“Will you shut up, man? I'm trying to read...
ZACK CLOPTON'S 2020 FILM RETROSPECTIVE!!!”
Obviously, 2020 was not the year anyone was expecting it to be. America has been through some shit in the last four years but nothing had prepared us for the heartbreak of this year. Of the complete failure of our government to protect its people from the virus that has defined our lives for the last ten months, that will continue to control our world for the current future.
My mental health has been shaky through the pandemic and it has doubtlessly affected my ability to enjoy my hobbies. Nothing like the apocalypse to make your OCD, ADHD, and various other afflictions to flare up! I only completed about half the writing for Film Thoughts that I wanted to this year. And I guess that's not a big deal, as there's obviously bigger things to worry about these days and also I don't even know how many people are reading these words.
All of that aside, I did manage to get a lot of movies watched in 2020. I suppose, when you're trapped inside the house for fear of catching the plague, there wasn't a whole lot else you can do. I watched 108 2020 releases in 2020, matching the previous high score I held in 2019. I desperately miss seeing movies on a giant theater screen. Even though streaming platforms are absolutely flooded with original content, it's just not the same. I hope we can return to movie theaters at some point this year. Even if the current state of things aren't changing anytime soon.
I'm glad I made it through 2020 without completely loosing my mind. It was close a few times and that's no joke. If you're reading these words, obviously you survived this year too and I hope your life was not personally touched by this horrible virus too much. Anyway, here's the complete list and capsule reviews of all the new movies I saw this year. I hope you enjoy this walk down memory lane through a very strange twelve months.
FOUR STARS:
1. Bacurau
The sense of love the filmmakers has towards this community is immediately evident. The slow reveal of what is happening exactly is engrossing, the filmmakers brilliantly deploying details at the right time. This includes the amazing twist in the last act, which is perfectly set-up but totally surprising. And it almost goes without saying that this film speaks perfectly to our modern world, where the rich attempt to exploit and destroy the poor for their own amusement. Exciting as the best exploitation film and as insightful as social commentary, this is extraordinary filmmaking.
2. The Vast of Night
The hyper-verbal script immediately pulls you, these characters feeling so real and alive from the opening minutes. Visually fast sequences that race through town stand in contrast to utterly still, quiet moments that focus on one person telling their stories. Director Andrew Patterson is fascinated with antiqued technology, basing his film around radio and old television. A real sense of awe seeps into the film over time, as the impossible intercedes on the mundane. An astonishing debut.
3. The Invisible Man
Absolutely brilliant re-invention of the one of Universal's classic monsters. Finds a clever new angle on the character, perfectly uses its special effects, and features the best horror movie shocks of the year. (That restaurant scene is going down in horror history.) Telling this from the perspective of a traumatized woman brings a totally new angle to this familiar tale. Elizabeth Moss is an ideal heroine and watching her journey from victim to vindicator is deeply satisfying.
4. Gretel and Hansel
Oz Perkins totally comes into his own and makes maybe the first great horror film of the new decade. Gorgeously precise direction and production design. A real sense of creeping dread throughout and feels truly nightmarish many times Great performances from Sophia Lillis and Alice Krige, playing maybe the ultimate Alice Krige part. Wonderful pulsating synth score. The story is littered with symbols and smart enough not to overexplain too much. I gladly would've spent another hour in this world.
5. Wolfwalkers
Every frame of “Wolfwalkers” is stunningly beautiful. The incredibly lush animation creates one of the most absorbing cinematic experiences of the year. Yet it's not just the visual beauty that makes this film wonderful. The story, of finding acceptance and love in a world determine to tear you apart, is wonderfully conveyed and touching to. And feel free to read into a premise that involves two girls finding each other, while hiding something about themselves from their parents and cruel authoritarians... In other words, “Wolfwalkers” is as brilliantly evocative of our times as it is gorgeous looking.
6. The Wretched
The most “fun” horror movie of 2020. Creates a truly freaky and intimidating villain, with impressive connections to classic lore. The script immediately presents a specific point-of-view and pays off several earlier events wonderfully. (There's also a whopper of a last act twist that really caught me off-guard.) The young cast is immediately lovable, a creepy atmosphere is quickly established, and all the jump scares feel earned. A blast!
7. Soul
Once again, Pixar manages to sum up big, universal themes – about finding the things that makes life worth living – in a cute, funny, and perfectly paced package. There's a lot of likable slapstick after our characters return to Earth. I really enjoy the minimalist art style of the afterlife. (Or beforelife, rather.) The score is brilliant and so many scenes make an impact. And, yes, it made me cry.
8. The Color Out of Space
Richard Stanley grasps the unknowable cosmic horror at the center of Lovecraft, while contributing his own breed of far-out horror. Grotesque body horror, slimy creature effects, explosive gore, psychedelic imagery, and pulsating music add so much to this oft-told tale. Stanley's ability to depict a natural world out-of-order with a dissolving family unit truly elevates this one. Add to that a fantastically entertaining Nic Cage performance, that covers the entire spectrum of his ability, and you have what is easily one of the best Lovecraft adaptations yet.
9. Shirley
Such a brilliantly rich film. There's so much to discuss here. It shows women rebelling against a restrictive system, the ways the bruised masculine ego asserts itself. The depiction of reality and fantasy leaking into each other is fantastically conveyed. Mostly, this is such a thoughtful depiction of the creative mind struggling with depression. How exhausting the act of writing is when your brain doesn't work how it should. This was really Elisabeth Moss' year, as she's utterly brilliant here. This isn't the first time a biography of an author depicted their life in the genre they were famous for but turning Shirley Jackson's life into a Shirley Jackson psychological horror story really worked out.
10. Possessor
Brandon Cronenberg is a chip off the old block. “Possessor” is an impressively intense head-trip of a movie. Com binding ultra-gory assassinations with a seasick visual style, the film successfully creates an atmosphere of trippy paranoia. As you wonder who is in control of which body, you realize “Possessor” has totally sucked you in. Moreover, Cronenberg creates a twisted reflection of our modern world, where people are enslaved to a corporate-driven job that steals their identity.
