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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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.

--------------------------------------------------------------

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

--------------------------------------------------------------

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.

Books Al Read In 2020

You'd think I'd have found time enough at last to read so many books throughout 2020, especially in the months spent in lockdown. I set a goal on Goodreads for 50 books in a year. It proved a little too ambitious for me, although I think it would have been do-able if I had made a stronger effort to read something every day. I wound up reading a total of 27 books last year--it's a little more than usual, but I still think I could have done better.

Of these, at least half of them are graphic novels and mangas. At their best, I find them rather easy to read in a short time. It feels a little bit like cheating since the words are sparser than an actual novel or non-fiction book. I do admire the artwork and detail in many of these books though, and they often times have the stories I admire the most.

Did make time for a few novels, including a couple that are highly-rated and outside my comfort zone. I also made time for a couple of non-fiction books and art books. There are still a few books I've started but never finished--these weren't counted in my final stats (could have made 30 easily if I did). In 2021, I plan on finishing those first before moving onto others.

Here are the highlights I had with my reading in 2020.

------------------------------------------------------------------

Alita: Battle Angel manga series, volumes 1 - 3, by Yukito Kishiro. I had purchased the deluxe box set for this as a Birthday present to myself, and it's every bit as awesome as I expected it to be. Having seen the film and anime before, I knew much of the story going in. I'm still enamored by the Alita character, many of the side characters, and the distinctive worldbuilding. I found volume 1 the most captivating, likely because of how it introduces the characters and the world, but the twists and turns of the following volumes didn't quite deliver what I expected out of the story. I appreciate the turbulence of the character's journey and how unpredictable it is, but it also means that some subplots and side characters come off as unfocused or fleeting. All that being said, I still have a few more volumes left in the box to read, and I'm curious to see where it's all going.

The Dead Zone by Stephen King. Had seen the movie before. Even then, I didn't expect what the book delivered--there is a fair amount of emotional oomph to this. Can't say I loved it though--the first half of the book is an absolute slog in my opinion. I appreciate parts of the story and its prose, can't say I enjoyed the whole thing though.

Giger, from Taschen. A book that showcases some of HR Giger's artwork, with some scattered anecdotes on the guy's bizarre life. Regardless of some of his less tasteful work, I do admire his art and it is genuinely creepy and provocative. Not sure if I'm brave enough to tackle the upcoming video game based on his style, but I will flip through this book on occasion for inspirational nightmare fuel.

How To Write Action/Adventure Novels by Michael Newton. This is a how-to book I found at the library. Many tips in this are the same as I've seen/read elsewhere (you know, write what you know, show don't tell, don't be boring, etc). It's probably most valuable for exploring the history of the genre and focusing on the practical aspects of making sellable books. It's modestly valuable, but these days you can get a good feeling on how to write most things from the Internet just as easily.

The Invisible Man by HG Wells. Pretty sure I dipped into this after seeing some of the old Universal movies, and I was quite surprised to find that the book is very similar to the first movie from 1933 (maybe a little less goofy though). The prose is a little old-fashioned (understandably), but the main character is quite the dastardly villain. As the forward pointed out, the Invisible Man type stories remain interesting because of the uncanny image Wells painted in this book (of a man unwrapping himself, of food being seen through his gut, and so on). It's a spectacle I always enjoyed in movies, but it's pretty neat to read where it all came from originally.

Teenage Mutant Ninja Turtles volume 1, by Kevin Eastman. This was a library copy, in the one instance I was able to visit a library. I'm quite impressed by the hardcover volume and how it collects the original comics together with artwork and some background write-ups. The artwork is spectacular despite its clunky, cartoony appearance--it's strikingly similar to something like Tank Girl. I was surprised by how straight-faced these comics are, especially when compared to the cartoons I grew up with and the various movies made since. It seems like the story whips through its outlandish story arcs pretty fast (I mean, look at what happens to Shredder, holy crap). Even when toned down a notch, the turtle characters remain an endearing family of heroes worth rooting for--the personalities we see in other media are still there subtly. Not sure this is a comic series I'd keep reading, but I appreciate the chance to see where this property originally came from.

