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The Best Films of 2020

The 15 Best Films of 2020

Normally, when I assess a full year of cinematic offerings, I consider both sides of that coin — the outstanding entities, and the least successful — but the year of our lord two thousand and twenty provided more than enough misery for all of us, I do believe. Ergo, in my own small way to bring better vibes into the universe, for this year’s round-up, I’m staying solely on the positive tip, highlighting those films whose unfortunate release date during the Year of the Hex shouldn’t preclude them for being fully appreciated. Let’s take a year off from negativity and schadenfreude, shall we, and just stroll amongst the poppies and bright sunshine of some of the best releases of the year.

15. The Invisible Man

“Leigh Whannell’s film is thoroughly modern in approach and sophistication, but the film it most reminded me of was made back in 1944. George Cukor’s Gaslight starred Charles Boyer as a loathsome husband who attempts to convince his already anxious wife (Ingrid Bergman) that she’s going insane by secretly rearranging things in their house and taking things from her so she thinks she’s always misplacing them. He preys on her emotional vulnerability in order to mask his own pathology and emotional detachment. The effect is absolutely enraging: Onscreen, he’s one of the more hateful villains ever committed to celluloid.”

Full Review

14. The Killing of Two Lovers

“From the opening sequence, with a distraught, estranged husband standing over the bed of his wife and her new boyfriend with malice in his heart, and a gun in hand, the film spirals out into incredibly well structured compositions, taking us inside and outside of David’s recurring psychosis, utilizing a bevy of techniques: The framing shrinks down around him, the sound gets muffled, as if underwater, save for the incredibly unnerving metallic sound of cables being stretched taut, and the sickening kathunk of a heavy car door slamming shut.”

Capsule Review

13. Another Round

“Typically, Vinterberg avoids simple conclusions — and God help us all if this film gets picked up by a U.S. studio and remade with, say, Vince Vaughn, Kevin James, Steve Buscemi, and Chris Rock — providing more or less equal examples of the delirious fun drinking with your friends can be (the film opens with a group of high schoolers gleefully doing “lake races” whereby teams compete to drink a case of beer while running around the nearby body of water; and closes with the same teen crew, and some of their teachers, whooping it up in celebrating their graduation); and the horrorshow it can become (one teacher ends up peeing the bed, and on his wife in the process, another wakes up bloodied and out of it in front of his neighbor’s house), leading to very real and horrible consequences.”

Capsule Review

12. Soul

“Co-director Pete Docter is the creative force behind many of Pixar's best titles, having a hand in the Toy Story franchise, WALL-E, Up, and also directing Inside Out, a brilliantly moving treatise on the subject of emotional upheaval. This film, which he co-wrote and made along with fellow co-director Kemp Powers, is his first film back at the helm since that high-water mark, and he has again dug into the fertile earth of our mortality and come back with a particularly vibrant crop.”

Full Review

11. The Burnt Orange Heresy

“Based on the novel by Charles Willeford, the film briskly moves through its paces, clouding the waters with the schemes of duplicitous men, who have sold out any love of art for their greater obsession of cash and prestige. A literary thriller in the vein of The Talented Mr. Ripley, it’s become a genre all too rare in the era of blockbuster bravado. This film will remind you what a mistake that is.”

Full Review

10. Lovers Rock

“In the course of the party, the fuses blow while the house DJ is spinning Janet Kay's "Silly Games," a fan favorite at the time. Undaunted, the guests continue dancing away, singing the lyrics a capella in delirious unison, as McQueen's camera swirls around the living room as if nothing happened. Such a heartfelt moment of unbridled togetherness, putting into distinct bas relief the sense of community we've been denied as a species in 2020, feels like a benediction, an epitaph for the year, and a salve for what we've all been so desperately missing.”

Capsule Review

9. Time

“Ostensibly, it’s about the strain of incarceration on even the most grounded of families (an experience naturally disproportionate for POCs); but, on a deeper level, it’s also about the manner of our use of the limited number of revolutions we get to enjoy situated on this earth. It is a profound knock-out.”

