My 10 Favorite Films of 2020

 

2020 was a strange year on many levels but for movie lovers it was a particularly strange one.  This year was probably the first time I didn’t lurk the halls of my beloved theaters for months at a time.  Still there were plenty of films that stood out, since I’m terrible at making and sticking with a top 10 ranking, here are my 10 favorite films of the year in no particular order. 

Birds of Prey

Cathy Yan’s Birds of Prey was one of the early victims of the Covid Pandemic which is a shame since the film is one of the comic book films that truly found its own voice.  Birds of Prey never feels formulaic or cookie cutter as we see Margot Robbie’s Harley evolve into her own. 

Gretel & Hansel

Oz Perkin’s film went under the radar but those looking for a striking horror film will find plenty to like with the mind bending remaining of the classic fairy tale.  Sophia Lillis continues to rack up impressive performances, films like this should make her big break feel like inevitable. 

The Invisible Man

Leigh Whannell’s remake of The Invisible Man seemed ready made for forgettable horror fodder.  What Leigh Whannel and Elisabeth Moss were able to accomplish is quite an impressive feat.  They take a fascinating angle on the concept which made it fresh and timely, paired with a stellar turn from Moss turned this retread into a taut thriller. 

Wonder Woman 1984

Patty Jenkin’s follow up is a overstuffed and unfocused but that doesn’t keep her film from being fun and trying for something meaningful.  Even if she didn’t quite stick the landing you have to respect Jenkin’s attempt to create a 80s superhero film in tone as opposed to just placing it in the 80s.  Gadot was born to play Diana but Kristen Wiig and Pedro Pascal both put in memorable turns.

Promising Young Woman

There are some films that just stick with you long after you’ve left the theater.  Emerald Fennell’s meticulously crafted debut film fits the bill in spades.  Carey Mulligan delivers a career best performance playing against type as the tragic protagonist.    

Palm Springs

Andy Samberg & Cristin Milioti time loop rom/com seemed tailor made for 2020.  The concept has been done plenty of times before but there’s a sweetness and reflective insight that makes this love story work. 

Sound of Metal

Riz Ahmed has built up a solid resume of strong performances but Sound of Metal might be his best.  Ahmed’s work here is a raw, gritty and authentic, so much so that he’s sure to earn best actor nods come award season. 

Soul

Pixar has tackled some big concepts over the years but Soul feels like another step up.  While the candy colored film still has the hallmarks of a kids movie this is the first one that feels like it’s aimed more at the parents than the kids. 

Freaky

Christopher Landon’s third film continues to show how much a horror fan he is while showing that it’s ok to have fun with some of the concepts.  Freaky’s body swap concept works because Vince Vaughn and Kathryn Newton both go all in with the concept to great effect.

Mank

David Fincher’s labor of love is sure to get plenty of awards nods when the season comes simply because Hollywood loves Hollywood.  Still Fincher’s film is a loving homage to the golden era of Hollywood led by strong performance from Gary Oldman who could make these kinds of films for the rest of his career as far as I’m concerned. 

MOVIE REVIEW: SHIRLEY

A famous horror writer finds inspiration for her next book after she and her husband take in a young couple.

Director: Josephine Decker

Cast: Elisabeth Moss, Michael Stuhlbarg, Odessa Young and Logan Lerman

Release Date: June 5, 2020

Genres: Biography, Drama, Thriller

Rated R for sexual content, nudity, language and brief disturbing images

Runtime: 1h 47min

Review:

Shirley is an art house film through and through for better or worse.  Josephine Decker’s engaging and unsettling film recalls the classic film Who's Afraid of Virginia Woolf?  This fictional account of Shirley Jackson’s life uses a lot of the same skeletal frame of that film but it’s done in a decidedly disorientating way.  Some of the sequences work better than others while some just feel pretentious.  Luckily the film is anchored by another stellar performance by Elisabeth Moss.  There is a tempered but palatable ferocity in every shot she’s in; needless to say she’s always the most interesting thing on screen. Moss and Odessa Young make an interesting pair on screen especially as the plot moves towards its finale.  Young is solid throughout but it’s hard to compete with Moss’s electric turn which may ultimately lead to awards for her.  The film as a whole tends to be more hit or miss since some of the choices work better than others. 

B-

MOVIE REVIEW: THE INVISIBLE MAN

The Invisible Man is a 2020 science fiction horror film written and directed by Leigh Whannell. A contemporary adaptation of the novel of the same name by H. G. Wells and a reboot of The Invisible Man

  

Director: Leigh Whannell

Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Oliver Jackson-Cohen

Release Date: February 28, 2020

Genres: Horror, Mystery, Sci-Fi

Rated R for disturbing violence, some bloody images, language and brief nudity

Runtime: 2h 5min

Review:

The opening of The Invisible Man might give you flashback of Julia Roberts' very 90s thriller Sleeping with The Enemy.  Leigh Whannell sets the stage nicely for the this reboot which changes the basis of the story, making it timely and effective.  Whannell shows a talent for crafting impressive shots that create tension without falling back on cheap jump scares, even though there are a handful of those.  The film is a slow burn and it at its best during the first two thirds of the film.  During that time, the pervasive and ever present sensation of being watched is ever present on Elisabeth Moss's character.  Moss, whose mastered playing frayed tortured woman, is perfectly suited for the role. Her performance carries the film making it far more impactful than it would have been in lesser hands.  She's always the most interesting thing on screen which is an impressive task considering she's reacting to nothing for the better part of the film.  Aldis Hodge is strong in a supporting role even though you are left wishing he'd been given a bit more to do.  Thematically the story works as a horror show for the women who've been abused or stalked but it's final act suffers a bit as the sci-fi portion of the story is resolved.  The final showdown is predictable from the start, so much so that you wish Whannell had played a bit more with the main character's state of mind. A bit more ambiguity would have given the film even more impact but still you have to respect how well this reboot pull off the 90s thriller vibe. 