Time's Eye by Arthur C. Clarke and Stephen Baxter. Book one of the Time Odyssey (as opposed to the Space Odyssey--how did I not even know this was a thing?). Maybe not the best prose or story ever written, but hot dang, I found it exciting and interesting. I loved the premise and the way it mashes up modern and historic armies in a big slug-fest on an altered Earth--I thought this whole thing was way cool. I especially appreciate how creditable the historic characters, places, cultures were presented. Character development is not a highlight, unfortunately, but I enjoyed the heck out of this book.

Vox by Christina Dalcher. I checked this one out of the library based on its fame and good reviews. Given that it's a piece of dystipian sci-fi, I expected this to be right up my alley. Alas, despite my admiration of the character voice and premise, I found it unpalatable as it went on. The character straddled the like of likability quite a bit. Worst of all though, I found the plot and sequence of events highly implausible, and I couldn't suspend disbelief long enough to take this book seriously. I couldn't really connect with this book in the end despite the nobility of its message--in fact, the political grandstanding really dragged the experience down for me. This is probably the biggest disappointment for me this year.

War of the Worlds by HG Wells. I was familiar with this story before (but I can't remember if I actually read it before). It's a bit of a dry read, but there's no denying the sheer imagination involved with the alien menace Wells created and the sobering destruction they bring. It's quite a bleak story that captures the hopelessness of humanity's chances in an alien invasion. Can't say I found it wholly engaging all the time, but it's a classic worth reading.

What the #@&% Is That?: The Saga Anthology of the Monstrous and the Macabre, by various authors. Having dabbled into the realms of cosmic horror recently, this book gave me a healthy dose of inspirations and insights from many talented writers. I found many of these stories fascinating and uncanny.

Where the Crawdads Sing by Delia Owens. Once again, I picked this up based on its notoriety. I found much to admire in this book, between its character development, themes, descriptions, and the gritty nature of the story. I can see how someone would hate this on the grounds of its plausibility or story direction, but I appreciated the journey it took me on and I wound up caring for the character a great deal by its end.

Happy New Year 2021!

So much can change in the span of one year, and it's not always for the best. For most of us, 2020 has become synonymous with disaster and hardship, thanks to a global pandemic, civil unrest, social injustice, economic depression, extreme weather, and other problems. It's often felt like every day brings more bad news, one thing after another. We've all had to get used to a "new normal" that includes wearing a mask everywhere (or maybe putting up with people refusing to do so), cleaning the everloving hell out of everything before touching things, and becoming more reclusive than usual. Somehow I managed to survive this year without contracting the COVID virus (*knocks on wood*), and vaccines are slowly spreading to the public. I have hope that by spring, 2020 and the pandemic will become a bad memory.

Of course, some things won't revert to "normal" even after vaccines reach every person. We may still need to wear masks and act like germaphobes for a long time. Heck, I might become paranoid of every exposed surface for the rest of my life. It will feel weird to visit a public venue, event, festival, or even a restaurant, especially if it's packed with people. Will movie theaters even make a comeback, or will we have to stream all the movies for now on? Will the future be more Zoom and Skype meetings and less face-to-face appointments? It all seems likely, for better and for worse.

Many folks have pegged 2020 as the worst year ever. The loss of life has been sobering, especially when it comes close to coworkers or loved ones. It's probably the worst event I've faced in this lifetime, but it only makes me realize how horrific even worse events in history (such as the Spanish Flu and the Bubonic Plague) would have been.

I've been fortunate to remain in my own house, support myself, and continue working as I have been. We had a period of time in the spring where we had to isolate ourselves at home, but that time quickly passed, and strangely we've been working harder now when the Coronavirus cases are at their highest. I have to admit, the pandemic had altered our office in odd ways I never would have predicted, and it's forced me to work outside my comfort zone.

With a substantial amount of leave taken throughout the year, you'd think I'd have found time to accomplish everything I wanted too--most especially writing and finishing a good book. It hasn't quite happened, unfortunately. Though I have no shortage of ideas or projects, I seem to always become stuck with the revision process when I realize that story structure, character development, or just plain logic didn't come together the way it should have. As far as other hobbies go, I still have backlogs of media, still have gigabytes of photos to sort, a few years' worth of video I never edited, dozens of books still unread, among other things. Chances are I simply haven't done enough to make time for all this, especially when I've been unmotivated or idle in my free time.

