By Roderick Heath
Well. That was interesting.
This year those of us lucky to survive spent much time hunkered down in physical and psychological siege. For me, as for just about everyone else, the COVID-19 pandemic had a direct impact on how I watched the movies of this year. Mostly by curtailing my watching them at all. Movie theatres closed down and then reopened without major films to fill screens. The sudden, colossal public demand for internet bandwidth made streaming somewhat difficult for me through much of the year. So my best alternative for viewing new movies was, ironically, the DVD vending machine in my local supermarket. This year, perhaps for good, some barriers between cinema and TV collapsed, but the only thing that’s definitely true for now is that things are in a state of flux. The vigorous mix of trends and styles we usually get in the course of any given movie year was choked off, precious few expansive entertainments and movies of mature and well-honed expression making it under the boom, leaving us mostly with a mealy stream of dumped studio refuse, dour low- and mid-budget dramas, and callow indie movies. For a time I lost interest almost entirely. I wasn’t entirely unhappy with this, as I had an excuse to get off the treadmill of currency and dig into my DVD and blu-ray collection for an epic rewatch of classics and newer movies I hadn’t seen since first release. Good for my head, not so good for this annual Confession.
But my viewings still piled up, and so too did the number of interesting movies and quite a few films that would be great in any year. Given how relatively few of these I’ve written up in the course of the year I’ll be writing more on the films on my favourites list than usual.
2020 felt like debts accrued these past few years coming due, societies at large paying the price for the blindness and incompetence of chosen leaders. So it’s appropriate, if not at all consoling, that a lot of the films that came out this year tended to be grim, savage, punitive in outlook. Many dealt with sexism and racism on manifold levels, along with monstrous greed and malfeasance. Horror movies proliferated and often purveyed a bleak and nightmarish tone. Sadomasochistic psychedelia and surrealism bloomed in films like Possessor, She Dies Tomorrow, Capone, Color Out Of Space, The New Mutants, Tenet, and Shirley. Psychos like the loony avenger in Unhinged, the transparent husband of The Invisible Man, the unseen boss in The Assistant, and the plutocrat husband from hell in Tenet made lives hell for women who offended their egos. People fought for space to release expression and gain fellowship in movies like Night of the Kings, Birds of Prey, Eurovision Song Contest: The Story of Fire Saga; A Rainy Day In New York, Mank, Lovers Rock, First Cow, The New Mutants, Ma Rainey’s Black Bottom, Emma, Sonic the Hedgehog, On The Rocks, and Mulan. Others battled to simply claw their way out of deadly abysses and provide proof of their own existence, as in Underwater, Above Suspicion, Capone, Extraction, The Midnight Sky, Greyhound, Rogue, The Outpost, 12 Hour Shift, The Rhythm Section, Ava, Kajillionaire, Escape From Pretoria, Never Rarely Sometimes Always, Bacurau, Palm Springs, Ammonite, I’m Your Woman, and VFW.
The time-slipping warriors of Tenet went to war with the future, with fate, itself. The young folk of The Vast of Night discovered how flimsy the substance of their stolid reality was and slipped through the cracks into realms unknown. Others faced the collapse of their personalities in the face of stronger ones or vortexes of confusion caused by destabilising reference points of body and mind, like the brainjacking antiheroine of Possessor, the constantly rebooted hero forced to re-experience his deepest trauma in Bloodshot, and the innocent abroad perverted out of shape in Shirley. Delroy Lindo’s shambolic ‘Nam vet in Da 5 Bloods seemed like the incarnation of the moment in his fervent, volatile, desperate need to express something chokingly inexpressible whilst feeling like spear-points levelled all around. Characters faced with endemic, even universal corruption and inequity in films like Da 5 Bloods, The Whistlers, Bad Hair, 12 Hour Shift, The Burnt Orange Heresy, Ma Rainey’s Black Bottom, and The Wild Goose Lake reacted by endangering themselves and their identities for what they judged the worthwhile risk of slicing off a piece of the pie; antiheroes in the likes of Capone and Greed felt the same urge even in the lap of luxury as age and the world’s repudiation starts whittling them down. Tyrannical regimes ascended and demanded resistance and familiar systems crumbled into anarchy in films like Bacurau, New Order, Night of the Kings, Escape From Pretoria, and Tenet.
The Rhythm Section
In further irony the wing of cinema most usually ubiquitous was the one almost entirely muted for most of the year: Hollywood superhero blockbusters. One of the few to see release was Josh Boone’s The New Mutants, which proved a last gasp for the familiar X-Men franchise even though intended as a new beginning, doomed to sit on the shelf for a couple of years amidst the tumult of 20th Century Fox’s purchase by Disney and then be dumped by its new owner to drum up some streaming revenue with a sigh of expedience. The film took a refreshingly indirect path towards the familiar mutant spectacle in portraying a quintet of adolescents being held in a near-deserted and fancifully segregated gothic hospital, contending with Alice Braga’s manipulative therapist and the mysterious and frightening talents for conjuring terrors the latest inductee seems to wield. The film courted the YA crowd in hiring The Fault In Our Stars director Boone, who made sure to keep including clips from Buffy the Vampire Slayer on the rec room TV to let us know what his touchstone was, as well as nudging everything from The Breakfast Club to Girl, Interrupted. The film was largely trashed by both genre fans and critics, but it didn’t really deserve to be, sporting a lot of overlap with M. Night Shyamalan’s Glass but not nearly so affected. A solidly creepy, horror movie-lite tone was wedded to a straightforward take on the series’ driving urge to link teenage angst to superhuman traits with some decent performances, and sporting a refreshingly gentle queer romance at its centre.
Derrick Borte’s Unhinged offered a merging of Duel and TV movie psycho stalker tale, as Caren Pisotorius’ listless divorcee was forced to fight for her life and the people she loves when she crosses paths in a heated moment on the road with Russell Crowe’s psychotic creep, who sets about avenging a minor infraction with a campaign of terrorism and murder. The result was a fun, tense throwback to an earlier age of down-to-earth, pulse-pumping thriller fare, but its ultimate impact was foiled by constant resorting to idiot logic as well as oddly wasting Crowe in a straightforward monster role, when the film could have tapped him for a stranger and more discomforting portrait of frustration and rage. David S.F. Wilson’s Bloodshot was a slick modern B-movie with a plotline that came across like a bit of a throwback to the days of weird grow-your-own-superhero flicks like Darkman, sporting Vin Diesel as a man brought back from the dead and imbued with incredible powers by nanotechnology and employed as a super assassin by the inevitably cast Guy Pearce. A good mid-film plot twist and some peculiarly lyrical visuals made the watching vaguely worthwhile, although the script was ultimately far too unambitious, and a strong cast, rounded out by Eiza Gonzalez and Sam Heughen, went almost sadistically wasted.
The Invisible Man
Leigh Whannell’s The Invisible Man picked at an interesting loose thread in blending the Wellsian concept of a scientific genius who makes himself invisible and uses it to evil ends, and the everyday psychological anxiety of spousal abuse and mental cruelty, the idea of the malevolent person close to you deconstructing your sense of reality. So Whannel’s inventor was also an abusive creep bent on using his invisibility device to torment and ultimately destroy his former partner, played by an inevitably cast Elisabeth Moss, in a slow-mounting campaign of harassment and victimisation. An interesting idea, one that ultimately wasn’t really developed much beyond the obvious, with Whannell just a little too eager to conflate his own showmanship with his villain’s. He relieved the psychological tension too soon, his story played out in an unconvincing milieu, and his plot kept offering huge holes in logic for a movie trying to offer relatively believable sci-fi excitement, particularly the superficially clever ending.
David Cronenberg’s son Brandon made a bold gambit to anoint himself heir to his father’s unique cinematic kingdom with Possessor, exploring similar realms of body horror, conspiracy, and psychic disruption. Cronenberg the Younger cast the ever-valiant Andrea Riseborough as a fraying woman with unique aptitude for the latest realm in corporate warfare, having her consciousness plugged into the minds of luckless people chosen to commit assassinations, only to find herself trapped inside her latest mark and experiencing bizarre new zones of identity on the way to a bloody consummation. Cronenberg employed a fascinating premise and occasionally lighted upon a striking image in offering a surreal flux of style and story in portraying any sure sense of physical and mental reality dissolving. But as the film droned on it became a dull and oppressive chore punctuated by blunt, witless gore, the ideas lost amongst the overbearing style, and by the end the young pretender seemed practically interchangeable with any number of his father’s legions of imitators in film schools and music videos.
Dear White People director Justin Simien seemed to develop good-humoured ambitions to get in on some of that sweet Jordan Peele money by making his own horror movie revolving around racial paranoia with Bad Hair. Set in 1989, Simien’s film portrayed a young woman, well-played by newcomer Elle Lorraine, beset by unruly hair, who chooses to get a radical new weave for the sake of making the leap from the production staff at a Black audience-aimed cable TV staff to on-camera star, only to find her lovely fake tresses have a vampiric life of her their own and will take over her mind entirely if she doesn’t fight it. With an eye to introducing an aspect of cultural anthropology rather than only nostalgic callbacks (but those too), Simien offered wittily exact recreations of the era’s music videos and would-be streetwise pop culture. Likewise he nailed the tone of a lot of low-budget horror cinema from the same era whilst giving the template a racially conscious makeover, and managed to make the most awkward of monstrous threats work. He also made great use of a cast full of old-school faces including Vanessa Williams and Blair Underwood. Only towards the end did the film lose some control, letting the climax turn goofy and trying a little too hard to ram a message home.
