2020 will be remembered for many, many things. Will it be the year that changed cinema forever? Or will movie theaters rise to their former prominence? Regardless of where you watched your films in 2020, we still had a great year at the movies (or the living room). If 2020 was a cloud, the silver lining is that these excellent movies are more accessible than ever before. In a world where theater distribution doesn't have as much weight anymore, there's a plethora of streaming services just ready to present top-notch pictures. Some may feel overwhelmed by the options but for somebody who has to watch everything, I thrive in it. You would be hard pressed to not be able to stream any of these wondrous and imaginative films. These are all at our fingertips and its easier than ever before to stay up to date. That's not to say I won't be visiting the movie theater anymore. Its still a nostalgic and magical place, but here we are, in a world of streamers that was likely sped up due to the global pandemic. My full Top 25 List per my Letterboxd is available at the link below. Alas, my ten favorite films of 2020 are:
10. Tenet [Christoper Nolan]
Won 1 Oscar (Best Visual Effects) / Nominated for 1 more (Best Production Design)
This was my first time back in the theater after a long hiatus due to COVID. I love when Christopher Nolan makes huge sci-fi swings and once you feel the rhythm for how Nolan is manipulating time, it's extremely rewarding to revisit past scenes in your head.
I hear how convoluted people think this is. While I do agree, I think you don't give yourself enough credit. This is one that's fun to mull over and over with someone else who's seen it. Perhaps another person caught something you didn't and vice versa. For that, this should be a very communal experience - which isn't all that conducive to our situation right now. The sound in this is off the chain; the action sequences are wonderfully dynamic and the electronic score snuggles itself between the crunchy sound effects. Kudos to the sound team!
Is this worthy of wearing a mask for 150 minutes? Let's just say I'm hankering to see this again with a base knowledge of how the rules of the game are laid out.
Won 1 Oscar (Best Visual Effects) / Nominated for 1 more (Best Production Design)
This was my first time back in the theater after a long hiatus due to COVID. I love when Christopher Nolan makes huge sci-fi swings and once you feel the rhythm for how Nolan is manipulating time, it's extremely rewarding to revisit past scenes in your head.
I hear how convoluted people think this is. While I do agree, I think you don't give yourself enough credit. This is one that's fun to mull over and over with someone else who's seen it. Perhaps another person caught something you didn't and vice versa. For that, this should be a very communal experience - which isn't all that conducive to our situation right now. The sound in this is off the chain; the action sequences are wonderfully dynamic and the electronic score snuggles itself between the crunchy sound effects. Kudos to the sound team!
Is this worthy of wearing a mask for 150 minutes? Let's just say I'm hankering to see this again with a base knowledge of how the rules of the game are laid out.
9. Bacurau [Juliano Dornelles, Kleber Mendoça Filho]
Won 0 Oscars / Nominated for 0 more
This odd slightly futuristic/Western single-town setting provides the perfect backdrop for this pulpy thrill ride. The film does a great job at holding back information, or basically just letting this off-kilter world breath without unnecessary exposition. The village breeds weird moments like a corrupt mayor rolling into town to grab a whore or the foreboding coffins sprawled all over the access roads. Some of these moments are taken in stride (like the former), meaning these odd happenings are commonplace here; some of these moments are commented upon, meaning other odd happenings are noteworthy. The entire film is noteworthy and it even attempts to explore the psychology behind mass shootings. Wild. Weird. Mesmerizing. Beautiful.
Won 0 Oscars / Nominated for 0 more
This odd slightly futuristic/Western single-town setting provides the perfect backdrop for this pulpy thrill ride. The film does a great job at holding back information, or basically just letting this off-kilter world breath without unnecessary exposition. The village breeds weird moments like a corrupt mayor rolling into town to grab a whore or the foreboding coffins sprawled all over the access roads. Some of these moments are taken in stride (like the former), meaning these odd happenings are commonplace here; some of these moments are commented upon, meaning other odd happenings are noteworthy. The entire film is noteworthy and it even attempts to explore the psychology behind mass shootings. Wild. Weird. Mesmerizing. Beautiful.