On the plus side, I've made some progress in my interests. Over the past few months, I've even managed to lose fifteen pounds without really meaning to. I've also seen my parents frequently and seen local placed with them. It's been especially important this year since my father had a pancreatic attack, and needed support to and from the hospital before it was discovered that his gall bladder had to be removed. Then he had to be scrutinized for enlarged lymph nodes in the lungs (which turned out to be benign). Fortunately, he's been feeling good lately and we're all motivated to improve our health over the coming year.

When it comes to next year's goals, it seems like it's the same as usual. Losing some weight and getting healthy is always a priority. Given recent success, I believe that less snacking will go a long way in cutting out some body fat. I still want to write and complete something worth publishing--what I need to do is set aside the time and take the effort to plan or replan my stories, then fix the things that need to be fixed. 

Lately, I've reflected on my musical tastes (especially since I want to post about my favorite albums at some point), but it's made me realize that I haven't heard that many albums that are considered classic or great, and I often focus so much on catchiness and hooks that I probably skimp out too much on the overall listening experience. I've resolved to listen to more music, and listen to it deeper.

I may also make a different plan on how I juggle books and movies. I often cram in movie-watching whenever I have time to spare, but it may behoove me to set aside those hours (and maybe not binge as heavily), and make sure I take the time to explore the streaming services I subscribe to (I figure I can assign it by day--Netflix one day, Criterion the next, and so on). With books, I realize that trying to cram in some pages before bedtime might not be the best approach--I would like to consider setting time aside in afternoons to dedicate myself to books. I should probably also carry them with me and read when I'm out and about (I think this is what Stephen King does, the dude can plow through hundreds because he reads every chance he gets).

Much of this involves managing my time more than anything. Maybe I've wasted too much of it being idle (or "shaming" as my boss would call it). Instead of meandering from one thing one hour to the next, I need to dedicate my time to tasks.

There's no telling if 2021 will be any better or worse than before. With my work schedule changing, I might not even find that much time for all these things, especially when juggling other personal responsibilities like cooking and cleaning. I want to be productive though. Maybe I'll even blog more. I have faith that things will get better in the coming year, and I'll find the time and energy to accomplish the things I want to do.

Al's Top 50 Horror Films of the 2010s

In ten years, I've seen my fair share of scares. Horror movies--or horror stories in general--have always delighted me in many ways, and throughout the 2010s I've probably explored the genre in the most daring manner. I had explored many unique subgenres for the first time, including all the major slasher franchises, suspense thrillers, the Italian gaillo films, and cosmic horror (which is probably the rise now more than ever). Earlier in the decade, I also saw some the goriest and most disturbing of films--few of those hold up, but lately I've wizened up to the follies of excessive shock value. Blood and guts don't have nearly as much charm as a good, bone-chilling tale that's told well.

When it comes to new horror film that came out year after year, I found myself becoming more and more enthralled by the horror scene. Films had moved away from trashy torture films and closer to truly inspired originality. Even though there have been quite a few sequels, remakes, there have been quite a few smash hits that boldly obliterated the mold. In particular, there have been an uncanny number of films involving people trapped in dangerous situations, films about threatening individuals, and quite a few throwback ghost stories. We've had phases involving James Wan's Conjuring franchise, and a string of cheap (but perhaps effective) Blumhouse productions (and with these pictures, lots of jump scares). Also...is it me, or are most of the 2010s horror films all about families falling apart? It's quite an unsettling theme that a lot of recent films explore, and they're perhaps a grade more disturbing that way.

Despite a few letdowns, many of these will undoubtedly be cemented as new favorites of mine. Some have even been influential in guiding my interests and imagination, becoming new inspirations for my own uncanny tales of terror. 

Of the 200+ horror films I've seen from the 2010s, I've singled out 50 that I feel stand out the most and are the most worthwhile. Whether I found them thrilling, unsettling, or just plain entertaining, I have thought of them time and again and most get my highest recommendation.

