I keep waiting for it to happen. Society dictates that, as you get older, as you have a grown-up job and become a responsible adult, you are suppose to lose interest in nerdy bullshit. Yet, here I am, in my thirties and still a massive dork for movies. My taste have evolved. As I get older, I'm finding myself attracted to indie weirdness and low-budget horror trash more than ever. I certainly have less time to devote to my hobby. Yet my basic fascination with those pretty images that flash on the screen, pushed out of a projector at super-speed, narratives told via moving images, has never gone away. Will it someday? I don't know, maybe if I ever have kids.
For now, as my fiery passion for cinema burns ever-bright, let us celebrate. It is a new year and there's quite a lot to look forward to. As has become my tradition, I've assembled a list of my most anticipated movies of the new year. (Plus an even longer list of other stuff I am looking forward to, because I don't know when to quit.) My 2020 list is almost entirely made up of indie horror and similarly low-brow stuff, because I'm no longer interested in lying about the stupid bullshit I like. Let's get started, shall we? Here are...
My Top 10 Most Anticipated Films of 2020:
1. I'm Thinking of Ending Things
Since the late nineties, Charlie Kaufman has been delivering comically off-beat, emotionally resonant, highly neurotic, and unexpected narratives. Unsurprisingly, “Being John Malkovich” and “Eternal Sunshine of the Spotless Mind” remain highly original favorites of film lovers everywhere, including me. Kaufman's creativity, his quirks and obsessions, haven't changed much after he took up directing on his own, his style being very noticeable through his ambitious features “Synedoche, New York” and “Anomalisa.”
And now, one of my favorite writers is taking on my favorite genre. Kaufman is adapting Ian Reid's novel, “I'm Thinking of Ending Things.” The book is described as an emotionally traumatic story of a woman meeting her new boyfriend's family – an everyday situation already wrought with tension – that somehow goes horrifically wrong. In the spirit of remaining surprised, I have managed to avoid discovering any spoilers on what exactly happens specifically. I hope to keep it that way, until I can read the novel. I fully expect Kaufman's adaptation to shift stuff around, that this will not be your standard horror movie. I don't know exactly what to expect at all and that's why I'm excited. (The logline and presence of Toni Collete is making me imagine something along the lines of Ari Aster's films.) After a long post-production, “I'm Thinking of Ending Things” is coming to Netflix at some point this year.
2. Nightmare Alley
While he has roughly a hundred projects in development as a producer, Guillermo del Toro – another one of my favorite working directors – has taken his time choosing his next directorial project following his Oscar winning “The Shape of Water.” Finally, del Toro is making a proper return with “Nightmare Alley.” Described as another one of his dream projects, “Nightmare Alley” is a new adaptation of William Lindsay Gresham's 1946 crime novel. If the title sounds familiar, that's probably because it was previously adapted in 1947, a classic film noir in its own right.
The story concerns crime, betrayal, and violence amid a seedy carnival sideshow. Honestly, Guillermo del Toro directing a modern day noir set in a shitty freak show with a tarot card motif would be enough to crack my top ten. Unsurprisingly, the director has assembled a top-of-the-line cast for his latest feature. Bradley Cooper seems ideally cast as a noir protagonist. Willem Dafoe, Cate Blanchette, Roony Mara, Ron Perlman naturally, and – hello again – Toni Collette fill out the supporting cast. The movie hasn't started filming yet so it probably won't see release until 2021 but, whatever, I'm not changing my list now.
3. Last Night in Soho
Being a basic white bitch film-bro, Edgar Wright is also one of my favorite directors around right now. After defining his career with high-energy, cult favorite action/comedies, it sounds like Wright is shifting gears with his seventh feature. (Or eighth, depending on when that Sparks documentary gets released.) Though he's played around with horror in “Shaun of the Dead,” “Grindhouse,” and parts of “The World's End,” “Last Night in Soho” will be Wright trying his hand at a straight-ahead psychological thriller. The project has been described as inspired by Polanski's Apartment Trilogy – always a good source to draw from – with a story that jumps between the modern day and the sixties. Not that you need another reason to be excited but the cast is top-lined by Anya Taylor-Joy and Thomasin McKenzie, two of the most promising young actresses in Hollywood right now.
