Al's Review of 2020 in Film

I will never complain about how sucky modern movies are ever again. 

In 2020, the year of a global pandemic and political strife, the movie-going scene had changed and there's no telling if the industry can even recover. Most of the titles I wanted to see the most--Villeneuve's Dune, Edgar Wright's latest thing, the next Kingsmen flick, the latest Marvel and DC adventures--have all been pushed into the next year.

With the blockbuster scene stripped away, all that remained to see were the more offbeat gems offered on home video--discs or streaming. I can't deny that it's a little exciting to look forward to a day when a certain title hits streaming, and it becomes a sort of premier event in your own home. But what of the big-screen experience? Some movies demand the cinema treatment, with the ginormous picture, the surround sound, popcorn and drinks in hand while you sit back in a cushy chair and share the experience with a room full of others. Could this be the end of theater chains--and event pictures--as we know it?

One thing I can appreciate about this year is that it allowed some of the more bizarre gems to bubble to the surface. The 2020 films I've been most fond of haven't been the big-scale blockbusters, but the low-budget thrillers and a few good animations. Scary movies in particular seem timely this year, as if all the fears of the public can be therapeutically distilled into bizarre yarns about aliens, invisible men, road-raging madmen, or other forces that can't be fully understood. And yet, there's a sliver of hope offered by the best animated features that explore lighter themes of life and love. 

There's a smattering of other films worth the time, but also a lot that's just bland rubbish. There's only a couple of films I outright disliked (I doubt anything can be worse than Easter Holocaust, lol). It's not nearly as big of a slate as I wanted to tackle this year, but I've taken what I could get. It's not the best year by any means, but thank goodness, there are a few good films worth seeing.

There are still a bunch of films I've heard about or have some clout that I haven't seen yet. This lot includes: Minari, Greyhound, News of the World, Palm Springs, Freaky, The Queen's Gambit, I'm Thinking About Ending Things, Greenland, Da 5 Bloods, Hamilton, An American Pickle, and the second Borat film. I expect some of these might be good--problem is they aren't all available to watch, or else I haven't made time for them. I can only report on the 39 I've seen so far. Updates can be followed on Letterboxd.

Some of these films were made in 2019, but I count them as 2020 films based on when they're widely distributed in the US.

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2020 Films Al Has Seen--Ranked

47: Easter Holocaust

A movie in which the Antichrist manifests in the form of a killer Easter Bunny. What a way to celebrate the holiday.

I'd take this as hilarious schlock if it wasn't so tonally confused. Half of this movie is hilariously bad with its accents, acting, and shoddy production quality. The premise is so outlandish, it feels like it should be a joke. But then there's the other half that's outright horrific, exploitative, and mean. It's hard to tell what the intent is, and as the film tries to have it both ways it winds up becoming a more troubling experience than it's worth.

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46: The Tax Collector

A David Ayer film--of course this would be one of his things. It's just as ugly as his other films, right down to the trashy settings, trashy characters, and trashy plotlines. I found this film to be an absolute bore, offering nothing in its characters and story to appreciate. It's a shame, since the actors are creditable and the focus on a unique criminal profession should be interesting. Alas, the film is as much fun as a tax audit.

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45: The Devil All The Time

Quality performances and cinematography all around, all of which fell flat for me given the dour tone and story. I found this rather angsty and unmemorable, although some viewers may get more out of it than I did.

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44: The King Of Staten Island

Coming from the guy who gave us Superbad and 40 Year Old Virgin, I found this straight-faced coming-of-age film disappointingly droll (and seriously, how many effing coming-of-age movies do we need anyway? There's been like a kajillion in the last ten years). Even on dramatic merits, I found little to like in the characters and little reason to care. But then, some viewers may connect with this in ways I can't.

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43: The Craft: Legacy

I don't know why this sequel was conjured, but here it is decades after the unassuming original from the 90s first hit, and we have a sequel. Can't say I remember much about it--looks fair, has something to do with teenagers and witchcraft, but that's the extent of it. Characters and story are washed out in a relentlessly bland tone, lacking in personality or meaning.