8. Mangrove [Steve McQueen]
Won 0 Oscars / Nominated for 0 more
One of the big debates for the 2020 end-of-year lists is if Steve McQueen's Small Axe anthology was a series of five films, if we should think of it as one, or if it should even be considered a film at all. However you choose to view it, be it a film or a television series, there are so many poignant moments scattered about. If you need a reason to view this as a movie, however, Mangrove is over two hours long. Not many "episodes" of a television series is quite this long and quite this complete. And after all of the heated monologues, pulsating music, and riveting yet not so flashy cinematography, Mangrove aptly demonstrates a broken system as well as fighting back and finding cracks to that system. If you are going to watch one court room drama from 2020, let this be the one. Letitia Wright absolutely killed me when she argued against Frank (Shaun Parkes) for his need at a guilty plea. What are we fighting for? "For my unborn child." Its a system rooted so deeply in bigotry that these defendants must remain united to make this crack in the institution. All he wants is an upstanding restaurant and with the thought of unjust jail time looming over his head, I can totally see his reasoning.
Won 0 Oscars / Nominated for 0 more
One of the big debates for the 2020 end-of-year lists is if Steve McQueen's Small Axe anthology was a series of five films, if we should think of it as one, or if it should even be considered a film at all. However you choose to view it, be it a film or a television series, there are so many poignant moments scattered about. If you need a reason to view this as a movie, however, Mangrove is over two hours long. Not many "episodes" of a television series is quite this long and quite this complete. And after all of the heated monologues, pulsating music, and riveting yet not so flashy cinematography, Mangrove aptly demonstrates a broken system as well as fighting back and finding cracks to that system. If you are going to watch one court room drama from 2020, let this be the one. Letitia Wright absolutely killed me when she argued against Frank (Shaun Parkes) for his need at a guilty plea. What are we fighting for? "For my unborn child." Its a system rooted so deeply in bigotry that these defendants must remain united to make this crack in the institution. All he wants is an upstanding restaurant and with the thought of unjust jail time looming over his head, I can totally see his reasoning.
7. Wolkwalkers [Tomm Moore, Ross Stewart]
Won 0 Oscars / Nominated for 1 more (Best Animated Feature)
Its difficult to not love every aspect of this. I love the animation style and how it plays with perspectives - when characters get angry the aspect ratio shrinks and the world becomes scratchy. I love how the audience can see what the wolves are smelling and how they navigate through the forest. I love the relationships expressed between father and daughter, mother and daughter, and new friends. I love the mystical world this presents and how inventive this wolfwalking concept is. The two girls roaming the forest is just pure fun. And to top it all off, this thing is hand-drawn and the creators want you to know. There are some frames that seem like concept art interspersed with the more finished animation. Finally, my top animated film of the year doesn't come from the House of Mouse.
Won 0 Oscars / Nominated for 1 more (Best Animated Feature)
Its difficult to not love every aspect of this. I love the animation style and how it plays with perspectives - when characters get angry the aspect ratio shrinks and the world becomes scratchy. I love how the audience can see what the wolves are smelling and how they navigate through the forest. I love the relationships expressed between father and daughter, mother and daughter, and new friends. I love the mystical world this presents and how inventive this wolfwalking concept is. The two girls roaming the forest is just pure fun. And to top it all off, this thing is hand-drawn and the creators want you to know. There are some frames that seem like concept art interspersed with the more finished animation. Finally, my top animated film of the year doesn't come from the House of Mouse.