THREE AND A HALF STARS
11. Come to Daddy
If this had just been a queasy thriller/comedy about Elijah Wood and Stephen McHattie playing out some extremely fucked-up daddy issues, it probably would've been fantastic. Instead, the film twists in ever more unexpected directions, continuously catching the viewer off-guard. The grotesque sense-of-humor walks a fine line between being hilariously weird and obnoxious, usually staying on the right side. The movie even manages to be kind of sweet and cathartic at times. Precise direction and some fine performances seal the deal.
12. Relic
In “Relic,” dementia is the monster. All the creepy stuff that happens is a metaphor for its ideas. Dementia replacing the person you love with a monster is probably why some of the more grounded scenes are the most upsetting. Almost the entire movie is devoted to Kay, Edna, and Sam. So it’s a good thing a strong cast is here to keep you invested. Ultimately, love and sympathy is what drives the film, earning a more contemplative conclusion. Yet I think this is a really effective scare film too, director James utilizing familiar tools in exciting ways.
13. The Rental
A story that might've been predictable is kept fresh with a series of increasingly darker twists, our characters digging themselves in further, and that's before the villain really starts to fuck with them. A truly overqualified cast – Alison Brie's fragile performance is the high-light – makes you more invested in what happens. A foggy, creepy atmosphere is established early on before the film surprisingly becomes a pretty damn tense slasher flick in its last third. In other words: Delightful!
14. Freaky
Self-aware without being too cute about it, most of the comedy arises from Vince Vaughn's pitch perfect performance, who really milks the body swap premise for as much humor as possible. All the cast is pretty likable over all and the script flips some high school tropes in fun ways. The gore effects are amusingly creative. The romantic subplot is sweet but, like “Happy Death Days,” an attempt to add some serious emotional themes feels forced in. If this was a little meaner – all the murder victims are established as assholes, so we don't feel “bad” when they die – and a bit scarier, it would be a four-starrer easily.
15. Rent-a-Pal
I'm glad someone else has recognized the creepy insincerity of Will Wheaton. He's very well utilized as the mysterious messenger at the center of this disturbing indie. It's a very detailed, involving tale of loneliness and masculine resentment. The greasy VHS, late eighties aesthetic is perfectly captured. Brian Landis Folkins is sympathetic and intimidating in the lead. After a squirming act of violence, the script sadly eats its own tail and the film ends on a weak note. But this is still one I'm going to be thinking about for a while.
16. Alone
The simple as-can-be thriller premise – grieving woman on the run from creepy guy through the woods – is imbued with an ever-present tension. You really relate to the unease our protagonist feels before the shit hits the fan. Marc Menchaca's unnamed psychopath is terrifyingly mundane, capable of incredible verbal and physical cruelty. Several stand-offs are engineered for maximum suspense. John Hyams throws in some of his trademark intense action direction and the picturesque forest setting contrasts nicely. The character dynamics are not complicated but that's okay.
17. Spree
Most of what will be written about “Spree” will discuss its evisceration of social media clout chasing (Which is pitch perfect, if a bit heavy-handed), the question of what celebrity is in the modern age, or the “live stream” presentation. (Which occasionally cheats.) Yet what's most compelling about the film to me is Kurt, a desperately sad person in search of any sort of love or acceptance. Brilliantly brought to life by Joe Keery, he's the horror anti-hero the TikTok generation deserves. Only a last minute shift into conventional slasher theatrics – almost saved by a beautiful pre-credits denouncement – dragged this down for me.
18. Bill and Ted Face the Music
Reeves and Winter step back into these roles like no time has passed at all. The premise of Bill and Ted having a mid-life crisis doesn't sound funny but the film spins this idea into a number of amusingly absurd (and genuinely sweet) directions. The series' imaginative silliness is maintained, thanks to Death's most triumphant return and a neurotic robot assassin. Samara Weaving and Brigette Lundy-Paine could not be better cast as the daughters. Somehow, this almost thirty years in the making sequel finds the perfect note to end on.
19. Horse Girl
It's a shame this meanders into incoherence in its last third because, up to that point, it was a quietly devastating inside-out portrayal of mental illness. There's a manic humor to the wackier scenes and an effective surrealness to the dream sequences but, as Sarah descends more into delusions, a sadness overtakes the viewer. The lack of control, the mood swings, the anxiety and depression: You feel it all, thanks to the film's sympathetic construction and Alison Brie's deeply vulnerable performance.
THREE STARS
20. Swallow
Accurately captures the feeling of compulsion and doesn't shy away from the grossness of the habit, while also for showing why it is so addictive. The title's double meaning is revealed as we see how Hunter has been swallowed by the role of wife and mother. Haley Bennett creates a character wound so tightly, you can infer all the pain she hides. Director Davis luxuriates as much visual polish on the inedible objects as the fancy meals. The script too flatly explains the traumatic origins that shaped Hunter's neurosis, which leads to a somewhat disappointing climax.
21. The El Duce Tapes
A documentary that manages to generate sympathy for rock's most depraved frontman. You deduce pretty quickly that El Duce doesn't actually mean most of the heinous shit he says – not like that makes it any less heinous – but is instead tossing his self-hatred in all directions. Watching a disgusting alcoholic drink himself to death has value, because you can see the clear circumstances, the specific cruelty, that led to his psychosis. Also, the genuine found footage-style visual construction creates a one-of-a-kind atmosphere of nihilistic rock self-destruction.
22. Vampires Vs. the Bronx
A surprisingly lovable group of young heroes, created from a witty script and brought o life by a talented young cast, is this flick's secret weapon. Vampires, horror's most versatile metaphor, are a good villains for a movie about gentrification. Despite the very serious issues on its mind, the movie remains fleet-footed and fun throughout, subverting genre expectations in the best way. If it wasn't for a somewhat underwhelming ending, this would easily be among the year's most entertaining horror films.
23. His House
Director Remi Weekes knows how to create a genuinely scary horror set-piece. The curse at the story's center is clearly explained and results in several moments of sustained supernatural terror. The themes are more emotional than political, as our protagonists attempt to fit into a culture that doesn't want them there, making it far easier to become invested in their struggle. Add in some surprisingly Fulci-esque make-up and surreal visuals to get a potent feature.