4. The Invisible Man
By now, it should be common knowledge that there's few things I love in this world more than the Universal Monsters. Over the last fifteen years, the studio has made four separate attempts to reboot their classic monsters properties as big budget blockbusters. None of these remakes have been especially successful, from financial or critical perspectives. I've supported all of them, because I love these characters that much, but it was readily apparent that nobody at Universal actually knew what the hell to do with the monsters.
Now, out of the ashes of the Dark Universe, rises another attempt to reboot the Monsters. But this one actually sounds good. It seems like someone at Universal finally realized that these characters belong in horror movies. The studio is now doing exactly what I've been saying they should do for years. That is, creating medium budget horror pictures directed by up-and-coming talent. The studio is teaming with Blumhouse on this new initiative. Say what you will about Jason Blum's company but they've gotten Joe Movie-Goer excited about horror again.
The first in this latest wave of Universal Monster remakes is “The Invisible Man.” That's a smart one to start with as, unlike Frankenstein or Dracula, the public has almost no preconceived notions about this character. Leigh Whannel, hot off the wonderfully entertaining “Upgrade,” is writing and directing. Whannel is the perfect filmmaker to pair with this property. It seems he has an especially modern reinvention of the character. The trailer reveals that this “Invisible Man” is a story about toxic masculinity and gas-lighting, which is a smart way to make this old story relevant to modern viewers. Better yet, the trailer makes the movie look scary with a number of fantastically clever and spooky gags. There's also a shot of someone wrapped up in bandages, hopefully one of many references to the original film. In other words, I'm hyped as fucked. We'll be seeing this “Invisible Man” in February.
5. Rebecca
Here's another remake of a classic film by a buzzy young filmmaker, because that's apparently what I'm into this year. Daphne du Maurier's classic novel, of course, was previously adapted by Alfred Hitchcock in 1944. However, a new “Rebecca” has been floated for years, probably because censorship of the time prevented Hitchcock from properly adapting the book. Ben Wheatley, previously of such cult oddities like “Kill List” and “A Field in England,” will be directing this new version. The main reason I'm excited for 2020's “Rebecca” is because I'm really intrigued to see Wheatley try his hand at a gothic melodrama. Nothing warms my heart more than movies about old buildings full of deep shadows, dark corridors, and psychosexual hang-ups. So, even if Wheatley's last film was the disappointing “Free Fire” and his next film is a fucking “Tomb Raider” sequel, I'm pretty sure his “Rebecca” is going to be in my wheelhouse.
6. Gunpowder Milkshake
Back in 2012, the world was suddenly so crazy for the idea of a female-led ensemble action movie that two rival movies were greenlit. First came an untitled project from Adi Shankar, which was quickly dubbed “the female Expendables.” That was before the actual producers of the “Expendables” franchise announced the punningly entitled “The ExpendaBelles,” which made the exact same promise of puling together established lady ass-kickers. Eight whole years later, neither of these films ever came to fruition, though the Asylum made a low budget knock-off anyway.
Even if Hollywood didn't seem interested in making that female-led ensemble action movie, it's an idea I love. And now it seems someone else has picked up the ball and ran with it. “Gunpowder Milkshake” – an amazing title – has loaded its cast with bad-ass women like Karen Gillian, Lena Headey, Michelle Yeoh, Carlo Gugino, and Angela Bassett. (Paul Giametti is also here, hopefully as a sleazy villain.) The plot concerns a mother/daughter team taking on a male-led crime syndicate, which sounds fun. Navot Papushado, previously of “Big Bad Wolves” and “Rabies,” is the filmmaker behind this one. I have no idea what exactly to expect from this but my brain is already imagine a lot of awesome stuff.
7. Bill and Ted Face the Music
I've been dreaming about a third “Bill and Ted” movie since I was a kid. For years now, I just assumed it was a pipe dream. Keanu Reeves had moved onto bigger things while Alex Winter was more focused on directing. Though brilliant, “Bill and Ted's Bogus Journey” didn't exactly set the box office on fire either. Series creator Chris Matheson and Ed Solomon have been talking up a third adventure for a long time but I figured the likelihood of it ever going before cameras was low.