Da 5 Bloods
Meanwhile Spike Lee, the now-venerable yet ever-restless dean of African-American cinema, returned with Da 5 Bloods, one of many films of late to offer homage-cum-variation on The Treasure of the Sierra Madre. This one focused on four aging survivors of a tight-knit gang of Black Vietnam War soldiers who return to the former warzone to retrieve a stolen horde of gold and the body of a lamented comrade, but find themselves fighting thieves and each-other with equal ferocity for the prize. Lee still hadn’t lost any of his ambition, trying to blend rich humanity, in depicting his shambolic heroes and the hapless people they draw into their madness, with fluorescent melodrama and agitprop signposting. Lee’s script, despite many nods to other movies (the Apocalypse Now-themed dance club in modern Ho Chi Minh City was some kind of evil genius), was another work along the lines of Get On The Bus (1996) and He Got Game (1999), in presenting a situational portrait of a gamut of Black experience and dealing with generational as well as racial and national incomprehension. Delroy Lindo, as the most reactionary and damaged of the team, gave a near-Olympian performance, and the late Chadwick Boseman had a salutary cameo as the fallen comrade who served as the team’s political conscience, feeling between the two of them like the psychic poles of Lee’s aesthetic sensibility. The film was ultimately hampered by Lee’s familiar failings in not knowing when and how to quit nor nail a cohesive tone (I counted down to the moment when a character would “shockingly” step on a landmine), eventually taking recourse in tired twists and an ungainly last act. To be honest, nothing in it threatened to displace Dead Presidents in portraying the Black Vietnam experience.
Ma Rainey’s Black Bottom
August Wilson’s lauded play Ma Rainey’s Black Bottom was brought to screens by Tony-winning stage director George C. Wolfe, handing career-capping parts to Viola Davis as the legendary chanteuse and “mother of the blues” and Chadwick Boseman in his last role as her aggressively ambitious but psychologically fraying trumpeter who finds his sustaining fantasies fatally endangered, in a story charting a mounting sense of crisis in the course of a hot Chicago day in a recording studio. Wilson’s theatrical architecture and lacerating perspective on the two main characters’ attempts to gain, wield, and show power in a culture that ritualises denying it to you according were largely transferred intact and made voluble by the potent, if unabashedly large, performances from the whole cast. Wolfe’s direction was slick and showy, however, with an overly-stylised recreation of the period milieu that lacked the crackle of verisimilitude to properly offset the balletic force of the dialogue, to really communicate the mounting furore and fetid mood and give a space to the telling: everything, including the actors, felt buffed and shiny and well-arranged. Some moments, like the start of Boseman’s epic central monologue, seemed more like filmed theatre than film. Still, no movie that records such vital drama is negligible.
The King of Staten Island
Judd Apatow tried to do for Saturday Night Live player Pete Davidson what he did for a battery of rising comedy stars back in his ‘00s heyday, and forge him an iconic star vehicle with The King of Staten Island. This took the interesting route of presenting Davidson not in some hyped-up farce but in an autobiographical comedy-drama drawn from his own experience as the son of a firefighter who died on the job: Davidson’s shambolic alter ego Scott Carlin had struggled well into adulthood with mental health problems and a general habit of weed-huffing ennui. Apatow drew low-key humour and feels from the character’s plight as he’s forced to come to terms with the past and head into the world after his mother finally gets another boyfriend, also a firefighter. The film finished up foiling itself on several levels despite Apatow’s talent for enabling vibrant acting. The cliché story arc felt at odds with its attempt to explore the fallout of grief and dislocation whilst the everyone-talks-like-an-improv-star style of verbal humour leeched the realism. Apatow ruined the story’s argument that Scott had worthy talent for some cheap laughs, and Apatow’s tendency to ramble on was particularly pronounced to no greatly enriching end. Supporting performances, including Marisa Tomei as Davidson’s mother and Bill Burr as her new love, tended to overshadow Davidson’s modestly appealing but one-note characterisation.
Max Barbakow’s Palm Springs took up Harold Ramis’ beloved Groundhog Day and gave it a contemporary spin, that is by grafting on a very similar character type to The King of Staten Island, casting Andy Samberg as a young man caught in a time loop that dooms him to repeat the same day in the title locale, thanks to a freaky geological-quantum physical event and so exists in a state of wilful, lackadaisical disconnection, only to be eventually joined by an angry coot (J.K. Simmons) and a young woman (Cristin Milioti). The former constantly kills him whilst he finds himself falling for the latter, demanding a true reckoning with their situation that involves both achieving a level of maturity and purpose alien to them so far. Barbakow tried to augment the core theme of Ramis’ film, the futility of life lived without love, by confronting the hero with his female foil and making them reckon with their failings in terms of other people. But ultimately the film tried and failed to blend absurdist humour and earnestness, without many great jokes, and failing to really develop their journey into anything particularly memorable, aiming for a note of emotional crescendo in the final confrontation with mortal risk but ultimately remaining jammed in a gear of hipster self-satisfaction.
Sonic the Hedgehog
Andrew Pattinson’s The Vast of Night was subtler and more truly disconcerting in presenting a destabilisation of reality that also encompassed a fledgling romantic relationship faced with the difficulty of escaping the stolid, whilst also harkening back to the glory days of science fiction fandom and a newly weird evocation of 1950s American society. Jeff Fowler’s Sonic the Hedgehog tried to wrangle a coherent plot out of the beloved vintage video game, presenting the title character as an interdimensional exile hunted by government agents led by the arrogant Dr Robotnik and protected by a small town cop. The movie was tolerable but also as numbingly bland and ambition-free as last year’s Pokemon movie. It did have a fun performance from Jim Carrey as Robotnik, particularly the extraneous yet delightful scene where he combined bad guy business and workout by dancing to “Evil Grows In the Dark,” the kind of moment that reminds how you how much a real comic actor can be worth amidst a sea of boring CGI.
The Burnt Orange Heresy
I hadn’t seen any work by Giuseppe Capotondi since his interesting The Double Hour back in 2011, so was intrigued to take a look at his The Burnt Orange Heresy, an adaptation of a well-received novel depicting a disgraced art critic and historian, who, just after commencing an affair with an enigmatic young woman, is handed a chance to revive his career when a tycoon (played by a wittily-cast Mick Jagger) offers to get him an interview with a reclusive and legendary artist if he’ll steal one of his unseen trove of artworks for his collection. What seemed set to be a posh thriller about skulduggery in well-decorated rooms proved eventually to instead be a rather noirish study in self-destructive characters and creative and moral bankruptcy. A clever subtext ironically dramatized the often inverted stereotype role of host and parasite in art and criticism, as well as the misogyny subsisting in the modern art world. The acting, particularly from Elizabeth Debicki as a doomed adventurer and Donald Sutherland as the artist with all his hard-won wisdom, helped impose cohesion on a plot that required to some forced-feeling twists to occur.
Similar in its ultimate focus and upshot, despite a radically different setting, was Philip Noyce’s true crime drama Above Suspicion, focusing on a notorious incident from the late 1980s involving the fallout of a clandestine affair between a go-getting FBI agent assigned to an Appalachian backwater and drift into an affair with the much-abused young woman who becomes his key informant in her desire to escape a den of lowlifes and drug abuse. Emilia Clarke’s surprisingly strong turn as the angry, wilful, infuriating antiheroine, seemingly cursed to a daisy-chain existence of succumbing to her own flaws as well as the weakness of the men in her life, gave the film enough juice to keep it watchable. But Noyce’s direction eventually lost its way, and delivered what should have been a grimly compelling last-act study in personal and institutional hypocrisy in a rushed and slipshod manner. Yi’nan Diao’s The Wild Goose Lake was another, specifically localised spin on genre movie clichés and with a similar structure in confronting a young woman repeatedly with the bloody debris of crime and justice, taking on a classic style of noir tale, the man being hunted by authorities, and using it to anatomise the social landscape of modern China.
Amongst the deluge of girl-power narratives this year, Niki Caro’s live-action remake for Disney of their 1990s hit Mulan again recounted the popular Chinese myth of a young woman who defies norms and dresses as a man to go to war for the sake of the family name. This finished up one of the more perplexing if not worthless misfires of the year. Caro’s filming looked good in a chintzy fashion, but the flimsy script swapped out the original film’s celebration of its heroine’s cleverness and competence for a cod-Star Wars narrative depicting the title character as a wondrous phenomenon who needs to reclaim her femininity to achieve her potential, but playing awkward games in trying to reconcile the model’s celebration of eruptive individualism with respectful traditionalism for the sake of making inroads with the Chinese market. Humour and music were discarded, too, in favour of a string of expensive but half-hearted action scenes. Given the large number of authentic wu xia films with kick-ass female heroes and villains going back decades in films made with much more elan, Hollywood trying to sell its own confusion with such things back to the Chinese was definitely trying to teach grandma to suck eggs.
Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn
Another tale of a young woman weathering a world of criminals was Julia Hart’s slow-burn and realistic I’m Your Woman. Cathy Yan’s Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn took a different tack, wielding a waggish sense of humour in presenting a gang of crime-fighting female frenemies as drawn from the DC Comics universe, led after a fashion by Margot Robbie’s semi-reformed gangster’s moll and general-purpose nutjob, in a would-be jaunty and colourful distaff edition of the Deadpool and Kick-Ass movies. Yan displayed an occasionally striking eye in sporadic neo-psychedelic visuals, but the film proved a teeth-gritting experience for the most part, with a script that felt like a mishmash of strategies, incompetent in trying to reconcile the divergent projects of providing a Robbie star vehicle whilst also introducing the titular team, who didn’t even meet up until the film’s climactic scenes and lacked any sign of group chemistry when they did. Plus the fact that, well, its comedy wasn’t really that funny and the action sporadic and lumpen, a nasty and bullying streak failing to mesh with the frivolity. Only newcomer Jurnee Smollett-Bell and Mary Elizabeth Winstead gave flashes of the right stuff, whilst Ewan McGregor gave the worst performance of his career as the bad guy.
Reed Morano’s The Rhythm Section and Tate Taylor’s Ava both offered stories revolving around that much-fetishised modern archetype, the female assassin, the former charting the steady transformation of Blake Lively’s debased trauma victim into a cool and purposeful killer, the latter casting Jessica Chastain as one in the prime of her career but feeling the constant tug of old weaknesses and emotional ties. Of the two films The Rhythm Section was initially the more interesting, with Morano suggesting a feel for action and atmosphere as well as a patient touch for the essential character drama, the process of rebuilding a shattered self in dealing with an intriguingly (if ultimately excessively) closed-off and unsentimental protagonist: a lot of movies this year mistook blank unreadableness for stoic strength. The film eventually fell apart, the story trickling out in some terribly anticlimactic scenes. The reliably awful Taylor meanwhile applied clumsy, cheap-looking style to Ava, and Chastain, strong as ever on an acting level, never quite convinced as a lethal creature of balletic motion. The script tried to say something interesting about addiction and reckoning with damage left in its wake, at least, almost to the point of displacing the flimsy genre story, and the cast, particularly Colin Farrell as the villain, did their best to play up the modicum of substance.
Escape From Pretoria
Francis Anann’s Escape From Pretoria offered up a good old-fashioned, based-on-fact escape-from-prison tale, depicting the efforts by some white South African anti-apartheid campaigners (including one played by Daniel Radcliffe), railroaded for lengthy prisons stretches, who set about breaking free by taking advantage of the small but consequential security lapses of their arrogant but dim-witted guardians. Anann handled the suspense sequences and the minutiae of the escapees’ method with attentive skill, but the film never escaped prison movie canards or truly investigated its characters and their plight beyond the superficial, and so remained only a modestly gripping diversion. Tom Hanks returned to a World War II milieu for Greyhound, based on a C.S. Forester novel, with Hanks playing the inexperienced but quick-study captain of a destroyer on his first convoy escort mission during the Battle of the Atlantic, battling a rapacious U-boat pack and heavy weather with a cool head and a sense of religious duty. Director Aaron Schneider handled the high seas action very well, with a palpable sense of the setting and maintaining a high-pressure mood throughout, really nailing the feeling of being locked in a duel with utterly remorseless enemies. But, again, the film’s nods towards human drama were barely sufficient, including a stiff and unconvincing prologue sporting Elizabeth Shue as Hanks’ girlfriend, and it would certainly have been better spurning that stuff altogether and keeping focus purely on the business at hand.
Rod Lurie’s The Outpost was another warzone plunge, depicting the true story of a small US Marines garrison in a remote Afghani valley in 2009, a seemingly cursed locale that keeps losing COs. Eventually the outpost becomes the object of a large, committed Taliban assault in what became known as the Battle of Kamdesh, resulting in the first ever awarding of two Medals of Honor for a single action. Lurie tried to delve into the dynamics of the garrison and its personnel in a more restrained and realistic manner than a lot of recent War on Terror-age movies with less blustery machismo and some attention devoted to the uncomfortable tilts at outreach and community-building defining the soldiers’ relationships with their local hosts before everything goes to shit, trying to earn comparisons with precursors like Zulu and Pork Chop Hill. Scott Eastwood and Caleb Landry-Jones anchored the film effectively as the two rather different types of hero, but somehow the other soldiers remained not terribly well-delineated as a collective of personalities or even faces, and Lurie’s constantly moving camera was often aggravating and confusing rather than intensifying, badly hampering the intended sense of intimacy even if did convey toey entrapment.
Extraction tried to install Chris Hemsworth in an action movie role worthy of an icon of the genre, casting him as a mercenary hired against his misgivings and the wind drag of background pain to rescue the kidnapped son of a drug mogul from his even nastier rival, finding himself trapped on the ground in an Indian city and forced to fight his way out with the lad. The film delivered the requisite dose of shooting, punching, running, and jumping in a year starved of such basic cinematic pleasures. It was also an uneasy attempt to blend a gritty, old-school style of action-thriller with slick, hyped-up, John Wick-derived gun-fu business, two modes which to me can’t really be reconciled, and the wall-to-wall fisticuffs and spasmodic plot crowded out interesting elements, like Golshifteh Farahani’s equally proficient and vengeful partner.
M.J. Barrett’s Rogue offered a version of the same basic plot only done on the cheap and with some killer lions thrown into the mix. Barrett cast Megan Fox as the appointed rescuer with a team of fellow badasses sent in to save some kidnapped schoolgirls from a vicious extremist group in an unnamed African nation. The unconvincing CGI lions and air of low-budget waywardness almost foiled the film, and Fox, trying to get gritty and de-glammed, didn’t convince despite offering a decent performance. As a whole, though, Rogue was a moderately engaging mixture of the ungainly and the likeable, trying to offer many of its characters moments to make them specific and empathetic, and sell itself as a message movie wrapped in a shoot-’em-up.
Joe Begos’ VFW was a similarly, self-consciously and happily trashy throwback B-movie, offering up a wonderful collection of aging but still potent genre movie faces including Stephen Lang, Fred Williamson, Martin Kove, and William Sadler, as a gang of war veterans hanging around one of the titular watering holes who find themselves fighting off an army of brain-dead addicts and punk gangsters. The official style guide was early period John Carpenter with George Romero gore and some nods to Neil Marshall as well, the story a bare-faced if honest rip-off of Assault on Precinct 13. The cast interacted well, including young ringer Sierra McCormick as the truculent cause of the battle who proves every bit as ornery as the old coots, and the film provided some solid, grimy fun. The directing was jittery and clumsy when it came to action, however, and the script was sketchy, lacking the kind of casual wit and feel for character its models wielded, so it didn’t add up to anything more than a fun-sick diversion.
William Eubank’s Underwater, released early in the year after sitting on the shelf for a while, blended disaster and monster movie and tried, like VFW and a score of recent movies, to sustain something like traditional dramatic values whilst also playing out a high-pressure situational thriller, shearing off the first act and cutting to the chase. Eubank started with everything going to hell and followed his emergent heroes as they try to survive an attack by a Lovecraftian monstrosity on their deep-sea drilling structure. The film also tried something interesting in making Kristen Stewart’s hardy protagonist, schooled well by grief in struggling through terror and darkness, provide the undertone of emotional evanescence investing the story. The result was, again, watchable and modestly entertaining, and yet failed to develop any aspect of itself enough to really count, never really scary or exciting or engaging sufficiently with its characters, even Stewart’s, to make the film truly thrilling or memorable. Plus the elaborate but murky special effects were trying.
Color Out Of Space
Veteran genre freak and pariah Richard Stanley finally returned to feature directing a quarter-century after his infamous sacking from The Island of Dr. Moreau, with another tilt at adapting a classic sci-fi/horror story. This was H.P. Lovecraft’s already twice-filmed Color Out Of Space, the story of a small New England farming family, here recast from Lovecraft’s eccent yokels to very modern folk, unlucky enough to have an unnatural meteorite land on their farm and begin affecting flora, fauna, and themselves in increasingly disturbing fashion. Stanley made sure to present his story and sketch atmosphere with a thankfully old-fashioned approach as well as good-looking photography, whilst his reading of Lovecraft’s story tried to turn it into a barbed portrait of family identity and the cruelty of time and nature working upon it. His approach to the body horror aspect of the story was strongly indebted to John Carpenter’s The Thing, whilst trying for an appropriately disquieting new edge of intimacy. Despite real initial promise, however, Stanley lost control quite badly, the build-up to insanity breaking out spasmodic and unconvincing when it arrived, the horror derivative, and most frustratingly, the characterisations never cohered. Altogether the experience was largely depressing.
Christopher Nolan tried and largely failed to revive the year’s cinema-going mojo when he decided to release his latest opus Tenet in theatres, and those who did see it were often mixed in their feelings. So of course I liked this crossbreed of action and sci-fi more than most of his films to date, appreciating his stabs at giving some urgency to his characters and their plights, in a tale of a secret organisation in the present day battling a mysterious cabal in the future who, per some of Nolan’s weapons-grade gobbledygook, send people and objects back in a reversed time flow with an ultimate aim to reverse-colonising the past. John David Washington and Robert Pattinson did fun work as the uneasily partnered heroes and Elizabeth Debicki was affecting as the wife of Kenneth Branagh’s vicious Russian arms dealer who has his own motives for aiding the future enemy. As usual for Nolan, however, the conceptual gymnastics eventually displaced the personal drama and his ham-fisted visual style often foiled the thrills.