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42: The New Mutants

This is the first time an X-Men film bored me. With none of the star power, excitement, or promise of its predecessors, the New Mutants paints itself into a corner with its limited scope and cliched story. Nothing about the characters (or performances, or script) really hooked me. The whole affair leaves a been-there-done-that impression, offering no real enthusiasm for whatever direction these new mutants were supposed to foreshadow. The best that can be said is that the production looks decent.

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41: Extraction

Even Chris is bored.

Action movie fans will probably get a kick out of streaming this, with all its grit and guns. Chris Hemsworth plays it tough. The locations are unique. The action scenes are watchable. That's about the extent of it though--the story, though simple, comes off as bland and cliched, and there's nothing that really stands out. A forgettable time-waster at worst.

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40: Mulan

Of all the live-action Disney efforts, I rooted for this one the most. Especially since China already unleashed a live-action Mulan film nine years ago with fair quality, proving that the potential exists. Alas, despite all the flair and pomp of the luscious production design and elegant fight choreography, the film remains a bore thanks to its tension-less action, oddly overpowered lead character, dull and confused mythology, and a misguided story. By comparison, the 22-year-old cartoon manages to retain a stronger story with a leaner runtime, and still find room for music, comedy, and strong messages. The 2020 version had so much lacking, it made me appreciate the original more.

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39: The Old Guard

This has the makings of an promising franchise. Shame the film isn't nearly as interesting as it sounds. Charlize Theron is always a joy to watch in these tough action roles, but she leads a team of rather stale characters through a droll adventure that comes off as tired and cliched. It'll entertain you just fine with the scant action scenes and banter, but it ain't no Highlander either.

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38: The Wrong Missy

With each passing year, we seem to be getting more and more desperate for a good laugh.

Like most other modern comedies, there's little subtlety or class in The Wrong Missy. It banks way too hard on raunchiness, shock, and perhaps the most obnoxious love interest you'll ever see. I can't tell if David Spade is bored or tired in this, the dude just doesn't seem into it. I have to admit though, Lauren Lapkus is a champ for the energy and personality she puts into the character (even if she comes off as unrealistic and annoying). The film did elicit a chuckle or two from me, but it's still rather unbecoming.

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37: Notzilla

Every dude comes to this crossroad...

An obvious parody is obvious, but I am a sucker for movies made bad on purpose. Notzilla capitalizes off its own low budget and horrid acting to deliver an onslaught of silly jokes framed within a lame story. Not every joke is a hit, but there are some good laughs and the film is surprisingly entertaining.

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36: Max Reload and the Nether Blasters

A fair effort for such a film with this kind of budget. Gamers and nerds might get the biggest kick out of seeing these no-name actors teaming up to fight video game threats. Characters receive fair treatment through the script, and it seems like there's an attempt to make this a likable new cult franchise. Not sure it's all that memorable though.

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35: The Christmas Chronicles Chapter Two

Nothing groundbreaking, but for Christmas time this will feel special enough. Kurt Russell is still a hoot (could he be my favorite Santa Claus?), and the film delivers plenty of brainless entertainment through its ambitious action/fantasy sequences, and even a soulful music number. It's not quite as developed as the first chapter, but it remains harmless family-friendly fun for the season.

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34: Centigrade

This could have been the most intense and gripping survival story since 127 Hours. I find it especially novel when a film like this focuses strictly on one location and only two characters. Unfortunately, there's little to do in the confines of a buried car, so the film drags and offers very little of a story to latch on to. I suppose it makes the most of its limitations, but there are better titles that emphasize the same terrors.

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33: The Gentlemen

You generally know what you're going to get with one of Guy Ritchie's crime movies. The Gentlemen aims for class and sophistication, despite its sordid subject matter (although I strongly suspect this was scripted as a meta comedy of sorts that satirizes filmmaking in general). There's quite a few eye-popping edits and effects stitching the plot together, but it's quite a long and turbulent series of events I find hard to follow. It showcases some decent performances, which elevates the film just enough to make it snappy and interesting.

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32: Wonder Woman 1984

As if DC couldn't take any more weird turns lately, along comes the second Wonder Woman film starring Gal Gadot. It's a strange yarn that involves a wish-giving rock, an invisible jet, a cat woman, and Reagan-era politics.