-----------------------------------------------------------

Runner Ups:

• The Autopsy of Jane Doe (2016)
• The Crazies (2010)
• Evil Dead (2013)
• A Field In England (2013)
  
• IT Chapter Two (2019) 
• Jigsaw (2017)
  
• Let Me In (2010)
  
• Overlord (2018)
  
• Piranha 3D (2010)
• Ready or Not (2019)
  
• Scream 4 (2011)
  
• The Skin I Live In (La Piel Que Habito) (2011)
• Suspiria (2018) 
• The Thing (2011)
  
• Troll Hunter (2010) 
• The Visit (2015)
  
• The Void (2016)
  
• We Are Still Here (2015)

-----------------------------------------------------------

50: I Spit On Your Grave (2010)

This was never a particularly tasteful tale, but it's told anew with a lot more grunge and brutality. The revenge scenes, in all their vileness, prove satisfying--if you can handle it.

-----------------------------------------------------------

49: Clown (2014)

 

A pretty low-key flick, with a yarn that feels like a slight rehash of the Goosebumps mask story. Still, I did find this halfway compelling thanks to its focus on a character becoming corrupted by evil. A little hard to stomach perhaps, but then again, clowns are naturally unsettling.

-----------------------------------------------------------

48: Climax (2018)

Quite the mixed bag from Gaspar Noe--on one hand, the dance scenes are presented as a grand piece of performance art that'll surely dazzle. On the other hand, the opening act offers very little momentum. The film's last half is a visceral spiral of madness and despair, but it's also a hard watch at times. It's definitely unforgettable.

-----------------------------------------------------------

47: Ma (2019)

There's something uncanny and compelling about disturbed villains, and Ma delivers a genuinely unsettling villainess through Octavia Spencer's performance--it might be her best. The story is suspenseful, even if it's shot in a low-key low-budget manner.

 -----------------------------------------------------------

46: The Green Inferno (2013)

Eli Roth pays a tribute to the Italian cannibal films of the 70s. Even though the Green Inferno plays out like a standard torture film, the jungle setting and themes make it somewhat unique. I would have liked this more if it was more kitschy and extreme like the older flicks, but this is still pretty harrowing.

-----------------------------------------------------------

45: A Serbain Film (Srpski Film) (2010)

This is the film that pushed the envelope as far as it can go. I can't blame anybody for finding this distasteful and pretentious--I have to admit though, it's definitely an intense experience that leaves a mark. I wound up admiring the film for its simple focus on a man coerced into crossing certain lines, all the way to its tragic finale. It's all captured with handsome camerawork and production quality. It might be a little too much shock value, and the film's themes are probably too far-reaching. There's nothing else like this, for better or for worse.

-----------------------------------------------------------

44: Silent Night (2012)

Pretty standard update on Silent Night, Deadly Night, but it's not necessarily a bad thing. The kills are quite inventive and over-the-top. All the naughty slayings are captured with crisp and vibrant photography. Santa's slays are quite wicked.

-----------------------------------------------------------

43: Ghostland (2018)

A dark and oppressive odyssey, which achieves its strangest and most unsettling images by the midpoint. It takes some patience to get through the conventional first act, but afterwards, becomes quite the bleak and surreal experience.

-----------------------------------------------------------

42: Halloween (2018)

Michael Myers just won't die. Even after forty years, the Halloween franchise continues onward, and this semi-reboot semi-sequel offers a stylish new take on Laurie Strode's arc. It's inherently thrilling to watch Jamie Lee Curtis sink back into a familiar role, but with more attitude and empowerment. It's also nice that John Carpenter came back to remix the main theme--the revamped music score is quite awesome.

-----------------------------------------------------------

41: Alien: Covenant (2017)

After the success of Alien and the dubious reputation of Prometheus, there was little chance that this prequel would be anything but a rehash of familiar story beats. Even though it plays out like an Alien remake, it's well-filmed and few scenes are incredible standouts.