The Midnight Sky
George Clooney offered The Midnight Sky, casting himself as a brilliant but emotionally distant and deathly ill astronomer residing in an Arctic research station. His theory that a newly discovered Jovian moon has life-supporting potential has just been confirmed by an exploratory mission, including Felicity Jones, David Oyelowo, and Kyle Chandler, now journeying back to Earth in their massive spaceship. But an unspecified apocalyptic event devastates the Earth, leaving polar regions temporarily untouched and the scientist marooned with a young girl who seems to have been accidentally left behind. The story counterpoints the two groups as the scientist and girl make a desperate journey across the Greenland wastes to reach a base with a large enough satellite dish to warn off the spacefarers, who have their own problems. Clooney set up an initially compelling set of situations and tried to weave a rarefied mood of blasted but lingering humanism, whilst offering some of his most visually accomplished filmmaking to date, including an excellent spacewalk sequence and ensuing crisis. None of that stopped the film proving an embarrassingly hackneyed disaster, with climactic revelations that reduced the whole film to a painful gimmick enabled with absurd coincidence, and themes illustrated with head-slapping obviousness. It’s the sort of movie that makes you hiss and shake your head for hours afterwards.
Sofia Coppola’s On The Rocks and Woody Allen’s A Rainy Day In New York shared both a level of ardour for New York as a seat of wistful dreams and comforting alienation whilst confronting different stages in life, youthful floundering in the latter, middle-aged fear and aging regret in the former. Experienced music video director Autumn de Wilde made her feature debut by getting into the Jane Austen adaptation business with Emma because, well, apparently enough time had passed since the Gwyneth Paltrow version. 2020’s most employed new star Anya Taylor-Joy was cast as Austen’s self-satirising heroine, artful arranger of domestic bliss who must contend with her own perturbing love-life. De Wilde followed Whit Stillman’s example in adopting a highly affected style, complete with arch performances designed to mimic the crisply ordered flow of Austenian prose but instead locking into a frieze of affectation, a strategy I found initially very hard to take. The film began to work, that said, when it started to relax in its second half and allowed the characters and their reactions to deepen.
Francis Lee’s Ammonite was a radically different take on the period romance mode, and depicted an interesting and neglected female figure of history, in this case working class paleontological pioneer Mary Anning. Whilst many compared it to last year’s Portrait of a Woman on Fire really Ammonite was closer to faux-Mike Leigh, with Lee weaving a remarkably immediate sense of her windswept stomping grounds on the English coastline and the tight, tense world of regional life in the 19th century. But without much if anything to say about the interest that was the driving obsession of Anning’s life, Lee decided to invent a lesbian romance for her on the thinnest pretext so as to sell it to a current audience for PC brownie points. Said romance, between Kate Winslet’s dour, impenetrable impersonation and Saoirse Ronan as the grieving young mother she’s saddled with by her distractible nerd husband, was modestly engaging and sported a pivotal sex scene that was at least more realistic and less diagrammatic than many such recent set-pieces of queer passion. But the film still never penetrated Anning’s mind beyond the self-evident, indeed leaving her as mostly the same lugubrious bore it presented her as at the start, in the sort of narrative that wants to be celebratory and liberating but was actually subtly sexist.
Josephine Decker’s Shirley united several aesthetic strands of the year’s cinema, blending biopic, semi-surrealist mind-bending, quasi-feminist cultural anthropology, and psychological narrative. The nominal focal point was the beloved master of discomforting fiction Shirley Jackson, incarnated by a tic-ridden Elisabeth Moss, contending with the tantalising disparity between the writer’s bizarre and fecund artistic sensibility and her life as a housebound, cripplingly neurotic wife to a minor teaching star in the midst of stolid academia. The film divested the couple of their real-life children and invented a young couple, all the better to filch from Who’s Afraid of Virginia Woolf?, invited to lodge with them only to be manipulated and finally subsumed into the creative process and the cult of personality. Decker’s style grew high-handed very quickly, offering scene after scene of Sapphic-tinged witchypoo nonsense between Jackson and her young female protégé/victim filmed in excessive close-up, in a desperate attempt to create an unstable and ambiguous mood, even if the narrative ultimately boiled down to some trite and vague statements about the relationship between life and creativity. Michael Stuhlbarg as Jackson’s alternately insufferable and understanding mate was, when all was said and done, the best reason to watch; Moss, despite working really hard, was oddly wasted.
Josh Trank’s Capone, pitched as his comeback after the evil fate that befell his Fantastic Four, took a similar approach to the basic chore of the biopic. Trank tried to capture the state of mind of the legendary gangster in his last year by reproducing the garbled, ghost-filled perceptions of a brain eaten out by syphilis, with Capone desperately trying to hold on to his sanity long enough to aid his family and fend off a still-dogging government. Capone seemed to have everything going for it, with a major star in Tom Hardy tackling an inherently interesting historical figure. But the film was a squalid disaster, completely failing to make any element of its plot or strained stabs at emotional catharsis mean anything and wasting an excellent cast. Trank instead offered indigestible wads of fake Lynchian strangeness and corny CGI visions, and with Hardy chewing the scenery, furniture, and fellow actors with a flatly grotesque performance.
The Trial of the Chicago 7
By contrast Aaron Sorkin’s The Trial of the Chicago 7 took a more traditional approach to recreating a historical moment and its antagonists, applying slick theatricality in invoking the heady days of the 1960s antiwar movement and the facetious prosecution of protest leaders to make them shoulder the blame for the riots around the 1968 Democratic Convention. Sorkin’s script took many liberties with events and characterisations, and his ultimate intellectual project, despite all the invited likenesses between the Nixon and Trump regimes and period and current activism, was actually looking at internal style conflicts on the left and the tension between Sorkin’s preferred brand of institutional-minded reformer and the boogeyman of genuine social rebels, obliging Eddie Redmayne’s Tom Hayden and Sacha Baron Cohen’s Abbie Hoffman to become his duelling puppets in this. Sorkin’s still a rather basic director in many ways and his primly loquacious politicking was almost amusingly wrong for dealing with the wild and shambolic energy of its topic, but his cross-cutting style helped keep things propulsive, with Frank Langella delivering a peach of a scary-funny performance the trial’s fossilised judge.
Incitement saw Israeli director Yaron Zilberman dealing with a topic that must have taken some nerve to tackle, given the way it still echoes through Middle East politics: the assassination of Yitzhak Rabin by Yigal Amir, a law student and fixated ultranationalist. The young killer’s journey to the fateful moment was charted with a rigorous sense of both psychological and political context, including the right-wing Rabbis who urged him on, and the political figures who benefited from the stoked, fervent deploring of Rabin’s peace moves. Zilberman’s intense, intimate handling and deft mixture of recreation and news footage helped make the time and place palpable, and the script was smart in contending with the tensions within the Israeli social make-up rarely noted by outsiders. Zilberman’s accusatory thesis set out to depict radicalisation as a process of intellectual seduction and mental colonisation from specialists in rhetoric who would like to create a certain outcome but not perform it themselves, relying on double-edged statements and seeking out amanuenses smart enough to join the dots and compelled by their own interior needs. This aspect gave Incitement relevance transcending the specifics of the story it tackles, even if perhaps its psychology was a bit too straightforward.
David Fincher returned for his first feature in six years with Mank, a biopic inevitably close to his heart, written as it was by his father Jack. Mank proposed to tell the story of screenwriter extraordinaire Herman J. Mankiewicz, played by Gary Oldman. Fincher the elder’s script took the ever-controversial writing of Citizen Kane as a framing device but looked more to the acerbic and decent but also sadly alcoholic Mankiewicz’s immersion in the Hollywood of its day and his encounters with the plutocratic power of William Hearst, Louis B. Mayer, and others. The Finchers’ desire to “take the writer’s side,” as they had a character put it, had an honourable purpose in celebrating people often under the heel of old Hollywood’s hierarchy. But even putting aside the extremely debatable portrayal of Kane‘s development, I found the film was an intensely aggravating and ultimately dire experience for several reasons. The imitation of Kane‘s structure was scattershot, the script far too in love with its approximations of Mankiewicz’s Algonquin wit deployed in drawn-out but not terribly illuminating sequences, and yet never quite managed to be genuinely funny or ironic, littered with fudged facts and anachronisms. Fincher’s familiar tendency to foil his undoubted technical prowess with flat, fidgety visuals, trying desperately to look retro-classy, was rendered particularly trying by Erik Messerschmidt’s occasionally well-composed but too often drab-looking, blow-out-happy black-and-white photography. Only Amanda Seyfried’s excellent Marion Davies was a good reason to watch.