24. Sonic the Hedgehog
Sonic the Hedgehog, both the character and the film, is reasonably adorable. Ben Schwartz makes this radically different take on Sonic way more likable than he probably would've been otherwise. In many ways, this is a typical studio kids movie but, as a life-long “Sonic” fan, seeing shout-outs to the franchise's history on-screen is deeply gratifying. Watching Jim Carrey mug it up as Robotnik is fun.
25. The New Mutants
Highly entertaining superhero/horror/coming-of-age hybrid. The more character-driven pace allows us to get to know these new mutants more, even if they're all basically archetypes. The cast is likable, with Anya Taylor-Joy's Magik stealing the show. I like how the story engages with themes like guilt, child abuse, and the frank depiction of a queer romance. There's some nicely gloomy atmosphere, effectively spooky monsters, and at least one genuine jump-scare. Also, Lockheed is in this movie and that's fucking amazing.
26. Archenemy
The world is hardly wanting for superhero deconstructions but this one is pretty fun. The perspective on the genre is at least something different here. Joe Mangaiello, Glenn Howerton, and Paul Screer are nicely demented. The action scenes are entertainingly brutal. The film admittedly looses a lot of pep once it throws away that sweet ambiguity concerning its “hero.” The day-glo comic book sections are also totally unnecessary.
27. Scare Me
Creates a clever riff on the horror anthology. This is not a movie about a collection of scary stories. It's about the people telling the scary stories. This elastic approach to storytelling reaches its delightful peak when a musical number breaks out. I personally see too much of myself in these assholes to dislike them. Josh Ruben and Aya Cash's performances are frequently hilarious. As an examination of male entitlement and toxicity, it's not as bright as it thinks it is but still manages to cook up an interesting conclusion.
28. I'm Thinking of Ending Things
A nightmare about uncomfortable interactions stretching on forever until they eat themselves. When the film gives in fully to that dream logic, such as the dance number, is when it's most successful. I definitely didn't understand it all, though a lot of it seems to be about what men think they deserve. Kaufman's referential, philosophical dialogue is frequently overwhelming and almost feels like self-parody. An incredibly difficult film to like but I think I “got” it.
29. Yes, God, Yes
Mostly, my heart went out to Natalia Dyer's Alice, a smart and sweet girl trapped in a shame-filled environment. Watching her forge her own path, and eventually outsmart the people who seek to control her, is deeply satisfying. Karen Maine's film is full of tiny funny moments – a visit to a bar is especially delightful – and a number of well orchestrated sequences. Definitely the most adorable movie about masturbation yet made.
30. After Midnight
Fusing a low-stakes relationship drama with a monster movie is actually a pretty clever idea! The romance works surprisingly well, propped up by dialogue-driven, stage-like long takes. A number of funny character interactions keep you watching, along with some excellently deployed needle drops. The monster stuff, meanwhile, is suspenseful and shadowy. When the two collide, almost literally, in the final act... Shit, I'll admit, it caught me off-guard and wrapped things up in a hugely satisfying way. This one is good!
31. Unhinged
A giant, sweaty Russell Crowe – perhaps unsurprisingly – makes for a terrifying psychopath. The crazed-eyed intensity Crowe brings to “Unhinged” goes a long way. Such a visceral threat, who is willing to deploy violence so brutally, keeps this short flick rolling along at a tense pace throughout. Essentially a slasher flick about a (mildly likable) woman against a demented lunatic, it's directed and acted well enough to succeed in its modest goals. Just don't take any of its political statements – which seem to paint the utterly deranged killer as partially justified in his rage?! – seriously at all.
32. Nobody Sleeps in the Woods Tonight
Meat-and-potatoes slasher that was totally satisfying for this long-time fan. There's little in the way of winking humor or meta references. The characters are archetypal but cute. The hideously deformed killers looks cool and the gore effects are awesome. The forested setting is nice and the direction is decent. Though the final girl has a traumatic past, there's no attempt to make this more than what it is. It's not flashy but it's a lot of fun.
33. Spontaneous
Yes, this is absolutely one of those movies about teenagers written by a man in his forties. Listen to the kids deliver colorfully profane dialogue and reference movies and TV shows that came out twenty years before they were born. Yet the film slowly displays a charming side that caught me off-guard. The young romance is delightful, thanks largely to Katherine Langford's star-making performance. As a metaphor for school shootings, or anything that ends young people's lives before they've even really began, it's surprisingly effective. It's got balls too, continuing pass the expected end point to show us the aftermath of these events.
34. VFW
Turns out Joe Begos' neon soaked, exploding head obsessed, heavy metal filled, profanity packed, John Carpenter-aping style goes down a lot easier when the cast is filled with beloved character actors. Like all of Begos' film, the thin script is padded out with lots of violence and action. The breathless pacing leaves the viewer exhausted long before the end credits start up. Nevertheless, the likes of Steven Lang, Fred Williamson, Martin Kove, and William Sadler acting their asses off makes this an entertainingly hard-boiled piece of overheated pulp.
35. Host
Everyone watching this will know it was directed entirely remotely. Which makes its numerous, clever supernatural scares feel like magic tricks. “Host” is also surprisingly patient, allowing that sense of unease build before the jump scares inevitably arrive. Director Rob Savage doesn’t concern himself so much with weaving realistic characters as he does creating inventive scares. Glorified tech demo or not, ingenuity and novelty count for something in this genre.
36. You Cannot Kill David Arquette
David Arquette seems like a very genuine guy, honest about his passions and open about his flaws. His quest to earn respect in the pro-wrestling circles is, obviously, as much about regaining some confidence in himself. Seeing the inner-workings of the wrestling world from the perspective of an outsider is a valuable experience. The way the documentary fuses reality with obviously staged scenes is very much in the pro-wrestling tradition, which is a nice touch.
37. Borat Subsequent Moviefilm
Maybe Borat isn't as biting as social commentary in 2020 but he's still pretty fucking funny. Sacha Baron Cohen's ability to engineer outrageous situations – Borat's daughter speech for a room full of old Republican ladies and a visit to a doctor's office, for two examples – remains admirable. His ability to put the worst kind of people at ease still result in many rueful chuckles. Lastly, there's a weirdly sweet father/daughter story here and I hope Maria Bakalova gets a Best Supporting Actress nomination.