Yet, possibly through the intervention of time travel, a third “Bill and Ted” movie is now forthcoming. Initially, I was skeptical. The premise, of now middle-aged Bill and Ted dealing with their failure to bring about the utopian future promised by the original films, didn't sound like much fun to me. I also disliked the title, as this really needed to be called “Bill and Ted's Radical Odyssey” or something like that. However, as more details have emerged, I can't help but feel the hype growing. The guy who made "Galaxy Quest" is directing. William Sadler is back as the Reaper, which presumably means all the weird shit from “Bogus Journey” – Station! The Good Robot Uses! – will at least be referenced. Brigette Lundy-Paine is Ted's daughter and Samara Weaving is Bill's daughter, who are adorably named Billie and Thea. Awww, that's wholesome! Two decades of anticipation is a lot for any sequel to live up to but I'm at least willing to roll the dice on this one.
8. Green Knight
As an independent filmmaker, David Lowery has made folksy, low-key, and philosophical features like “Ain't Them Body Saints” and “A Ghost Story.” When working with bigger budgets, he's created slightly more accessible films that undeniably carry a recognizably Lowery-ian aesthetic. And all his movies are connected by a sense of awe at the beauty of the natural world, like if Terrance Malick gave a shit about things like characters or plot.
For his latest, Lowery is teaming with A24 and shifting towards the medieval fantasy genre. “Green Knight” will adapt 14th century chivalric romance “Sir Gawain and the Green Knight.” As someone fascinated by the Arthurian legend, which has been frequently mishandled by Hollywood, I'm excited to see a filmmaker I really like handle something adjacent to that story. Moreover, I'm intrigued to see how a director like Lowery and a studio like A24 will handle a project that sounds more like a big budget fantasy film. Will this be whimsical or something more akin to mudpunk? Either way, I'm into it. Dev Patel and Alicia Vikander star, presumably as versions of Gawain and Lady Bertilak.
9. Dementer
In 2013, Chad Crawford Kinkle made a cool flick called “Jug Face,” which combined lots of stuff I like – stories about cults, backwoods weirdos, menacing and vague supernatural presence – into a satisfying whole. Low budget, low-key, and generally underseen, I have been a champion of “Jug Face” in the years since it came out. I've also often wondered if Kinkle would ever return to directing.
Well, the wait for Kinkle's next film is almost over. “Dementer” sees Kinkle returning to some familiar elements, as the film also features a backwoods cult of sometime. (Larry Fessenden is also in both movies' casts.) Yet the story primarily revolves around an escapee from said sect caring for an adult woman with Downs Syndrome, who soon becomes imperiled. Kinkle was apparently inspired by his own experience with special needs adults, suggesting this is a highly personal story. All the marketing thus far has been incredibly creepy and the few festival reviews are very positive. Awesome!
10. Becky
In my own writing, I've often touched upon the theme of young people being thrust into traumatic situations and forced to fight back. So I might be predisposed to be interested in “Becky,” described as an action/thriller in which a teenage girl must defend her family from a home invasion by a group of ruthless criminals. Up-and-coming scream queen Lulu Wilson stars as the title character. Kevin James is playing against type as the primary villain, a move that will either be fascinating or disastrous. (The newly ripped Simon Pegg was originally going to play the role, which also would've been pretty cool.) Jonathan Milott and Cary Murnion, of “Cooties” fame, direct. I have no idea if this will actually be good or not but I'm pretty into it based on the above information alone.
Other Upcoming Films of Note:
Birds of Prey and Wonder Woman 1984
Let's get 2020's slate of superhero flicks out of the way first. DC Comics has recently gotten their shit together, as far as quality of their film adaptations go. “Aquaman” and “Shazam!” were both tons of fun. (And “Joker,” if nothing else, was interesting.) This year, the studio is rolling out two high-profile sequels. “Birds of Prey,” which has been given the amusingly long-winded subtitle of “The Fantabulous Emancipation of One Harley Quinn,” sees such beloved comic characters like Huntress, Black Canary, Cassandra Cain, and Black Mask finally making their way to the theater screens. The cast is fantastic but I am slightly miffed that the trailer is making this look like a Harley Quinn movie – who has quickly become DC's most overexposed character – that just happens to feature the Birds of Prey. We'll see.
As for “Wonder Woman 1984,” I'm totally into the day-glo art direction we've seen thus far, as well as the Orwellian elements the story seems to be hinting at. I was a little confused by the initial announcement of Steve Trevor's return. But Chris Pine and Gal Gadot's chemistry is great, so I don't blame anyone for wanting more of that. My only real concern is the movie better give us a proper were-cat Cheetah, because Kristen Wiig in a jacket is not going to cut it.
