#he finds ways to stack impossible odds against our heroes while still leaving room for them to succeed. the pd hasnt taken a single W but!

[luck-of-the-drawings]

TRAINING ARC: START!! BOTHER YOUR GUARDIAN AND EXHIBIT ISSUES. NOW SOLVE THOSE ISSUES BY BOTHERING GUARDIANS. I HAVE FULL FAITH IN OUR HEROS!

[shirtlesssammy]

6x22: The Man Who Knew Too Much

Then:

I will never forgive the show for this pain

Now:

Sam is running for his life and pops into a bar to escape the cops. Duma The bartender tells him to leave and grabs a bat, but Sam begs and she relents. She asks him his name, but he doesn’t remember. 

She tries helping him retrace his steps. He doesn’t remember anything before two cops finding him and him taking them down before running. She tells him that he needs to go to the doctor. He refuses. There’s somewhere he has to be --something he has to stop. 

Sam sees a HP Lovecraft book and has flashes of Bobby and the Nite Owl Hotel. The bartender makes one final push to take Sam to the hospital, but he needs to get to that hotel. She offers to drive. 

Once there, Sam instinctively knows to go to one room. They break in to find the room one giant murder board. She also finds his fake IDs.

Sam has another --longer-- flashback to Bobby, Dean, and him finding Eleanor in an alley, dying. She tells them they know how to crack Purgatory open. 

They plan on opening the door at noon --a solar eclipse. 

Cas flaps in and apologizes. 

Dean wants a fight, but Cas is beyond that. He tells them to go home and just let him stop Raphael. ”I wish it hadn't come to this. Well rest assured, when this is all over, I will save Sam, but only if you stand down.”

He then breaks Sam’s wall. 

In the present day, Sam remembers his name, and doesn’t want to tell Robin (she has a name!--had to look that up though) because it would be crazy. Sam remembers Bobby --but only finds his address. Robin decides it’s her time to bounce. Sam decides to drive his car --his car the Impala --his car-- to Sioux Falls. 

Robin tries stopping him from doing that though. He might not like what he finds. 

Sam’s spidey sense kicks in and he tackles Robin to the ground as the window to the Impala gets shot out. Sam gets back up again to see himself aiming a gun at him. 

Wherps. Sam’s actually comatose in the warded room in Bobby’s basement. Bobby comes in and they recap how royally boned they are. 

Dream Sam and Robin start driving. Robin starts freaking out about their situation. Dean flashes a light at Sam’s eyes, and suddenly it’s day in Sam’s world. “It was night, and now it’s day.” Robin is DONE. Sam hears a noise and convinces her to get back in the car. He grabs a shotgun and heads into the forest. His other self stalks him behind a tree. 

The other Sam breaks down what happened --and reveals that he’s Sam without a soul. He wants to take charge in Sam’s noggin. Sam takes off running and they engage in The Most Dangerous Game until our Sam outsmarts Soulless Sam and shoots him in the back. “If you think I’m bad, wait until you meet the other one,” Soulless Sam says, and dies. His essence is absorbed into Sam.

Sam returns to the car, with many memories restored.

For DAMN She’s Fine Science:

Unfortunately, one of the memories Sam retrieved was of a monster who was using her as a shield. Sam shot and killed her, Soulless Sammy style, to get her out of his way. RUDE. (I totally forgot about this during the later Amara soulless arcs - I don’t know why I keep trying to hold Sam up as this peak virtuous character?) Robin poofs away, having fulfilled her role as the ghost of Christmas past. 

At Bobby’s, Dean drinks and IS SAD. 

Balthazar flaps in to mock Dean and Bobby - but also reassure them that he’s still on their side. He hands over Cas’s whereabouts and flaps away. 

Meanwhile, Crowley hands over the Purgatory spell mix (a jar of blood) to Cas. 

Castiel looks contemplative, and quietly informs Crowley that he’s re-negotiating their agreement. He refuses to hand any souls over to Crowley. Cas advises Crowley to either flee or die. And I’M SORRY but I’m into it. Crowley zaps away. 