38. Jiu Jitsu
Endearingly goofy action B-movie repeatedly reminds you not to pay attention to its ridiculous plot – a martial arts version of “Predator” and there's no attempt to disguise that – because the fight scenes are what are important. They are expertly choreographed and playfully directed. A typically wacky Nic Cage is the highlight of a cast dotted with well-served action stars. Some shitty CGI blood and an overly long runtime can't ruin the fun factor here.
39. Fatman
Trying to do a gritty and grounded take on Santa Claus is, of course, a ridiculous idea. On paper, this sounds like a parody of dark and edgy reboots. Despite the comedic premise and a number of funny scenes, “Fatman” largely plays it straight. Mel Gibson plays Santa as a grouchy old man. Walton Goggins chews the scenery as the antagonist. It's about as odd as you'd expect from a movie about Santa with this many squibs and gun fights. .
40. Cuties
The most controversial movie of the year is admittedly a difficult watch at times. The clear disgust the movie feels towards the sexualization of children – which only the densest motherfuckers could mistake for endorsement – is palatable throughout. It's the story of a girl, desperate for acceptance, trading one oppressive social structure for another. There's also insightful moments of a very confused protagonist attempting to navigate a world that loves girls as objects but hates them as people. Or of humor, when the girls show how childish they are, or even grace, when Amy finally finally finds acceptance.
41. The Old Guard
In many ways, a standard modern day action flick/shoot-em-up, though admittedly one that features some pretty damn good action. Yet the film manages to catch you off-guard repeatedly by pausing for a quiet moment. Whether it's a declaration of love between two men or the weight of the centuries weighing down on our protagonist, these smaller scenes really elevate the material in a big way. The cast is solid and the pay-off is satisfying. The soundtrack is pretty bad though. This is probably better than that inevitable “Highlander” remake will be, even if it could've used some more flashbacks.
42. Onward
The modernized fantasy setting results in a number of cute gags, like the raccoon-like unicorns or the pay-off involving the school mascot. The bond between the brothers, and how that will play out, is pretty easy to predict. Yet the lively voice cast, and a few of Pixar's trademark heartstrings-tugging moments, helps the whole thing go down a lot more smoothly. Destined to be among the studio's more forgettable films but not bad at all.
43. The Witch, Part 1: The Subversion
There's something to be said for the slow-paced, character-driven approach in the first half of this Korean genre fusion. We're certainly given lots of time to get to know our protagonist before the violence breaks out. Yet the various plot twists and exposition in the last third feel a bit heavy-handed. As the “Part 1” in the title indicates, this merely the beginning of the story and suffers from some franchise overeagerness. But those action scenes, man. Incredibly fast paced, hugely bloody, fierce and furious, they make the entire movie worth seeing.
44. Hunter Hunter
Here's a movie that knows when to deploy some intense gore. The surprise use of some bear traps and a shockingly grisly finale are the main things I'll remember about this. Otherwise, it's another indie story of forested isolation with a strong, if a little too steely, cast. There's also one instance of bad green screen and I was slightly miffed by the unwillingness to become a full-fledged werewolf movie. But, shit man, that ending.
45. VHYes
Fuses a retro found-footage premise – which takes a predictable but amusingly freaky turn near the end – with the sketch comedy genre. As is always the case with these things, the comedy is uneven. The heights – a shockumentary about totally mundane things, vintage porno about climate change, a deranged painting show – manage to just outweigh the lows. (A bitter home shopping riff, an aerobatics show parody, a jokeless cop show spoof.) And there's a lovely musical number in the middle too. Also in the pros column: The filmmakers realize this type of movie is best kept short and wrap it up in about an hour.
46. Class Action Park
Anybody who knows the legend of Action Park, knows about how dangerous and deadly the park was. What really makes this documentary worth seeing are the behind-the-scenes stories from employees, discussing the after hours debauchery from the entirely teenage staff. Or the backstory, that details just how crooked the criminal who ran the place was. The “can you believe this shit really happened?” comedy soon hits the horrible truth that people actually died here, leading to a very precarious tonal balance. Yet this is still an entertaining slice of a bygone decade.
47. The Mortuary Collection
Ryan Spindell, if nothing else, has created a lovely looking movie. The fantastic production design, stylish direction (though there's a few steals from Edgar Wright), and cool creature effects result in a colorful, comic-book-like feature. Of the segments, the college pregnancy and slasher movie riff are probably the best. Clancy Brown makes the framing device worthwhile, even if the denouncement goes on too long.
48. Vivarium
I'm not sure I entirely understood it, though the film's opinion on suburbia and parenthood aren't too hard to figure out. I do know that I enjoyed the chilly, otherworldly atmosphere created by the oddball script, meticulous production design, and a very unnerving little boy. Jesse Eisenberg and Imogen Poots have played these exact sort of roles before but they are good at it and they share at least one very touching scene.
49. Scream, Queen! My Nightmare on Elm Street
Mark Patton's story of rising out of obscurity, dealing with being closeted and living with HIV, subsequent disappearance and rediscovery as a cult icon is compelling. So is "Freddy's Revenge's" progressing from widely disliked to fan favorite. Less interesting is Patton's resentment of the screenwriter, which the movie shakily tries to build its dramatic backbone around.
50. My Psychedelic Love Story
Truly a snapshot of its time. Johanna Harcourt-Smith proves to be a good topic for a documentary, as she has led a fascinating life. She claims she had no idea that her words were sending people to prison. At the same time, more than once, she talks about how good she is at lying. Is this a subtle admission of her crimes? To keep things upbeat and energetic, Morris incorporates frequently psychedelic imagery.
51. Seven Stages to Achieve Eternal Bliss by Passing Through the Gateway Chosen by the Holy Storsh
An aggressively zany comedy that includes just about every flight-of-fancy you can think of: cartoon characters, musical numbers, dream sequences, lots of murder, vague socialpolitical satire, VHS spoofs, and lots of cameos from beloved comedians. It generally works though the energy definitely starts to flag after the half-way point. If nothing else, it shows how versatile Kate Miccuci is and has the year's best title.
52. The Dark and the Wicked
Bryan Bertino's stab at the “supernatural stuff happening for no reason” style of horror movie. Because Bertino is a master at suspense and sound design, it actually works pretty well. More than a few sequences get under your skin, one attack in a goat pin and a liberal use of spiders being especially effective. Gore is used only when it can make the biggest impact, some of the grislier moments successfully making you squirm. None of it makes any damn sense and the attempt at deeper themes is mostly window dressing but this is still a fittingly moody, spooky flick.