Black Widow and Eternals
Following the proper climax that was “Avengers: Endgame,” and Disney becoming an evil juggernaut that is now swallowing up other studios whole, it's a lot harder for me to get excited for future Marvel superhero projects. I'm afraid I might be suffering from some blockbuster fatigue. I definitely think a “Black Widow” movie is a cool idea. I'm looking forward to seeing ScarJo, Florence Pugh, and Rachel Weisz play off each other. But the first trailer was shockingly free of “whoa!” moments. And I'm already prepared to see another awesome comic villain, Taskmaster this time, reduced to a non-entity on-screen.
Marvel's other 2020 flick, “Eternals,” is slightly more exciting. Much like “Guardians of the Galaxy,” the Eternals are a weird cosmic team that the general public, and even most comic nerds, are unfamiliar with. The Marvel movies tend to be at their best the more they embrace far-out ideas and wild imagery, which this will hopefully provide some opportunities for. The cast is pretty cool. I haven't caught up with the other films of director Chloe Zhao, who also has “NomadLand” coming out this year, but supposedly they are excellent.
(As for other Marvel adjacent projects, this year will also bring Sony's “Morbius the Living Vampire” movie – which sounds like a terrible idea but “Venom” came out better than expected so maybe this will too? – and Fox remnant “The New Mutants,” which Disney is promising us will actually be released this time.)
Candyman
With the success of Jordan Peele's “Get Out” and “Us,” horror movies openly in dialogue with societal woes are now hot. This year will see the release of “Antebellum,” a horror movie about slavery starring pop star Janelle Monae; “False Positive,” an A24 thriller about reproductive rights starring another former Comedy Central star; and “Bad Hair,” seemingly a parody of this still-emerging subgenre – it's about a killer weave – from “Dear White People” director Justin Simien.
Easily the most exciting of this wave of Social Horror is a new “Candyman” film, which Peele is producing. Described as a “spiritual sequel” to the original, the new film will revisit the now-gentrified Cabrini Green neighborhood the first film was set in. That's a really cool idea for a “Candyman” reboot, a way to readjust what made the original relevant and exciting. (And a way to leap over the sequels, neither of which served the character the best.) It was initially reported that Yahya Abdul-Mateen II would be playing the hook-handed spectre but now it seems Tony Todd, the icon himself, will be in the movie after all. I'm very intrigued to see how this turns out.
C'mon C'mon
“20th Century Women” was easily my favorite film of 2016, even if I didn't get to see it until 2017. Honestly, it's a rare example of a film resonating with me on such a personal level that I was left speechless. It was so good, that I immediately decided its director, Mike Mills who I had no previously exposure to, was going to get a Director Report Card someday. And maybe “someday” will be this year, as Mills has a new film coming in the following months. We don't actually know anything about “C'mon C'mon” right now, other than it'll star Joaquin Phoenix and Gaby Hoffman. However, I'm willing to follow Mills into the unknown here.
Color Out of Space
Nicolas Cage's inability to say no to any project that comes his way has led to him starring in a ton of junk... But it's also made him even more of a cult icon than ever before, following fantastically wild projects like “Mandy” and “Mom and Dad.” That trend continues this year. Projects like “Jiu Jitsu” – in which Cage will help fight off aliens with Brazilian jiu jitsu – and Sion Sono's “Prisoners of the Ghostland" – which Cage referred to as the craziest script he's ever read – both sound about right. The most exciting of 2020's Potential Future Cage Classics is “Color Out of Space.” It's an amazing assembly of talent here, as arthouse horror auteur Richard Stanley has come out of exile to adapt one of H.P. Lovecraft's best-known stories. Elijah Wood's production company SpectreVision has promised this will be the first in a series of Lovecraft adaptations, which sure has a lot of potential.
Deep Water
Back in 2018, I did an Adrian Lyne Director Report Card. At the end, I noted that Lyne hasn't completed a film since 2002's “Unfaithful.” This was not for a lack of trying, as Hollywood's master of slick eroticism has been attached to a number of projects over the years, none of which actually ended up before cameras. I assumed “Deep Water,” an adaptation of a Patricia Highsmith novel that was first announced in 2013, would be another one of these unrealized scripts. But the machine of Hollywood turns, as it sometimes does, and now “Deep Water” is currently filming with a November, 2020 release date in place. Ben Affleck and Ana de Armas headline, both of whom seem to be in the right positions in their careers to star in this, a typically Lyne-ian story of sex and murder.