Sam sneaks his way into a seriously over-dramatically lit room. SAM, your mind XD. The drama llama who decorates with a hundred candles turns out to be none other than Sam Winchester, victim of hellish torture. 

For 80’s Angsty Music Video Science:

Dean leaves the address Balthazar gave them by Sam’s head and bids him farewell. Mournfully. Just before he departs, he gently lays a gun on Sammy’s bed right next to the note. DEAN WINCHESTER, that’s not safe gun handling. Smh

Sam’s goth self tells him that Tortured Sam has to be reabsorbed before Sam can wake up. Sam trades his gun for a knife - for extra drama apparently - then stabs himself and sucks in all that extra soul whammy. In the bunker, he flails dramatically on the cot. 

Balthazar flaps in to meet Cas, who is deeply concerned that Dean’s on his way. He notes that he’s been betrayed and orders Balthazar to root out the mole. Balthazar is a TERRIBLE LIAR the entire conversation. 

“I’m doing my best in impossible circumstances,” Cas says. Still, he’s being plotted against and he finds it super frustrating. Balthazar continues to bluster away, confident that he’s fooled his friend. Flapping behind a poorly dissembling Balthazar, Cas stabs him. Balthazar burns away. Noooooooo!

Dean and Bobby pull up to the building and find it’s fully guarded by angels. They’re grousing about their odds when a massive cloud of demons swoops in. The demons upend the Impala and assault the compound while Castiel pours over the spell. Crowley flaps in to meet Cas, who immediately moves to smite him.

“You can palm me all you want,” Crowley flirts, but he’s got a new BFF. Raphael flaps in. Crowley and Raphael chastise Cas for his power overreach. It looks like the end for our hero! Cas tosses the jar of Purgatory blood to Crowley and flaps away. 

Crowley and Raphael perform the Purgatory gateway spell. (Side note: hey, remember when Michael just snapped his fingers and made a door into Purgatory in the last season? Good times, good times.) Dean and Bobby claw their way out of the Impala and sneak into the ritual. Unfortunately for them, they’re found out immediately and flung across the room. 

A worse-for-wear Sam stumbles past the Impala, and then heads for Crowley’s lair.

Crowley finishes the spell with a flourish only for...nothing to happen. Cas flaps in holding a half-empty jar. He had the real blood all along! Castiel glows with power, and Rave!Cas is born? “They’re all inside me. Millions upon millions of souls.” Crowley flaps away, which is smart...because Cas snaps his finger and explodes Raphael. 

He smiles serenely at Dean and Bobby. Okay, just kidding. He ONLY has eyes for Dean, who counsels him to send the souls back to Purgatory before the eclipse window...er...eclipses. Castiel is not on board with this plan! He needs to visit holy rage upon Raphael’s followers in Heaven. 

“We were family once. I’d’ve died for you,” Dean tells him. “I’ve lost Lisa. I’ve lost Ben. Now I’ve lost Sam. Don’t make me lose you too.” Cas hears it and...tosses it aside. And then he tells Dean the REALLY BAD NEWS. They’re not family!

Oh, also, he’s declaring himself the new god and he’d really prefer their flannel-clad shoulders to be prostrate before him. We end on stacked zoom footage which reminds us that yes, Robert Singer sure did direct this episode. 

I Am Your Quotes Now:

I love what you've done with the place. It's very Beautiful Mind meets Se7en

I am all filled up on crazy for today

You will bow down and profess your love unto me, your Lord. Or I shall destroy you

 Want to read more? Check out our Recap Archive!

[rjhpandapaws]

Hey Panda! Congratulations on hitting the new milestone! Dunno if it’s still time to ask for a prompt, but if it is, I would love to see you write Simarkus first argument with a fluffy ending, please! Thanks and have a nice day! ^^

//Another first fight. This will be fun!! // @sheyshocked I didn’t mean to publish this blank! //Best read while listening to Battle Cries by the Amazing Devil

