The Top 10 Films of 2020

December 31, 2020 by Keith Garlington

What a year, right? 2020 is definitely one for the history books. For many it was a year full of challenges, uncertainty, frustration and heartbreak. Thankfully filmmakers from all around the globe provided welcomed refuge from the trying times. Movies of all shapes and sizes entertained us, moved us, and inspired us. Many of the most anticipated blockbusters were pushed back, but it opened the door for independent film to showcase its immense value. And boy did it!

So here we are taking the obligatory look back at the movie year that was. Before I get to my Top 10 films from 2020 I always like to toss some recognition to the great movies that just missed the cut. So without further ado here is my #11-20….

#20 – “Greyhound”
#19 – “The Assistant”
#18 – “Sound of Metal”
#17 – “Blood on Her Name”
#16 – “The Painted Bird”
#15 – “The Midnight Sky”
#14 – “One Night in Miami…”
#13 – “Promising Young Woman”
#12 – “First Cow”
#11 – “On the Rocks”

And now my Top 10 Films of 2020

#10 – “I’m Thinking of Ending Things” [REVIEW] – I had no idea what to expect going into Charlie Kaufman’s latest psychological horror/drama/dark comedy/thriller. Then again he is a filmmaker who works on his own unique plane of existence. That’s what makes him interesting and often unpredictable. “Ending Things” is certainly all of that. Kaufman uses a slyly deceptive premise of a young woman contemplating breaking off a relationship with her eccentric boyfriend to explore familiar themes of identity, mortality, and the human condition. And yes, Jessie Buckley should be in Best Actress Oscar contention. It took a couple of viewings for me to really get in sync with the film. But once I did I was blown away.

#9 – “A Call to Spy” [REVIEW] – I love true stories from World War II so naturally I also love movies that bring those stories to life. “A Call to Spy” is a terrific example. This engrossing historical drama tells the inspirational and often harrowing story of the first women to serve as spies for Churchhill in the early days of WWII. The film is anchored by a focused script from Sarah Megan Thomas that keeps the characters front and center, by nimble direction from Lydia Dean Pilcher, and by three standout performances from Thomas, Stana Katic, and Radhika Apte. This is a smart, assured account of uncommon valor; a true story about strong women made by strong women. And it’s as timely as it is compelling.

#8 – “News of the World” [REVIEW] – Tom Hanks brought his ‘good guy’ charms to the Western genre for the first time and the results were most memorable. Hanks and 12-year-old German actress Helena Zengel have a heart-piercing chemistry playing an unlikely duo crossing a lawless Reconstruction-era Texas. Both are lonely lost souls who are haunted by demons from their pasts. But over their perilous 400-mile journey a tender attachment begins to grow. Director Paul Greengrass delivers a timely film that plays like a classic Western but packs some modern day relevancy. And its soothing message of showing compassion and doing the right thing is just what we need right now.

#7 – “Mank” [REVIEW] – Here is a film unashamedly aimed at ardent fans of Hollywood’s Golden Age. Not just lovers of the movies themselves, but those fascinated by the behind the scenes culture of the big studio era. David Fincher’s return to feature films sees him chronicling screenwriter Herman J. Mankiewicz and the events that inspired him to write the script for “Citizen Kane”. The time-hopping structure was an adjustment, but once I got into Fincher’s calculated rhythm, I was hooked. And its also a visually lavish film, shot in rich black-and-white with scenes full of eye-popping period detail. I heartily admit that “Mank” isn’t for everyone. But it certainly is for me.

#6 – “Let Him Go” [REVIEW] – I have to admit I was onboard with “Let Him Go” just from hearing it would feature Kevin Costner as a retired sheriff, Diane Lane as his tough resolute wife, and Lesley Manville as a wicked backwoods matriarch. That’s all I needed. Turns out there is a lot more to this character-driven, neo-Western drama than just a strong cast. The film has its genre flourishes, but its really a heartfelt and earnest examination of family grief, regret and loss. Costner and Lane channel it all with a deep emotional precision. They have a terrific chemistry and writer-director Thomas Bezucha gives them some rich and meaty material to work with. I love this film.