6. One Night in Miami... [Regina King]
Won 0 Oscars / Nominated for 3 more (Best Adapted Screenplay, Best Supporting Actor, Best Original Song)
The combination of these four Black celebrities from the 1960s is such a transfixing way to provoke ideas about Black power, religion, and how economic success can play a role in the struggle for equality. Its the type of writing that had me nodding in agreement after each and every sentence, even when two characters are arguing opposing sides. I just kept thinking, "yes! that's a good point!" and "of course! that's right!" Not only is the writing commendable but so are the performances. Eli Goree absolutely nails Muhammad Ali's accent and energy. Aldis Hodge does such a magnificent job at grounding the conversations as Jim Brown. Kingsley Ben-Adir is equally righteous and pot-stirring as Malcolm X. And last but certainly not least, Leslie Odom Jr. brings the heat with Sam Cooke's music, passion, and prosperity with both the white and black races. Regina King elevates this wonderful play by way of letting these actors act and incorporating cinematic moments in opportune moments. A directorial debut for the ages and one that succeeds so well because she's a great actor herself.
Won 0 Oscars / Nominated for 3 more (Best Adapted Screenplay, Best Supporting Actor, Best Original Song)
The combination of these four Black celebrities from the 1960s is such a transfixing way to provoke ideas about Black power, religion, and how economic success can play a role in the struggle for equality. Its the type of writing that had me nodding in agreement after each and every sentence, even when two characters are arguing opposing sides. I just kept thinking, "yes! that's a good point!" and "of course! that's right!" Not only is the writing commendable but so are the performances. Eli Goree absolutely nails Muhammad Ali's accent and energy. Aldis Hodge does such a magnificent job at grounding the conversations as Jim Brown. Kingsley Ben-Adir is equally righteous and pot-stirring as Malcolm X. And last but certainly not least, Leslie Odom Jr. brings the heat with Sam Cooke's music, passion, and prosperity with both the white and black races. Regina King elevates this wonderful play by way of letting these actors act and incorporating cinematic moments in opportune moments. A directorial debut for the ages and one that succeeds so well because she's a great actor herself.
5. Minari [Lee Isaac Chung]
Won 1 Oscar (Best Supporting Actress) / Nominated for 5 more (Best Picture, Best Director, Best Actor, Best Original Screenplay, Best Original Score)
A film that may not receive this much attention from the Oscars in a pre-pandemic world, this is just a potpourri of conflicts and emotions. When the credits started rolling, my head was still spinning. I love how authentic this feels - an immigrant chasing his American dream. It also shows just how delicate that dream is. The water supply, a grandma, a heart murmur, an untrustworthy customer - anything can go wrong at any given moment. It takes more than "just" hard work to make something of yourself in America and this film showcases this perfectly. In the end, the hard work may be worth it but the dream better include family. And water from the mountains.
Won 1 Oscar (Best Supporting Actress) / Nominated for 5 more (Best Picture, Best Director, Best Actor, Best Original Screenplay, Best Original Score)
A film that may not receive this much attention from the Oscars in a pre-pandemic world, this is just a potpourri of conflicts and emotions. When the credits started rolling, my head was still spinning. I love how authentic this feels - an immigrant chasing his American dream. It also shows just how delicate that dream is. The water supply, a grandma, a heart murmur, an untrustworthy customer - anything can go wrong at any given moment. It takes more than "just" hard work to make something of yourself in America and this film showcases this perfectly. In the end, the hard work may be worth it but the dream better include family. And water from the mountains.
4. Sound of Metal [Darius Marder]
Won 2 Oscars (Best Film Editing, Best Sound) / Nominated for 4 more (Best Picture, Best Actor, Best Supporting Actor, Best Original Screenplay)
I can't think of another film with such a pivotal, artistic, and dramatic sound design than this. Its utilized not only to enhance the story but to put us in the headspace that is the wonderful performance by Riz Ahmed. I'm not sure we would be able to empathize with his character quite as much without it. The Best actor category was loaded at the 93rd Academy Awards but Ahmed may have been the best. Playing alongside a true supporting role in Paul Raci, Sound of Metal has my two favorite performances of the year. I didn't know of the controversy in the deaf community regarding the want to "heal" your hearing vs. living with deafness as a way of life and supporting that lifestyle. Raci, as somebody who has deaf parents in real life, is very much aware of this culture and he brings the dichotomy into focus as he helps the struggling Ahmed. Also, tts kind of ironic that this is the first year that the Academy is combining their Sound category into one award. If any film deserves two Oscars for both sound mixing and sound editing, its this one.