It was a long time coming he supposed looking back, that he and Simon would fight. They had fallen together in the midst of a revolution that neither one believed they would survive, and well, when you don’t think you’re going to survive, communicating with your partner isn’t the highest of your priorities. Except they had survived, and Markus’s ability to communicate hadn’t gotten any better. This started out small, as they always did. Signs and signals that were easy to miss if you didn’t know to look for them. Simon had always been surrounded by humans and learned to mimic them, so a lot of his displeasure came across in his body language, not his words, and Markus, for all the good he had done their movement, was not the greatest at reading the room. Carl voiced his displeasure, North did the same, Josh would make an effort to solve it on his own; and Simon, for whatever reason kept it to himself. The first of it started in the odd calm after the revolution, They were in free fall, and Markus scrambled to make a list of things that they wanted met in their personhood. Then came all of the legal meetings and the press, he took Josh with him, he was better at this than the rest of them. That, and he loved red tape situations for whatever reason. He had unintentionally pulled away from Simon, and return Simon had done the same.

The thing was Markus had known none of this at the time. He hadn't known that there was something that needed fixed. Simon was just quiet and Markus had chalked it up to stress. After all of something was wrong he would have said something right? And he did, close to a year on after the revolution, things had slowed down some, but Markus hadn’t, and if he had to guess Simon was getting tired of coming in last on his list of priorities. Which looking back, had been unfair to him. Markus knew that now. “Markus?” Simon asked one evening, “If you have time could we talk?” He was polite, as he always tended to be. Now he knew it had been hesitation. “Of course. I always have time for you.” Markus said setting aside the stack of papers and turning to face Simon. He didn’t miss the ice that passed through those blue eyes. “I was thinking about taking a little time on my own.” Simon said without looking at Markus, “Away from Jericho, I feel out of place here.” Markus had to stop for a moment to process this. After everything they had accomplished, Simon just wanted to leave? “Do  you mind my asking why?” “You don’t need me here, didn’t really need me during things either if I’m honest.” He met Markus’s eyes for that one, and if the words hadn’t hurt enough on their own, the distance in his eyes would have done the job, “Everything is just you North and Josh. Now that we aren’t about to die at every turn you don’t need me anymore, so I thought -” There was static at the edge of his voice. Ever since being brought back his vocal processor tried to give out if he got too emotional, “I thought I could find a place where I was needed.”

“You are needed here, there are things we need you for.” Markus replied, “Morale, you help when there are humans or injure-” “Outside of the movement Markus. For once, can you maybe think about something else? Someone else?” Simon pleaded, “You never talk to me anymore if it isn’t about this. During the revolution you always said that after it ended, if we survived, we would get away from all of this. That we would find a place of our own. We survived Markus, I don’t know if you noticed that, and the only thing you’ve gotten away from is me.” “That isn’t true. I know I - We’ve been busy, but I haven’t forgotten you Si, just a little longer, that’s all I’m asking.” Markus pleaded, but he knew the answer even before Simon spoke. “When Markus?” He said flatly, “When you’ve solved the problems of each android ever made? When you’re done being seen as a hero? Or perhaps when all of this red tape gets cleared up? A year Markus, it has been a year and you haven’t talked to me about anything other than this damned movement!” There was a garble of static that Markus figured was supposed to be words, but Simon was too lost to say them, “A year since you told me you loved me.” Those last words hit him like a physical blow and Markus wanted to argue, but the thing was he couldn’t remember, “Simon, I’ve be-” “Been busy, I know.” Came the faintly static reply, “But that is exactly my point. Maybe we should put whatever this was meant to be on hold, until you can figure this out, because I can’t keep throwing myself at a wall Markus; not again; not even for you. I did this once already and its how I wound up in that boat to begin with, and it is certainly not how I wish to spend the rest of my life.”