#5 – “The Truth” [REVIEW] – Tell me how this cast sounds to you – Catherine Deneuve, Juliette Binoche, Ethan Hawke. This stellar trio lead the way in this captivating family drama written, directed and edited by acclaimed Japanese auteur Hirokazu Kore-eda. From the very start it’s clear Kore-eda is aware of the incredible talent he is working with. His character-rich dialogue and patient, observational rhythms allow his performers to really dig into their roles. It’s a treat for anyone who loves great acting. But Kore-eda is a smart and savvy filmmaker who offers more than just an acting clinic. His film explores many of the themes that have long interested him and he shoots with the same deep intimate focus as in his past films.

#4 – “Another Round” [REVIEW] – It’s interesting that a film with a nuttier premise than anything else on my list is also one of the 2020 movies that moved me the most. On its surface “Another Round” sees a group of four middle-aged friends doing a cockeyed drinking experiment. But at its soul, the film is about so much more. Director Thomas Vinterberg reunites with actor Mads Mikkelsen to explore the depths of middle-aged disillusionment. Mikkelsen gives a subdued yet full-bodied performance that (just like the movie) can be darkly funny but that is undergirded with an unshakable sense of tragedy. It’s easily some of the best acting of the year from what’s easily one of my favorite films of 2020.

#3 – “Nomadland” [REVIEW] – It’s not really newsworthy when Frances McDormand gives a great performance. She’s so good that we’ve come to expect it. But it is newsworthy when the two-time Oscar winner gives what may be the best performance of her already sensational career. She does that in Chloé Zhao’s intimate, neo-realist drama “Nomadland”. McDormand seamlessly blends into Zhao’s intensely human canvas, not only inhabiting the world but deeply connecting with it and all its intricacies. And Zhao cements herself as one of our best filmmakers; a creator full of honest real-world perspective with a knack for telling moving and profoundly personal stories. “Nomadland” is all of that and more.

#2 – “Minari” [REVIEW] – Without question one of the year’s biggest and best surprises was Lee Isaac Chung’s beautiful semi-autobiographical “Minari”. This quiet and affecting drama is both heartwarming and heartbreaking in its look at a Korean-American family who moves from California to Arkansas in the early 1980’s to start a new life. Chung’s film is a coming-of-age story, a tender comedy, and a poignant family drama all rolled into one. It also features one of the year’s best ensembles led by a brilliant Steven Yeun (I hope Oscar is paying attention). I’m not sure any 2020 film has moved me quite like “Minari” and the mark it leaves stays with you.

#1 – “Tenet” [REVIEW] – Christopher Nolan’s eleventh feature film was his biggest and most ambitious movie yet. It also may be his most divisive. But for many of us it was further proof why Nolan is often considered to be the industry’s premier big budget filmmaker. “Tenet” is brilliant from both a narrative and technical standpoint. It’s indelibly a Nolan film – smart, cerebral, highly original, insanely well made, and full of big ideas. Driven by good performances and Nolan’s boundless imagination, “Tenet” goes big and bold, challenging its audience to keep up and then delivering an immensely satisfying payoff once all his pieces are in place. It proved not to be for everyone, but I was blown away and for me it’s an easy pick for the best film of 2020.

First Glance: “Skyfire”

December 30, 2020 by Keith Garlington

Who else thinks its a good idea to invest hundreds of millions of dollars into building a state-of-the-art theme park on an island with a dormant but historically deadly volcano? I’m guessing not many of you. But that’s exactly what happens in the upcoming Chinese disaster film “Skyfire” (a title that almost sounds like a Bond knockoff). In it a greedy American businessman played by Jason Isaacs builds his park despite the warnings of a young scientist who has been studying the volcano since it killed her mother 20 years earlier.

“Skyfire” (from English director Simon West) premiered in China in December of 2019 but now prepares for its international debut. It’s rare for movies like this to give you anything other than action, peril, and tons of CGI effects. The trailer for “Skyfire” unashamedly promise all of that and more. Honestly, I’m a bit of a sucker for that kind of thrill-a-minute over-the-top entertainment. That’s all I’m looking for with this one.

“Skyfire” releases January 12th on VOD. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Greenland” (2020)

December 30, 2020 by Keith Garlington

Except for the very rare surprise, you usually know exactly what you’re going to get with a Gerard Butler movie. It’ll either be silly, bombastic, and with more corn than a pan of Jiffy Pop or (if you’re lucky) a so-bad-it’s-good guilty pleasure. His latest film “Greenland” definitely falls within the “very rare surprise” category. Even more, it’s one of Butler’s best films in years; one that takes the familiar end-of-the-world idea and uses it to explore human nature in a surprisingly thoughtful way.

