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2020: The Year in Tiers - The Good

The 2nd tier in our Year in Tiers recap consists of the runners up. Quality films that just don't quite get the same shine the marquee stars do. Sidekicks. Like good ol' Scottie Pippen. He's a phenomenal #2 (maybe the best ever) but he's just not a #1. Plain and simple.

#23. The Devil All The Time

A dark look at the gritty underbelly of the old South with an absolutely stacked ensemble cast, The Devil All The Time is a fairly captivating crime drama that can't quite tie together all of the narrative strings it pulls at. Specifically with Jason Clarke's murderous photographer, the film can start to feel excessively morbid just for the sake of shock value. Everyone is corrupt and it's hard to find a character to root for but overall, the film is still enjoyable to watch due to the abundance of incredible performers on screen; namely Robert Pattinson and Bill Skarsgard.


#22. One Night in Miami

Regina King's directorial debut feels incredibly similar to Ma Rainey's Black Bottom in it's exploration of exploited African American entertainers but while her stage adaptation lacks the powerhouse performances of Chadwick Boseman and Viola Davis, her tale translates much more successfully to film. It's still a very dialogue heavy film confined to a very limited setting but King captures the emotion of the moment and the historical impact of these four figures meeting in a slightly more compelling fashion than Ma Rainey. Seeing these larger than life trail blazers exploring their philosophical and personal differences in such an imperfect and intimate way gives new insight to each of these legends in their own respect.


#21. Uncle Frank

American Beauty screenwriter Alan Ball brings an incredibly endearing coming of age film anchored by phenomenal performances from Sophia Lillis and its' lead Paul Bettany; who's at his career best here. The layers of his character are fascinating to watch peel away as the film goes on as are the relationships he builds with those around him. It's a brilliant character study, though I will say that the will reading finale feels a incredibly over the top; especially the unbelievable way the characters respond. But the emotional build up from it's cast and the depth of the characters involved mostly makes up for it. Mostly. Which is really a shame because the ending is the only thing keeping a good film from being great.


#20. The Invisible Man

Elisabeth Moss is absolutely staggering in this technological modern day update that amplifies the emotional turmoil of the aftermath of an abusive relationship into monstrous proportions. Director Leigh Whannell crafts an incredible aura of unnerving tension with anxiety and suspicion creeping into every frame, like a technically proficient Paranormal Activity married with the winding suspense of Gone Girl. But aside from the stunning performances from Elisabeth Moss, Harriet Dyer, Storm Reid and Michael Dorman; composer Benjamin Wallfisch fills the film with a constant sense of creeping dread with one of the best scores of the year. The story's twists and turns may not always be executed flawlessly but there's so much talent displayed from the cast and crew that it's incredibly easy to forgive it's shortcomings.


#19. Borat: Subsequent Moviefilm

In one of the most unexpected sequels to be unearthed in some time, Sacha Baron Cohen has revived his culturally iconic comedic masterwork to save us from the hell hole of 2020 America. And while the film can't quite escape the looming shadow of it's predecessor, it does string together some incredibly funny and memorable moments. Most of which are delivered by relative new comer Maria Bakalova in a breakout performance as Borat's estranged daughter. The story line between Borat and his daughter is actually pretty quality stuff but you can almost feel Cohen's plans go off the rails as COVID seeps into the proceedings. But aside from the flawed narrative, seeing the general public's not so subtle racist sentiments captured on camera isn't quite as easy to laugh at as it was in 2007. There are plenty of horrifically objectionable sentiments volunteered on a daily basis via social media, so provoking them with a hidden camera doesn't quite feel as shocking as it did a decade ago. But when it's all said and done, this is still a fun follow up even if it never reaches the legendary status of the original.


Check Out Our List of the Top 10 Comedy Sequels Ever


#18. Saint Maud

Writer / Director Rose Glass' harrowing character study of a traumatized and lonely nurse looking for purpose in trying to save her patients spiritually as well as physically is equally sad and unnerving. She believes that she means well but her every action is rooted in her own selfish interest rather than the people she thinks she is looking out for. She's so preoccupied with "saving" those around her and listening to the omnipresent voice she hears that her own personal life is an absolute mess. She never faces the trauma of her past, has no social life to speak of and reaches out erratically in all directions to feel something. It's definitely a slow burn (sorry...you'll get it if you watch) but it's a thought provoking embodiment of the savior complex inherently attached to organized religion and Morfydd Clark's centerpiece performance is absolutely phenomenal.