Ghostbusters: Afterlife
As the great Sean O'Neal so keenly observed, the thought of more “Ghostbusters” only generates anxiety in the audience. Considering the default mode for nerd fandom the last decade has been “toxic and highly aggressive,” the thought of another argument-generating reboot only causes me to feel exhausted. (I thought the much-contested previous “Ghostbusters” movie was alright, even if it in no way satisfied the long-desired itch for more adventures in this universe.) Having said that, there are a few reasons to be cautiously optimistic about “Ghostbusters: Afterlife.”
The film seems to be about Egon's grandkids rediscovering their family legacy of ghost bustin', while settling into a Midwestern small town. (Which, when paired with the presence of Finn Wolfhard and the retro aesthetic of the trailer, can't help but bring “Stranger Things” to mind.) Focusing on the next generation of characters, while moving the original cast into largely supporting roles, is probably the smartest way to approach this. While there's nothing about Jason Reitman's previous films to suggest he could handle an effects-heavy project like this, there is a certain satisfying symmetry to seeing the literal son of the original “Ghostbusters” director being handed the reigns. The trailer is nice but is also kind of low on actual jokes. These guys do remember that “Ghostbusters” is suppose to be funny, right? I'm sure, whatever the outcome, fans will scream about it, the general public will be largely indifferent, and I will swallow as much Ecto Cooler – already rumored to return! – as humanly possible.
The French Dispatch
When first announced, “The French Dispatch” – the latest film from Wes Anderson, the master of twee symmetry – sounded like a truly fun idea. The film was said to be a musical set in post-World War II France, about journalists. Considering the prominent role music has always played in Anderson's films, it seemed high-time he finally make a proper musical. However, then it was announced that “The French Dispatch” is not a musical and even the 1940s setting seems uncertain, as now the official logline lists the time period as “20th century,” which could mean anything. While the film could've been more exciting, Anderson's particular breed of bullshit is obviously my style, as I've loved most of his films. And the cast here is typically excellent, with everyone from Griffin Dunne to Henry Winkler appearing, alongside a number of Anderson regulars. (Plus Cecile de France, who I feel like we haven't seen in a while.)
Godzilla vs. Kong
I don't know why “Godzilla: King of the Monsters” was so divisively received. I get why the movie underperformed at the box office. (The last one was already divisive, the general public doesn't give a shit about King Ghidorah the way we true souls do, and WB/Legendary genuinely waited too long to get the sequel out.) But how could a movie that loaded with kaiju action, made with that much obvious love for the series and its lore, disappoint fans? I loved it, and so did a lot of other people, but I've also seen a lot of hate lobbed its way. I don't know, man.
Nevertheless, nerd bitching and underwhelming box office aside, the franchise marches on. “Godzilla Vs. Kong” sees Legendary's portly nuclear dino facing off against the giant-sized gorilla, last seen in the also excellent “Kong: Skull Island.” Indie horror fave Adam Wingard makes his big budget debut here. This was probably my most anticipated blockbuster of the year until the recent announcement of a release date shift and extensive reshoots, almost definitely the result of “King of the Monsters'” mediocre grosses. I'm really afraid this'll get fucked up in retooling. I know it has its detractors but I've really enjoyed every film in Legendary's Monster-Verse. Hopefully, the purity of this monster-fighting fest is not deluded by the time it reaches theater screens later in the year.
The Georgetown Project and Unhinged
The previously mentioned Nic Cage model of casting, in which a formerly high profile star actually increases his pedigree by starring in trashy low budget projects, is now being tried by other performers. Look at what Russell Crowe has coming up in 2020. Following “True History of the Kelly Gang,” the latest grimy historical film from Justin Kurzel, Crowe is lending his talent to “Unhinged” and “The Georgetown Project.” In the former, Crowe stars as a road-raging nutjob terrorizing a single mom after she cuts him off in traffic. That's a solid premise for a horror/thriller and should make good use of Crowe's talent for blustery rage. The latter project, meanwhile, is the directional debut of M.A. Fortin and Joshua John Miller, the writing team behind “The Final Girls.” It concerns a washed-up actor loosing his grip on reality while filming a horror movie. How meta.