One of the biggest and most welcomed changes is that in “Greenland” Butler doesn’t play some invulnerable butt-kicking one-man-army. He’s not ex-special forces, ridiculously gun savvy, or spitting out machismo in ever line of dialogue. He’s a structural engineer. He has a son who is diabetic. And he’s trying to repair his fractured marriage. In other words he plays a character grounded in the real world. Kudos to screenwriter Chris Sparling for making that a focus of his script and to director Ric Roman Waugh for building his movie around the human element and avoiding the temptation to go big and loud.

Image Courtesy of STX Entertainment

Not to be misleading, “Greenland” is still a disaster thriller. It has its nail-biting tension and explosive action. But those scenes in some way always serve the characters or the film’s human interests. It doesn’t wallow in scene after scene of CGI destruction nor does it waste time numbing our senses with inconsequential noise. In fact, audiences might be surprised at how much the film sticks to its convictions.

Butler reminds us that he has charisma and some acting chops playing John Garrity. We first meet him as he’s overseeing construction of an Atlanta skyscraper. But his mind isn’t on his work. He stares at his phone where a picture of his estranged wife Allison (Morena Baccarin) and young son Nathan (Roger Dale Floyd) brings a swell of emotion. We learn more about their separation later, but Allison has just allowed John to come back home. You can sense the hurt and uncertainty between them once he arrives. Meanwhile Nathan is just happy to have his father back.

As you probably know, disaster movies come pre-packaged with some kind of global threat. This time it’s an interstellar comet affectionately nicknamed “Clark” by scientists and the news media. It’s set to pass by earth with only a few harmless fragments expected to reach the atmosphere (yea right, “harmless”). As the cable news networks provide around-the-clock coverage, people put together neighborhood watch parties for this once in a lifetime event. But then the first fragment (predicted by “experts” to evaporate in the atmosphere) crashes into Florida evaporating the city of Tampa. Needless to say it changes everything.

As more fragments approach, the government remains secretive in hopes of avoiding mass panic. Guess how that works. John receives a presidential alert on his phone telling him that he and his family are among a chosen group of citizens ordered to report to select military bases. Once there they will be checked in and then flown to an underground bunker in a secret undisclosed location. But when those not selected get wind of it they flock to the bases pleading to be allowed on the planes. And as more cities are decimated and with an “extinction level event” just 48 hours away, society begins to break down. This proves to be the biggest obstacle between Jack and his family and the safety of the secret bunker.

Image Courtesy of STX Entertainment

At different points in the story Jack, Allison, and Nathan get separated, something the film uses to explore the different facets of human nature. They encounter every make and model of humanity – some full of compassion and self-sacrifice, others who are malicious and opportunistic. It’s an unexpected layer of the story that really highlights one of the movie’s biggest interests. What does it look like when society begins to crumble? How does it look when kindness clashes with malice; when empathy meets callousness?

Adding to the film’s list of surprises, “Greenland” is consistently entertaining and never hits a lull. That’s because the whole thing is really about something more than comets and mass destruction. It’s about family. Yes we learn more about the government’s mysterious selection process and there is some interesting social commentary to boot. But it all comes back to the beauty of family; to fully appreciating what family means and the self-sacrifice required to grow it and protect it. I have to admit, that wasn’t what I was expecting when I heard Gerard Butler was doing a movie about an earth-killing comet. “Greenland” is now streaming on VOD.

VERDICT – 4 STARS

First Glance: “Land”

December 29, 2020 by Keith Garlington

A couple days back Focus Features dropped the first trailer for “Land”, their upcoming drama set to premiere at Sundance in January before its wider release February 12, 2021 just in time to qualify for Oscar consideration. It’s the directorial debut for Robin Wright working from a screenplay written by Jesse Chatham and Erin Digman. Wright did some directing for the hit television show “House of Cards”, but this is the first time at the helm for a feature film. This first look leaves a really good impression.

Wright also plays the film’s lead character who goes off the grid following a devastating personal loss. “It’s really difficult to be around people.” She retreats to a remote cabin in the wilderness and disconnects from society. But when a hunter played by Demian Bichir saves her from near-death, she finds in him someone who helps her cope with her sorrow and view life through a different lens. So much in this first trailer lands well from its deeply personal perspective to the gorgeous mountain setting. I’m in.