-----------------------------------------------------------

40: The Wolfman (2010)

The classic tale of the Wolf Man is updated with a lavish production quality and plenty of good talent. The film is modestly entertaining and quite stylish. This doesn't quite reach the levels of empathy that Lon Chaney elicited in the 40s, but it's still a pretty fun werewolf pic.

-----------------------------------------------------------

39: Beyond the Black Rainbow (2010)

Easily one of the strangest watches of the decade. This debut film from Panos Cosmatos combines the style of futuristic science fiction with outlandish cosmic horror, delivering visions that are often dreadful and compelling. The film runs slow, but the atmosphere is thick. It's maybe a little hard to follow this way, but I was smitten by the experience and the imagery--there's nothing else like this film anywhere.

-----------------------------------------------------------

38: Kill List (2011)

This bizarre puzzle of a film may test your patience, but it'll reward you with quite the unsettling finale. The film somehow mashes up crime tropes with the occult, in an understated story that explains very little and forces you to pay attention to figure out where it's going.

-----------------------------------------------------------

37: The VVitch (2015)

Quite the slow burn, and this will understandably bore many viewers. What kept me coming back to this was the atmosphere, quality period reproduction, and the fascinating religious themes. The film's last shot is a particular stand-out.

-----------------------------------------------------------

36: Haunt (2019)

Though not particularly deep of a story, the titular haunt is a frightening place thanks to its hard-hitting scares, the creepy villains, and many rooms full of diabolical traps. I found it adequately suspenseful and stylish.

-----------------------------------------------------------

35: Stoker (2013)

Chan Wook-Park breaks into Hollywood with this enigmatic thriller. It bears something in common with the violence and bleakness of the Vengeance trilogy, but Stoker feels a grade warmer and more romanticized in a way. This tale of human monsters is brought to life sublimely with a phenomenal cast and rich cinematography.

-----------------------------------------------------------

34: Bedevilled (Kim Bok-nam Salinsageonui Jeonmal) (2010)

This Korean thriller, with its focus on domestic abuse, can be a rather harsh watch. The slow-burning drama ultimately climaxes with a brutal bloodbath, so full of twists and suspense. With quality photography and creditable performances, the film stands out vividly. The tale overall is a gruesome and compelling chronicle of one woman's outrage.

-----------------------------------------------------------

33: Black Swan (2010)

Who would have thought that being a ballerina could be so scary? With its focus on perfectionism, the film becomes a nightmarish descent into madness where reality is blurred. The cast is top-notch. Their performances are captured with gritty, documentary-like camera work. The film has a way of messing with everyone's minds before its big finale, and it's quite a thrilling show.

-----------------------------------------------------------

32: Green Room (2015)

A taut and gritty suspense film that'll keep you on the edge for its whole runtime. It's especially interesting to see Patrick Stewart in a villainous role. The rest of the cast is apt. The film is stylish and makes good use of its limited sets. Not bad for something that takes place mostly in one room.

-----------------------------------------------------------

31: mother! (2017)

A frustrating watch for many reasons--this is a bizarre and confusing film that eschews literal reality in favor of an allegory stretched beyond reasonable limits. And yet, the absurdity and impressionistic images are what makes it stand out so much. The film aims to outrage its audience by toying with their empathy and dragging the characters through some very horrific and traumatizing scenes. It's hardly pleasant, but as an arthouse experience, the film does elicit enough thought and feeling to make it worth the heartaches.

-----------------------------------------------------------

30: It Follows (2014)

A surprise sleeper hit, It Follows offers a unique spin on supernatural horror. Perhaps a little obvious in its allegory, but the film remains thrilling and suspenseful thanks to its atmosphere, style, and talent.

-----------------------------------------------------------

29: The Girl With All The Gifts (2016)

This might be one of the most unique zombie pictures I've seen in a long time. It plays out a little like The Last of Us, complete with the post-apocalyptic settings and somber mood. The film is shot well and paced well. Performances are decent. Above all, it's a pretty neat story that's compelling and stylish.

-----------------------------------------------------------

28: Get Out (2017)

Jordan Peele breaks into horror with this surprise hit. The political messages of the film will keep people talking for years, but its simple Twilight Zone style twists make it consistently watchable and thrilling. The imagery is punchy, but it rarely goes overboard. Some combination of performances and style makes this uncanny at all the right moments.