For a rather more interesting and bloodcurdling exploration of the connection between power and storytelling, Philippe Lacôte tried to explore the schismatic mind of post-colonial Africa in Night of the Kings through the fetid microcosm of a prison where ancient tribal rituals and strange social compacts reign, but the thrill of both individual and communal expression still has meaning. Steve McQueen’s Lovers Rock tackled some similar ideas and images but in a more familiar context. Trying to earn back a little of his street cred after the cinematic autotune of Aladdin and the punishingly empty spectacle of King Arthur: Legend of the Sword, Guy Ritchie returned again to his roots in the Cockney gangland flick with The Gentlemen. Matthew McConaughey was deftly cast as a transplanted ganja kingpin battling off both enemies and supposed friends long enough to sell his business, in a narrative that proved good as a black comedy-thriller and better as a free-form satire contending with Brexit-era Britain as a prospective haven for all kinds of scamps, ruled by a venal press, a waned and cashless aristocracy, and a shaken Pax Americana, spiced up with a deal of meta play. Neat performances, particularly from Michelle Dockery as McConaughey’s stiletto-clad, derringer wielding “Cockney Cleopatra,” helped a lot. As with all of Ritchie’s films the result was patchy in its levels of invention and wit and purveyed all at the same volume, but it had a droll and flavourful texture overall and sufficient jolts of seriousness when required.
She Dies Tomorrow
She Dies Tomorrow saw writer-director Amy Seimetz trying to dramatise a rarefied and difficult subject, the feeling of dread and despair in confronting mortality, in portraying a metastasising epidemic amongst a group of acquaintances who all become convinced, through some enigmatic influence, that they’re going to die the following day. The theme is certainly always worth tackling and indeed for some effectively represented the experience of 2020 in specific, but Seimitz’s chosen method was impenetrably pretentious and pseudo-experimental. Michel Franco’s New Order confronted straits just as nightmarish but with a far more immediate method, portraying a klepto-fascist regime taking control of Mexico using an underclass revolt as a pretext, with conclusions that were difficult to stomach but certainly valid in invoking pockets of recent world history. Juliano Dornelles and Kleber Mendonca Filho’s Bacurau played an inverse game in depicting determined resistance to fascistic thuggery in a Latin American context, this time Brazil, via a loopy semi-futuristic parable. Corneliu Porumboiu’s The Whistlers was an equally eccentric but likewise dug into the problem of retaining your autonomy and humanity, and indeed your life, in a country where corruption and political malfeasance are a way of life and even decent people can be forced to countenance dangerous acts.
Reigning queen of American indie oddball Miranda July presented Kajillionaire, an initially intriguing, bizarre tale depicting a drop-out couple and their androgynous, clever, but socially maladroit daughter, dedicated to living off the grid in the concrete forest of LA and subsisting through petty crimes and scams, or what the father calls “skimming.” Their tight-knit unit began disintegrating once another young woman comes into their orbit, slowly drawing the daughter towards something resembling normality. Parts of this were ingenious, like a central sequence where the gang invaded a dying old man’s house and found themselves pressganged into recreating familial sounds to help him pass on, fulfilling his need for the illusion of domesticity even as they parody it according to their distaste for such things. July’s point, the difficulty for children of nonconformist families to orientate themselves in the world at large, came through in the deliberate exaggeration, and the excellence of the cast, with Wood giving a witty, physical, quietly pathos-ridden performance and Richard Jenkins and Debra Winger both amusing and excruciating, did a lot to keep the movie going. Still, July’s eccentric flourishes felt contrived and artificial as often as they worked, and the characters never felt real enough for their plights, and affections, to convince.
Sean Durkin’s The Nest played as a tonal and situational inversion of Kajillionaire and yet was preoccupied by the same ideas: the perversity of family and the illusory nature of prosperity versus the necessity of rooting in the world. Durkin cast Jude Law and Carrie Coon (both quite excellent) as a 1980s couple with two kids who move from the US back to the husband’s homeland in England so he can take a job in a share trading firm he used to work in. The family soon face a slow-tightening gyre of anxiety and anger as the husband, driven by personal demons, tries to push big deals that won’t come to fund his fantasy lifestyle victory, including renting a huge, creepy country house, whilst the rest become increasingly aware of their tenuous position. As with his Martha Marcy May Marlene but with less justification, Durkin blended what was ultimately a story preoccupied by material (and materialist) truths with stylistic flourishes borrowed from horror movies to build tension and dread, constantly suggesting a haunted house with miscuing visual flourishes only to reveal – gasp! – the only ghosts are in the characters’ heads. Such devices, as well as the more literal one involving a dead horse, got in the way of a drama that, whilst straining at points to indict aspirational entitlement and entrepreneurial smokescreens, had substance and needling accuracy in depicting mounting familial crisis, and the last shot captured exhausted catharsis and ceded power like the release of a breath held for nearly two hours.
Kelly Reichardt’s First Cow, despite its very different setting and style, told a not-so-dissimilar story in depicting characters taking too many risks to cut themselves off a slice of the capitalist dream. Reichardt told the story of two outsiders in a stretch of frontier forest somewhere in the American northwest in the early 1800s, who become friends and partners in commerce and find themselves a hit when one man’s talent for baking earns them the custom of people desperate for real cooking, only with the caveat that their successful wares depend upon milk taken at night from the one cow in the district, belonging to Toby Jones’ local bigwig. Reichardt avoided repeating ideas from Meek’s Cut-Off, her previous blend of deflated Western mythology and ultrarealist moodiness, and her calm, determinedly unhurried style drank in time and place, the visual exposition clean, some real elegance to the evocation of a constant edge of the absurd to life in such a place. The lead characters however remained flat and dull (despite Orion Lee’s class as one of the men, a well-travelled Chinese sailor), and the film took two hours to reach a predestined point, the upshot far too obvious. Reichardt is almost certainly the most talented of the ‘mumblecore’ filmmakers and yet she’s now butting against the limits of such a recessive, exterior style. Casting René Auberjonois in one of his last roles acknowledged the debt to McCabe & Mrs. Miller, but the comparison with Altman’s jostling, fecund, detailed take on similar material wasn’t that flattering.
Never Rarely Sometimes Always
Kitty Green’s The Assistant and Eliza Hittman’s Never Rarely Sometimes Always both dealt with very young women traversing the isolating climes of New York and contending with the dismaying spectre of systematic domination, the former depicting an aspiring producer working as a mogul’s tirelessly labouring factotum who begins to suspect her boss is exploiting women who come into his orbit, the latter tracking a teenage girl who sets out on an interstate odyssey to obtain an abortion in secret with her cousin’s aid. Green’s film was fascinatingly cryptic, totally submerging the viewer in a state of existence almost totally severed from any world beyond and where gravity bends to unseen masses. Hittman’s film was a more classical brand of indie-realist drama, detailing her characters’ travails with a painfully precise feel for the minutiae of such a venture. The film was strong as both a caustic portrait of a social issue and a vision of people who are barely adults trying to weather a waking nightmare. The characterisations were a bit sparse, however, hinting at mysteries and distresses motivating the central character left undeveloped, and the film’s urge to keep the screws on felt a bit forced.
Pedro Costa’s Vitalina Varela explored the grief and anger of a woman at the opposite end of life, coming to Portugal to confront her husband decades after he left her behind, and becoming ensconced in a community of fellow immigrants trapped in a zone on the fringes of society. Michael Winterbottom and Steven Coogan finally got back to work after several The Trip series to make Greed, a film that pointedly sports an act of bloody revolt by a young female employee against her creep boss, climaxing an occasionally biting (that’s a pun) satire. Coogan was customarily good as a fashion tycoon Richard ‘Greedy’ McCreadie on the build-up to his orgiastic 60th birthday party, with David Mitchell playing his official biographer who soon begins comprehending how much his business success is based on conartistry and exploitation. Greed was deliberately heavy-handed in mixing consciousness-raising fable and black comedy, but it settled for skimming the surface for the most part, despite nods to Barry Lyndon and Lindsay Anderson as points of inspiration, with the comedy not quite strong enough to compensate. Some great supporting performances from Isla Fisher as McCreadie’s symbiotic ex-wife and Shirley Henderson as his ancient but still-pithy Irish mother helped keep things bouncy.
Eurovison Song Contest: The Story of Fire Saga
David Dobkin’s Eurovision Song Contest: The Story of Fire Saga was a comedy with rather less on its mind, perhaps to its ultimate credit. Will Ferrell played another of his signature boy-man roles, this time a middle-aged loser from a small Icelandic town whose singular obsession with winning the eponymous music competition, forged after a transformative childhood glimpse of ABBA, distracts him from everything else, including the love of his talented performing partner, played by Rachel McAdams at her most ridiculously winning. When seemingly absurd fate allows them to actually make the contest, the duo are tested by temptation and their own seemingly endless capacity for self-sabotage. The storyline, even as a pretext for silliness, hit beats and covered ground Ferrell had already worn ragged. And yet Dobkin and the cast, also including Dan Stevens as a campy Russian star and Pierce Brosnan as Ferrell’s disappointed dad, put it across with enough conviction to make it work. The general high spirits and good-natured sensibility, where even the nominal villains were ultimately likeable, were a balm in a year filled with so many glum, mean movies. The lampoons of Eurovision fare also managed to be both affectionate and craftily dead-on.