B+

MOVIE REVIEW: US

Accompanied by her husband, son and daughter, Adelaide Wilson returns to the beachfront home where she grew up as a child. Haunted by a traumatic experience from the past, Adelaide grows increasingly concerned that something bad is going to happen. Her worst fears soon become a reality when four masked strangers descend upon the house, forcing the Wilsons into a fight for survival. When the masks come off, the family is horrified to learn that each attacker takes the appearance of one of them.

Director: Jordan Peele

Cast: Lupita Nyong'o, Winston Duke, Elisabeth Moss, Tim Heidecker

Release Date: March 22, 2019

Genres: Horror, Thriller

Rated R for some violence and disturbing images

Runtime: 1h 56 min

Review:


Us, Jordan Peele’s sophomore effort, is hard to classify as a horror film.  Much like Get Out, it’s a film that’s never particularly scary even though it’s filed into the horror genre.  That’s not to say that the film isn’t well done, it’s a fun thrill ride, but it’s just not a horror film.  Once we move past that point, again much like Get Out, it works best as an interesting Twilight Zone type film.  Peele’s references to other better horror films are sporadically throughout with some being more explicit while others are implicit.  On its own merits, the film moves at a fast pace playing out much like a rollercoaster ride where once it gets going it never stops.  Ultimately, even with all the references, Us ends up feeling much more like George A. Romero criminally underseen 1973 film The Crazies.  Peele delivers some beautifully composed shots and sequences that are sure to leave an impression but at the center of it all is Lupita Nyong’o.  Nyongo’o duel performance is the oil that makes this engine go here; she does wonderful work throughout even though you are left wanting more of her as her doppelganger.  The supporting cast is just as strong with Winston Duke showing some strong comedic chops.  I do wish we’d gotten a tad bit more of Elisabeth Moss and Tim Heidecker who make the most of their limited screen time.  On it’s whole, the film is a fun ride even though it seems to find it’s last second reveal much more mind blowing that it actually is.        


B+

MOVIE REVIEW: GET HIM TO THE GREEK

IN THEATERS

GET HIM TO THE GREEK



An ambitious young record company executive attempts to transport an unpredictable rock star to L.A.'s Greek Theatre in time for his hotly anticipated comeback performance in this spin-off of the comedy hit Forgetting Sarah Marshall. Aaron Green (Jonah Hill) has just landed his dream job in the record industry, and he's eager to prove his worth. His first assignment: travel to London and escort British rock god Aldous Snow (Russell Brand) to the show that will re-ignite his career. Before he departs, Aaron is warned by his boss Sergio Roma (Sean Combs) to never let Aldous out of his sight, and never underestimate his capacity for mayhem. Immensely talented yet deeply tortured, Aldous hit the bottle hard after his popularity began to wane and his girl walked out on him. Aldous is locked in the midst of an existential crisis, and rues the thought of being accompanied across the pond by an insincere sycophant. Though it seems like sex is the only thing Aldous ever thinks about, his thoughts turn to romance when he discovers that gorgeous model/pop singer Jackie Q (Rose Byrne) will be in Los Angeles at the time of his concert, too. Jackie Q is the love of Aldous' life, and he'll do anything and everything to win her heart. With the concert fast approaching and Aaron's fledgling career on the line, the race is on to get Aldous to the Greek, and ensure the big show goes off without a hitch. ~ Jason Buchanan, All Movie Guide

Director: Nick Stoller

Cast: Jonah Hill, Russell Brand, Rose Byrne, Sean Combs, Elisabeth Moss.

Release Date: Jun 04, 2010

Rated: strong sexual content, pervasive language and drug use throughout

Runtime: 1 hr. 49 min.

Genres: Comedy

Review:

A sort of but not really sequel to Forgetting Sarah Marshall, Get Him to the Greek is tad like a rollercoaster ride. It’s most entertaining in the middle but comes to a jarring halt, fun wise, in the last act. Sadly, the emotional angle falls flat and since the 3rd act deals with it primarily it leaves you feeling way too detached from the Spinal Tap light fun. Nick Stoller, who also directed Forgetting Sarah Marshall, finds some good energy and moves the proceedings along at a brisk pace. Stoller doesn’t over direct the film and allows the strongest part of the film, Brand and Hill’s on screen chemistry, to do the heavy lifting. Russell Brand does fantastic work reprising his faux rock star alter ego Aldous Snow. Brand is just so comfortable on screen as Snow it kind of makes me wonder if we are just looking at him as opposed to a character. Johan Hill provides a good counter point to Brand’s unchecked insanity as the super up tight record label peon. Hill has an excellent understated quality about him that allows him to emote with only minor facial reactions. This gives his character a nice honest heart. Elisabeth Moss is good fun as Aaron’s girlfriend in a limited role. Sean Combs has an innate ability to suck any and all comedy or fun out of scene as he tries desperately to play record version of Tom Cruise’s character from Tropic Thunder and fails miserably. He’s such a dead spot and detracts from some of the funnier moments of the film. Music industry stars pop in cameos giving the film a nice authentic touch, along with some raunchy but funny song lyrics for Snow.

C+