Never Rarely Sometimes Always
Eliza Hittman is so gifted in making you feel like you’re getting a glimpse into the life of a stranger, like someone you could easily bump into on the street. She invites so much empathy through so little, and in doing so, humanizes a story that needs it the most.
Onward
This film hit me harder than I expected, and I already had a feeling this would work for me in ways it might not have for others. Sure, it’s beautifully animated, and it’s funny, but as a story of brotherhood and the loss of a father, I found it profoundly moving.
Thappad
The general idea behind this might seem silly on the surface, but it results in a fairly nuanced and thoughtful exploration of patriarchy, of entitlement, of self-care, and the way society, and even our loved ones, often encourages bad behavior.
The Assistant
Nothing happens in this movie, but also everything happens. Probably a cliché to say, but it applies. The cold, detached, painfully normal attitude and atmosphere combined with the terrible truths happening behind closed doors made this a thoroughly engrossing watch.
The Half Of It
With the setup this film has, it could very easily go the standard route, like many of Netflix’s rom-coms and young adult films, but Alice Wu brings such a sweet, grounded, and gentle touch that it made an old formula seem new again.
The Invisible Man
After many years of seeing Leigh Whannell scripted horror movies, it’s so satisfying see him come into his own as a director, especially after Upgrade, and his take on The Invisible Man is his most accomplished work yet.
The King Of Staten Island
There are definitely elements to criticize here that I would understand, but what really affected me was how it perfectly captures a state of mind, the aimlessness, the inability to let go of one’s past, the fear of moving forward. It works so well, and it does it while being totally hilarious.
The Vast Of Night
Like one of those movies that feels like it was specifically made for you. The period setting, the UFO anxiety, the emphasis on stylized dialogue, brooding atmosphere, could it be anymore my jam? I had so much fun with this, and I can’t wait to see what these filmmakers do next.
The Way Back
Would this film be as powerful as it is if it weren’t common knowledge that Ben Affleck was going through similar struggles as his character? Hard to say. But the strength it must have taken to go there, and dive into those flaws and pains is something I greatly admire, and within super enjoyable film on top of all that.
The Wretched
This film is a near pitch perfect summer horror flick. Just dark enough, just fun enough, and just grisly enough to get a strong reaction from a crowd without getting unpleasant, plus it’s got one hell of a third act that I’m still surprised they pulled off. No wonder this did well at drive-ins.
Time To Hunt
What starts off as an unassuming heist film slowly transforms into stellar exercise in building and maintaining tension with an atmosphere that could only be described as apocalyptic. It is absolutely riveting in every sense of the word.
The True History Of The Kelly Gang
Justin Kurzel’s latest is also his best. A striking, and complex story that is less about history and more about the nature of storytelling itself, and who ends up telling those stories. It’s as stylish and mythic as they come, yet full of humanity.
Why Don’t You Just Die!
Talk about an adrenaline ride. A delightfully hyperviolent slapstick ride with enough style and twists and turns to last a lifetime. This was a blast from start to finish, and a great first impression on the part of its filmmakers.
And there we go, those are my favorite films of 2020 so far. We’ll see what sticks by the time the year comes to a close, and how many of the big movies even end up coming out. I’ll try to catch up on all the ones I’ve missed, and in the meantime, feel free to tell me what movies you really dug so far this year.