By Brett Blake For reasons that need no elaboration, 2020 was a strikingly odd year for cinema. With most (but not all) of the scheduled major theatrical releases pushed off into 2021, premium cable, streaming, and VOD became the avenues for new films to make their way to audiences. I ended up seeing even more new movies in 2020 than I did in 2019, but the majority were of a quality that was... well, let’s say subpar. A lot of crap got dumped into the digital release pipeline, but thankfully, some quite solid efforts also made it through, and the first few months of the year brought some terrific offerings to theaters, as well. So even with 2020 being, overall, a disappointing movie year, none of the films on this list have made it here by default, or because of a lack of options. Even in a great cinema year, I think any of these might have found their way onto an end-of-year “Top 10” list. So let’s take a look. Honorable Mentions
10. RUN (Directed by Aneesh Chaganty) Though derivative of several already-existing thrillers (MISERY is the big one that comes immediately to mind, but there are others), this is elevated by its two central performances and some terrific pacing. Sarah Paulson has this uncanny ability to go big without losing emotional authenticity, and she brings those skills to the table with her work in this. On paper, there’s a much more arch, vile way this character could be portrayed, but Paulson eschews the obvious, less interesting possibilities in favor of some genuine layers, while still being majorly threatening. Kiera Allen makes something usually very difficult -- appearing to think and work things out on-screen -- seem extremely easy, and she deserves a lot of credit for tackling the physicality of the role with (apparent) ease. The scenarios may be rather trope-y and old hat (especially for those who’ve consumed a healthy diet of thrillers over the years), but the direction is effective and confident enough -- and the pacing dialed right in -- that, when paired with the strength of the acting, RUN crosses over from being just serviceable and familiar, to being genuinely good. 09. SOUL (Directed by Pete Docter) Easily the most emotionally mature, adult-skewing Pixar film to date. That’s not to imply that kids won’t get anything out of this, but the themes it’s playing around with will absolutely be particularly resonant for a slightly older crowd. After a kind of rough first act, it settles into a groove. All the material about finding the joys and simple pleasures in everyday life is highly effective, and its big idea about trying to find fulfillment in one’s life was presented with a deft touch that keeps things from becoming too heavy (or sappy). It’s relatable and affecting stuff. The primary vocal performances from Jamie Foxx and Tina Fey are excellent; they hit just the right balance of being funny without being grating, and being emotionally resonant without being cloying. The animation’s beautiful, and the score from Trent Reznor and Atticus Ross is tremendous. 08. LEAP OF FAITH: WILLIAM FRIEDKIN ON THE EXORCIST (Directed by Alexandre O. Philippe) Sometimes, simplicity in the documentary form really pays off. LEAP OF FAITH is essentially just a long conversation with William Friedkin, director of THE EXORCIST -- he’s entirely the guiding force. There’s nothing particularly notable in terms of the construction or the filmmaking, but that’s surely because director Alexandre O. Philippe understood that simply letting Friedkin talk would be compelling enough. And it is. His recollections and ruminations on that seminal film are constantly engaging, and packed with anecdotes that even I -- an EXORCIST devotee -- had never heard before. So it’s absolutely essential for EXORCIST fans, of course, but those who appreciate the cinema of the 1970s should also likely find a lot here to be of interest. I found it completely fascinating. 07. RELIC (Directed by Natalie Erika James) A movie with an atmosphere of intense unease, which uses the visual language of horror to address real-life anxieties of aging. It’s hauntingly and evocatively shot, plus there are some truly eerie moments of “blink and you’ll miss them” apparitions. Emily Mortimer and Bella Heathcote both do solid work, but it’s Robyn Nevin who contributes the most important performance; the movie lives or dies based on how this role is handled, and there are a lot of ways it could have gone wrong, but Nevin is utterly convincing (and avoids most of the more traditional “crazy old lady” pitfalls). The sound design is terrific, which emphasizes the creaks and groans of the house where the story takes place, and also implements some more subtle, psychological touches. Much like was the case with THE BABADOOK, which similarly uses the horror genre in a metaphorical way, people who go into this film expecting a conventionally scary movie may come away underwhelmed. This is very much a slow burn, and while it’s tremendously and consistently creepy throughout, it’s far (very far) from a jump scare machine. So look elsewhere if that’s a prerequisite for you. 06. BAD EDUCATION (Directed by Cory Finley) Probably career-best work from Hugh Jackman, playing a character totally unlike anything I’ve ever seen from him. It’s a complex performance that involves so many elements (warmth, dedication, desperation), and it could have gone too broad and caricature-y in the wrong hands, but Jackman makes this guy feel like a completely real, authentic, complicated human being. Allison Janney’s also great as Jackman’s right-hand woman (confidant/consigliere/conspirator), and the distinctly different energy she brings to this role makes for a great contrast with the work Jackman’s doing. Both bring quite a bit of nuance to their parts, which helps us empathize with people who have made decisions that are difficult (and/or impossible) to justify. So as an acting showcase and a chronicle of an unusual true story, it works in a big way. 05. ONWARD (Directed by Dan Scanlon) 2020 was a good year for Pixar, as this is a thoroughly charming, heartwarming adventure. There were probably lots of ways that the central conceit of this movie’s world could have gone wrong, but the filmmakers thread the needle of being genuinely funny without becoming grating or -- worst of all -- pandering. From a design standpoint, it has a lot of fun fusing classic high fantasy concepts with something identifiable as related to our modern world, and this gives the movie a pretty fresh visual approach. Where ONWARD really shines, though, is in the arena of its characters, particularly the central brothers; the film mines humor from them, of course, but the heart of the movie is the way it handles their relationship. Pixar’s patented “We’re gonna try as hard as we can to make everyone in the audience cry!” touch is certainly felt, though the writing earns it. The loss of a parent is a trope that has a storied history in Disney media, and this explores that idea with some nuance, depth, and surprising frankness. 