Once again “Land” is set for a Sundance premiere and then a full release February 12, 2021. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Fatale” (2020)

December 29, 2020 by Keith Garlington

If you’re itching for a sleazy 80’s-styled thriller full of terrible unlikable people, boy do I have the movie for you. “Fatale” fits that description to the T and it makes no apologies about it. Directed by Deon Taylor from a script by David Loughery, “Fatale” at first brings thoughts of “Fatal Attraction” to mind. You know the story, a supposed “good guy” makes a “mistake” with a crazy unhinged woman who then terrorizes him and threatens the life he’s forced to protect. I never really bought the idea in that 1987 film and I don’t buy it here either.

“Fatale” deserves credit for eventually cutting the cord with “Fatal Attraction” and going its own way. That doesn’t suddenly make it a great movie or make some of the character’s decision-making any smarter. But it does make it come across as something more than a knock-off. Unfortunately the movie doesn’t really have a gauge to tell it when to slow down. So we get an overheated story with more twists than a pack of Twizzlers. There is some ‘giggle to yourself’ entertainment to be had and enough narrative propulsion to have you wondering how things will turn out. But that’s about it.

Image Courtesy of Lionsgate

Michael Ealy (who teamed with Taylor earlier this year in the flawed but considerably better “The Intruder”) plays Derrick Tyler, a former basketball star turned successful Los Angeles sports agent. If you need proof of his success look no further than his lavish ultra-modern home, his shiny imported sports car, and his posh GQ-ready attire. He lives the good life with his super-model caliber wife Tracie (nicely played by real-life model Damaris Lewis) who has a thriving real estate business of her own. If the old saying went “money DOES buy happiness” then this would be one incredibly happy couple. Instead there’s an obvious disconnect between them which is obvious from the start.

While in Las Vegas for a friend’s bachelor party Derrick meets, flirts, and eventually has a one-night-stand with a woman named Val (a noticeably miscast Hillary Swank). Apparently in the world of “Fatale” adultery has magical properties because suddenly Derrick is all about being a better husband to Tracie (Actually it’s probably his guilt which in reality can dramatically change a person’s perspectives). While wrapping up a night of wining, dining and rekindling the fire with Tracie an intruder breaks into their home. Derrick fights the masked man off who then runs away into the night.

The police arrive and their investigation is led by none other than Detective Valerie Quinlan. Yep “Val” from Las Vegas. And just like the movie shoots down the myth that “What Happens in Vegas Stays in Vegas”. Poorly veiled swerves and misdirections abound as Derrick finds himself in neck-deep trying to save his marriage and his fortune from a sociopath with a badge. But as is often the case, things aren’t always as they appear. Still, no number of plot twists solve what really is the movie’s biggest problem – woefully shallow characters.

Image Courtesy of Lionsgate

The movie does try to bring some depth to Quinlan by introducing some backstory involving an ugly custody battle. But Swank plays her so dryly that it’s hard to invest in her either as a victim or a villain. It’s not a bad performance, she’s just working at the wrong temperature. Meanwhile Ealy just moves from scene to scene in various states of shock and the script hits him with one twist after another. The closest we get to depth with him are scenes involving his family and that’s not much.

“Fatale” may work as throwaway entertainment for those with some time to kill on a Saturday night. And what can I say, it kept my attention. But other than pulling the rug out from under us in every other scene, it doesn’t have much up its sleeve. Even casting a two-time Academy Award winner can’t bring the movie the oomph it needs. “Fatale” is now showing in theaters.

VERDICT – 2 STARS

REVIEW: “One Night in Miami…” (2020)

December 28, 2020 by Keith Garlington

Regina King makes an astonishing directorial debut with “One Night in Miami…”, a fictionalized story inspired by true events and featuring four cultural legends of the African-American community: Cassius Clay, Malcolm X, Jim Brown, and Sam Cooke. The film imagines what might have happened during their real-life meeting on the night of February 25, 1964, when the four luminaries gathered together at the Hampton House, a motel in Miami’s Brownsville neighborhood.