Full Review

8. New Order

“Meet the new boss, only in Michel Franco’s damning portrait of a society locked forever in cycles of oppression, revolution, and new oppression, it makes no difference who you are, what your belief system is, or whether or not you subscribe to a moral set of ethics.”

Capsule Review

7. Dick Johnson is Dead

“Utilizing stunt people and special effects, Johnson kills her father off a number of different gruesome ways, as a means of softening the blow of actually losing him as his mind slowly slips away. This eventually culminates in a final gambit, both acutely painful and deeply moving, in which our sense of things gets seriously upended. As Johnson put it during the post-screening Q&A, the film serves as a “doomed experiment trying to keep my father alive forever.” This film won’t make him immortal, alas, but it does make him indelible.”

Capsule Review

6. Martin Eden

“Marcello packs the film with offbeat bits and pieces of other films, including strips of what appear to be vintage home movies, sometimes in juxtaposition to what Martin is feeling — a group of kids swinging wildly from the bar of a fence, to a full galley ship taking in water and suddenly sinking like an iron ingot – which adds a more winsome, timeless element to the narrative. It’s clearly set in the past, but avoids being too dependent on that particular sense of place and time. Martin is a young man, at first, just coming into himself, and the actions he takes, what he goes through, the film seems to suggest, would be similar in any age.”

Full Review

5. Minari

“The film is certainly charming, but that’s not to diminish its straightforward approach to its characters’ plight. It doesn’t shy away from their difficulties, and as a result, it doesn’t cheat towards smarmy emotional closure.”

Capsule Review

4. Collective

“The breath of hope in the film, when the inept Minister of Health resigns, leading to the placing of a new, emboldened director who works quickly to clean the quagmire left by his predecessors, is just as quickly expelled after the next round of elections, in which the Social Democrat party — the very ones in charge of this catastrophe in the first place — gets re-elected with an even greater majority than what they had before. A perfect reflection of what happens when a government is allowed to exist without any meaningful oversight, other than from a bedraggled press and a disenchanted electorate.”

Full Review

3. First Cow

“Reichardt, a naturalist at heart, is not known much as a humorist, but there is a lightness to her screenplay -- co-written by Jonathan Raymond, her frequent collaborator, who wrote the original novel upon which its based -- that keeps it as sweetly airy as one of Cookie's fried confections. The two friends are so out of step with their surroundings -- the party of men Cookie initially travels with are little more than brutish thugs, and the fort upon which they end up is no better -- they almost had to find each other. They are reunited in the local bar of the fort only because literally every other patron runs out to egg on a brawl between two loutish combatants.”

Full Review

2. Never Rarely Sometimes Always

“Hittman’s eye for detail and emotional complexity — her characters can rarely articulate anything they’re experiencing — is incredibly acute, and she pulls tremendously understated performances out of her two leads.”

Capsule Review

1. Nomadland

“Perhaps no American director since Terrance Malick has made more of the collapsing light of dusk and twilight than Chloe Zhao. Much of her new film, which stars Frances McDormand as a transigent woman (“not homeless, houseless”), who traverses back and forth across the west in her beat up live-in van, doing seasonal work, takes place in that particular kind of vibrant half-darkness that shrouds the desert and its mountains with a magic kind of mystery.”

Capsule Review

Other Worthy Mentions: 7500; Assassins; Bacurau; Beanpole; Beginning; Black Bear; Bloody Nose Empty Pockets; Boys State; Come Play; Emma; Gunda; His House; Horse Girl; I Am Greta; Jacinta; La Llorona; Let Him Go; Limbo; Mangrove; Mayor; MLK/FBI; One Night in Miami…; Palm Springs; Possessor Uncut; Red, White & Blue; Relic; She Dies Tomorrow; Shirley; Shithouse; Shiva Baby; Some Kind of Heaven; Spring Blossom; Swallow; Tenet; The Dissident; The Invisible Man; The Nest; Sound of Metal; The Vast of Night; The Viewing Booth; The Way I See It; Vitalina Varella; Welcome to Chechnya

Inexplicably Underrated: 7500; Shithouse

Biggest Welcome Surprise(s): The Vast of Night; His House; She Dies Tomorrow

The Best Two Films I Saw This Year, Period: Satantango (1994); Harlan County, USA (1976)

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