53. The Platform
Brutal sci-fi allegory that, admittedly, gets a little too invested in its own metaphor as the story spirals onward. This is one of those films were every character, every object, has a specific meaning. Despite that, the surmounting grotesqueness throughout is admirable, especially as the violence grows more intense. Zorion Eguileor gives a memorable performance and the entire production is handled with a steady, unnerving calmness.
54. Wonder Woman 1984
From the first scene, there's a classically “Wonder Woman”-like hokiness that runs all throught this sequel, right into its painfully earnest climax. The story's interior logic is often fuzzy. This extends to its political sides, with a villain that pointlessly invokes Trump and a less-than-sensitive treatment of Middle Eastern tensions. Yet there's also some fun action scenes, fun touches involving tiaras and invisible jets, a strong secondary villain in Kristen Wiig's Cheetah, and Gal Gadot and Chris Pine's still valuable chemistry.
55. Run
That this is a story of Munchausen-by-Proxy gone especially wrong is evident from the second scene, preventing the “twist” from being all that surprising. Sarah Paulson's performance and the presentation are a bit melodramatic in general, don't you think? Despite that, there's still some joys here. Watching our resourceful heroine out-smart her insanely clingy mother proves rather entertaining.
56. Boys State
“Democracy Simply Doesn't Work: The Motion Picture.” Watch young boys sacrifice their personal beliefs in order to gain political popularity. Watch them shape policy around the right-wing bullshit they've all been indoctrinated with. Watch democratic civility collapse under mudslinging and yelling. Undoubtedly, a well assembled look at how utterly dehumanizing and depressing the American political system is.
57. A Good Woman is Hard to Find
Solid thriller about a widowed mom thrust into the Irish criminal underground. A brutal grammar Nazi villain, a weaponized vibrator, and a dismembered corpse are the main distinguishing factors here. While our heroine eventually becomes a bad-ass, the film simply takes too long to get that point. Sarah Bolger is good in the lead but not good enough for this one to really rise above.
58. Becky
A cathartic primal scream of a movie, “Becky” is as much about revenge as it is grief and that's refreshingly direct. Lulu Wilson's powerful performance says a lot with glares and shrieks, while Kevin James is an effective heavy. There's enough intensity in the various stand-offs to keep you hooked. The gory special effects are brutal without ever going over-the-top, maintaining the reality of the premise. If only the direction – which feels weirdly cuffed by either a low budget or an R-rating – and the script – which is a bit too vague for its own good – were sturdier.
59. First Cow
Leans into that mood of relaxed companionship. This is Kelly Reichardt's most searing indictment of the capitalistic system. Through this theme of class division, Reichardt gets a chance to return to her favorite idea: People trapped in situations they have no control over. She also recognizes the power of food to connect people. In its last act, it meanders somewhat aimlessly towards a typically blunt conclusion. Still, the film is highly likable and continues the clear interests and fascinations that the director has shown in the past.
60. Beastie Boys Story
A filmed stage show probably doesn't sound like the most cinematic experience. Spike Jonze ensures some fun touches are included. Like on-screen animations or several faux technical problems. What most makes this worth seeing is the clear brotherhood between these guys. There are a number of amusing off-the-cuff moments. There's a lot of good stories from the Beastie Boys' most successful years. As a story about men on the other end of their lives, having lost friends and companions, this is surprisingly emotional.
61. The Nest
Tracking the slow decay of a marriage as a metaphor for the hollowness of Reaganism and capitalistic greed makes for a clever contrast. The increasing sense of unease that worms into the movie is also well done, Sean Durkin clearly having a knack for that. The performances are strong, with Carrie Coon's slow-mo breakdown and Jude Law's taxi cab confession being especially notable. I also like how the movie immediately identifies its time period just with the size of a cell phone.
62. Superman: Red Son
Re-examining Superman's beliefs by changing his national identity is a cool idea. Refreshingly, this one doesn't let shitty American ideals off the hook. The film is most fun in the ways it reinvents these archetypal characters, even if it feels like a long comic arc condensed into a short film. It's a shame that Sam Liu's superhero cartoons always degraded into middling action scenes. (This one features some of his blandest animation yet.) This is most obvious in “Red Son's” last act, where the ideological debates climax with a big, dumb fight.
63. Birds of Prey
High-energy superhero romp that has many solid action sequences, a memorably twisted villain, and a hilarious supporting turn from Mary Elizabeth Winstead. The cast is likable overall, with Harley's relationship with Cass being especially cute, but the purist in me is still bugged that this is almost “Birds of Prey” in-name-only.
64. Blood Quantum
Takes an interesting approach to the zombie scenario, finding a new perspective with its Indigenous characters. We see the apocalyptic first day then leap ahead to the new status quo. What's most frustrating about this is that it has a lot of cool ideas but frequently stops just short of fully utilizing them. The cast is strong, the effects are good, new ideas are present, and the intensity is there. Yet director Jeff Barnaby feels pulled between wanting to do something new and respecting the expectations of the genre.
65. Capone
The story shifting in-between reality and delusion isn't as clever as Josh Trank thinks it is. A missing bag of money eventually becoming the center of the story is a big yawn. Yet “Capone” undeniably has a weird power to it, largely thanks to Tom Hardy's shameless performance. He grunts, rasps, farts, swears, coughs, and generally acts like a totally broken down mess of a man. Combined with some unforgettable images – sick, dying Al Capone wearing a diaper and wielding a solid gold machine gun – makes this too interesting to dismiss.
66. Blood & Flesh: The Reel Life and Ghastly Death of Al Adamson
This may just be a talking heads documentary but its a pretty good one, largely because it tells a fascinating story that takes some truly unexpected turns. Al Adamson's life as an exploitation filmmaker – cobbling films together, chasing trends, and not paying people – is a charming tale as old as time. His personal tragedies are sad. The sudden inclusion of UFO contactees is truly surprising. The brutal details of his murder provide a bizarre ending to a one-of-a-kind life.