Halloween Kills
I found 2019's “Halloween” to be a reasonably enjoyable experience, even if I wish it experimented a little more, instead of just reminding people of what they liked about the “Halloween” series already. I really enjoyed its bad-ass survivalist take on Laurie Strode and look forward to seeing her again. Still, it's cool that Michael Myers is making a full-blown comeback, especially since Jason remains trapped in litigation and Freddy is currently searching for the right pitch. What's most exciting about “Halloween Kills,” the first of two sequels David Gordon Green is filming, is how deep into the “Halloween” lore the sequel is digging. It seems just about every minor character from the first film you could think of – Sherrif Bracket, Tommy Doyle, Lindsey Wallace, Marion Chambers, fuckin' Lonnie – will be returning here. Hopefully, the film will build on that and not just use them to pad out the body count.
Jolt
Here's an up-coming action/comedy with an exceptionally bizarre premise. In “Jolt,” Kate Beckinsale stars as a bouncer who randomly kills people(!) and is only kept in check by the shock vest she wears(?), who heads out on a quest of vengeance after her boyfriend is murdered. I enjoy watching Kate Beckinsale be a bad-ass and this already sounds more interesting than those poopy “Underworld” movies. Tanya Wexler, previously of “Hysteria,” directs. I have no idea what to expect from this, or which end of the action/comedy spectrum it will focus on, but that logline is weird enough to catch my eye.
King Knight
There were a few years between Richard Bates Jr.'s excellent and criminally underseen “Trash Fire” and last year's enjoyably glib and depraved “Tone-Deaf,” but the director isn't slowing down with his next project. He already has “King Knight” lined up for 2020. The filmmaker seems to be shifting gears slightly with this one, as it doesn't appear to be a horror film of any sort. Instead, “King Knight” has been described as a “Pagan comedy” about the leader of a modern-day coven confronting his preppy past. Matthew Gray Gubler stars, who previously starred in Bates' last attempt at a straight-ahead comedy, “Suburban Gothic,” which is easily the director's worst film. So we'll see how this one turns out. The typically excellent supporting cast includes cult faves like Ray Wise, Barbara Crampton, Andy Milonakis, and Bates' muse, AnnaLynne McCord.
The Nest
2019 seems to be the year of the long-awaited follow-ups to buzzy debuts. In addition to the previously mentioned “Dementer,” 2020 will also see Brandon “Antiviral and also David's son” Cronenberg, Benh “Beasts of the Southern Wild” Zeitlin, and Sean “Martha Marcy May Marlene” Durkin releasing their second features. Durkin's “The Nest” is one I'm really curious about. The mysterious plot description says the film is bout an entrepreneur and his family moving into an English country house, which causes their life to take a “twisted turn.” That sounds like a horror movie, a genre that would certainly utilize the sense of unease Durkin created in his first film. Yet “The Nest” is listed as a drama, so I'm not sure what to expect. Either way, “Martha Marcy May Marlene” was excellent and we'll presumably have more information about this soon enough.
Malignant
“Halloween” is not the only horror franchise returning this year. In fact, horror sequels are looking to be big business in 2020. We have “A Quiet Place: Part II” to look forward too as well as a fifth “Purge” movie, which is promising to be the last entry in that series. (Which is a bummer, as the “Purge” movies were just starting to get good.) The creations of James Wan are especially crowding up the slate. Chris Rock is pulling a Jordan Peele/David Gordon Green by writing/producing a new “Saw” movie. After several spin-offs, “The Conjuring 3” is arriving with a supremely silly subtitle. Though you'd think Wan would have better things to do, after making two billion-dollar grossing blockbusters, he's back in the director's chair for “Insidious 5.”
But none of that is the most interesting thing Wan is attached to in 2020. I initially assumed, from single spooky word title, that “Malignant” would be another generic demon/ghost movie of some sort. Many others assumed Wan would be adapting his own comic book “Malignant Man,” a parasitic superhero story of some sort. Instead, “Malignant” is apparently a giallo. And if anyone could bring that cult-favorite subgenre to the megaplex masses, it's a proven hit maker like Wan. I've always admired Wan's horror films more than I liked them but this one might finally win me over.
Next Goal Wins
Having made a highly popular Marvel movie and a likely Oscar winner, Taika Watiti has gone mad with power and next plans to foist a soccer movie on the world. In all seriousness, I'm sure Watiti will put his own quirky spin on the worn-out underdog sports team story here, even if it'll force me to try and give a shit about some fucking ball game or whatever.