I'm actually really torn on this one. I do admire how the film actually looks and feels like an 80s-era flick (most especially emulating the spirit of Christopher Reeve's Superman films). The few action scenes are fun. Some of the character beats are interesting, and I'm largely smitten by the film's message and its emotional delivery. But I can't ignore how much of a slog this is (especially in the first act), how inconsistent certain elements are, and how toothless the action is (no swords, really? Come on!). This is one strange case where I both love and hate the film, so I'll meet it halfway and give it a middle score.

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31: Birds of Prey and the Fantabulous Emancipation of One Harley Quinn

Margot Robbie could probably make a Harley Quinn movie where all she does is bash watermelons with mallets for 200 minutes--I'd still be hooked on it.

This film is like a chicken-shaped piece for the square puzzle that is the DC universe, seeing as this franchise keeps changing year after year. While Joker gave us a gritty, grounded 70s style character study, Birds of Prey plays out like Deadpool-light--a living cartoon where the characters are obnoxious, the violence is gleeful and has no real weight, and the narrative bounces around the timeline like it's high on sugar. It's a batty world Harley lives in. Watching her misadventures are often fun, but there comes a point where it's hard to tell what the movie's point is (especially since the same premise is repeated in other media, like the R-rated Harley Quinn cartoon released this very year). A throwaway venture at its worst, entertaining time-waster at best--eh, this will do.

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30: Sonic the Hedgehog

Probably the best video game adaptation by default at this point, which is especially bizarre since Sonic the Hedgehog seems a little too fantastic and ridiculous to work as a film. It's not without fault (I mean, the story's still pretty shallow, Sonic is slightly annoying, his powers are inconsistent, worldbulding is weird), but the film nails down exactly what it's supposed to be--family-friendly spectacle that does ample justice to the franchise. Jim Carrey is especially wonderful as the villain. Families and kids might get the biggest kick out of this (and it bests 1993's Super Mario Bros easily), but even for adults it's fair entertainment.

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29: Tesla

This particular film about the famous inventor comes loaded with historical fact, brought to life admirably by a dedicated and talented cast. Shame about the direction though. For whatever reason, this film is also loaded with anachronisms (like Edison pulling out a cellphone in a 19th century bar--seriously, why?) and style choices that are simply head-scratching. Some scenes are outright useless--especially when the film purposefully shows us something false and points it out. Can't say I understand or agree with these artistic choices, but the film looks pretty good and there's some insight to be found.

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28: Antebellum

This film tries to be the next Get Out, and on paper it sounds like a real whopper of a story. Its final scenes may be the best, offering a well-crafted payoff for a rather mundane and confusing middle act. This film has an interesting twist and an important message to relay, but I was rather disengaged by the pacing, lackluster cinematography, and flat characters.

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27: Mank

Mank sure looks swank. All that luscious black-and-white photography, fashionable period reproduction, and swell performances from the cast will surely grab every film lover's eye. Especially since this is one of those films-about-films, with particular focus on Citizen Kane's history. All that being said, I thought this film was an absolute bore. There's only so much narrative potential in a film focused on a single writer, and Mank doesn't seem interested in pushing its story beyond stuffy dialogue scenes. The most patient and sophisticated viewers might get more joy out of this than I did.

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26: Have a Good Trip: Adventures in Psychedelics

A pretty unassuming documentary on Netflix, amounting to nothing more than celebrities describing their experiences with drugs. Cute (and cheap) animations bring their hallucinations to life, and for a guy like me who's never taken drugs and never will, it's bizarre and interesting to see what these people go though. I'm sure there are plenty of folks who'd rather do the drugs than hear about them though.

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25: You Don't Nomi

Stop denying it--you know you love Showgirls, and the time has come for a bonafide documentary to legitimize its cult status. Fans everywhere will get a kick out of this film's high-level study of the film's critical stance and cultural impact--that alone is a fun discussion. It also means that no effort is really put into interviewing the original cast and crew--it's all about the critics, with narration running over movie clips and legacy interviews to fill in the gaps. Maybe nothing special, but it'll feel special enough to fans.