Won 2 Oscars (Best Film Editing, Best Sound) / Nominated for 4 more (Best Picture, Best Actor, Best Supporting Actor, Best Original Screenplay)
I can't think of another film with such a pivotal, artistic, and dramatic sound design than this. Its utilized not only to enhance the story but to put us in the headspace that is the wonderful performance by Riz Ahmed. I'm not sure we would be able to empathize with his character quite as much without it. The Best actor category was loaded at the 93rd Academy Awards but Ahmed may have been the best. Playing alongside a true supporting role in Paul Raci, Sound of Metal has my two favorite performances of the year. I didn't know of the controversy in the deaf community regarding the want to "heal" your hearing vs. living with deafness as a way of life and supporting that lifestyle. Raci, as somebody who has deaf parents in real life, is very much aware of this culture and he brings the dichotomy into focus as he helps the struggling Ahmed. Also, tts kind of ironic that this is the first year that the Academy is combining their Sound category into one award. If any film deserves two Oscars for both sound mixing and sound editing, its this one.
3. First Cow [Kelly Reichardt]
Won 0 Oscars / Nominated for 0 more
There's something about these old-timey aspect ratios that sucker me in. My favorite film of 2019 was The Lighthouse and Kelly Reichardt's vision of the old Oregon frontier looks just as stimulating. This aspect ratio might even pop up again later in this very list. There's so much immersion to be had here - nothing ever feels rushed and the world looks so lived in. From the ramshackle lean-tos to men getting excited about oily cakes made near the mud, every detail is picture perfect. To further this old-timey feel, the picture itself has this fuzzy look. Couple that with this gorgeous color grading that simultaneously appears colorful and muted and we have one of the most interesting visual treats of the year. If I was smarter, I would comment on the message of the film and how it relates to resources and someone's lot in life. Unfortunately, I'm not quite that smart but I'll just say it takes money to make money! Capitalism baby! The slow pace makes the last twenty minutes or so that much more rewarding. The film does a lot of work with very little; even the "action" sequences have a meandering aspect to them. There's plenty of downtime here, but the visuals and the budding friendship of Cookie and King-Lu carry us through.
Won 0 Oscars / Nominated for 0 more
There's something about these old-timey aspect ratios that sucker me in. My favorite film of 2019 was The Lighthouse and Kelly Reichardt's vision of the old Oregon frontier looks just as stimulating. This aspect ratio might even pop up again later in this very list. There's so much immersion to be had here - nothing ever feels rushed and the world looks so lived in. From the ramshackle lean-tos to men getting excited about oily cakes made near the mud, every detail is picture perfect. To further this old-timey feel, the picture itself has this fuzzy look. Couple that with this gorgeous color grading that simultaneously appears colorful and muted and we have one of the most interesting visual treats of the year. If I was smarter, I would comment on the message of the film and how it relates to resources and someone's lot in life. Unfortunately, I'm not quite that smart but I'll just say it takes money to make money! Capitalism baby! The slow pace makes the last twenty minutes or so that much more rewarding. The film does a lot of work with very little; even the "action" sequences have a meandering aspect to them. There's plenty of downtime here, but the visuals and the budding friendship of Cookie and King-Lu carry us through.
2. Nomadland [Chloé Zhao]
Won 3 Oscars [Best Picture, Best Director, Best Actress) / Nominated for 3 more (Best Adapted Screenplay, Best Cinematography, Best Film Editing)
Just gorgeous, through and through. This film feels like a quasi-documentary with nonprofessional actors basically playing themselves. I assume they are playing themselves because each conversation that Frances McDormand's Fern listens to is so authentic and interesting. These moments are akin to interview segments of a documentary and these characters are full of life and their stories and situations are full of deep lessons. The moments Fern just listens to them while making them soup or sitting by a fire are soul cleansing and breathtaking.