12 Hour Shift
Brea Grant’s black comedy/thriller 12 Hour Shift offered another hellish workplace with indie horror star Angela Bettis smartly cast as Mandy, a life-battered, drug-addicted hospital nurse involved in a scam purloining organs from the recently deceased and who sometimes gives the dying a little push along to make the process run more smoothly. Her night on a double shift is made intolerably complicated when her dimwit living-Barbie in-law Regina (Chloe Farnworth), acting as her courier, loses the latest harvested kidney, and is pushed by their gangster connection to get a replacement on the pain of donating one herself. This sets in motion mounting chaos on the wards, with both women pushed to acts far beyond the pale. What made the film interesting was the way it charted a gyring sense of random and lethal abnormality with segues into both outright farce and straight genre film, whilst working coherently as a metaphor for the cynical headspace of its wired, overworked, grief-stunned antiheroine. Ultimately the film would have been better – even great – if it had been a bit more disciplined in terms of how far it pushed its cruelly absurd edge and stylistic quirks, as the script kept threatening to lose its grounding, particularly once Regina turned into an absurdly stupid killer. But the actors forced their characters to work, and as the film gained momentum it delivered some delightfully sick twists.
Performances Of Note
Rachel Brosnahan, I’m Your Woman
Emilia Clarke, Above Suspicion
Steve Coogan, Greed
Carrie Coon, The Nest
Gail Cronauer, The Vast of Night
Elizabeth Debicki, The Burnt Orange Heresy ; Tenet
Frankie Faison, I’m Your Woman
Chloe Farnworth, 12 Hour Shift
Sidney Flanagan, Never Rarely Sometimes Always
Julia Garner, The Assistant
Shirley Henderson, Greed
Rashida Jones, On The Rocks
Udo Kier, Bacurau
Frank Langella, The Trial of the Chicago 7
Jude Law, The Nest
Delroy Lindo, Da 5 Bloods
Elle Lorraine, Bad Hair
Rachel McAdams, Eurovision Song Contest: The Story of Fire Saga
Matthew MacFadyen, The Assistant
Sierra McCormick, The Vast of Night ; VFW
Bill Murray, On The Rocks
Naian González Norvind, New Order
Donald Sutherland, The Burnt Orange Heresy
Marisa Tomei, The King of Staten Island
Vitalina Varela, Vitalina Varela
Ensemble: The Gentlemen
Ensemble: Lovers Rock
Ensemble: Night of the Kings
Ensemble: A Rainy Day In New York
Ensemble: Ma Rainey’s Black Bottom
Favourite Films of 2020
The Assistant (Kitty Green)
In abstract this film threatened to be a dubious exercise in tabloid exploitation or a tinny talking-point drama a la last year’s crummy Bombshell: a tale of workplace abuse inspired by Harvey Weinstein’s downfall. The Weinstein figure was rendered here as an unnamed, unseen movie company executive whose shows of wrath and prerogative register through emails and phone calls like the tremors of the tyrannosaurus’ footfall in Jurassic Park. The situation was explored through the viewpoint of his young, still relatively green, hardworking assistant Jane, who in trying to pay her dues on the way to becoming a documentary producer, has the job of literally cleaning up the mess left by his casting couch adventures amongst myriad other duties beginning before dawn and ending at night. But Green’s feature debut did something very smart in tackling such subject matter. Green put the minutiae of Jane’s day front and centre with a sense of workaday routine perhaps derived from Akerman’s Jeanne Dielman, unfolding in an office space where the sombre, intense atmosphere and the constant work has an embracing, almost homey mystique, one easy to imagine could sustain Jane through the gruelling and alienating entry-level days in the industry.
Except this was revealed with pitiless concision to conceal the constant knife-edge of threatened disruption lest the boss’s evil temper register, the parade of young lovelies waiting to go into the office perhaps just potential talent or willing supplicants or meal for a hungry ogre, whilst Jane’s submergence in her work at once makes her privy to signs of sleaziness but also allows her to retain an envelope of plausible deniability to let herself keep her job. The most frightening scene in any movie of the year came when Jane did finally work up the nerve to approach the company’s HR boss, beautifully played at maximum sucker-punch smarm by Matthew MacFadyen, only to have him fend off her concerns with expert soft bullying and then find everyone already knows about her foray when she returns to the office. The film relied on the audience to connect portrayed events with what we know about the Weinstein case, but what made it really worthwhile was the way that to a certain extent all that was rendered ambiguous, even supernal, to the exploration of the crushing weight of factotum solitude and powerlessness experienced by its heroine as only a slightly more urgent version of that experienced day in and day out by others like her.
Bacurau (Juliano Dornelles, Kleber Mendonca Filho)
Evoking the traditions of Latin American magic realism and its fascination with peculiar communities and fluxes of time and identity, as well as the Western movie genre, Bacurau can also be described a cleverly nasty inversion of familiar horror movie tropes. You know, those movies where hapless tourists stumble into malignant locales full of people, often in sleazy, degraded backwaters, and have to fight for survival. Here Dornelles and Filho define the people of a small, far-flung town out in the Brazilian boondocks as a collective defined by mutual trust and identity, a proud sense of both tradition and openness to the world in a movie set in the very near future. The droll early scenes depict the locals reacting to the death of a matriarch and the communal rejection of a patronising politician, tapping elements like the politician’s rolling campaign show for slyly deceptive comedy, came with sidelong hints of what’s coming as coffins are left scattered all over the road to town, empty at this point, and a teacher schooling local children is bemused when the town seems to vanish from online maps. Talk about cancel culture.
Those very communal strengths play a part in why they’re earmarked for eradication for reasons connected to local power structures whilst also equipping them to resist it. The actual agents of suppression are sourced, in a twist of sublime if incredibly harsh wit, through another potential future industry: murder tourism, bloodlusting internationals come to indulge lethal fantasies. The swerve towards ugly violence after the gentle absurdism of the first half serves a definite purpose as the racism and entitlement of the invaders is contrasted with the ordinariness of the locals, save the scattered criminals used to making their own impotent tilts at the world but who find their special talents needed to help the town fight back, the weirdness and wildness suddenly becoming weapons. It helped that the directors didn’t abandon their profoundly odd sense of humour even as war erupts, including an elderly couple whose choice of nakedness fools their opponents and also seems to contain some primal sensibility. Udo Kier, bringing the film cred in linking it to that horror movie tradition, was cunningly cast as the tour guide/assassin boss whose air of flinty command doesn’t quite conceal a bloodthirsty mania that gains the most fitting, and frightening, of comeuppances.
I’m Your Woman (Julia Hart)
Last year Julia Hart’s Fast Color intrigued me with its blend of fantasy, fable, and dry realism, an unusual and interesting mixture that suggested where the superhero genre might find some artistic growth, foiled only by a rather too stringent budget and a poky tone. Hart’s return with I’m Your Woman wielded a similar interest in characters exiled both in the world and within themselves, and proved one of the year’s quietest successes in trying to present a feminist twist on the well-trod routes of the retro gangland drama. Rachel Brosnahan gave a terrific lead performance as Jean, the trophy wife to a gangster forced to go on the run with their mysteriously acquired adopted son for reasons she has no real understanding of, only slowly learning the truth whilst meanwhile forced to witness and do terrible things in the name of survival. Hart had to negotiate a dramatic difficulty in the central character’s blindsided passivity through much of the film – the gangster genre’s been beset by too many blankly reactive viewpoint characters in recent years.
Hart turned this into a dramatic strength in the space of bewilderment and hermetic detachment woven about Jean, her feelings of being at once deserted and besieged exacerbating her already confused and detached perspective on her existence, presented at the outset as a domestic fantasy, life in constant showroom readiness, wrapped in breathless plastic. Soon she’s on the road as the uneasy charge of one of her husband’s colleagues, a black man who barely knows more than her and proves to have a ruthless side despite seeming decent, and finds herself taken under the wing of his family, where she has to contend with the secrets compelling their assistance as well as try to find a way out of limbo. The mixture of character drama and tension had rigour, and if the film’s slight over-length did make me wonder what some 1940s noir-style on the story might have looked like, perhaps with a less naïve heroine and a pithier telling, ultimately Hart’s firm control and purpose paid off with several riveting suspense sequences. Most of these scenes were unusual, too, in dealing with characters who tend to stumble upon the results of others’ actions or get caught up in the furore. Jean’s breakdown in a Laundromat, swathed in sodden disco finery, was a marvellous vision of total pathos, precursor to the inevitable pivot as she matured into someone capable of protecting not only herself but others.
Lovers Rock (Steve McQueen)
Part of a five-episode string of thematically related movies detailing black British life from the late 1960s to the early ‘80s, grouped under the heading Small Axe, Lovers Rock saw Steve McQueen doing something, on the surface at least, rather different to what he’s done to date in cinema, in choosing to depict joy and celebration. Stepping back from the kind of explicit portraits of psychological and social torment he purveyed in fare like Hunger, Shame, and 12 Year a Slave, and recovering from the sluggish disappointment of his commercial foray Widows, McQueen set about recreating, with a precise sense of both personal nostalgia and anthropological import, the sights and sounds of a house party in a black London neighbourhood circa 1979, from early scenes noting the DJs setting up and cooks preparing and young women choosing their battle dress, to giddy dance moves executed to “Kung Fu Fighting.” McQueen avoided inserting any traditional comic antics or big dramatic gestures to mythologise the event, or even nodding to any larger socio-political context beyond what he can grazingly suggest. Instead, he kept to his brief of simply watching people at a moment in time celebrating within the embrace of their fellows, a hermetic cultural experience at once in reaction to and ignorance of racism and incomprehension without.