No Time to Die
I adore the James Bond franchise but I have my doubts about “No Time to Die,” likely to be Daniel Craig's final outing as the super-spy. The once strictly episodic franchise has been showing a newfound fascination with continuity over its last few entries. Much like “Spectre” – which I genuinely liked! – directly followed-up “Skyfall,” this will directly follow-up “Spectre.” What bothers me is how “No Time to Die” looks like it's leaning into the least interesting elements of the previous film, by revealing yet another secret mastermind behind its previous secret mastermind and, once again, commenting on how antiquated Bond is in the modern world. Just once, I want a new Bond movie where he simply gets an assignment from M to go kill whoever the new bad guy is. Can we just let Bond be the sexist, alcoholic, imperialistic asshole he is without constantly pointing out how the world has no use for men like him anymore?
Onward and Soul
At least Disney's various animation departments are moving away from sequels in 2020. Pixar has two original I.P.s arriving this year. “Onward's” irrelevant take on fantasy troupes could either be strangely touching and funny or it could be the derivative story the sub-Dreamworks trailers have suggested it is. “Soul,” the second Pixar offering this year, looks more promising at the very least. Since Pete Doctor is directing and it's a story about the afterlife, I'm prepared to cry. But the human character designs in the trailer are kind of freaking me out.
Raya and the Last Dragon
No, I'm not done talking about Disney, who has quickly become the happiest evil empire on Earth, just yet. I'll admit, any time the Mouse Factory tries to adapt an old fairy tale or introduce a new princess to the world, I get really excited. “Raya and the Last Dragon” sees the animation studio producing an Asian-influenced story about a young girl in a fantasy world attempting to hunt down, and presumably bond with, an adorably fluffy dragon. Yeah, that sounds a lot like “How to Train Your Dragon” but I trust Disney and its million-dollar marketing team to put a new spin on things. The production artwork we've seen so far is gorgeous and you just know they are going to sell a ton of plushes of that cute dragon.
Scoob!
You know what most excites me about “Scoob!,” the latest attempt to retrofit those meddling kids and their dog too into a movie? It's not how coherent Scooby's speech is in the trailer, nor the hip and modern redesigns of the characters. It's not the spooky Halloween scenes also seen in the trailer, though I liked those a lot. No, it's this: IMDb promises that Blue Falcon, Dyno-Mutt, and Captain Caveman are all in the movie. Oh shit, are they actually trying to set up a Hanna-Barbera Cinematic Universe? That's a terrible idea and I'm far, far too excited for it. I can't wait for the post-credit stinger where Jabberjaw appears to tell Scooby about the Laff-a-Lympics Initiative. (I'm only kidding a little bit about my excitement.)
Sonic the Hedgehog
I've already talked extensively about both my love of the widely-abused “Sonic the Hedgehog” franchise and my lack of enthusiasm for the feature film adaptation. After extensive fan outcry, the movie was pushed back several months to give Sonic a less soul-rending design. And, yes, the new, Tyson Hesse designed movie Sonic looks great. Yet, in all the excitement fans have generated since the release of that second trailer, surprisingly few people have noticed that the movie still has the same shitty premise with many of the same sort of juvenile, unimpressive jokes. I still don't want to see Sonic playing second fiddle to some live action asshole. I still don't want to see a “Sonic” movie largely set on our boring planet. While Jim Carrey looks like he's having a good time as Robotnik, I'm still concerned about how far this version of the character will stray from the one we know and love. So, as a life-long “Sonic” fan who is very use to being hurt by the thing he cherishes, I remain highly skeptical. (Yes, my girlfriend has already resigned herself to the fact that this is going to be our Valentine's Day date. She loves me very much.)
Witch Hunt
“Head Count” was a cool, indie horror movie not many people saw last year. Director Elle Callahan has her second feature coming this year and it sounds pretty neat. “Witch Hunt” crosses modern day anxieties with a literal witch hunt, as an American woman seeks to protect two actual Mexican witches seeking asylum from American authorities. Sounds both relevant and interesting! “Head Count” had an effectively quiet tension to it and I hope to see more of that here.
Other stuff I'm interested in that I don't feel like writing about:
Antlers, Army of the Dead, Bad Education, Bennedetta, Coming 2 America, The Devil All the Time, First Cow, Fonzo, Gretel and Hansel, Macbeth, Mank, The Night House, The Old Guard, Pieces of a Woman, Random Acts of Violence, Run Hide Fight, Saint Maud, Snatchers, Swallow, Tenet, The Witches, The Wretched, Yes, God, Yes, and Zombi Child.
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