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24: Butt Boy

Yes, this is a film that exists.

Yes...really.

Yes...I watched it.

No, it's not pornographic. A little disgusting towards the end I guess, and the premise sounds sick, but it's definitely not what it sounds like. It's actually quite restrained.

One part serious detective story, one part dark comedy, and a huge heaping of style--the film presents its absurd premise with a deadpan, straight-faced gravitas, which is more than what this crazy idea deserves. It winds up having atmosphere, character, and a cult buzz of its own. Don't let the title dissuade you--this is basically a weird, arty thriller, and there's no other film this year like it.

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23: Fatman

Leave it to Mel Gibson to spearhead a Christmas film as a gritty crime thriller. Not nearly as action-packed as one would expect, but the film does toy around with the Santa Claus myth in subversive, funny ways. Gibson's take on the jolly fat man is surprisingly earnest even when he scowls so much. I got a kick out of this silly yarn, although the joke might fall flat for some folks.

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22: Bad Boys For Life

It's been a long time coming for Will Smith and Martin Lawrence to reunite and cause havoc in Miami once again. Michael Bay's absence from the director's chair is both a blessing and a curse--the film tries to copy the man's signature style, but only succeeds in feeling like a wannabe. On the plus side though, the action scenes are still fun to watch. Even better, the characters finally feel like real people, their banter is actually funny, and the emotional parts actually feel emotional. It's the things that Bay always aims for, but it always becomes swamped in style and excess--here, the balance might be just right. Shame the story feels samey-same, but in the same fashion as a Lethal Weapon film, serious effort was put into making this pair bond like a family, and it makes the film more worthwhile.

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21: The Call Of The Wild

A charming enough wilderness adventure film that banks heavily on one lovable dog. It's a shame that Buck is such a blatant CGI animation (especially considering how last year's The Lion King looked so real), it gives the film a cartoonish quality. There's also no masking how polished and clean most of the sets and locales appear--the film simply doesn't look realistic enough to sell its gritty tale.

All that being said, it's still a fair (and family-friendly) watch thanks to the focus put on characterizing the dog and delivering an emotional narrative. Heart alone pushes this above the more mediocre fare I see on Netflix.

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20: Rent-A-Pal

Who would have thought that Will Wheaton could be so creepy? In this low-budget psychological thriller, he embodies a villain only seen through a video tape, and it comes rather close to copying the dark, perverse themes previously explored in Videodrome. Even though nothing comes out of the screens, menace is palpable and it's inherently chilling to watch a man's obsession with media drive him to madness.

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19: The Tiger King

I figure I'll count this as a "film" since it's on Letterboxd.

This was the Netflix event of the spring (just in time for everybody to hole up during the COVID-19 quarantine and watch this--could it be a conspiracy?!). As promised, this true-crime miniseries delivers the murder, mayhem, and madness that surrounded Joe Exotic, his tiger rescue franchise, and his extreme lifestyle. It's easy to sensationalize such a narcissistic and deluded figure--the dude's just crazy, it's hard to take him seriously when he runs for President and sings country ballads. And yet, you will take him seriously when people die under his watch, rumors of revenge and hitmen are captured on-screen, and interviews reveal just how deep into corruption and depravity that consumes many of these people's lives.

I have seen valid allegations of misinformation, and I've seen valid criticisms about exploiting this story for entertainment value and sensationalism. I have to admit though, it caught and kept my attention all the way through, and I'm at least more aware of issues that I was previously rather blind to.

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18: Bill & Ted Face The Music

Whoa. It's finally happened dude--a third totally triumphant adventure with Ted "Theodore" Logan and Bill Preston Esquire. Keanu Reeves and Alex Winter are totally righteous in their comebacks, but Samara Weaving and Brigette Lundy-Paine add a surprising amount of charm to what could have been a bummer of a film. Laughs, high stakes, personality, and righteous music makes this a light, funny, and satisfying experience. With the focus on music and family, the film puts its heart in a most excellent place.

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17: Underwater

Once in a great while, one of these movies pop up out of the depths. In 1989, we had The Abyss. Several years later, Sphere. Films set in the deep ocean are a small niche, so I naturally welcome more.

