Enjoying films in 2020 was quite a struggle for many; of course, with the pandemic having swept the globe, cinemas were either limited in their scope or closed entirely. Countless movie releases were pushed back or bumped to other platforms and on the whole, the industry has suffered more than most entertainment outlets. Typically, I would go to the movies at least twenty times in twelve months; this year, I went three to five.
The bane of movie theatres was certainly a boon for online streaming platforms as they handed out a majority percentage of the film-going experience. This has raised several questions as to the future of the film-going experience. While some major movie-making auteurs did push back against the potential death of the theatre, they certainly weren’t making a dent on greater forces at play. As reduced as it was, here are my personal picks to round off the year...
Films That Just About Made Par
A more rough and rugged take on the superhero genre that has its moments. Transplanting the powered individuals onto the lowest rung of the social ladder has its potential and Code 8 is able to make the most of its lower budget.
A simple and straightforward thriller whose highest qualities lie in its visceral final encounter. As the unassuming old farmer contends with the threat to his family, a bloody battle with his equipment ensues.
A talented cast and commitment to authenticity make Wasp Network somewhat effective, but inconsistencies in its story and overall focus keep it from reaching higher reception. The sense of tension surrounding US immigration doesn’t quite translate fully.
Most Underappreciated Release
Much like the character at its centre, Nobody Knows I’m Here went by somewhat unnoticed by the greater masses. It’s a surprisingly solid entry from Chile that features a man robbed of his opportunity and success.
Guy Ritchie’s break away from soulless blockbusters opened 2020 on a high note, but it deserved greater success. The director’s sharp writing and witty interactions between the characters stand out on a smaller scale.
This Polish production holds a black mirror up to our modern political landscape; the grave danger posed by social media to our democracies is something everyone should take note of. Manipulation is shown to be all too easy by The Hater.
Most Disappointing Film
After the likes of Kingdom and Train to Busan, #Alive feels rather gimmicky by comparison. For a film that focuses on a smaller scale, it needed to place more focus on its characters and integrating its themes of connectivity to a more effective standard.
Isolation and atmospheric pressures have a lot of potential; it’s a shame then that The Decline is unable to make its characters and tension more palpable. Aside from the great shots of the surrounding landscape, it has little else to offer.
The likes of Jessica Chastain, John Malkovich and Colin Farrell are all incredibly talented. More than any other film this year, AVA feels distinctively lazy, tacking their names onto its set-list and refusing to follow through.
Biggest Audience To Critic Split
While most agree that Tenet isn’t Christopher Nolan’s best work, many a viewer has been calling out the absence of emotion within the characters and reliance on exposition. It certainly wasn’t the saviour of cinema as the director had hoped.
Chris Hemsworth’s action vehicle had a ton of awesome set pieces and camerawork thrown into the mix, but it also had little depth or substance behind its story and characters. Fans and critics were certainly split down the middle as a result.
This incredibly odd and perplexing film was both metaphorical and filled to burst with hidden depth. It keeps in line with its director’s previous efforts, but certainly alienated many who watched it. What starts out as a simple trip quickly enters surreal territory.
Best and Worst Trends
Best: Arthouse and Foreign Productions reach massive success
By far the biggest story of the year was Parasite winning Best Picture at the Oscars. As the first foreign film to do so, it represents a major step for overseas productions. They are now able to compete and even best their typical Hollywood counterparts while also bringing new, innovative stories. I look forward to seeing more from filmmakers outside of the western circles rise to prominence.
Worst: An uptick in disposable throwaway flicks on streaming services
The streaming scene is also a double-edged sword; because distribution costs are far lower, it’s now easier to get your production out to the masses. Unfortunately, this also means that many projects that have languished in development hell or production problems can be pushed out the door with minimum effort. As more audiences migrate to Netflix and other providers, they’ll have to sift through more junk to get to the quality titles.
My Top 5 Worst Films of the Year
5th: #Alive
South Korea has had some fine efforts into the zombie sub-genre in recent years, but #Alive is not one of them. The aggressively mediocre focus on technology connecting survivors can’t make any real impact.
This tale of dirty cops falls incredibly short; we’re barely given any time to get to know the characters and as a result, it’s hard to empathise with them when they run into trouble. On the whole, it’s severely lacking in heart and forming bonds between the officers.
3rd: AVA
A massive waste of a solid cast, AVA does very little to stand out. When you have franchises like John Wick tearing up the charts, you’ve got to do far to impress. This release rings incredibly hollow.
Clooney’s latest directorial production is a massive let-down that fails to follow through on its human core. On top of that, many of the film’s mysteries you expect will be revealed are left frustratingly vague.
I disagreed with other reviewers on this one; a bland and tepid thriller that fails to create a sense of dramatic tension. You’re better off sticking with “The Queen’s Gambit” instead. Much of the divides between the US and Soviet Union are merely surface level additions.
My Top 5 Best Films of the Year
Honourable Mentions: Enola Holmes, The Trial of the Chicago 7, Borat Subsequent Moviefilm and Da Five Bloods
5th The Hater
The same kind of underhanded manipulation that has severely damaged modern democracies is constantly on display in The Hater and we bear witness to the moral degradation of its twisted protagonist.
Arthouse Oscar bait it may be, but David Fincher’s portrayal of is beautifully presented. Thanks to Gary Oldman’s stellar performance, it proves a worthy entry into the often-acclaimed biopic genre. Much like Roma before it, Netflix bagged a winner here.
Easily one of the most powerful World War One films in recent memory, the ambition on display to make 1917 unfold across a single take is staggeringly effective. The sense of danger and time running out never waivers all the way through.
At a time when many horror films take the easy way out, The Lighthouse goes straight into both the atmosphere and suspense. The result is one of the most intoxicating productions in recent memory and arguably Robert Eggers’ finest achievement yet.
The finest release of the year and a very timely reminder of just how much damage inequality has done in current times. More than that, it’s impeccably shot and makes excellent use of its satirical undertones to create a truly brilliant story.
That covers all the films I personally saw this year; here’s hoping for a quick end to the pandemic around the world. Cinemas and theatres certainly need it to bounce back in 2021.
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