67. Guns Akimbo
Philosophically, this is about the movie you'd expect from a director who cyber-bullied critics on Twitter. It's all about how internet trolls deserve to die, with lots of in-your-face edginess. The gleefully profane dialogue is frequently eye-roll inducing and the visual design is exhausting. But... The action sequences, you guys! The shoot-outs are beautifully choreographed, several choice soundtrack choices made me laugh, and Daniel Radcliffe and Samara Weaving are having a ball. Yes, the buzz wears off way before the overly long runtime winds down, but it's still a pretty good buzz.
68. Dick Johnson is Dead
Approaches the sad inevitability of our parents declining and dying with a whimsical hand. Maybe too whimsical, as I found many of the fantasy sequences overlong and distracting. (Though I did enjoy the various “death” scenes.) The best moments are more grounded, as the director and her dad talk about her passed mother, his history as a therapist, or the commonplace parts of death. And, yeah, I felt a little cheated at the very end too.
69. She Dies Tomorrow
A heaping load of existential dread. The movie certainly does a good job of translating that extremely unpleasant feeling of mounting fear and anxiety to the audience. There's even an odd sort of humor that grows out of it. However, the episodic structure makes it feel like a single premise was stretch to feature length. The day-glo visuals are cool and all but I getting a little tired of seeing that trick in indie genre cinema...
70. Wolfman's Got Nards
I love “The Monster Squad” and even I think this devotes a little too much time to fans praising the movie. I wish this documentary spent more time on the film's actual production, with more behind-the-scene footage and cast interviews. The sections devoted to the aftermath of the initial release, the film's unavailiabity for years, and the birth of the cult following is probably the highlights of the feature. The segment about Brent Chalem's early death is the emotional climax of the film and it should've ended shortly after that, instead of going on for another half-hour.
71. Breaking Surface
Consistently tense flick that throws yet more inconveniences into the path of its pinned down heroines. Like all these “confined spaces” thrillers, the script gets quite convoluted as it attempts to justify the situation. (A scene with a dog is especially dumb.) Yet the movie is also committed to realism, allowing for an increasingly grim atmosphere. You never quite care as much about the sisters as you should but, just as a technical exercise, this deserves some props.
TWO AND A HALF STARS
72. Big Fur
The best moment in this documentary is when Ken Walker claims taxidermists struggle with being perceived as weirdos... And then talks about how he has a freezer full of Sasquatch scat. Despite his eccentricity, he is a brilliant artist. That talent, along with the world of taxidermy, is worth exploring. But this is a pretty skimpy film, as its brief run time is padded out with asides about Ken's musical hobbies, his romantic life (the details of which are pretty uncomfortable), and banal facts about nature conservation and Bigfoot hunting.
73. The Wolf of Snow Hollow
As a horror movie, there are certainly several really effective moments. By keeping the werewolf mostly in the background, it becomes far scarier. As a jangly, stressful drama about a recovering alcoholic, it doesn't really work very well. Primarily because the lead character is too much of an asshole to be likable. (And it feels weird that the director assembles an amazing supporting cast just to stick himself in the lead role.) As a comedy, it's mildly successful but the last act – and the weak reveal that follows – undermines a lot of good will that built up.
74. La Llorona
A movie that left me wanting more. As a depiction of a genocide in recent Latin-American history, we only get a few devastating glimpses. As a story about class struggle in modern Mexico, it remains frustratingly focused on the evil military family people are cheering against. As an atmospheric horror movie, this is an extremely slow burn until things finally get spooky in the final minutes. It's all very well done – and a clever reinvention of the Weeping Woman legend – but I wasn't satisfied with it.
75. The Craft: Legacy
Begins well enough, as Cailee Spaeny is a compelling lead and the original's story is updated in smart ways. However, the script seemingly never judges the girls for the morally ambiguous things they do. The strength of “The Craft” was in the conflict that formed within the coven. By moving the conflict outside the group – and letting an extremely bored David Duchovny play the villain – it robs so much potential tension from the premise.
76. Tenet
To be totally honest, I did not really understand the logic behind “Tenet's” time-bending gimmick. Once you realize it's a cinematic palindrome, the film actually becomes less interesting. We aren't given nearly enough reasons to care about what happens. A script that is structurally dense but emotionally shallow leads to a largely frustrating experience. All the bad-ass stunts in the world can't make up for characters or a story you don't care about. Though those backwards set pieces are pretty cool.
77. Random Acts of Violence
There's a surprising sense of brutality to the murder scenes in this, that focus more on the terror the attacked feel and less on the crowd-pleasing gore. The colorful direction, which is heavy on neon reds and greens, is interesting. The film clearly has something on its mind about how trauma informs creativity and violence in the media. At the same time, this one just didn't quite work for me. I'm pass the point where colorful profanity makes characters endearing to me and the cast can't bring much else to the material. It's short enough that it feels more slight and underdeveloped, than breezy and fast-paced.
78. Amulet
Well, it's definitely creepy! Director Romola Garai certainly creates a prevailing feeling of dread. The sudden bursts of monster movie gore are startling and it leads up to an intensely bloody confrontation... Before the movie reveals a baffling secret about its protagonist, changing the meaning behind the film's loaded subtext – which was seemingly about PTSD – in an irksome way. I can't pretend I understood the mythology behind the demonic horror, which is only vaguely explained, though it's certainly freaky. Imelda Staunton also shows up for a delightfully devilish supporting role.
79. The Lodge
The wintry isolation of its setting certainly takes this one a long way. The howling, snowy winds outside create some chills. Yet this atmosphere is in-place to prop up nothing but a series of loud jump scares. The movie is headed towards a twist ending that the audience definitely figures out before it occurs. The script attempts to double-subvert expectations but only end up creating a mean-spirited, and rather irksome, ending.
80. 12 Hour Shift
As the son of a night shift nurse, I recognize so much of Angela Bettis' excellent performance as a perpetual exhausted R.N., just trying to make it through the night. Brea Grant's direction is tight and often keeps the movie moving. The problem is the ramshackle plot that never solidifies into something coherent, seeming more like a bunch of characters going off in their own directions. Chloe Farnsworth gives an overly wacky performance, little of the humor lands, and the music is distracting.