Underwater starts fast and hard and hardly lets up. It's almost too much, pushing aside character development in favor of tense setpieces. However, the plot generally works as horror fare (nobody told me this was a Call of Cthulhu adaptation? Holy crap, those monsters are wicked!). Kirsten Stewart shows incredible grit and perseverance in her physically demanding role, but now and then there are flashes of personality. The production looks incredible, and a few sequences are flat-out amazing. The film overall mirrors the style and storytelling William Eubank had previously exhibited in 2014's The Signal, and I consider both his films to be unique sci-fi gems. Looking forward to see what else he summons from the deep.

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16: Weathering With You (Tenki No Ko)

After Your Name, It must have been quite a task for Makoto Shinkai to create something just as magical and compelling. His latest picture comes close--maybe a little too long for my tastes, but it sure is a gorgeous animation full of color, whimsey, and personality. Characters and their relationships succeed in commanding attention and emotion. Can't say it's an ideal allegory to climate change, but take it as a romantic fantasy, and it's pretty cute.

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15: Sputnik

It's refreshing to see an old concept presented with new flair. Sputnik shares a lot in common with typical sci-fi thrillers like Alien and Life, but what makes it special (aside from being Russian) is its focused script, firm cinematography, stoic performances, and awesome music. The actual alien threat is quite the uncanny sight, but I remained glued to the screen for the characters, the stakes, and the unique presentation. With genuine thrills and a unique identity, this thriller succeeds in the genre like a life form crawling inside an old corpse.

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14: Synchronic

Alan Moorhead and Justin Benson continue their uniquely uncanny and unsettling brand of cosmic horror, this time with a focus on time travel. This slow-burning procedural maintains a fair level of suspense, but I was ultimately satisfied with the methodical way it drizzles characterization and stakes on top of its fascinating premise. Some standout effects, tense setpieces, and a knockout performance from Anthony Mackie cements this as one of the more interesting sci-fi experiences of the year.

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13: Unhinged

These days, you never know what kind of psychopath you'll share the road with. Russell Crowe embodies a road-raging villain so comfortably and naturally, it's scary. With his menacing performance as a centerpiece for chaos and destruction, Unhinged is loaded with shocking twists and car crashes--even in its quieter moments, the film exudes tension and menace through its functional script and storytelling. Cinematography and music elevates the style with a fair amount of polish. While this may push the boundaries of creditability, there's nothing more heart-pounding than the thrill of the chase.

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12: Tenet

Christopher Nolan promised us an experience worth remembering with his latest time-bending experiment. What he delivered is a confounding puzzle. What it lacks in emotion and personality, it makes up for with its eye-popping innovations in filming things forwards and backwards--to include some of the most inventive action scenes of the year. The film's dry exposition does little to engage the audience in its palindrome-shaped plot, but take it as a spy thriller with a twist, and it's a genuinely unique and ambitious vision that deserves to be seen. Shame it didn't draw in as big of an audience as it wanted, but I have a feeling this will emerge in the coming years as a potential home video classic.

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11: Possessor

Like his father before him, Brandon Cronenberg enters the horror movie scene with fresh talent and unsettling visions. Possessor feels right at home next to classics like Scanners and Shivers, but with bold cinematography and firm quality. Though the premise is an interesting one, the experience remains unsettling thanks to the film's editing, lighting, pacing, and performances. Above all, the themes are as dank as they come, courtesy of the understated script, the twisty plot, and a handful of bold (and bloody) setpieces.

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10: Guns Akimbo

You had me with the crazy idea of nailing guns to a guy's hands. Although the story bears something in common with Nerve, I find the style of it is everything films like Birds of Prey wishes it could be--obnoxious, loud, punkish, but still flashy, cool, and just coherent enough to be watchable. With rapid-fire pacing and a thumping soundtrack, the film rockets ahead with ample amounts of laughs and thrills. Mad props to Samara Weaving, easily my favorite villainess of the year, and to Daniel Radcliffe, always a champ even after nailing all those wizard movies he did. Somewhere between the script--which does manage to wedge in some depth to the characters--and the director's zesty style, Guns Akimbo is probably the most sublime action movie I've seen since American Ultra.