04. LET HIM GO (Directed by Thomas Bezucha) I mean this in a good way: LET HIM GO feels like an old-school, nuts-and-bolts dramatic thriller for adults, where a (relatively) simple yarn is executed in a straightforward -- but effective -- way. Diane Lane and Kevin Costner are excellent here, embodying a particular kind of subdued Americana folksiness, displaying convincing concern for their grandson and for the increasingly tense situation they find themselves in. Opposite them, Lesley Manville nearly walks off with the entire film as the matriarch of a very dangerous family; this performance is an eye-opening demonstration of her range. It’s quite well-shot, as the story is photographed like a kind of stark western, with lots of expansive landscapes against mostly-cloudy or hazy skies. The movie also boasts a fairly low-key and very warm score from composer Michael Giacchino. It’s a no-nonsense movie in a quite appealing way, and should make pretty good company alongside other recent neo-westerns like HELL OR HIGH WATER and WIND RIVER. 03. TENET (Directed by Christopher Nolan) The ultimate Christopher Nolan film, in many ways encapsulating the very best -- and some of the worst -- of his tendencies and interests. His preoccupation with time (as both a thematic idea and a storytelling device) is in full bloom here, and the result sees him staging big, cinematic sequences that hold true, visceral power. While, at heart, this is an espionage tale (complete with stylish wardrobe and cool locations), Nolan further dresses that up (some might say fusses with it) with a conceit that -- while visually extremely cool to watch -- will surely frustrate some viewers. There’s a difference between believing in an audience’s intelligence, and deliberately challenging them with an impenetrable story; Nolan errs a bit to much towards the latter this time out. I also really can’t defend the muddled sound mix, which is clearly a filmmaking choice made by Nolan. There is so much exposition in here that if the viewer doesn’t catch it all through the dialogue, they could easily be totally lost (in a story with logistics that would already be pretty complicated even if all the dialogue was heard in crystal clarity). However, the movie’s spectacle is properly spectacular. Photographed incredibly well, the setpieces here are absolutely wonderful, and contain more than a couple of jaw-dropping “How’d they do that?!” moments. So the picture’s strengths are good enough to easily put it among the best (and certainly the most ambitious) films of the year, and you have to appreciate a filmmaker creating big, original science fiction stories at this level. 02. THE VAST OF NIGHT (Directed by Andrew Patterson) A remarkable demonstration of filmmaking prowess from director Andrew Patterson. There are sequences in here of great visual energy and invention, and even the scenes of relatively simple character interaction are consistently compelling. On a script/story level, it has to be stressed that this is a very small, contained tale. It skews lower-key than some might expect or want, refraining from taking the story into bigger or more outlandish areas. In that sense, it truly does feel like a (very technically-accomplished) throwback to the sort of scope that one would find on THE TWILIGHT ZONE (which is a good thing). Something the script does very well is quickly establish our central characters, their dynamics, and the locations of the small town before the supernatural mystery starts to develop; we get a very good sense of this sort of “aw shucks” 1950s setting, and the way the paranormal starts to creep in is handled very effectively. Sierra McCormick and Jake Horowitz are terrific as the protagonists, with Horowitz bringing a bit of an affected “‘50s cool” vibe that is gradually chipped away, while McCormick has a “gee whiz” presence that is highly engaging. It’s a beautifully-shot film, both in lighting and camera placement/movement, and the confidence displayed here by Patterson immediately marks him as an extremely promising talent. 01. THE INVISIBLE MAN (Directed by Leigh Whannell) A fantastic, suspenseful re-interpretation of a classic tale (which dates back to a story courtesy of the legendary H.G. Wells) from writer/director Leigh Whannell. Employing some very effective cinematic techniques, Whannell reframes the Invisible Man story as a parable about domestic abuse and trauma at the hands of a sociopath. The idea of there being somebody watching you, following you, harassing you... who you cannot see... is very chilling, and that flavor provides Whannell’s story with a great deal of its intensity. How can you really hope to escape a presence like that? The implications are genuinely very frightening, and Whannell explores them to great effect and for maximum tension. When shots of empty rooms are powerfully unnerving, as they often are in this film, you’ve done something very right. Elisabeth Moss is extremely impressive in the central role, not only eliciting deep sympathy from the audience, but also layering in something even more interesting: the sense that perhaps she is truly being driven insane by the horrors being inflicted on her. It’s not just her physical well-being that’s in danger, but her psychological stability, as well, and there’s the implication that if she’s pushed far enough off the deep end, she might become just as dangerous (to herself and others) as the Invisible Man is. That Moss is able to thread the needle of conveying that without ever going over the top or losing the viewer’s desire to root for her shows what an adept performer she is. Overall, this is a terrific horror-thriller, and the best (so far) of any of Universal’s attempts to revive their Classic Monsters characters.
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