-----------------------------------------------------------

27: Split (2017)

Could it be? Has M. Night Shyamalan found his mojo again? The dubious effort of Glass probably suggests otherwise, but hot dang, Split was a phenomenal surprise. James McAvoy owns 23 different roles in a remarkable performance. The film itself is quite stylish and well-built, but it's especially notable for its unexpected genre shift towards the end. There are a few scenes that drag, but most of this is uncanny, fascinating, and thrilling.

-----------------------------------------------------------

26: Unsane (2018)

It's a taut and suspenseful exploration of insanity in a post-recession era, rife with social themes and psychological terror. Steven Soderbergh shot this on an iPhone, but it still looks pretty handsome thanks to its camera composition and decent performances. The most thrilling scenes are staged well, but Claire Foy keeps it relatable and engaging the entire way through.

-----------------------------------------------------------

25: Oculus (2013)

A rather interesting ghost movie involving mirrors. Some might say this is bland and derivative, but I found it interesting and enjoyable all the same. I was especially pleased with the storytelling and the way the film juggles two plotlines in tandem.

-----------------------------------------------------------

24: Insidious (2010)

James Wan delivered some seriously creepy scenes in this modern take on classic tropes previously seen in films like Poltergeist. The imagery is quite uncanny and definitely elicited a level of suspense and dread. Even with a few jump scares, the film carries the right atmosphere.

-----------------------------------------------------------

23: The Conjuring (2013)

Perhaps the best from James Wan. It's inherently interesting to dig into the history of Ed and Lorraine Warren. The period reproduction is solid, and the film crafts a heck of a frightening experience with a pretty smooth style. Not sure how this will hold up as a franchise, but it had a decent start.

-----------------------------------------------------------

22: Us (2019)

One of the most bizarre pictures in recent memory, Us is lest interested in realism and logic and more interested in style, performances, and messing with your mind. And that's why I like it this much--the film is at its best with its uncanny images and overall strangeness. The premise involving doppelgangers is interesting, but also demands much from the cast (and I feel they deliver admirably). This might not make much sense to most viewers, but I appreciate the impressions the film leaves behind.

-----------------------------------------------------------

21: Don't Breathe (2016)

This plays out like a modernized take on the myth of the Minotaur and the labyrinth. The low-key setting squeezes the actors into tight predicaments full of tension and fright, and menace is easily felt through Stephen Lang's imposing stature. This culminates with a rather wicked twist--with or without it though, this is quite the suspenseful flick.

-----------------------------------------------------------

20: 10 Cloverfield Lane (2016)

While the original Cloverfield presented itself as a found footage monster movie, its follow-up takes the unexpected approach and becomes a traditional suspense thriller set in a confined space. The photography is solid (much improved from its god-awful predecessor), and the performances are decent. John Goodman is exceptional in a role that exudes menace--that alone made the film suspenseful, but the ending twists are eye-popping as well.

-----------------------------------------------------------

19: Final Destination 5 (2011)

This series was always a blast with all its inventive death scenes and such. The fifth of the series (and a prequel) offers more of the same, with much better quality than some of the others before it. The deaths are wicked as ever, and captured with superb style and quality. It links up with the original film pretty smoothly, and it feels like a circle is completed.

-----------------------------------------------------------

18: Train to Busan (Busanhaeng) (2016)

The Korean zombie movie--one that uniquely focuses on outrunning zombies on a train. There's plenty of action and gore to satisfy zombie-movie fans. It's a solidly-built film with decent performances. It's paced swiftly--the film itself is like a runaway train, and all you can do is sit and watch in terror.

-----------------------------------------------------------

17: Crimson Peak (2015)

Guillermo Del Toro offers a fresh gothic romance tale, the likes of which I honestly don't see that much these days. While the film won't elicit as much excitement or suspense as the director's other works, it is a good story told with vivid style and strong performances. Effects are decent, but it's the lavish sets and locales that dominate. I feel that this is quite underrated--it's a good ghost story.

