Best of 2020

With the dumpster fire of 2020 nearly extinguished, we find ourselves contemplating some of the finer moments of the year from a cinematic point of view. Certainly the disruptions at theatres and postponement of many tentpole films (Marvel, DC, James Bond, Tom Cruise, etc.) had a negative impact on the menu of options, but there were still several great films, many of which will be up for some critical awards come 2021 despite never setting foot in a theatre in America. That said, this year does feel a bit different. I think my last theatrical viewing was in February, and although I do miss the thrill of sitting back and indulging in a highly-anticipated big-screen viewing. There's something about movie theatres that has always filled me with a sense of excitement and comfort. With digital streaming becoming the norm, and studios like Disney and Warner Bros. embracing the shift in cultural zeitgeist, we all find ourselves in a surreal place in history. I will fondly hold nostalgic memories of theatre experiences not for the films themselves, but for the feelings evoked. After all, that's what movies are all about; How they make you feel. Full disclosure, I haven't seen all of the films available. This is simply due to access issues as well as the time constraints of self-isolation but I have some idea of how awards season should go, and am curious how things will play out. Tops of my must-watch list (what I must watch, not you) is Nomadland. I'm expecting this to be the best picture of the year, with Chloe Zhao (the Rider, Eternals) and Frances McDormand in a surefire Best Actress nomination. Then there's Chadwick Bozeman's final film, Ma Rainey's Black Bottom, George Clooney's The Midnight Sky, Carey Mulligan's Promising Young Woman, and the fictitious revisionist historical biopic One Night in Miami. All of these show great potential, and I am excited to see each one when possible. The ultimate winner of the year is digital streaming studios. Netflix and Amazon have crushed 2020 either through their original stories or by purchasing hot properties that didn't have anywhere else to distribute. Whatever the circumstances, they have demonstrated the sustainability of this new model, and we will see how Warner Bros. blockbuster WW84 fares when released on HBOMax on Christmas. Disney+ didn't do too bad itself, and Apple has a handful of originals to contribute as well. Traditional studios are weighing options and will have to choose a side of moving forward or being left behind. Here are my thirteen favorite films that I highly recommend in no particular order. The Blockbuster 1. Tenet. Yes, I know it's cliche to put the biggest box office draw of 2020 on this list, but it was absolutely breathtaking and John David Washington and Robert Pattinson are both outstanding in Christopher Nolan's latest with notes of Inception and time inversion. It is complicated. Blink and you'll miss a lot, and I would highly recommend a second viewing to catch up on any gaps (just like Inception), but it is full of deeply metaphoric mindbending details. You know you want to see it, just set aside a few extra hours for the second viewing and some thoughtful reflection time. The New Guard 2 and 3. Extraction and Old Guard. Two Netflix properties with Chris Hemsworth and Charlize Theron, respectively. Both are legitimate blockbuster films that could have easily made nine figures at the box office, both could have also been glossed over as "made-for-tv" properties by a different lens, but with the new model of straight-to-digital-streaming, these two trailblazers stand out as well done, exciting, and proof positive that just because it's a Netflix film, doesn't mean it's not one of the best films of the year. The Sorkin Effect 4. The Trial of the Chicago 7. Aaron Sorkin in all his psilocybin-inspired screenwriting glory delivers a stellar biopic about the confluence of civil rights agendas in a time and place of unrest. With all the characters wittily speaking a mile-a-minute, the film is not only well-written, but it's delivered and performed exceptionally as well. The Quirky Duo 5 and 6. Palm Springs and King of Staten Island. Two lesser-known films that might not make anyone else's end of year list, I found Andy Samberg and Pete Davidson (SNL alumni) both captivating in a pair of comedies with more substance than seen at first glance. Both films are enjoyable and clever, but also tug a little at the heartstrings. The Uncomfortable Experience The Devil all the Time. In my book, this might be the best picture I've seen thus far. The characters are despicable and relatable in a setting that oozes backwater drama. Some may be turned off by some of the gritty material, but it strikes all the chords of what I'm into when it comes to raw cinematic craftsmanship. The Double-Take Love and Monsters. Say what? Really? I say yes. Clever dystopian story of mutated insects and reptiles that have driven survivors underground into bomb shelters. One man (Dylan O'Brien) ventures out to brave the danger to search for his long lost love. It's cheesy, predictable, and doesn't have particularly memorable characters or dialogue. But you know what? It's entertaining. The effects are pretty spectacular, and O'Brien's character is empathetic and has an ethereal quality that I just can't put my finger on. Whatever it is, the film is a great unexpected fun. The Character-Driven Vehicles Sound of Metal, Uncle Frank, Hillbilly Elegy, Black Bear. Acting mastercrafts all around. Riz Ahmed and sound editing that will win Oscars shine in the depressing Sound of Metal. Paul Bettany thrives in the period piece about the closeted gay uncle. Amy Adams hits all the right notes as the angry and abusive woman who just needed a way out. And finally, my Best Actress of the year, Aubrey Plaza puts on an absolute clinic in Black Bear, a film about the making of a film. The Underdog All Day and a Night. I loved this movie. Of course, I love Jeffrey Wright, and the writer/director wrote Black Panther as well, so there is that. This movie flew under the radar, and I even had to look up the name again when I was describing it to a friend. I'm not optimistic that it will end up on others' best of lists, but everything about it was fantastic and it will certainly end up on my Top 10 list once January hits. There are a lot of great films that have come out of this otherwise horrendous year, and I plan on finishing December by catching up on the ones I've been unable to see thus far, but I wanted to shake the rust off my blog (it's been a minute) and share my preliminary picks before 2021 pokes its head out. One thing that is certain is that there are no clear favorites in any of the categories (Tenet might have some technical categories wrapped up and Sound of Metal should take sound mixing and editing awards). Women will rule acting this season with McDormand, Adams, Plaza, and an understated performance by the always brilliant Meryl Streep capturing four of the nods. For the men, it's a little less predictable with Gary Oldman the only perennial fave for his take on 1930's Hollywood in Mank, and a posthumous nomination for Chadwick Bozeman seeming likely. Otherwise, I like Riz Ahmed (Sound of Metal) and young Ashton Sanders (All Day and a Night) as well as Paul Bettany (Uncle Frank) to potentially receive nominations. One thing that 2020 taught us is that awards season will require flexibility in our perception of what's typical or to be expected. There will be movies. There will be awards. And, those things won't be going away anytime soon, even if we do watch them in our bedroom, on our laptop, or even on our phone instead of on a big screen. As the Italians say, Viva La Cinema!