Before Markus could reply he was gone. Markus stared at the doorway where he had been standing. He could remember those moments clearly. The nights and other moments when it was relatively safe and they could breathe, those times when they dared to dream about the world after the revolution. Promises that he ad every intention to keep, promises that had had gotten buried beneath paperwork and an image put on him by the rest of the world. He had, in small but certain steps forgotten about Simon. It was too late to admit that because the security system had already announced his absence, and even then, he had asked for space. Markus could give him that. They both had things to think about. Simon what he wanted out of life, and Markus about where exactly he had lost his. He hadn’t expected being alive to be so much work. North was good at handling politicians, and Josh’s dream job was apparently was to be nested in piles of paperwork. If Markus would only let him he would be doing this in his place, but apparently he was so used to being The Revolutionary now that he hadn’t been able to set it aside. For all it had gotten him, he had just lost the one thing he had been fighting for. Their right to life, to exist, to be able to feel, all so he could love without being killed, except he had pushed away the one person he had fought the world for. Losing Simon the first time had been hard, but this was worse. He knew that outside the house Simon was still well, but this time he just didn’t want to be neat him. Alive and well, but no where near him. He sighed quietly and looked back at the daunting pile of paperwork. Was this really what he wanted? Politics until his thirium pump rolled over and gave out? Is this what he wanted to make of the sacrifices made for him? He knew the answer to all of that, it was a resounding no. What he wanted was the life he had dared to dream of when hunched in an empty box car with Simon.

 He lasted until midnight, not that he had gotten anymore work done of course. No, he had simply been staring at the door trying to find where things had gone so wrong. Where along the way he had exchanged his happiness for in image. Where in all of this he had lost Simon. It was so gradual and slow going that he couldn’t find the exact moment he had lost Simon, it still felt too much like he had been there one moment and gone the next; but he knew when he started pulling away. It was around the six month mark, right when Markus’s political career took off. When the paperwork had buried him and Simon along with it. Made a wall that was somehow both feebly thin and impossible to get through. Lost in translation as they said. He made his way to the shipyard to think. It was the place he went to ground himself. He hadn’t expected to see Simon there. Standing at the dock’s edge looking out over the wreckage in the slow rain that always seemed prevalent this time of year. But there he was, looking out over the water like it somehow held the answers, and Markus could understand why. In an ironic sense, things had seemed easier then, when they hadn’t thought they were going to make it out. Carl had said things about that on many occasions, when he got fed up with his own condition. They varied from profound to concerning depending on how sober he was; but Markus’s favorite had always been that life was the most beautiful when you were under the impression that it would end before you got to live it. Markus supposed that was true. His moment of reprieve was broken by Simon himself. “If you have something to say please say it, your just standing there is creepy.” He didn’t look away from the water as he spoke, and Markus couldn’t blame him.

“I want to apologize if you’ll let me.” He replied, “I didn’t notice that I had lost you along the way Simon. I always told myself that after the next thing I would be done, each new thing that came up was meant to be the last. I didn't realize what I was doing to you and I’m sorry. I know it’s probably to little too late, and I can’t promise that this but of legislation will be the last, but I promise to let Josh handle more of it from here on out. I don’t want to lose you again.” Simon did look at him eventually, no doubt searching to see if these promises would be empty too, “That will have to be enough then won’t it. Just talk to me this time Markus, tell me what you are thinking. I can’t read your mind despite my best efforts.” He took a few steps to close to the distance, “Just don’t forget me this time.” Markus rested his forehead against Simon’s “Never again.” He promised.

(Prompt from this list)

[randomrichards]

BEST MOVIES OF 2020

10)          BORAT SUBSEQUENT MOVIEFILM

It’s a miracle Sacha Baron Cohen could pull off his guerilla comedy style considering how iconic his character is (especially during the COVID-19 Pandemic). Just as surprising is how uncompromising it is with its political commentary and how it never backs away from its deliciously inappropriate humour.

As everyone’s favourite anti-Semitic, misogynist dim bulb reporter (Sacha Baron Cohen) becomes a pariah in his home country, Borat tries to sell his daughter Tutar (Maria Bakalova) to Michael Pence (then later Rudy Giuliani). The result is an endless array of side splitting, cringy moments from convincing a baker to write an anti-Semitic slogan on a cake to Borat attempted disguises to avoid detection.