In its way as maniacally focused and radical a piece of formalism as Hunger, Lovers Rock obliged the viewer to shift into a slightly different headspace to enjoy it. Some flashes of complication were introduced. A jolt of racist harassment from some white louts. A near-sexual assault by a pushy dandy, and the show of female solidarity that fends it off. One woman leaves in fear of intimacy, one tests out glimmerings of same-sex attraction, one seems to find the love of her life and rides off with him into the sunrise and beyond. But McQueen, to the point of risking patience at points, keeps his focus on the communal experience of dancing to music that invokes group identity, building to a rhapsodic eruption from the dance floor-lording young men, laced with political meaning as well as the insensate quality of authentic shared ecstasy, as the DJs play The Revolutionaries’ “Kunta Kinte Dub,” suburban party suddenly become ancient rite of belonging and defiance, achieving the kind of mesmeric frenzy of body and mind so often sought and so rarely, truly gained. The coming of daylight brings the familiar flow of little, stinging insults and defeats but also the burgeoning of new hopes. Plus; given 2020’s feeling of isolation and besiegement, the film provided something close to a virtual reality simulator for the socially deprived.
New Order (Michel Franco)
The bleak and unflinching flipside to Bacurau‘s prophecy of resisting exploitative power and oppression in a Latin American context, New Order ruthlessly charts its own socio-political thesis, proposing that very often the threat of class warfare usually finishes up benefiting reactionaries and opportunists far more than the masses, and illustrates it in truly effective ways. Disorientating flashes of revolt and totems of political transformation give way to a skittishly realistic portrait of economic disparity, as a former employee of a very rich family comes to ask to borrow money to help his sickly wife during a wedding party. The alternations of patronisation, outright rudeness, and actual charity from the good-nature bride amidst a show of dynastic ziplocking are pointed but believable, until purely by evil chance a revolution breaks out, people from the bottom of society climbing over fences and activating agents within.
Swiftian parable takes over: the military called into the streets to put down the revolt soon become agents of their own and their bosses’ enrichment, the rich are kidnapped and ransomed back to their families and the poor made to look responsible. Franco’s vision was by the end hard to take, but moved towards that end with remorseless energy and a vision of mounting horror brilliantly executed with a thriller’s tension, with its cruelly victimised heroine used in every way possible despite (and because) her being the most conscientious and likeable figure in the film, who finishes up in the deepest shit imaginable whilst setting out to do a good deed – not that staying within the castle walls would have spared her. Ghastly visions like a mass pansexual rape of the prisoners were mixed with a sourly detailed depiction of the nuts and bolts of repression under the guise of security, choking off easy communication and enabling disorientation, and concluding with brutish taciturnity with shots of the hangman’s ropes. Amidst all the phantoms of paranoia and appropriate anxiety thriving in 2020’s politics, New Order provided a cold reminder of what real tyranny looks like, provoking any sensible person to ask just what holds it off.
Night of the Kings (Philippe Lacôte)
Ivory Coast director Lacôte set his Night of the Kings in that country’s huge, forest-girded MACA prison, a community nominally controlled by the agents of the state but actually ruled over by an anointed kingpin whose command over the prison, in a pointed echo of old tribal law, depends on retaining his virility: when he gets too old or too sick he must die. Trying to fend off fate for one more day as he’s stricken by illness, the chieftain uses one technicality in his arsenal, appointing a young and naïve hoodlum just arrived in the prison to become the Roman or storyteller, tasked with telling the inmates a story through a long night with the Scheherazadian twist that if he finishes before dawn he’ll be put to death. The storyteller’s vigil becomes a communal theatrical event as the inmates invent dances and physically mimic the events he speaks of, whilst the storyteller himself tries desperately to synthesise his scanty and pathetic experiences as the lieutenant of a minor gang lord into a Homeric epic of national identity and magic-realist history.
Lacôte’s vision managed, in the course of a curt running time – it might well have been the only film of 2020 that could stand to be longer – to evoke both the specific cultural and historical experience of the Ivory Coast and the entire human experience of art as a communal event, people rearranging their minds and bodies to make sense of existence and the craving for narrative, for heroes, for psychic landscapes that knit the one into the whole, the spasms of interpretive dance and role-play the audience apply to the story giving it shared life and vitality. Tabloid violence and ancient myth bleed into each-other, the Roman connecting the contemporary folk hero with a suitably legendary backstory, so that the grimy and oppressive present gains the lustre of something deep-rooted. The young Roman’s night of testing is also an event with specific political purpose, an attempt to buy more time for a teetering regime, as lurking factions wait to invade the stage, including the watching, fraying eye of the armed yet besieged guards, one of whom finally shoots down into the arena to deliver random death, fending off, at least for another night, the moment where the jailed become masters.
A Rainy Day in New York (Woody Allen) / On The Rocks (Sofia Coppola)
I’m counting these two together as connected evocations of a melancholically romantic New York, and whilst flawed they balanced each-other in gesture and impulse. Allen’s film loitered in fantasies of being young, rich, and free in his native city, at both his most off-hand and his most crisply directed and scripted in a long time. Coppola’s was a martini-dry deconstruction of fantasies both cinematic and personal, turning the tension between its relentlessly limited purview, in dealing with niggling psychic anxiety and uncertainty and the song of issues that seem long suppressed and yet need resolution, and the seemingly necessary largesse of cinematic expression, into its driving concern.
I didn’t expect Allen to deliver a film as blithely charming as A Rainy Day In New York at this point in his career, especially given that I’ve never been a fan, but it was the kind of sublime doodle late careers sometime offer, sporting ingenious comic performances from Timothée Chalamet and Elle Fanning as a mismatched young couple whose adventures in Manhattan provoke maturation and self-understanding, whilst contending with an array of farce trope characters and mood-piece havens. It’s the sort of movie an artist might only make when they’ve allowed themselves to relax on some fundamental level, simply existing within a way of seeing and feeling.
Coppola by contrast seemed to be in conflict with her own career to date, pulling apart the elements of her early signature success Lost In Translation and refashioning them in a more self-conscious and probing thesis, casting Bill Murray as an aging roué whose transgressions and failings are charted with a more precise sense of what they cost his daughter, played by Rashida Jones, even as his approach to life, laced in movie-fit postures, seems irresistible. If the key tension in artistically ambitious recent indie American cinema of late has been being sticking to a realm of low-key and hyper-realist authenticity at the expense of sacrificing bigger dreams and styles like weaning itself off a sugar rush, Coppola seemed to be trying to make this her very theme.
The Vast of Night (Andrew Patterson)
An inventively crafted tribute to bygone dreams mediated by more modern insights and paranoias, The Vast of Night offered itself as a purported episode of some Twilight Zone-ish TV show from the black-and-white era, only to shift into full-colour, long-take, steadicam-enabled contemporary style. Two ordinary young people, the gabby, nerdy telephone operator Fay (Sierra McCormack) and the wannabe cool cat DJ Everett (Jake Horowitz), connect over a tape recorder test whilst walking through the streets of their small, flat, close-knit home town in the Texas boondocks, a certain arc of fledgling attraction manifesting in their shared status as people with minds flung out far beyond the city limits even as she spills her enthusiasms and he plays aloof hipster. They soon find themselves draw together more urgently as strange phenomena begin manifesting, weird signals on the wires, lights in the sky, and callers testifying to universe-reshaping events. Patterson underlined his fascination, bordering on fetishism, for backdated technology and the accompanying mystique of past entertainment – the fertile, deftly minimalist palette of radio drama and the threadbare expressionist sketches of early television, the savoured fervour stoked in a time when expressions of nerdy obsession had to await the mailman bringing a magazine packed full of mind-expanding concepts and thrilling wonder stories.
Patterson’s more blatant cinematic gimmicks, his unblinking takes and roving camerawork, doesn’t simply seek to offer impressive technique but actively work to maintain the same sense of dramatic intensity and unity that such models wielded. Patterson’s eye and ear for the place and time was genuinely admirable, his actors precise in nailing period mannerisms and speech patterns. Patterson alternated shows of camera dynamism, including an astounding travelling shot that seems to travel from one side of town to the other, with passages of deadpan minimalism, so neither felt strained. The key influence here was ultimately less Rod Serling or George Pal or even Steven Spielberg than David Lynch, quoting his estranged depictions of ‘50s small town environs with a destabilising event forcing the two protagonists to face hidden truths social, as one caller explores the racist use of African-Americans in cleaning up an apparent UFO crash, and historical, as an aged recluse recounts to them tales of such events going back to the Old West with an enigmatic influence at work. Amongst the many Lynch acolytes emerging this year, Patterson was the best because he used the influence most subtly. Only in his climax did he spurn his theatre-of-the-mind aesthetic and offer a glimpse of something straining for the startling and awesome but not quite landing it. Nonetheless his final shots reverted to a haunting tone and suggested the price for getting out of Nowheresville can be steep.
Vitalina Varela (Pedro Costa)
Given how many movies are made these days by directors who scarcely seem to have any concept of framing and staging, it’s a bit of a shock to watch a movie that consists of nothing less than perfectly crafted pictures, composed in depth and with care in lighting that turns a nominally gritty location and subject and location into the stuff of Renaissance art. The latest film from sporadic Portuguese director Pedro Costa unfolds in a dreamlike key, shot in a Portuguese shanty town filled with immigrants in a manner that makes it look like warren of menace out of a Val Lewton or Marcel Carne film, but the only ghosts and crimes are banal in scope, if never feeling so to those who have suffered them. The title character, played in neorealist fashion by a non-actor woman of the same name, arrives in Portugal from her home in Cape Verde to confront her dying husband, the man who abandoned her decades earlier, only to find he’s passed just before her arrival. Vitalina is left alone in his crumbling, sloppily-built house, eddying in a space of grief commingled with rage.
