Whenever I told people I was working on this list, a typical response was, “What even came out this year?”
Among the cacophony of the colossal clusterfuck that is 2020, it’s easy to forget film releases. The continually changing release schedule made tracking films difficult, and larger movies I was looking forward to seeing like The Green Knight, Dune, The Kings Man, No Time to Die, Candyman, F9, and Spiral all got pushed to 2021. We also now face the issue of theaters trying to survive, given the new focus on streaming during Covid. Streaming does give indie films, foreign films, and festivals a chance to stand out, not getting lost among the deluge of blockbusters. However, the communal element of the theatric experience is sorely missed. I believe the atmosphere of watching a film in a theater is more rewarding than on my TV at home. We’ll have to see in 2021 how drastically the landscape changes. In the meantime, here’s the list of my favorites of 2020:
Honorable mentions include Sound of Metal, Bill & Ted Face the Music, The Wretched, Promising Young Woman, His House, Swallow, Possessor, Lucky Grandma, The Wolf of Snow Hollow, Soul, and Trial of the Chicago 7
20) Shakespeare’s Shitstorm
During the utter garbage fire of 2020, I needed a trip to Tromaville, and I got exactly what I asked for. A spiritual follow-up to 1997’s Tromeo and Juliet, Llyod Kaufman’s adaptation of The Tempest replaces the storm with whale poop and the deserted island with New Jersey, and the adaptation tracks. The film acts as a wild skewering of modern-day issues, skewering everything from the opioid crisis, capitalism, virtue signaling, and cancel culture, with the deliciously tasteless vulgarity that only Troma can deliver. This movie was just insane fun that only the fearlessly demented, like those at Troma Entertainment could provide. I want to thank Llyod Kaufman, and writers Gabriel Friedman and Brandon Bassham, for delivering such debaucherous madness to help me escape the waking nightmare of 2020.
19) Deerskin
Narcissism has rarely looked this funny and this intense. Quentin Dupieux’s latest surreal outing sees him a tad more restrained, but with the absurdist comedy more impactful than ever. The story sees a drifter, George (Jean Dujardin), going on a strange adventure at the direction of his recently purchased sentient deerskin jacket. The movie highlights George’s narcism and obsession with his jacket to an outlandish degree. The film is basically an expansion of the business-card bit from American Psycho, with a few interesting twists and turns along the way. Jean Dujardin’s commitment to creepy desperation carries this movie confidently. As I haven’t seen him much since The Artist and that one-off appearance in Wolf of Wall Street, he’s a welcome presence. After seeing him in those films, and the OSS 117 movies, I didn’t realize creepy and schlubby was a card in his deck, and he plays it very well. This movie was hilarious, and anyone looking for skilled absurdest comedy should look no further than this film.
18) Blood Quantum
Zombie movies may be the last kind of movie a pandemic ridden society may want to watch right now, but this was fun. Blood Quantum focuses on a zombie plague in the fiction First Nations reserve Red Crow, who, while they fight to survive, find out that only indigenous people are immune to the virus. Like all of the best zombie movies, Blood Quantum uses zombies to explore socio-political issues, in this case, relating to colonialization and racial tension. It’s not exactly subtle, but frankly, nothing in this movie is subtle. The film is a treat for any gore-hounds, with excellent practical effects and creative kills. Additionally, Blood Quantum features great performances all across the cast. Forrest Goodluck makes a compelling lead as Joseph and Michael Greyeyes as Traylor lends weight to his supporting role. However, my favorite performance is the insanely badass Stonehorse Lone Goeman as Gisigu, who deserves to be listed as one of the iconic badasses of horror from this movie. If we can’t have this movie in theaters, we should get this film in a drive-in; it was an incredibly fun watch, with some unique layers the deeper you dig.
17) Da 5 Bloods
Spike Lee follows-up Blackkklansman in his trademark aggressive, complex, and passionate style with his Vietnam War film, Da 5 Bloods. The story of five black Vietnam vets returning to Vietnam to search for a treasure is easily one of the most politically charged films to come out this year. While the film addresses numerous topics related to war and brotherhood, I resonated with the film’s themes on struggling to accept and navigate change. While the film features excellent performances overall, Delroy Lindo and the late Chadwick Boseman stand out the most, elevating the film and supporting Lee’s intense style. Twenty-four feature films into his career and Spike Lee shows no signs of slowing down, only growing more ambitious with time.