-----------------------------------------------------------

16: Prometheus (2012)

Living up to 1979's Alien remains an elusive feat, but Ridley Scott tried hard to give this prequel its own identity and iconography. I won't deny that the film has its dumb moments, but it does offer some truly unique and unsettling scenes that stand out in their own way. The characters, and their search for the origins and meaning of life, mirrors the Prometheus myth in thoughtful ways. It's a shame that some threads are dropped in Covenant, but it's still a dark and suspenseful odyssey that deepens the lore of Alien.

-----------------------------------------------------------

15: The Lighthouse (2019)

It seems there is much to fear by the sea. This black-and-white full-frame picture may look charming and quaint, but it doesn't hold back on its bizarre, punchy, and sometimes graphic images, which includes everything from the rustic lighthouse setting to tempting mermaids. For a movie with only two leads, it manages to sustain tension, mystery, and an uncanny atmosphere, even when the film becomes absurd and crude. Much of this is arty and strange--maybe even pretentious--but it's certainly bold, well-composed, and unforgettable.

-----------------------------------------------------------

14: A Quiet Place (2018)

This thrilling sci-fi monster flick offers the unique premise in which people hide from creatures with acute hearing. For a movie that has to naturally hush all its dialogue, the story is surprisingly well-told with performances and visuals alone. Photography, performances, and effects are solid. With as much thrills and emotion the film has, silence really is golden.

-----------------------------------------------------------

13: The Babadook (2014)

It might seem like a bit of a cliche to craft a supernatural story out of childish nursery rhymes and such. The Babadook presents its tale with plenty of quality and style, but it takes some surprisingly dark and punchy turns that elicits deeper fear out of the human characters. That Babadook is no joke after all.

----------------------------------------------------------- 

12: The House That Jack Built (2018)

In several chapters, Lars Von Trier explores a seriously troubling individual. Each episode offers disturbing violence, and perhaps a dark shade of comedy. I can't say I found this picture entirely palatable, or its themes agreeable, but I found it most relatable when the film pulls the camera through the underworld and it becomes a parallel to Dante's Inferno.

----------------------------------------------------------- 

11: Doctor Sleep (2019)

It's a tough job to create a sequel to The Shining that balances itself between Stephen King's text and Kubrick's 1980 film. Thankfully, the cast and crew of Doctor Sleep step up to the challenge and does decent justice to both. The plot and story of the book carries over well, but remains consistent with its predecessor. It was a joy to watch the characters come to life. The film has a style and identity of its own, which is continuously moody and suspenseful. The return to the Overlook Hotel is creepy as ever.

----------------------------------------------------------- 

10: The Wailing (Gokseong) (2016)

In a rural town in South Korea, the terror of immigration and demon curses collide for an unsettling effect. Even though this is quite the long film, it is methodically-paced, well-framed, and well-written. Most horror films make a point to show how science can fail to defeat the unknown--this is one unique take where superstition and rituals fail as well, and with bloody results.

----------------------------------------------------------- 

9: The Cabin in the Woods (2011)

This just sounds so cliched, right? We've all seen these silly flicks with cabins in woods where stupid teenagers get killed by something. This film gives us just that...but with a twist. With a meta narrative, the film offers deconstruction and satire behind its conventional thrills, leading up to a surprising finale. There's as much laughs and thrills to this as there is blood, and I appreciate how different the story went. I definitely didn't see any of this coming.

-----------------------------------------------------------

8: I Saw The Devil (Ang-ma-reul bo-at-da) (2010)

A simple premise can be such a devilish delight. In this South Korean thriller, a cop plays cat-and-mouse with a serial killer, repeatedly catching and releasing him in a never-ending loop of revenge. The film is consistently on the move, and thus the tension never runs dry. It's well-shot, and the actors are at the top of their game. It is quite the dark and bloody game they play, but it remains one of the best and most thrilling Korean thrillers of them all.

----------------------------------------------------------- 

7: IT (2017)

Far from the campy 90s miniseries, this adaptation of (well, half of) Stephen King's famous novel aims for gravitas and heart. Pennywise is at his most terrifying thanks to Bill Skarsgard's unnerving performance and a plethora of incredible scares and effects. The rest of the cast is admirable as they bring the Losers Club to life--it helps that the script shows attention to characterizing the lot of them, but there's still ample amounts of mystery and suspense. It all moves at a swift pace. Even though the finale leaves an opening for a sequel, it is satisfying to watch these kids overcome fear and become a lovable bunch worth rooting for.

