film is the most unapolegetic page to screen translation of the madness of comics in the entire franchise. It's a real shame that cynically negative press coverage and the film's multiple delayed release dates meant a lot of people skipped this on release but I genuinely believe it will find a cult audience over time.
Trailer: https://www.youtube.com/watch?v=W_vJhUAOFpI
20) THE DEVIL ALL THE TIME (Dir. Antonio Campas)
Don't let the brevity of this entry fool you, I really did enjoy this film. A well put together southern gothic thriller, Campas's film has lofty aspirations with it's narrative. That being said, the script doesn't quite deliver on those aims. What really makes the film woth watching is the excellent cast with Bill Skarsgard and Tom Holland both being particularly good. However it is Robert Pattinson who steals the entire film with a magnificent supporting performance. THE DEVIL ALL THE TIME is available on Netflix now and is worth your time.
Trailer: https://www.youtube.com/watch?v=EIzazUv2gtI
19) BILL AND TED FACE THE MUSIC (Dir. Dean Parisot)
This is definitely the shot in the arm of positivity that 2020 desperately needed and happily is also the best film in the series. Alex Winter and Keanu Reeves both fully commit to their roles and Brigette Lundy-Paine and Samara Weaving make excellent additions as Bill and Ted's daughters, Billie and Thea. William Sadler also returns as Death and is as great as ever. The decision to homage both previous sequels, by sending Bill and Ted on a journey reminiscent of BILL AND TED'S BOGUS JOURNEY (1991) while Billie and Thea have their own rendition of BILL AND TED's EXCELLENT ADVENTURE (1989) means that the pace of the film never lets up and the relatively brief 90 minute run time just sails by. Ultimately though, it is the unrelenting positivity of the film's climax that really makes it feel special.
Trailer: https://www.youtube.com/watch?v=1gPGeAYo3yU
18) 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.
17) LOVE AND MONSTERS (Dir. Michael Matthews)
Had this film been released in the 1980's I get the feeling it would hold a place in people's hearts similar to films like THE GOONIES (1985) or FLIGHT OF THE NAVIGATOR (1986) but sadly in 2020, Michael Matthews' monster adventure film has gone largely overlooked. LOVE AND MONSTERS follows Dylan O'Brien's Joel on a cross-country journey through monster infested lands to reunite with his lost love, Jessica Hardwick's Aimee, and delivers an effective coming-of-age tale in the process. Joel's emotional growth is the backbone of the film and really pays off in the film's surprisingly touching ending. The film is worth watching for the excellent monster designs alone but the sweet friendship Joel develops with an adorable stray doggo is also a major highlight (spoilers for the sake of my animal loving friends, the dog is fine at the end of the film).
Trailer: https://www.youtube.com/watch?v=yu8tBeNsVPc
16) THE TRIAL OF THE CHICAGO 7 (Dir. Aaron Sorkin)
Aaron Sorkin has fallen somewhat out of favour in recent years but I am unashamed to admit I am still a massive fan of his work. THE WEST WING, STUDIO 60 ON THE SUNSET STRIP and THE NEWSROOM are 3 of my all-time favourite TV shows and his script work on films such as A FEW GOOD MEN (1992), THE SOCIAL NETWORK (2010), MONEYBALL (2011) and STEVE JOBS (2015) makes those films infinitely rewatchable for me. THE TRIAL OF THE CHICAGO 7 unfortunately though follows the trend of MOLLY'S GAME (2017) in revealing that while Sorkin is as excellent a writer as ever, he is average at best as a director. Which isn't to say this entry isn't good, far from it, it is in fact great fun and the excellent casting, with a particularly noteworthy performance from Sacha Baron Cohen as infamous political activist Abbie Hoffman, really uplifts the experience. Unfortunately Sorkin's pacing in the first half of the film prevents it from achieving classic status, even if it does pick up in the final act. Still, highly recommended for any fans of Sorkin's earlier work.
Trailer: https://www.youtube.com/watch?v=FVb6EdKDBfU
15) TENET (Dir. Christopher Nolan)
I've struggled with Christopher Nolan's work since INCEPTION (2010) with INTERSTELLAR (2014) and DUNKIRK (2017) leaving me particularly cold. Nolan's work too often feels like an intellectual attempt to elevate fundamentally pulp stories which ends up losing the entertainment value to be found in genre fare. It is with great surprise then that I found myself on the otherside of the usual Nolan discourse as I particularly enjoyed TENET, where many others didn't. Setting aside the obnoxious choices made with the films sound design, this felt like a film that Nolan was having fun making. Fundamentally a Bondian spy tale, with the time travelling element serving only to make the action scenes more visually interesting, this is Nolan charting familiar ground. Still I found it thoroughly entertaining and particularly enjoyed Robert Pattinson's supporting role that doesn't just bode well for his lead role in THE BATMAN but also his prospects as a future James Bond.