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9: Minari

Sometimes it feels like Korean cinema can do no wrong. Though I question if Minari will be remembered in the coming years as fondly as Parasite or the plethora of revenge thrillers, I can't fault the film for much.

It is a well-made picture with lovely cinematography, apt performances, and a heartfelt tone. Dramatic conflict hits hard when it needs to, but the film is best taken as a menagerie of slices of life, all of which underscore thoughtful themes concerning faith, family, and the American dream. It's as strong of a film as they come--I only question if all the pieces really connect as strongly as they appear.

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8: Swallow

Oh no. Oh dear god lady, why would you swallow those things?

It's painful to watch this character choke down things like marbles and thumbtacks (and I mean, jeez, I cringed so hard every time she did it), but it's even more painful to experience her journey in and out of an abusive relationship. Actual scenes of swallowing stuff are ultimately sidelined (perhaps wisely) by the more compelling storyline that explores the reason behind this woman's disorder, and the paths she takes to reclaim independence and control. It's a story confidently told with firm cinematography and quality performances.

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7: Color Out Of Space

Richard Stanley brings the classic HP Lovecraft short story to brilliant life. Within the framework of a traditional horror narrative, the film brims with neon light, uncanny phenomenon, grotesque abominations, and scariest of all, Nicholas Cage slowly going insane and losing his sh*t. Some of the Cage Rage is actually laughable, but I couldn't help but to compare it to what Jack Nicholson did in The Shining forty years ago--considering that both films are about families torn apart by paranormal phenomenon, I find both performances eerie in their own ways. Time will tell if The Color Out Of Space will achieve significant cult status--this came out at the perfect time for me, a writer who's recently discovered the awe and terror of cosmic horror. With more Lovecraft adaptations on the way, I have a feeling this is just the beginning, but what a glorious sight it is.

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6: Sound of Metal

Not nearly as metal as I expected. In fact, there's nothing cool about losing your hearing, and this may be the closest a film can get to emulating the experience of deafness to audiences. Part of it is the inventive way it shifts the soundtrack and eerily manipulates dialogue and noises. What really sells this, however, is the creditable story, which focuses on the very real issues surrounding the deaf community. Riz Ahmed's performance gives it all emotional weight and realism, to the point where I related to the character's plight through the thick and thin of it all. Can't say it's perfectly plotted, but the story and experience makes it one of the most worthwhile Amazon originals.

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5: Nomadland

Not everybody enjoys the comfort of a stable job, home, and life. For those rugged souls who must wander the country in search of paychecks and places to park the vans and trailers they live in, this film is dedicated to the nomad Americans. Frances McDormand balances grit, personality, and tenderness in her grounded portrayal of a one such nomad--her simple struggles and pleasures paint a compelling portrait against the serenity of the American Southwest. One can't help but to feel for the plight of the real people who live this way (some of whom even populate the film in major roles). I thank the film for shedding light on their transient lifestyles, and I thank the people themselves for the hard work they do in jobs we never pay attention to.

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4: Wolfwalkers

You can count on Tomm Moore and Ross Stewart to deliver a heartfelt myth rendered in handsome 2D animation. Stylish and colorful, Wolfwalkers offers a gorgeous painting in motion that brings its Irish-inspired world to vivid life. The characters remain lovable, even in the midst of gut-wrenching war and trauma, and their journey explores sharp themes of cultural barriers and tolerance. There is charm and personality beneath the grit, and the contrast cements this as a bold and beautiful piece of art.

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3: Onward

What looks like a mere Shrek knockoff might be one of the smartest and most profound adventures of the year. With the amusing premise of a stereotypical fantasy world evolved into modern suburbia, the film takes the opportunity to play on mythology, the classic hero's journey, and typical archetypes. The result is often surprising, but also hilarious and satisfying. But the film is attentive to its story, layering its cast of lovable characters with depth and emotional resonance that elicits smiles and tears from the audience (it's Pixar, duh). I'm personally awed by the economy of the script, in addition to the gorgeous animation quality and the eye-popping way it spins old tales in fresh new ways.