This is the kind of film that will have me ruminating for weeks. Just because you're houseless it doesn't mean you're homeless. Should I stay or should I go? What do I mean to other people in my life? What do they mean to me? There are so many thought-provoking moments; no matter what mundane action is happening in a given scene, Chloé Zhao is imparting insight directly into your soul. See you down the road.
Won 3 Oscars [Best Picture, Best Director, Best Actress) / Nominated for 3 more (Best Adapted Screenplay, Best Cinematography, Best Film Editing)
Just gorgeous, through and through. This film feels like a quasi-documentary with nonprofessional actors basically playing themselves. I assume they are playing themselves because each conversation that Frances McDormand's Fern listens to is so authentic and interesting. These moments are akin to interview segments of a documentary and these characters are full of life and their stories and situations are full of deep lessons. The moments Fern just listens to them while making them soup or sitting by a fire are soul cleansing and breathtaking.
This is the kind of film that will have me ruminating for weeks. Just because you're houseless it doesn't mean you're homeless. Should I stay or should I go? What do I mean to other people in my life? What do they mean to me? There are so many thought-provoking moments; no matter what mundane action is happening in a given scene, Chloé Zhao is imparting insight directly into your soul. See you down the road.
1. I'm Thinking of Ending Things [Charlie Kaufman]
Won 0 Oscars / Nominated for 0 more
Its not often that I feel like a film was made just for me. There's this line about good poetry achieving universality through specificity and this does just that. While I might not relate to each and every aspect Jesse Plemons' character goes through, there are a couple of extremely major issues that I (unfortunately) connect with. On the first vieiwing, my brain melted (or perhaps froze over), but the film began to sculpt it back into place. It was at that time I began inexplicably bawling my eyes out. I don't think I've ever cried during a film in which I was completely lost. Something hit me at a deep level and I wasn't quite sure until I read some reviews and contemplated on what it all meant. I got a lot more out of this on my second viewing, because I already understood the gimmick in the writing -I was able to get Kaufman's commentary on this character in real time. A re-watch also provides some much needed clarity in that I didn't have to grapple with the surreal nature of the screenplay; without questioning every conflicting piece of dialogue from Jessie Buckley's plethora of characters, I was able to fully admire the cinematography (if there ever was a modern film that calls for this classic aspect ratio, its this one) and the interior design of the old house (gorgeous wallpaper as a beautiful backdrop for that ever-changing sweater).
When its all said and done, this one might even be too personal of a film to me. Although I rank it #1, I don't have as much enthusiasm as my past #1s to talk about it with anybody. Instead, I will do what my introvert self always does and admire it within my own headspace.
Won 0 Oscars / Nominated for 0 more
Its not often that I feel like a film was made just for me. There's this line about good poetry achieving universality through specificity and this does just that. While I might not relate to each and every aspect Jesse Plemons' character goes through, there are a couple of extremely major issues that I (unfortunately) connect with. On the first vieiwing, my brain melted (or perhaps froze over), but the film began to sculpt it back into place. It was at that time I began inexplicably bawling my eyes out. I don't think I've ever cried during a film in which I was completely lost. Something hit me at a deep level and I wasn't quite sure until I read some reviews and contemplated on what it all meant. I got a lot more out of this on my second viewing, because I already understood the gimmick in the writing -I was able to get Kaufman's commentary on this character in real time. A re-watch also provides some much needed clarity in that I didn't have to grapple with the surreal nature of the screenplay; without questioning every conflicting piece of dialogue from Jessie Buckley's plethora of characters, I was able to fully admire the cinematography (if there ever was a modern film that calls for this classic aspect ratio, its this one) and the interior design of the old house (gorgeous wallpaper as a beautiful backdrop for that ever-changing sweater).
When its all said and done, this one might even be too personal of a film to me. Although I rank it #1, I don't have as much enthusiasm as my past #1s to talk about it with anybody. Instead, I will do what my introvert self always does and admire it within my own headspace.