81. Mass Hysteria
Directors Arielle Cimino and Jeff Ryan ape Edger Wright's visual style gratuitously. Though clearly derivative, this does make sure that “Mass Hysteria” has a breezy comedic energy. The deranged tourists are far too goofy to be scary. The cast is likable, save for a few overly broad turns. A reoccurring joke about “witch tunnels” pays off nicely. Even though themes of persecution and scapegoating clearly run through the story, none of them amount to much. Also probably could have used its setting more.
82. Sea Fever
Through no intentional move on the behalf of writer/director Neasa Hardiman, she has captured the paranoia and in-fighting of our current global situation. The parasites are among 2020's most insidious cinematic villains. The sequence where a man's eyeballs explode is certain to generate cringes. But this has a pretty serious flaw: I never cared about any of the characters.
83. Anything for Jackson
I kind of have to admire the pure gusto with which this one deploys a number of modern day horror tropes. We've got twitchy contortionist demons, spooky kids, grisly body horror, bursts of elaborate gore, jump scares and grumbling sound design. Honestly, I genuinely like how eager this movie is to scare the audience. It never quite works and I wish the film focused more on the elderly couple at the story's center. A movie about the path that led them to demon-summoning would doubtlessly be far more interesting than this competent, if derivative, boo-show.
84. Get Duked!
One of those comedies perched precariously between being amusing and obnoxious. The characters are largely annoying. A totally superfluous subplot involving the police goes nowhere. There should have been far more attention on the villains hunting our young protagonists. At the same time, there are several good running gags – involving surprisingly sharp forks or a runaway van – and inventive uses of drugged-out imagery.
85. Verotika
Measured by the barometers of traditional criticism, this can only be described as a fiasco. From its opening minutes, it's clear that Danzig doesn't know much about every rule of filmmaking. Just as Danzig didn't let his obvious lack of skill stop him from making “Verotika,” you shouldn't let the film's clear lack of objective quality keep you from enjoying it. It's often utterly hilarious. The final segment fucks with my bad movie buzz enough to bring the whole enterprise down a grade.
86. The Beach House
Yet another indie horror flick with some strong elements – the body horror is bitchin', with the scene in the kitchen being especially squirm-inducing – but totally blank characters the audience is indifferent to! It sure is convenient that the main character is studying the exact occurrence the movie is about, isn't it? There's a lot of imagination on display but perhaps the filmmakers should've focused on one idea, instead of trying to make a Lovecraft/body horror/alien invasion/apocalypse combo. When the other ideas run dry, it's time to ramps up the audio and visual distortion.
87. The Pale Door
Basically the western version of “From Dusk Till Dawn,” except the part before the monsters show up is way better. And instead of escalating the craziness, the film increasingly relies on attempts at mind-fuckery. Yeah, the practical make-up effects and occasional burst of body horror are cool. Ultimately, the witchy villains are not that interesting and the movie's characters are more interesting as archetypes than people.
88. Sputnik
If this had been at least a half-hour shorter and took itself slightly less seriously, I would've enjoyed it more. “Sputnik” is at it's most entertaining when embracing the trashiness of its alien-rips-people's-heads-off premise. Less successful are the attempts to integrate serious themes of parenthood – a truly dragging subplot – or Soviet government corruption. But I'm willing to forgive a lot if you have a semi-cool monster tearing shit up.
89. Selah and the Spades
I love the concept behind this one, of turning the inter-clique drama of high school into a gangland story of rival criminal factions. For a while, the novelty of that premise supports the film. However, you eventually notice that the characters aren't much more archetypes and the script is disinterested in developing them any further. The direction is pretty stylish though, so that's nice.
90. Antebellum
The first third is largely devoted to depicting the cruelties of the slave era. It’s brutal, exactly as unpleasant and uncomfortable to watch as it should be. But to what end? Presenting real historical terrors against the second half's stock horror movie scares is obviously in questionable taste. Moreover, “Antebellum” seems to lack a definitive point. The “twist” is telegraphed so far in advance that the eventual reveal is no surprise at all. For what it’s worth, the directors created a good looking movie. Janelle Monae is clearly a movie star in-the-making.
91. Underwater
A good example of a movie I probably would’ve liked a lot if it wasn’t directed like garbage. I get that it’s dark at the bottom of the ocean but this is frequently murky, hard-to-follow, with too much annoying shaky-cam and distracting slow-mo. And I still don’t find K-Stew a compelling actress, with the cast in general being a little too thinly characterized. Otherwise, I like how the film leaps right into it, the claustrophobic tension of the premise, and the increasingly big, Lovecraftian ways the story expands.
TWO STARS
92. The Other Lamb
Yes, the cinematography is gorgeous and the movie is packed with disquieting images. Yet this tale of a teenage girl slowly realizing the cult she's in is bad has a big problem: Nothing happens in it. It's a film composed almost entirely of pregnant pauses and meaningful glances. It has no insight into the ecosystem of a cult, taking the manipulation at play for granted. Only a handful of violent fantasy scenes and a steely Raffey Cassidy make this worth seeing at all.
93. The Hunt
Feckless political satire that wants to be about class polarization and fake news but immediately degrades into both-sides-isms. All the characters are shallow caricatures. It's MAGA chuds versus the worst stereotypes of liberal “snowflakes” imaginable, spouting the most painfully unfunny dialogue I've heard all year. I thought Craig Zobel was smarter than this... The gore is mean-spirited but the action is good, with the climatic one-on-one melee being fucking amazing. I wish that fight scene was in a better movie.
94. Bad Hair
I want to applaud this for approaching its ridiculous premise – a killer weave – as straight-faced as possible. But the truth is, and this becomes increasingly clear as the movie becomes goofier, hair simply isn't scary. The half-joking/half-not angle only seems to suggest that the filmmaker was more interested in the social commentary than the horror. Obviously, this has a lot to say about black identity and gentrification and that's way above my pay grade. I did like the retro music videos.
95. Psychomagic, a Healing Art
I don't think there's much therapeutic benefit to letting a 90 year old surrealist touch your balls and yell at them. The movie doesn't even do a very good job of making us understand how psychomagic is suppose to work. The most interesting thing about the doc has to be the weird “therapies” Jodorowsky designs. I suspect that the patients in “Psychomagic” do feel like these merry acts of surrealism help them. I don't think it's legitimate as a form of therapy. More than any of that, “Psychomagic” is kind of a boring movie.