Not since Buster Keaton has a comic actor pulled such dangerous stunts for a laugh. Cohen puts himself in such risky situations for the sake of his comedy when he hangs around with Qanon nutjobs or barges into a Republican convention dressed as “McDonald Trump.” [1] Well, it’s not just for laughs. As with his earlier works, Cohen uses his guerilla comedy style to expose the ugly side of humanity and America’s complicity in said ugly behavior. A notable theme is the consequences of misinformation. Borat is an instigator and willful idiot for his home country’s propaganda, which makes him an easy target for conspiracy theories. It all comes to a hilarious head when his daughter becomes a rightwing pundit and breaks his heart with holocaust denial.

Maria Bakalova is the film’s breakout star. An unknown actress from Bulgaria, Bakalova matches him every step of the way as the gullible, degraded young woman. She shines in her own hilarious moments when she’s ballroom dancing with a bloody dress or cheering about the joys of masturbating in front of a Republican Meeting.  She also gives the movie a heart as Borat bonds with his daughter and forces him to reevaluate his beliefs.

It’s impossible for the film to reach the same level of impact as the first Borat considering what a surprise phenomenon the original was. But it’s still surprising the sequel was as good as it was without sacrificing its inappropriate humour.

9)            HIS HOUSE

Writer/Director Remi Weekes brings another great addition to the metaphorror genre with His House; a creepy horror flick about a Sudanese refugee couple who find their lives in Britain threatened by the literal demons of their past.

Dilapidated rooms with peeling wallpaper, decaying floors, and malfunctioning lights are a perfect atmosphere for horror, Weekes and his cinematographer Jo Willems takes full advantage of this environment to unsettle the audience. Bol Majur (Sope Dirisu) and his wife Rial Majur (Wunmi Mosaku) find themselves tormented by voices in the walls, and mysterious figures peaking through the crawl spaces. It’s clear these supernatural figures are the manifestations of their trauma.

Weeks contrast the supernatural horror with the real horror they face, which takes the form of an uncaring bureaucracy that sticks them in a dilapidated home in a crumbling neighbourhood with some hostile, indifferent neighbours. It shows how finding a doctor’s office in an unfamiliar land can be as scary as facing ghosts.

You care a lot about these two thanks to Dirisu and Mosaku, who bring a lot of quiet humanity and heart to their characters. You pray for them as they fight for their right to live with dignity after what they’ve been put through.

8)            WOLFWALKERS

British girl/wannabee warrior) Robyn (voiced by Honor Kneafsey) joins her father (Sean Bean) on a trip to a remote Irish village where she encounters Mebh (Evan Whittaker), a wild red-haired girl with the ability to control a pack of wolves. With her father tasked with killing Mebh’s pack, Robyn must find Mebh’s mother and protect the pack from the tyrannical religious fanatic Lord Protector (Simon McBurney) in Tomm Moore’s conclusion to his Irish Folklore trilogy.

The animation is just as gorgeous as Moore’s earlier films The Secret of Kells and The Song of the Sea with his trademark storybook-like animation style. A noticeable difference between the earlier is how deliberately rough the animation looks. There are moments you can see lines and circles that are usually erased when drawing characters. It fits with the wild energy of the characters.

There’re the clear environmental themes of humans encroaching on animal lives and the need to respect nature. Lord Protector believes he needs to dominate the wilderness and the wolves. The villagers in contrast have more respect for the environment but can’t do much under Protector’s rule. So, the wolves are forced to find a new home.

Another theme of this film is the importance of questioning authority and not blindly conforming to social norms. Robyn’s father expects her to train to be a chambermaid while he’s blindly follows Lord Protector’s orders. They keep saying it’s “for the greater good,” but that “greater good” involves the destruction of a wilderness and a denial of one’s true self. It just leaves everyone miserable. And all for a religious fanatic.

It’s a shame Moore’s films don’t get more attention because they have that rare sense of wonder.

7)            NEVER RARELY SOMETIMES ALWAYS & UNPREGNANT (tie)

I’m putting these two films together on the list because they have the same premise of two teen girls travelling across state lines so one of them can get an abortion. What sets them apart is how different they are in styles.