16) Ma Rainey’s Black Bottom
Chadwick Boseman’s final film is a celebratory note to go out on. Adapted from the August Wilson play of the same name, the film accounts for the 1927 recording of Ma Rainey‘s new album, featuring the song “Ma Rainey’s Black Bottom“. For a film that only has two locations, it contains tremendous energy, as you can feel the heat and pressure in the recording studio. Levity feels like fresh air, and the music swells off the screen. Any artist will resonate with the clashing personalities on screen; some may have even had similar arguments with collaborators. Artists may also resonate with the film’s themes of artists’ exploitation and systemic racism as it relates to the music industry. In addition to Boseman’s stellar performance, Viola Davis transformative performance as Ma Rainey leaves her unrecognizable. The rest of the band, played by Glynn Turman, Colman Domingo, and especially Michael Potts, all lend the film weight and character, helping prevent the film from feeling restrictive due to the limited sets. With excellent music and a passionate story, this was a fitting final film for 2020.
You can read Knockturnal writer Jonathan Tolliver’s full review of the film, along with a discussion with Colman Domingo here.
15) #Alive
Yep, another zombie movie, this one even more COVID related, so…I’m not going to blame you if you’re hesitant. The story focuses Oh Joon-woo, played by Yoo Ah-in, who’s stuck in his apartment during a zombie outbreak. Yoo Ah-in is the biggest part of why I love this film, because his performance and character feel relatable. The early instincts that he can handle the stress thanks to his ready supply of video and alcohol and the crushing emotional weight as the pressure builds all feel very authentic. He’s just very rootable, and his attempts at physical and emotional survival feel modern without being too trendy. The film has its funny moments and knows how to build tension, especially as he tries to find more innovative methods of escape and survival. That’s probably why I felt okay watch #Alive now; the stress I was feeling during the pandemic was given an actually fun form, with real emotional stakes, without being soul-crushing. #Alive is an enjoyable zombie film, especially for the modern-day.
14) Spree
One of the scariest films I’ve seen this year, Spree succeeds at being disturbing without being graphic. Joe Keery plays Kurt Kunkle, a viral-hungry influencer who starts killing people on his livestream for views. The movie makes the most of its simple premise, carried heavily by Keery’s terrifyingly empty performance. He feels real; we’ve come across people like him, either online or in person. While it does have its darkly comic moments, I felt more uncomfortable than anything with Keery’s accurate portrayal of a soulless parasite. This film was a rewarding watch; hopefully, influencers in real life don’t get any ideas.
13) Bacurau
This movie snuck up on me in a welcome way. Without giving too much away, the film focuses on strange occurrences after the Bacurau town matriarch’s death. It starts as more of a slow burn examination of a fictional small Brazilian town, meeting many unique and charming characters along the way, with their political issues and internal conflicts. As the movie goes on, it feels an insane 70’s exploitation film snuck its way in the plot. The movie uses genre flair to address colonization and racial tension and impressive practical gore effects, and brutal kills. It’s a unique film that stays in your mind long after it’s done.
12) Monsoon
A gorgeous film that I wish I could’ve seen in a theater, Monsoon shows Henry Golding step away from the blockbusters and big-budget romances and giving a more heartfelt and touching performance. The story about a British-Vietnamese man returning to Vietnam 30+ later is touching, showing the challenges of an identity crisis with sensitivity. The film is very personal, as the director, Hong Khaou, based the film heavily on his own experiences when his family fled Vietnam when he was young. While Khaou’s direction is confident and gorgeous, Henry Golding is what makes this film work. While he still maintains the charm of his Crazy Rich Asian days, here the charm feels less flashy, instead more rustic and subtle. He feels like more like a regular guy, even if his natural charisma takes you out of the film a bit. Khaou gives Golding the opportunity to show more range and psychological baggage, which is deeply welcome. Monsoon is a compellingly empathetic film about cultural identity that is well worth giving a watch thanks to a combination of stellar performances, a tight story at just under 90 minutes (a rarity nowadays and very welcome), and a passionate director at the helm.