96. Zombi Child
I'm not sure why you wouldn't just tell the story of Clairvius Narcisse, instead of containing it inside a tale of (mostly white) teenage girls. The love story is largely informed, via narrated, and barely depicted on-screen. The friendship between the girls could have been more explored as well. Only a late-in-the-film appearance from Baron Samedi manages to raise tension and interest in this largely dull flick.
97. Scare Package
One of those horror-comedies so smug in its self-awareness, so overly self-referential, that it immediately becomes insufferable. The framing device is obnoxious, predicting the painfully unfunny humor of many of the segments. Several of the shorts abandon the anthology's premise of exploring tropes, just telling half-assed horror stories instead. The over-the-top gore is aggressively unfunny. Two of the three slasher stories are kind of funny – especially a certain cameo in the last one – though even that statement comes with some reservations.
98. We Summon the Darkness
Nowhere near clever enough to actually pull off the various swerves in the script, nor tonally assured enough to balance the wild swings between comedy and horror. Our pack of killers are mildly entertaining, if utterly cartoonish, while their victims are merely bland. The endlessly profane dialogue gets tiresome quickly. The late eighties setting could've been better utilized.
99. Bloodshot
The over-edited action scenes are filled with the kind of flashy visual flourishes and action choreography we've all seen before. (Though, credit where it's due, at least there's no shaky-cam.) The CGI is unimaginative and omni-present. The stock-parts plot has exactly one clever idea – which the trailer spoiled – but the film operates totally as expected after that twist. The biggest issue facing the films are characters who are complete voids inside, with no inner life or anything at all but generic attitude and one-liners to interest viewers.
100. A Babysitter's Guide to Monster Hunting
A desperate attempt to be too many things at once. Is this a painfully lore-heavy fantasy? A monster-hunting based “James Bond” for kids? A Disney Channel sitcom-like wacky comedy? A serious story of teen girls overcoming bullying? A showcase for some (not that entertaining) hammy supporting actors? It wants to be all of these things and succeeds at none of them. Some of the production design is nice and I'm amused to see Rachel Talady is still doing “Freddy's Dead”-style visuals.
101. Let It Snow
In its best moments, “Let It Snow” utilizes the vast and intimidating emptiness of the Ukraine mountains for a chilly sense of isolation. Sadly, it's not always so well shot. Director Stanislav Kapralov sometimes slips into disorientating shaky-cam. This is a body count flick with grand body count of one. The masked marauder never actually does anything. Since there's not much to do on an icy mountain, that means very little actually happens. It's hard to be invested in whether someone will live and die when we hardly know them.
102. 1BR
Psychological torture horror that mostly just raises pestering questions in the viewer. Why doesn't she leave before it gets bad? Why does she stay? Cults prey on the vulnerable and fulfill some sort of need, before the manipulation takes hold. Our (blankly written and portrayed) protagonist never has any need filled by this community, almost literally getting pulled into a hyper-controlling subculture by accident. The painfully ironic twist ending just feels cruel.
103. Porno
All the practical gore effects and bouncing titties in the world can't disguise a thin, meandering script. This has some okay energy for the first third, thanks to some cute interactions between the decent cast, but a long, serious scene in the middle saps all the pep. The story gets increasingly incoherent and obnoxious as it veers towards a meaningless, repetitive finale.
104. Hanukkah
Jewish horror fans have long awaited a horror film centered around our own winter festival so it's a shame this isn't better. In its best moments, this captures a classic slasher atmosphere. However, for far too much of its run time, not a whole lot happens. Eben McGarr has to pad the movie out with increasingly tedious relationship drama. Most of the murder scenes happen off-screen.
The movie is at its best when utilizing its Jewish roots. Such as when Obediah makes a kippah from a victim's scalp or uses a dreidel to decide someone's fate.
ONE AND A HALF STARS
105. Scoob!
Aside from a beautifully rendered re-creation of the original “Scooby-Doo” opening, this is an almost useless reboot. Each of the familiar characters are turned into huge assholes. Fred becomes a bro-y assholes, Dyno-Mutt is unrecognizable, and the new Blue Falcon is among 2020's most annoying characters. Even Scooby and Shaggy have a dumb-ass falling out. This is so desperate to be hip. It includes obvious pop culture references, thudding in-jokes for parents, instructive needle drops, 3D eye-gouging, terrible slapstick, bathroom humor, and a super sweaty attempt to launch a Hanna-Barbera cinematic universe. A movie so bad that even a Captain Caveman cameo can't save it.
106. Justice Leauge Dark: Apocalypse War
The equivalent of a child breaking his toys. Did we need to see Starfire’s entrails hanging out? Lady Shiva shot in the head? Batgirl torn apart? The movie’s utter insincerity is present in how its relentlessly grim violence stands aside jokes, like Etrigan farting. All the blood can’t disguise childish writing, like the declaration of love making heroes go Super Saiyan. Even the action scenes are quite awkward. This is one of those superhero crossovers so shitty, it retcons itself out of existence at the end.
ONE STAR
107. Snatchers
Absolutely obnoxious attempt at a horror-comedy. The characters are annoying and they spend most of the movie screaming or pitifully snarking at each other. All the dialogue is a painfully out-of-touch attempt to recreate how young people actually talk. The blaringly loud sound design and hyper-kinetic editing – yet another Edgar Wright wannabe this year! – is overwhelming. The comedy is constantly vulgur and in-your-face. The largely practical monster effects are pretty cute, I'll give the movie that much.
108. Smiley Face Killers
Making a “descent into paranoia” movie is hard when your lead is a bland, whiny, frequently naked(?) jerk. All the acting is bad, though the incredibly shallow characters – spoiled rich kids preoccupied with getting high – surely didn't help. The movie tries to build some lore around its killers but they're ultimately just three weirdos in a van. (Despite the title, this has little to do with the urban legend.) Attempts to mine scares out of text messages and overflowing sinks do not succeed. How do you cast Crispin Glover as a deformed murderer and then give him so little to do?
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Let's send 2020 to its grave and never speak of it again. If you're reading these words and actually made it all the way down here, I love you. Thank you for reading and I hope to write a lot more in 2021. Cheers!