Never Rarely Sometimes Always is a grounded drama about Autumn (Sidney Flanigan) a teenage girl from Pennsylvania who secretly travels with her cousin Skylar (Talia Ryder) to New York to get an abortion without their parents knowing. Writer/director Eliza Hittman avoids melodrama in favour of grounded realism. Flanigan and Ryder keep their performances at a lowkey level to reinforce the realism. Hittman also avoids political moralizing in favour of just presenting a slice of life showcase as the cousins travel to New York, try to find the appropriate procedure for her circumstance, then tries to find the money to get back home. In a way, it makes the little moments more meaningful when Autumn is forced to watch anti-abortion propaganda or when she and Skylar plays at an arcade.

While the former goes for grounded drama, Haley Lu Richardson’s Unpregnant bears a closer resemblance to comedic road movies like National Lampoon’s Vacation and Planes, Trains & Automobiles. This time, popular teen Veronica (Haley Lu Richardson) enlists the help (and the car) of social outcast/former friend Bailey (Barbie Ferreira) to drive from Missouri to Albuquerque to get the procedure without her parents knowing. The result is a chaotic road trip with the two crashing a few cars and meeting a few colourful characters along the way. This film has quite a set of cameos including Breckin Meyer, Betty Who and Giancarlo Esposito. This film has the John Hughes blend of broad humour and recognizable heart. This film gets its point across by showcasing the absurdity of how teen girls are treated. One notable example is Veronica’s boyfriend; a stage 5 clinger who lives under the “nice guy” mindset.

Both films celebrate teen girls helping each other out.

6)            THE VAST OF NIGHT

Switchboard operator (Sierra McCormick) and DJ Everett Sloan (Jake Horowitz) search for the source of a mysterious sound in The Vast of Night; a gripping and visual dazzling sci fi flick that captures the feel of the Twilight Zone.

Director Andrew Patterson and co-writer Craig W. Sanger wrote a tightly knit story the follows our heroes over the course of a night as they play detective in a 1950s New Mexico town. Never does a second feel wasted. Plus, it’s fun to see stereotypical 1950s nerds being the heroes in a story like this.

What truly makes this film stand out is its visual styles. From the Twilight Zone-esque opens plays on an old tv, cinematographer M.I. Littin-Menz has you under his spell. His camerawork is always gorgeous in both the way he is zooming into a 1950s high school basketball game and shining omniscient light from the night sky. There are also some unusual moments when the film will suddenly play on 1950s tv. This may either further the intrigue or take some viewers out of the movie.

The result is a unique experience for sci-fi fans.

5)            KAJILLIONNAIRE

Emotionally distant young woman Old Dolio (Evan Rachel Wood) and her small-time con artist parents (Debra Winger and Richard Jenkins) find their lives turned upside down when a perky stranger named Melanie (Gina Rodriguez) joins in their schemes.

Some audiences may be put off by July’s stylized approach to filmmaking, especially Wood’s unusual deep voice. But for those into lighthearted, quirky comedies will be enchanted by the little visual oddities of the family stooping (or in Old Dolio’s case, leaning back) to avoid their landlord or the pink suds always flowing down their apartment walls.

Kajillionnaire fits into July’s celebration of the timid and the outsiders. But July surprises us with a dark side to the outsider. The parents reject the unfulfilling, debt filled conventional life, but they aren’t particularly good at their cons and struggle to make ends meet. It has also made their daughter emotionally distant and with severe trust issues. It takes Melanie to give Old Dolio the human connection she never had.

I can’t say much beyond that because it takes many unexpected twists and turns. What I can say is this colourful dramedy offers an assurance of human connection.

4)             SMALL AXE

Ok, I may be cheating on this one since it’s five films (two of them just barely over an hour), but director Steve McQueen’s anthology complement each other perfectly with their unflinching examinations of systemic racism inflicted on lives of West Indie Brits during 1960s and the 1980s. The films are also connected by their celebration of people who celebrate life despite overwhelming odds stacked against them.

MANGROVE centers on the title Caribbean restaurant in Notting Hill. Owner Frank Crichlow (Shaun Parkes) just wants to serve customers and be left alone, but his business is a constant target of harassment by racist cops. It all comes to a head with a 1970 protest, which leads to Frank and 8 others falsely accused of inciting a riot.