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2: The Invisible Man

It's always the films you don't see coming that catch you off-guard and leave a lasting mark. I did not see any good reason for another Invisible Man adaptation, and naturally I didn't expect much. Like the actual Invisible Man, the film snuck up on me, tricked my senses, and left me wondering about what just happened.

Leave it to Leigh Whannell to orchestrate such jaw-dropping choreography and effects--the hospital fight scene has got to be the best I've seen since the one in T2: Judgment Day. The sudden and violent action is framed rather well around a twisty narrative that will always keep you guessing, even up to the end. Elizabeth Moss shows us a character worth rooting for--one that balances trauma and determination in the midst of abuse and harassment (and it's especially relevant in an age where tech tycoons are idolized and toxic masculinity is continuously being exposed). I was left gobsmacked, and ultimately pleased, with the fresh and bold experience crafted out of such an old concept. Looks like the Universal Dark Universe has some fresh blood after all, and now I'm excited to see if they can keep it going.

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1: Soul

This pretty much wins 2020 by default. I mean, come on, it's Pixar doing a film on the afterlife. What if souls had feelings? It can't lose!

It's uncanny how Pixar can distill the enigma and grandeur of life after death into such a short, breezy, lighthearted cartoon. I fear it does so by shying away from some of the larger questions imposed by the universe it paints. And yet, its ultimate message on how to live life becomes prominent thanks to the comedic pairing-off of characters and the madcap adventure they experience in and out of the city. This is one of those odd films where there's no real hero or villain involved, it's simply a good story that hinges on the wants and desires of its characters. In light of that, the film retains a humanist tone that persists through the peril, the laughter, the jazz numbers, and the eye-popping spectacle.

I'm floored that Trent Reznor, of all people, scored half of this movie (those synths and beats are sweet), but this film also raised my appreciation of the jazz genre. This might be my favorite performance from Jamie Foxx, but the rest of the voice cast pulls their weight well. The animation is sharp, clean, and vivid as ever. Character designs are cute. Best of all though, the film is well-written, well-executed, and its statement on life makes it a valuable, inspiring experience.

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Favorite film: Soul
Least favorite film: Easter Holocaust
Favorite blockbuster: Tenet
Favorite arthouse film: Wolfwalkers
Favorite science fiction film: The Invisible Man
Favorite fantasy/epic: Onward
Favorite drama film: Nomadland
Favorite action film: Guns Akimbo
Favorite superhero film: None
Favorite comedy film: Soul
Favorite horror film: The Invisible Man
Favorite documentary: The Tiger King miniseries
Favorite animated/family film: Soul
Favorite foreign film: Sputnik
Biggest guilty pleasure: Butt Boy
Most disappointing film: Wonder Woman 1984
Favorite male performance: Riz Ahmed in Sound of Metal
Favorite female performance: Frances McDormand in Nomadland
Favorite unintentionally funny performance: Nicholas Cage in Color Out Of Space
Favorite direction: Leigh Whannell, The Invisible Man
Favorite action scenes: Guns Akimbo
Favorite special effects: The Invisible Man
Favorite film score: Ludwig Göransson, Tenet
Favorite theme song: "(Don't Fear) The Reaper" by Keep Shelly in Athens, Unhinged
Favorite musical sequence: Those jazz scenes from Soul

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2021 Films Al Is Looking Forward To

Well, duh, a lot of it might be the films promised to us last year but were delayed repeatedly by the pandemic. That being said, maybe there'll be some awesome new gems to discover amidst the commercial waves.

Dune: is still the one I'm most hyped for. The trailer already dropped and it was beautiful.

The King's Man: I enjoyed the other two movies in this franchise, and so long as Matthew Vaughn is behind the wheel, I see no reason why this won't be a hoot.

Last Night In Soho: Edgar Wright hasn't done my wrong yet, so I'm rooting for his next film on the basis of talent alone. Interesting to hear this will be a horror flick though.

The Matrix: Resurrections: I'm not expecting the second coming of anything here, but hot dang, with the cast back and one of the original directors, I have some faith this might turn out interesting and entertaining.

No Time To Die: we were robbed of a Bond film, now it's time to deliver. The trailer that was released looked pretty decent.