Costa’s films are known for their severe façades and themes of an unquiet past, mixed with empathy for the underclass. The film’s political undertow, meditating on the false quest for prosperity for immigrants, a siren song strong enough to sunder the most idyllic unions, meshes in a particularly lucid but unforced way with Vitalina’s experience, her own recollections of constructive partnership from the early days of her marriage contrasted with evidence of phthisic will and shrivelled personal passion, a contrast illustrated by two different houses. Costa richly humanises and endows palpable, even epic eminence upon his outsider protagonist, Vitalina granted the blazing-eyed stature of a Greek tragic heroine whose ancient wounds hurt no less for their age. She’s also tormented not simply for being left behind but because she’s fed herself on her hurt, her nursed grievance a source of strength and still-stinging bewilderment, frustrated that she cannot gain the confrontation and catharsis she deserved. Meanwhile she comes into contact with an aged, haggard priest consumed by his own lode of guilt and evil memory. Costa truly nails down the experience of grief, the aimless desire to wrestle with phantoms, the long nights of grinding, inchoate feeling, as well as the slow coming of healing, a process Vitalina forces along with customary rituals even when they seem utterly false. Some of Costa’s images, like Vitalina trying to seal up her roof during a storm, had a visual power barely seen in cinema since the heyday of expressionism.
The Whistlers (Corneliu Porumboiu)
Corneliu Porumboiu is generally known for his dark, tough, stringent dramas about the ramshackle state of modern Romania. The Whistlers was a sharp change of pace for him, insofar that it’s a dark, tough, off-beat, often funny post-genre film about the ramshackle state of modern Romania. The plot had a uniquely clever point of departure, as Cristi, a corrupt policeman, is sent to the Canary Islands to learn from the locals their time-honoured art of communicating through whistling, so that he and his accomplices in a drug-dealing operation can communicate in a manner incomprehensible to surveillance. Along the way he’s thrown into the company of a beautiful femme fatale aptly named Gilda, forced to negotiate for their lives with clashing factions and dodge plots involving his confederates and even his own opportunist boss. Poromboiu had the gall to sell a bent cop enmeshed with some real scumbags as a protagonist on the understanding that in a bottomlessly corrupt society all bets are off.
Cristi is the hangdog embodiment of moral and mental exhaustion, the son of a former Communist party official who never benefited from his father’s dishonesty but everyone assumes he did anyway, left excruciatingly exposed when his mother finds his stash of illegal cash and gives it to the church. Porumboiu taps the constant experience of surveillance and intrusion for both dark humour and tension, in a film that walked the line between satire and straight-faced, sharp-edged crime drama, with evident political dimensions: his gang of dangerous and diversely motivated criminals becomes stand-ins for a dissident element. The early encounter between Cristi and Catrinel Marlon’s smoky beauty Gilda, which sees them forced to have sex to satisfy hidden cameras, is a quietly hilarious game of deception and misdirection through sexual illusion Brian De Palma might have been proud of, whilst the sarcastic nods to Western films throughout leads to a shoot-out in a movie set and a curtailed gunslinging match between the two major female characters. Eventually all the hero is left with is his new, peculiar language, but that proves to be the key to a happy ending where his one good deed gains a just reward.
The Wild Goose Lake (Yi’nan Diao)
Like The Whistlers, The Wild Goose Lake used film noir conventions to anatomise a society in a moment of painful and dislocating transformation, in this case the grim and gritty zones of China’s developing but iniquitous cityscapes – Wuhan, no less – where money is the only motive that keeps its value but evanescent connections keep people tethered to each-other with a host of needling motives. The Wild Goose Lake certainly fits in with a plethora of excellent recent Chinese films with similar preoccupations. Director Yi’nan Diao’s vision was certainly its own, particular thing, however, utilising the traditional noir theme of a manhunt, following a strong but dim gangster from an outfit specialising in stealing motor scooters, who kills a cop after a battle with rivals in his own gang. When a large reward is put out for his capture by the barely competent local police force and seeing no real way out, he tries to remain free long enough to contrive a way of making sure the reward money can go to the wife he abandoned years earlier. He finds himself thrust into the company of a deadpan and enigmatic young prostitute, who describes herself as his wife’s friend and emissary.
Diao’s woozy, fluid style avoided some of the more outright surreal touches offered by the likes of Jia Zhangke and Bi Gan in their ventures down this mean street, and yet he painted the story with flashes of electric strangeness, from the hooker washing off the antihero’s jism from her hand in lake water, to a young woman providing a sideshow attraction as a disembodied head in a box, and a gang of policemen converging on a felled gangster whilst all wearing fluorescent shoes glowing hallucinatory in the night. Such sights not only gave the movie its punch-drunk texture but also effectively described Diao’s thesis about modern China as a place filled with human rubble and where life and death have a perverse, almost acausal rhythm. Moments of bleak and gnawing irony, like a union meeting voting to see who gets sacked from a factory that mimics the conclave of hoods assigning turf from earlier in the film, rubbed against episodes of black comedy and vivid physical action John Woo might have been proud of, including one astonishing moment involving a creatively used umbrella. Underlying all this was an authentically noir sense of blasted solitude and tenuous human connection, building to a final revelation about the prostitute’s motives that finally drew the film’s serpentine emotional landscape as well as plot together. Vied with Vitalina Varela as the best-shot film of the year, too.
Added to 2020 Favourites List after 1/1/2021
To be announced
12 Hour Shift (Brea Grant)
Incitement (Yaron Zilberman)
The Nest (Sean Durkin)
Never Rarely Sometimes Always (Eliza Hittman)
Rough Gems and/or Underrated
Bad Hair (Justin Simien)
The Burnt Orange Heresy (Giuseppe Capotondi)
Da 5 Bloods (Spike Lee)
Eurovision Song Contest: The Story of Fire Saga (David Dobkin)
First Cow (Kelly Reichardt)
Greed (Michael Winterbottom)
Kajillionaire (Miranda July)
The Gentlemen (Guy Ritchie)
Wonder Woman 1984 (Patty Jenkins)
Disappointing and/or Overrated
Ammonite (Francis Lee)
Birds of Prey, and the Fantabulous Emancipation of One Harley Quinn (Cathy Yan)
The Invisible Man (Leigh Whannell)
The King of Staten Island (Judd Apatow)
Mank (David Fincher)
Palm Springs (Max Barbakow)
Tenet (Christopher Nolan)
Shirley (Josephine Decker)
Capone (Josh Trank)
The Midnight Sky (George Clooney)
Possessor (Brandon Cronenberg)
∙ Another Round ∙ Bad Boys 4 Life ∙ Beanpole ∙ Bill and Ted Face the Music ∙ Black Bear ∙ Borat Subsequent Moviefilm ∙ Butt Boy ∙ Cuties ∙ Deerskin ∙ Driveways ∙ The Father ∙ The Forty-Year-Old Version ∙ Fourteen ∙ Hillbilly Elegy ∙ The Hunt ∙ I Was at Home, But… ∙ I’m Thinking of Ending Things ∙ Let Them All Talk ∙ The Lodge ∙ Mangrove ∙ Martin Eden ∙ Minari ∙ Miss Juneteenth ∙ News of the World ∙ Nomadland ∙ The Old Guard ∙ The Personal History of David Copperfield ∙ Promising Young Woman ∙ Relic ∙ Saint Maud ∙ Soul ∙ Sound of Metal ∙ Swallow ∙ Tesla ∙ The Trip to Greece ∙ Tommaso ∙ True History of the Kelly Gang ∙ The Twentieth Century ∙ The Wolf House ∙ Wolfwalkers ∙
The Best Older Films I Saw First in 2020
Deluge (Felix E. Feist)
I Married A Witch (Rene Clair)
On The Town (Stanley Donen, Gene Kelly)
Phase IV (Saul Bass)
Teorema (Pier Paolo Pasolini)
∙ Orson Bean ∙ Honor Blackman ∙ Chadwick Boseman ∙ Wilfred Brimley ∙ Tim Brooke-Taylor ∙ Earl Cameron ∙ Sean Connery ∙ Gene Corman ∙ Linda Cristal ∙ Abby Dalton ∙ Sonia Darrin ∙ Olivia de Havilland ∙ Brian Dennehy ∙ Kirk Douglas ∙ Mort Drucker ∙ Rhonda Fleming ∙ Derek Fowlds ∙ Stuart Gordon ∙ Buck Henry ∙ Ian Holm ∙ Terry Jones ∙ Hugh Keays-Byrne ∙ Shirley Knight ∙ John Le Carre ∙ Michael Lonsdale ∙ Vera Lynn ∙ Ennio Morricone ∙ Daria Nicolodi ∙ Geoffrey Palmer ∙ David Prowse ∙ Helen Reddy ∙ Carl Reiner ∙ Little Richard ∙ Diana Rigg ∙ Kenny Rogers ∙ John Saxon ∙ Joel Schumacher ∙ John Shrapnel ∙ Jerry Stiller ∙ Max von Sydow ∙ Stuart Whitman ∙ Fred Willard ∙ Barbara Windsor ∙