Trailer: https://www.youtube.com/watch?v=AZGcmvrTX9M
14) MANGROVE (Dir. Steve McQueen)
The first installment of critically acclaimed filmmaker Steve McQueen's SMALL AXE anthology is also the best in my opinion. McQueen had already proved himself accomplished at casting a light on oft-overlooked yet vitally important moments of history in his debut feature HUNGER (2008), but MANGROVE manages to couple that skill with the passion and intensity of his most lauded film, 12 YEARS A SLAVE (2013). Recounting the events leading up to and surrounding the trial of the Mangrove Nine in London in 1970, McQueen deftly balances racial tension and political outrage without losing the experience of human emotion. MANGROVE covers similar ground to THE TRIAL OF THE CHICAGO 7, but maintains a vitality and intesity that Sorkin's film lacked. The events of the film feel as vitally important to a world where discussions of systemic racism are still met with sceptism and McQueen tackles the subject matter with dignity and respect. Just an excellent film.
Trailer: https://www.youtube.com/watch?v=VHFLv3k2Eww
13) HAPPIEST SEASON (Dir. Clea DuVall)
Clea DuVall's HAPPIEST SEASON is a Christmas set romantic comedy and tells the semi-autobiographical tale of a couple's journey home for the holidays, The problem arises as Kristen Stewart's Abby discovers that the girlfriend she was about to propose to, Mckenzie Davis' Harper, hasn't yet come out to her family. Cue a comedy of errors in which Abby has to maintain the ruse of being merely Abby's best friend and the stage is set for familial tensions, unavoidable misunderstanings and emotional confrontations. The film wisely never gets too morose in tone and the fantastic cast, including Alison Brie, Aubrey Plaza, Mary Steenburgen and a stand-out turn from Dan Levy, deliver the film's warmth and comedy brilliantly. I'm a sucker for a well made Christmas film, and this has immediately joined my annual festive playlist.
Trailer: https://www.youtube.com/watch?v=h58HkQV1gHY
12) KAJILLIONAIRE (Dir. Miranda July)
Similarly to other entries on this list, my enjoyment of Miranda July's KAJILLIONAIRE reflects my long held appreciation for the talents of the film's star, in this case Evan Rachel Wood. While she is likely best known to many for her starring role in the HBO show WESTWORLD, Wood first came to prominence in Catherine Hardwicke's controversial teen drama THIRTEEN (2003) and while she never quite enjoyed the success that breakout performance suggested, roles in films such as PRETTY PERSUASION (2005), ACROSS THE UNIVERSE (2007), THE WRESTLER (2008) and THE IDES OF MARCH (2011) all serve as credit to her talent. KAJILLIONAIRE continues that trend by offering Wood one of her most compelling roles to date as Old Dolio, the youngest member of a family of codependent con artists. Richard Jenkins and Debra Winger are excellent as Old Dolio's toxic parents, who treat her more as an accomplice than a daughter, and the lighthearted crime comedy soon provides an intimate examination of the subtleties of abusive relationships and the lasting damage they can do.
Trailer: https://www.youtube.com/watch?v=eBEvt_WQ5-M
11) FREAKY (Dir. Christopher Landon)
Christopher Landon's time-loop slasher comedies, HAPPY DEATH DAY (2017) and HAPPY DEATH DAY 2U (2019), were both pleasant surprises for me and he continues that trend of reimagining the slasher movie with this his latest film. The premise can be soummed up best by its original intended title, Freaky Friday The 13th, in which a young teen inadvertantly swaps bodies with her would be killer. That really is all there is to the film but it is elevated dramatically by the performances of Kathryn Newton and Vince Vaughn who both portray dual roles as nerdy teen Millie and the Jason Voorhees-esque, Blissfield Butcher. There is no doubt that Vaughn deserves credit for his commitment to portraying a teenage girl trapped in the body of a full grown man, but Newton is equally impressive when she makes her transition to a homicidal maniac. FREAKY is surprisingly sweet for a slasher film but also fully commits to the violence of the Butcher's kills.
Trailer: https://www.youtube.com/watch?v=EqPnIcDW9g0
10) SCARE ME (Dir. Josh Ruben)
I've been a fan of Aya Cash for several years now thanks to her lead role the excellent dark comedy series YOU'RE THE WORST and with her well received turn in the second season of THE BOYS, it looks like her profile is about to rise. Her amazing comic delivery and dramatic talents have never been in question for fans of her previous work but SCARE ME is basically a showcase of what she does best. The film is basically a two hander between Cash and the writer/director/co-star Josh Ruben (except for a brief but memorable appearance from SNL cast member Chris Redd) with the latter playing a struggling actor and writer who has rented a remote cabin to write, only to discover his neighbour is a critcally acclaimed novelist in her own right. After the mountain they are on loses power due to a thunderstorm, the two writers spend the night in Ruben's cabin telling each other spooky stories. The decision to have the characters physically act out the stories they are telling rather than cut away is a risky one, and while Ruben does a satisfactory job, these interludes are where Cash steals the entire film. As the relationship between the two become more competitive and toxic, tensions rise and conflict becomes inevitable. Cash's excellent performance is the main selling point of the film, but it should be a must watch for fans of spooky stories in general.