11) The Invisible Man
The best movie monsters always stem from real anxieties, and The Invisible Man channels that perfectly. Leigh Whannell took the invisible man and used him to explore abusive relationships and gaslighting. This was the last movie I saw in a theater before the pandemic, and I vividly remember yelling “holy shit!” which is always a good sign in a horror movie. Elizabeth Moss gives an emotionally charged performance that made me tremendously worry and concerned for her safety. I mean dear god, she shows just how nightmarish being gaslit is, all building to one of the most rewarding finales I’ve seen all year. The cinematography was also excellent. While it wasn’t stylish, it highlighted how much power the invisible man had in a room, forcing the audience to look for the slightest abnormality. This movie is just intense, at times heartbreaking, and shows how movie monsters can still be legitimately horrifying.
You can read Knockturnal writers Jake King’s complete review here and Kristin Martin’s behind the scenes discussion with Aldis Hodge & Storm Reid here.
10) You Cannot Kill David Arquette
I’m a huge pro-wrestling fan, and one of the crushing losses of 2020 was not going to live wrestling shows. The industry has adapted to creative effect as shown through The Stadium Stampede, The Firefly Funhouse Match, and just putting on excellent matches without an audience. Of course, in preparation for when things open up, audiences can gain an appreciation of pro-wrestling through David Arquette. You Cannot Kill David Arquette is a love letter to all areas of wrestling, from the mainstream to the indie circuit, with enough context given so non-wrestling fans can find the stories interesting. Additionally, the film is also a compelling redemption story in his own right. Even non-wrestling fans will understand Arquette’s regret about his early foray into wrestling and his desire to show respect to the industry he loves. The film is an emotional journey for David Arquette, and you feel his desire to express his love of wrestling in a way that honors the industry properly. The doc even acts as a microcosm of wrestling storytelling, as the line between real and kayfabe is blurred following Arquette’s journey. I was lucky enough to see David Arquette last year at WrestleCon, and I hope this doc gets more people on Arquette’s wrestling comeback.
9) You Don’t Nomi
When I lived in Baltimore, I worked with the cult film series Mondo Baltimore, helping select movies to screen for the Baltimore community, and I still work with them to this day. A key component is that our love for the films we show is sincere (in a weird way). Even if the movies aren’t always great, the fun comes from sharing them with a community, and the laughs we have along the way. You Don’t Nomi perfectly captures that fandom and genuine enjoyment of cult films, and films generally considered “so bad they’re good.” In addition to being a fun deconstruction and love letter of Showgirls, the film explores the cult film fandom with shameless love. It’s a fun film filled with people who I wish I could meet and talk to over a drink, casually chatting about weird movies we like. The film challenges and examines the idea of what makes a film “good” from an emotional standpoint and the type of bonds individuals and communities can have over all types of films. The distinction between a cult film and a “so bad it’s good film” is addressed in the movie, and I love that the film depicts how these types of movies are enjoyable sincerely rather than just ironically. This doc feels fun and inviting, whether you’re a Showgirls fan or a general lover of cinema.
You can read Knockturnal writer Liam Haber’s full review here.
8) Time
Equal parts politically charged and emotionally powerful, Time never lets you forget the humanity impacted by the prison industrial complex. The film follows Sibil Fox Richardson (also known as Fox Rich), as she campaigns for the release of her husband Rob, who’s serving a 60-year prison sentence in the Louisiana State Penitentiary for bank robbery. The film combines home movies and footage of her campaigns as she addresses the horrors of unfair prison sentences and the American justice system’s flaws. The film avoids being a lecture, balancing being genuinely informative about our justice system’s inadequacy and the personal emotional struggles this couple went through. Time is moving, powerful, and extremely compelling.
You can read Knockturnal writer Liam Haber’s complete review here.
7) Run
Aneesh Chaganty’s follow-up to his brilliant online thriller Searching, while a bit more traditional, is none-the-less nail-bitingly intense. In the vein of films like Whatever Happen to Baby Jane, Rear Window, or Misery, Run’s story about Chloe, played by Kiera Allen, a homeschooled wheelchair-bound girl suspicious of her mother, played by Sarah Paulson, is an uncomfortable but rewarding sit. The film’s editing is tight and slick, allowing you to lose yourself in the tension. The dueling performances are outstanding. Sarah Paulson shifts from being caring to desperate to terrifying with ease, while Kiera Allen gives her role tremendous personality, with equal parts heart, strength, and fear. If you’re looking for a straightforward, intense, tight thriller, look no further.