The trial demonstrates how Police can brutalize protesters, then turn around and accuse the protesters of inciting violence. It also shows how the justice system is complicity by blindly taking the word of the police over civilians. Not helping is a prosecuting attorney who peddles in racist dog whistles, a defense attorney naïve about the justice system’s treatment of black people and an indifferent judge. But the defendants stand strong as they use the trial as a platform to expose racial profiling while poking holes in cop’s testimony.

The two standouts in the film are Parkes and Letitia Wright as British Black Panther Co-Founder Altheia Jones. Parkes brings a lot of sympathy as a desperate man who just wants to live his life but grows to become an activist due to circumstances outside of his control. In contrast, Wright is a powerhouse of righteous anger as she fights for dignity.

LOVERS ROCK takes us through a night at a house party, where two strangers (Amarah-Jae St. Aubyn and Micheal Ward) fall in love. There’s isn’t much plot in this one, its mostly just people dancing and playing music. But as the camera lingers on the DJ playing records and the guests dancing and enjoying each other’s company, this film enchants you with its celebration of music, dancing, and the joy of company. It feels like a much-needed break from the uncomfortable racism we see in the other movies.

RED, WHITE, AND BLUE Is probably the most heartbreaking. John Boyega portrays Leroy Logan, a young man who enrolls in the Metropolitan Police in hopes of reforming it from the inside. He underestimates the racism he’ll face during training or how the system enables the racism. What makes it worst is how his own community would turn against him, especially his father (Steve Toussaint).

Boyega gives a powerful performance as a determined and smart guy who fails to understand how in over his head he is. You feel his fury when Leroy berates his fellow officers for putting his life in danger by not answering his call for backup. Toussaint is just as powerful as a man who feels betrayed when his son joins the very people who have brutalized him for years.

ALEX WHEATIE tells the true-life story of a young man (Sheyi Cole) who would go on to become an award-winning writer after being jailed during the Brixton Uprising of 1981. We follow him from his childhood growing up in uncaring white institutional care homes to finding a sense of community in Brixton, where he develops a passion for music. Through his attempts to pursue a DJing career and his run ins with the law that he confronts his past and begins a journey to healing.

We conclude with Education, a coming-of-age story of Kingsley (Kenyah Sandy), a 12-year-old boy who was singled out as “disruptive” and sent to special classes for the “subnormal”. This film looks at an unofficial segregated system that dismissed black kids and discarded them in classes for people with mental disability. It’s clear Kingsley is a smart kid with interest in rockets and space, but he shows signs of dyslexia. But neither his headmaster nor are the special classes helpful, especially when the teacher cares more about play his guitar and teaching the kids anything useful. His parents are even less helpful when they dismiss his concerns (when they’re not working two jobs.) It leads to a sad moment when Kingsley hides inside a bus to avoid seeing his friends.

This film also shows the power of black women. You see it through Kingsley’s sister Stephanie (Tamara Lawrence) whose empathy makes her realize somethings up. You see through Lydia Thomas (Josette Simon) activism as she investigates these school conditions. You especially see it through Kingsley’s mom (Sharlene Whyte), not just from working to jobs to provide for her family but her ability to grow and learn. She goes through a journey as Lydia teaches her about the systemic racism in the education system, forcing her to realize how she’s dismissed her son’s concerns. Near the end, we see how children like Kingsley can be helped by those willing to understand his problem.

3)            FIRST COW

Timid forager Cookie (John Magaro) feels out of place among the hunters and fur traders in the Oregon Territory. Then along comes King-Lu (Orion Lee), a Chinese immigrant with big dreams. Together, they swipe milk from the only cow in the area to cook and sell pastries to the locals in the area. As their little business grows, so does the bond between these outsiders. But their success comes under threat when they attract the attention of a wealthy landowner (Toby Jones) who owns the cow.

A premise like this does not sound like the type of film that attracts major audience attention, especially with Co-writer/Director Kelly Reichart’s minimalist style. But when it comes to Reichart, less is more. Reichart takes her time to take in the muted colours and natural beauty of Christopher Blauvelt’s cinematography and allow the relationships to develop naturally. It’s helped by the low-key yet engaging performances. Lee showcased the enthusiastic determination of a born entrepreneur. But it’s Magaro who shines brightest with the most nuanced performance of the year, revealing Cookie’s humanity through the subtlest gestures.