Trailer: https://www.youtube.com/watch?v=NeYWT7CnFK0
9) 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.
Trailer: https://www.youtube.com/watch?v=jCFWEzIVILc
8) PALM SPRINGS (Dir. Max Marbakow)
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 2013 on 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 but a solid script and great performances from Milioti and Samberg make it stand out.
Trailer: https://www.youtube.com/watch?v=CpBLtXduh_k
7) WOLFWALKERS (Dirs. Tomm Moore & Ross Stewart)
To be honest, this was just an incredibly sweet, interesting and funny film and not one I was expecting to enjoy quite as much as I did. The incredibly distinct art style lends a unique personality to this tale of adventure and magic set in an English occupied Ireland in the 1600s. The film's subtext of political occupation and cultural erasure, with its overtones of queer romance, enhance the more overt themes of family and friendship and it all comes together to creat something truly unique. This is basically a dead cert to pick up the Best Animated Feature at next year's Academy Awards but really deserves to find a larger audience than a non-Disney/Pixar animated film usually would. Sean Bean is in it too, if that helps?
Trailer: https://www.youtube.com/watch?v=d_Z_tybgPgg
6) THE VAST OF NIGHT (Dir. Andrew Patterson)
It is very difficult to describe what makes this film work so well without giving away its secrets. Playing out like an extended episode of THE TWILIGHT ZONE, Andrew Patterson's debut feature is clearly a passion project. Unfolding almost in real time, THE VAST OF NIGHT follows two teens, Jake Horowitz's Everett, the high school radio host, and Sierra McCormick's Fay, a switchboard operator and radio enthusiast, as they try to solve the mystery of a strange sound broadcast on Everett's show. The film has a laser like focus on these two characters and it is a tribute to the actors that they remain so compelling. It is also worth noting the confidence on display in Patterson's direction. He is comfortable with long atmospheric takes, trusts the skills of his cast in conveying the narrative and shows a masterful control of setting and location. This was the happiest surprise I had this year in film and I whole-heartedly recommend it to one and all.
Trailer: https://www.youtube.com/watch?v=ZEiwpCJqMM0
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.
Trailer: https://www.youtube.com/watch?v=uEX8vtCMqQE
4) MA RAINEY'S BLACK BOTTOM (Dir. George C Wolfe)
The death of Chadwick Boseman in August 2020 is a tragedy in its own right, one that's impact is magnified by the cultural power that burst forth from his titular performance as Marvel's Black Panther. Boseman's charisma and talent in that role propelled him to immediate superstardom and we were only just beginning to see the results of that in his career when he passed away. While nothing I can say will soothe the pain of that loss, it stands to his legacy as an actor that two of his best roles came in the same year. His almost ethereal presence in DA 5 BLOODS lends the film much of its heart but its in director George C Wolfe's MA RAINEY'S BLACK BOTTOM that Boseman delivered perhaps the finest performance of his career as a disgruntled but ambitious trumpet player in the backing band of trailblazing blues performer, Ma Rainey. Boseman is electric in every scene and it would be a diservice to the film to discuss the directions his character takes. I will however say that Viola Davis is every bit his equal in the titular role and the pair's struggle for power and recognition, with both each other and the world around them, is utterly compelling.
Trailer: https://www.youtube.com/watch?v=ord7gP151vk
3) SOUND OF METAL (Dir. Darius Marder)
Riz Ahmed's star has been on the rise for the last couple of years across both his acting and music careers but his performance in SOUND OF METAL should be the film that cements him in Hollywood. Ahmed is sensational in the role of a recovering drug addict and drummer who begins to lose his hearing. One of the central themes of the film is overcoming the idea that deafness is something to be fixed as opposed to adapted to so wisely, much of the drama comes from Ahmed's Ruben struggling with his own addiction as well as his co-dependancy with bandmate and girlfriend, Lou (portrayed by Olivia Cooke). The sound design of the film should also be lauded as it manages to truly capture the hearing loss Ruben has suffered in creative and compelling ways. Ahmed will surely be in consideration come award season but the film as a whole deserves as much praise as its lead.
Trailer: https://www.youtube.com/watch?v=3m_WaWC3c84
2) THE INVISIBLE MAN (Dir. Leigh Whannel)
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.
Trailer: https://www.youtube.com/watch?v=WO_FJdiY9dA
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).
Trailer: https://www.youtube.com/watch?v=D5RDTPfsLAI
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