“Every great film should seem new every time you see it.”
– Roger Ebert, Film Critic
Best Comedy Film: Palm Springs
Runners Up: Kajillionaire, Borat Subsequent Moviefilm
Best International Film: Another Round
Runner Up: The Platform
Best Animated Film: Wolfwalkers
Runners Up: Soul, The Croods: A New Age
Best Action Film: Tenet
Runner Up: Bad Boys for Life
Best Horror/Sci-Fi Film: The Invisible Man, The Vast of Night (tie)
Runners Up: Possessor, Host
BEST MOVIES OF 2020
Runners Up
- Nomadland
- Ma Rainey’s Black Bottom
- The Devil All the Time
- Bad Education
- Da 5 Bloods
- The Vast of Night
- Pieces of a Woman
- Wolfwalkers
- Minari
- Palm Springs
- The Invisible Man
- The Personal History of David Copperfield
TOP FIVE
#5: LOVE AND MONSTERS
Carrying an ideally charming and comical performance, Dylan O’Brien stars as Joel who is more than ready to reunite with his girlfriend he hasn’t seen in over seven years due to the wiping out of 95% of the human race. The awful aftermath of chemical crud falling like rain from missiles used to destroy an asteroid will do that. What we get is a sweetly enjoyable rom-com holding hands with an excellent and easygoing action-adventure. It’s the jelling of a terrific relationship for a hazardous post-apocalyptic world. Director Michael Matthews has so many delightful surprises in store for those willing to give this one a chance.
What lies beyond its plain title is finesse, fun, and laughs. Likewise, great care is shown for characters and creatures alike, the effects are braggingly disgusting, and Michael Rooker and Ariana Greenblatt are a dynamite duo who have learned a thing a two about survival and are nice enough to share. The movie offers plenty of monsters, but it doesn’t settle on that and unexpectedly tacks on emotion and inspiration to a story about coming out of hiding to get a breathe of fresh air and start living again. What’s not to love?
#4: THE FATHER
Adapting from his own play, writer/director Florian Zeller beautifully and brilliantly depicts the deterioration that sadly occurs from dementia and places the audience right in the middle of it. The unique perspective his film takes is devastatingly effective and gives us an eye-opening understanding of the confusion and the overall loss of control felt by those with mental health issues. Being put through the emotional wringer, Olivia Colman is terrific as a daughter who’s doing all she can to take care of her dad. Though it’s the masterful Anthony Hopkins who will leave you stunned and shattered in a story that’s stirring, compassionate, and sorrowful.
#3: SAINT FRANCES
Romana Edith-Williams is cute as can be, and writer/star Kelly O’Sullivan is phenomenal as a babysitter who connects with the child she’s babysitting in unexpected yet wonderful ways. From director Alex Thompson, this small yet smart, genuine, funny, and empathetic film takes big risks on talking about what women go through on a daily basis that’s not said out loud. There’s not a single character who has it all together or holds all the answers. It’s a dose of real life as they steer through the storms of friendships and relationships, holding tight to those critical connections we live for. This kind of storytelling is rare, riveting, and refreshing.
#2: SOUND OF METAL
Riz Ahmed is unbelievable as a drummer gone deaf. A rocker instantaneously tossed into a noiseless world is a terrifying thing, but he does his damnedest to reclaim the life he had and the woman he loves. His blazing performance is one of the very best this year. Everything in relation to sound is incredibly innovative and downright remarkable in writer-director Darius Marder’s feature film debut. It’s a well-executed, thoughtful examination of the Deaf community, particularly on how one views and handles such an abstruse loss. Is it an enhancement or an impairment? By the end of this extraordinary film, the answer is loud and clear.
#1: PROMISING YOUNG WOMAN
With such a dauntlessly inciting feature debut, writer-director Emerald Fennell goes places that would scare the hell out of other films. From basically the opening credits on – radiating confidence in what she wants to say and how to effectively show it – there’s no stopping her from getting what she wants. It’s sharp, stylish, and scathing.
In a performance unlike any other this year, Carey Mulligan is a marvel as Cassie, an intelligent and cunning med school dropout who has a thirst for vengeance. Still, getting revenge doesn’t guarantee closure from the trauma and grief she’s suffering from. Fennell puts her in tender moments, which are significant in getting a closer look at her pain following a life-shattering loss. But anger is the driving force and, as we all know, payback is a bitch.
MORE BEST OF 2020
The Abhorrent And Let Downs Of 2020
Best Documentaries Of 2020
Best Performances And Filmmakers Of 2020
Brandon Vick is a member of The Music City Film Critics’ Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.
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