Reichart’s subtle, patient storytelling isn’t for everyone, but through her gentlest touch she enchants the audience with a haunting tale of unlikely friendships and the achievements of outsiders.

2)            UNCUT GEMS

I know this is a film was released in 2019, but It didn’t come to our theatre until 2020 and It’s too damn good not to talk about.

This film is a cinematic panic attack. Never once do the Safdie brothers give you a moment to relax as fast-talking Jeweler Howard Ratner (Adam Sandler) dodges pissed off debt collectors while plotting for the biggest bet he can get. The result is an experience that keeps you on edge from opening credits to end credits. In lesser hands this would be an unpleasant experience, but the Safdie brothers uses this to create a compelling, intense portrayal of a man who gets off on standing on the edge of a cliff.

One reason it works is because beauty and ugliness make strange bedfellows in their movies. Nowhere is this more perfectly summed up than in the opening scenes where cinematographer Darius Khondji travels through an inside of a gem. The colours and lights make you feel like you’ve ascended to a magical world, but this scene happens in between scenes of African Miners being exploited and the inside of Howard’s colon. Just as beautiful is Daniel Lopatin’s new wave musical score. On its own, the music lulls you into a beautiful sense of peace. But this music often plays over uncomfortable scenes of characters screaming over each other. Somehow these two elevate the cinematic experience.

But the true strength of the film is Howard himself, which is astounding considering how unlikeable the character is. Throughout the film, he keeps digging himself into a deeper hole as he gambles even more recklessly, which makes it worst when he starts putting other’s people lives at risk. But he’s too complicated to hate. He shares a close bond with his kids and his coworkers. The film makes it clear he’s excellent at predicting Basketball games with near perfect accuracy, which gives you hope he will win. But then again, you don’t end up with over a hundred thousand dollars in debt without making terrible life decisions. He would be impossible to watch without Adam Sandler’s performance. He blends a smooth-talking charm and panic desperation to his character every time he tries to fast talk his way out of his circumstance. You can see why people like having him around.

When the credits roll, you’re relieved it’s over and were glad to experience the thrill.

1)            THE TRIAL OF THE CHICAGO SEVEN

The real-life trial of seven protesters and Black Panther co-founder Bobby Seale feels more like an SNL skit than a courtroom drama. From the Merry Prankster duo Abby Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong)’s tweaking the nose at the buffoon judge Hoffman (Frank Langella) to the Judge bounding and gagging Seale, this trial was so contrived it can only come from real life. And writer/director Aaron Sorkin exposes the absurdity of this story in The Trial of the Chicago Seven.

It’s funny how a film about a trial from the late 60s can capture the mood of 2020. But with brutal images of Police attacking protesters and Judge Hoffman’s horrific treatment of Seale, this film feels like it came at the perfect time.[2] The trial itself showcases how the Justice system works to silence discourse and smears protestors. Sorkin further emphasizes how the system attacks anyone by showcasing the contrasting beliefs of the protestors from the radical anarchism of Hoffman and quiet dignity of Seale to the moderate ideals of student protestor Tom Hayden (Eddie Redmayne) and the unapologetic pacifism of suburban dad David Dellinger (John Carroll Lynch).

Sorkin does all this while keeping the film gripping and entertaining from start to finish. He brings his sharp wit to his dialogue whether it’s Hoffman’s political speeches or the Marx-brother’s esque exchanges between the Judge and the increasingly frustrated defense attorney William Kunstler. Matching his writing are the endless great performances from the actors including Joseph Gordon-Levitt as reluctant prosecuting attorney Richard Schultz and Strong bringing out his inner Tommy Chong. But it’s Cohen who steals the whole film bringing out the uncompromising radicalism of Hoffman, who seems to have a better understanding of the situation than most of the protestors.

The result is a film that perfectly captures the political feel of 2020.

[1] At one point, he was almost attacked by protesters.

[2] Which is ironic considering it took Sorkin over a decade to get the film made.