----------------------------------------------------------- 

6: Midsommar (2019)

Ari Aster's ultimate breakup movie, disguised as a horror film similar to The Wicker Man. I have my doubts that isolated Swedish folk communities would go this far, but the film makes its own reality in the most vivid and hallucinogenic way. It is one of the most gorgeous films I've seen, thanks to its sunlit prairie settings and all the flowers, and its firm cinematography. Performances are compelling, most especially from Florence Pugh. Music and sound is quite eclectic. Despite the length and slow pace, the film maintains enough suspense with the intense ritual scenes and a few uncanny details. It builds up to quite the cathartic finale--the entire film is a trip I won't forget about any time soon.

----------------------------------------------------------- 

5: The Neon Demon (2016)

This may be my greatest guilty-pleasure of the lot, given that so many viewers find this rather pretentious and shallow. It's true that there's little subtlety behind the film's satire concerning the fashion industry. Take it as a stylized fable, however, and I thought it was engaging. The film's style is as vivid as they come, coupled nicely with its synth soundtrack. Even if she does becomes some kind of figurative demon, Elle Fanning is a delight to watch. There are a few scenes I could probably do without, but I still value this film for its craft and allegories.

----------------------------------------------------------- 

4: Mandy (2018)

One of the strangest surprises in recent years, Mandy is a heavy-metal fever dream. A simple story told well, but elevated to another dimension thanks to its bizarre cinematography, vivid lighting and colors, and its music score. Nicholas Cage, surprisingly, shows all the rage but without the camp he's known for--this is easily one of his best and most serious performances. The other performers are no slouches either. Even at its strangest and most ridiculous, the quest to avenge Mandy never fails to instill a sense of awe, wonder, and terror.

----------------------------------------------------------- 

3: A Cure For Wellness (2016)

This stands as one of the best-looking films in the last ten years. The cinematography alone, so eye-catching and beautiful, will keep you glued to the quaint mysteries of an unassuming Swiss wellness center. The film's story is structured well, chock full of uncanny terrors and strange encounters, and it culminates in an exciting climax. All the performances are decent. The music score is quite nice. Even at its most macabre, the film maintains a level of class that remains unparalleled.

----------------------------------------------------------- 

2: Annihilation (2018)

Beyond the threshold of the Shimmer, the most uncanny terrors await and threaten to destroy all mankind. While there probably aren't as many scares in this as other films, the unique and unnatural sights in Annihilation are enough to elicit fear over cosmic forces and the lucid nature of biology. The simple story takes some diversions to explore deeper themes concerning self-destruction and rebirth, ultimately tying into an ambiguous ending that'll leave you guessing what happens next. With decent photography, performances, and music, the film stands as a new favorite sci-fi horror hybrid.

----------------------------------------------------------- 

1: Hereditary (2018)

It takes much to scare me after the credits roll. Somehow, the story and visions presented in Ari Aster's Hereditary managed to linger in my head for long, sleepless hours at night. I couldn't help but to wonder about spirits, demons, and the significance of this story as such forces slowly ground a family down.

Hereditary is as handsome of a film as they come, thanks to its solid cinematography, unique color pallets, and decent lighting. All of the performances are top-notch. The writing is nuanced. This production boasts interesting sets, costumes, locales, and certainly some bizarre and unsettling effects. It all meshes together in a story that seems unassuming at first glance, but with a few shocking twists, it becomes a bittersweet tragedy. I know some folks find some scenes laughable--I find much of it bleak and uncanny, even if some dark humor is intended.

This is a story that underscores how preexisting faults (in particular, the inability to cope or face reality) can drive a family apart and lead to death and mayhem. There are freaky cults, bizarre supernatural occurrences, scenes with creepy naked people for some reason--but I will always remember this film for its characters and the dire turns they took under the manipulation of other forces. Who knows if such forces can control your life too?