Kemp Powers pens the captivating screenplay which is based on his own 2013 stage play of the same name. King approaches this tricky material with the confidence and keen senses of a seasoned director, keeping her focus on the film’s talented ensemble and pulling the very best out of them. At the same time King infuses this dialogue-heavy chamber piece with a cinematic feel, something that isn’t always easy for movies based on stage plays. Look no further than another 2020 film “Ma Rainey’s Black Bottom”, a good movie but one where I was often aware of its heavy stage roots. King doesn’t fully evade that, but she makes several small yet effective choices that ensures “One Night in Miami…” feels very much like a movie.

The film begins with a somewhat mechanical opening – four vignettes that introduces the principle characters and gives a glimpse of their struggles in the heart of the Civil Rights era. Then everything moves towards Miami Beach in 1964. Cassius Clay (played by Eli Goree), a 7-1 underdog, beats Sonny Liston for the heavyweight championship with his friends, activist Malcolm X (Kingsley Ben-Adir), NFL star Jim Brown (Aldis Hodge), and soul singer Sam Cooke (Leslie Odom Jr.), in attendance. Afterwards the four retreat to the Hamilton House motel to celebrate the big win. It’s an amazing scenario, one that actually happened, although the exact details of the evening stayed with the four men.

Image Courtesy of Amazon Studios

So it goes without saying King and Powers aren’t attempting to recreate that special night with pinpoint accuracy. Instead they examine where each man was at that particular point in their real lives and then pull from their unique experiences and circumstances to create a series of conversations and interactions that may not be historically precise yet are exactly the kinds of rich and textured exchanges you would envision. Just how well this approach works is one of the film’s most satisfying elements.

Each character is at a defining crossroad in their life. Cassius is the new champ but secretly has converted to Islam under the mentoring of Malcolm and is on his way to becoming Muhammad Ali. Meanwhile Malcolm’s evolving beliefs find him at odds with the Nation of Islam’s more militant leadership. Sam’s music career is thriving but he finds himself caught between making music with a strong appeal to broader audiences (which means more money) or using his voice to speak to the travails of his community. Jim has learned that fame on the football field doesn’t equal color-blind acceptance. And now he’s considering making movies, another industry with its own track record of inequality and exploitation.

Their night starts with bursts of fun, good-natured jousting especially between Sam, Jim, and Cassius who had a much “livelier” party in mind. But Malcolm has planned a night of reflection, dialogue, and vanilla ice cream. Over the course of the night the playful buddy banter gives way to philosophical discussions, clashing worldviews, and meaty debates on activism and civil rights. King keeps easing the temperature up, steadily working towards an impassioned crescendo where biting exchanges fueled by deep personal hurt takes center stage. It’s through their fascinating interplay that we learn who these men really are, and we get to quietly observe it all like flies on the wall.

Image Courtesy of Amazon Studios

Wisely, neither King or Powers set out to deify their characters. Their interests are in the men underneath the celebrity. So we not only see their big personalities but also their blemishes and internal conflicts. The four actors portraying them couldn’t be better and each bring fresh dimensions to their iconic characters. Ben-Adir makes for a mesmerizing Malcolm X, revealing a complex man burdened by belief but well aware of the heat that’s coming his way. It’s a tricky role that tackles Malcolm’s self-righteousness but also his clear-eyed conviction. Ben-Adir nails it.

Leslie Odom Jr. of “Hamilton” fame gets another chance to showcase his singing chops. He also deftly brings out the layers in Cooke whose smooth, confident exterior conceals a whirlwind of contradiction inside. Odom Jr. has some powerful moments. Playing Jim Brown, Aldis Hodge is easily the most subdued of the four but his presence is always felt and he speaks volumes through subtle gestures and cutting expressions. And when he does speak Hodge brings a quiet intensity that you can’t turn away from. Eli Goree is the most playful as Cassius Clay, but he tempers his performance and keeps it from becoming a caricature. And he too brings an emotional weight to his character when the story calls for it.

Regina King got her feet wet directing television shows over the last several years. “One Night in Miami…” sees her enter the feature film space as a force. We already know she’s an eminently talented actress with an Oscar to prove it. But it’s always exciting to see a first-time director deliver on this level. And it’s just as exciting to watch a well-cast ensemble work with such charisma and verve to bring a pretty remarkable story to life. It takes the movie a few minutes to get going, but once it hits its sweet-spot it makes for some pretty riveting viewing. “One Night in Miami…” is out now in a limited theatrical release and will release on Prime Video on January 15th, 2021.