6) Wild Goose Lake
A gritty neo-noir set in the streets of Wuhan, this movie held me from the opening shot and did not let go. This movie about a gangster manhunt is incredibly moody with its seedy atmosphere, illustrating the crime-ridden world its characters are forced to work in. Rather than merely replicating the style of old noir films, director Diao Yinan uses the style to inform the characters’ personalities and motivations. He almost makes the city of Wuhan itself a character, highlighting the desperation and loneliness of the film’s leads. It’s an invigorating sit, helped by fleshed out, engaging characters who elevate the film from being too reliant on its style. Hu Ge plays an excellent gangster on the run, and Gwei Lun-mei slips into the femme fatal role with ease. While the slow burn may not be for everyone, those who are comfortable with the pacing will be rewarded with an intense crime drama.
5) Feels Good Man
An interesting take on Pepe The Frog and the artist’s response to his work being taken over by the alt-right. The doc puts a different lens on the discussion of authorial intent by showing an artist’s creation being stolen and transformed into a hate symbol. For as outlandishly funny as the film gets, it’s equally tragic, especially when the ADL’s designation of Pepe as a hate symbol destroys the artist’s life. The film also shows how the internet and internet culture has changed over the years, providing an interesting outlook on niche internet subcultures. Feels Good Man is funny, weird, wild, and only gets stranger as it goes on.
4) First Cow
I needed a movie where I could just drink in the atmosphere, let it surround and engulf me, and First Cow was that film. A simple story about two guys trying to steal milk from a wealthy landowner’s cow, the film is just a breathtaking, captivating sit from start to finish. It’s the type of film where everyone’s motivation is clear, allowing for the film to be suspenseful, but also relatable and fun at the same time. The film plays around with Western tropes, demythologizing the archetypical wanderer and immigrant characters, and presenting the harshness of the west realistically. Despite the realism of the economic poverty shown in the film, it never feels soul crushing. John Magaro and Orion Lee, who play the leads, and director Kelly Reichard navigate this world to find genuine heart, calm, and warm friendship. Little moments in the film speak volumes, whether it’s a tiny bit of humor, or a small gesture that feels human. Finding this warm moments in their harsh environment is why I love this movie, especially now.
3) Wolfwalkers
One of the most beautiful films of the year, Cartoon Saloon‘s latest animated feature may be one of their best. Lovingly crafted to reflect moving tapestry, Wolfwalkers is a warm Irish fairy tale that anybody can enjoy. While the film’s story of a girl turning into a wolf may be simple, it’s filled with vibrant emotion, with all the heart and power of reading a fairytale for the first time as a kid. Whether you’re drawn strictly by the animation, the friendship between the two girls, or the bond between the father trying to raise her daughter, there is genuinely something for everybody in this film.
You can see Knockturnal writer Julian Cannon’s interview with directors Tomm Moore and Ross Stewart here.
2) Color Out of Space
Richard Stanley makes his triumphant return with this stellar adaptation of H.P. Lovecraft’s “The Colour Out of Space.” The film feels like being trapped in a strange alternate dimension. The incredibly creepy set design and cinematography emphasize the feeling of reality collapsing around them. Nicolas Cage’s transformation is mesmerizing to watch as his mental state gets corrupted in both subtle and staggering ways like the rest of the world. I’m incredibly excited to see where Richard Stanley goes from here.
You can read my full review here.
1) Nomadland
Chloe Zhao has been on my radar since The Rider, and Nomadland is an even more remarkable achievement. Following the life of Fern, played by Francis McDormand, a widow who lives in her van and travels across the country to work, the film exudes raw empathy from every scene. Francis McDormand’s natural performance projects such a strong sense of character; I want to learn more about her life. It’s just amazing and, at times, haunting watching McDormand’s character try to make the most of her life after losing everything during the Great Recession. Simultaneously, the film doesn’t offer pity; it’s not as simple as “feeling sorry for her” instead, the film just shows living and making the most of whatever’s next. It’s not a depressing film; it’s not an uplifting film; it’s hard to describe the emotions I feel when I watch it, I just know it feels honest, and I felt fulfilled after watching it.
You can read Knockturnal writer Liam Haber’s full review here.
Here’s hoping 2021 is a better year for all of us. See you at the movies, hopefully, at a theater