#17. Palm Springs

Essentially a millennial Groundhog Day, Palm Springs is elevated past it's familiar formula by it's incredible leading duo of Andy Samberg and breakout star Cristin Milioti. Their chemistry is absolutely incredible and together they provide constant laughter throughout the every day is the same feeling of existential dread the film nails down so well. Dark, absurd, emotional and laugh out loud ridiculous - Palm Springs is absolutely fitting of being the summer of 2020's most remarkable comedy. Even if it's not quite as profound as it's pretentious sad boy protagonist may think it is, Palm Springs is definitely worth your time.


#16. Shirley

Both Elisabeth Moss and Michael Stuhlbarg are entering that rare realm of performers who make just about anything they touch a can't miss viewing experience. Their enigmatic relationship at the core of this semi-biographical snapshot of horror author Shirley Jackson is absolutely enthralling. They both deliver outstanding performances, as does breakout newcomer Odessa Young. The overlapping narratives are a bit overused and heavy handed at times but the film still mostly succeeds in spite of some directorial missteps. Overall, it's a fascinating character study oozing with personality and intrigue thanks to it's impassioned cast.


#15. Promising Young Woman

The most stylish and uncompromising film of the year, Promising Young Woman has an immense amount of potential and yet falls frustratingly short of fully reaching it. Greatness is right on the fingertips of director Emerald Fennell but she can't quite grasp it. From the stunning visuals to the incredible soundtrack and the pitch perfect black comedic elements, this should have been a walk off home run. But the story loses it's focus far too often. Drifting from a serial vigilante one-night stand slasher, to a dark rehabilitation rom-com, to a full on #MeToo revenge fantasy - it's a bit too erratic to hit its' many targets. Fennell says all the right things, just communicated in inconsistent packaging.


#14. Possessor

Brandon Cronenberg, son of the horror icon David Cronenberg, invokes his father's brutally violent body horror and blends it with a dystopian cyberpunk suspense thriller in his breakthrough feature. The not so distant sci-fi atmosphere crafted by Cronenberg is the real star here, as Cronenberg displays an incredible knack for world building. Stars Andrea Riseborough and Christopher Abbott also do a fantastic job selling the perspective altering experience of inhabiting someone else's body to assassinate high profile targets. Simultaneously disorienting and exhilarating, Possessor is a phenomenal tech horror foray and shows incredible promise for it's young cast and crew.


#13. Bad Education

The sophomore effort from Thoroughbreds director Cory Finley tells the true story of the biggest public school embezzlement scandal in U.S. history. And while the stranger than fiction web of lies woven is fairly stunning, the story really doesn't have a lot of surprises in the way it all unravels. Once you start to see the pieces fall, it's fairly easy to see how the rest of the story will play out. But none the less, there's something fascinating about the sense of entitlement and corruption at the heart of the film, even if the script doesn't dig all that far past the surface to really study the motives and relationships that lead to what happened. Interesting even if it's not always thoroughly engaging.


#12. His House

It's been incredibly refreshing to see some integrity reinvested into horror these past several years and with smart new perspectives like Remi Weekes adding to the genre, it's no surprise to see it flourishing once again. Pushing out the boundaries of what you expect from a horror film and what a haunted house film can be, His House is a vivid fever dream of regret and past mistakes harboring into palpable terror for a refugee couple trying to build a new life in England after doing whatever it took to escape war-torn Sudan. Haunting, surprising, and visually arresting; His House is horror of the highest caliber and the best you'll see this year.


#11. Guns Akimbo

While admittedly a bit juvenile; Guns Akimbo is an ultra violent marriage of Purge-like social dystopia with Ready Player One's vision for futuristic virtual competition through the lens of an uber stylized Edgar Wright-esque visionary, with a dash of vulgarity for good measure. Daniel Radcliffe continues his hot streak of off-kilter comedy while breakout Samara Weaving continues to establish herself as a staple in the horror/action genre. It's a pulse pounding, thrill a minute joy ride that doesn't quite nail the societal message it aims for but the surface entertainment is done so well that it ultimately doesn't detract from the film all that much. Director Jason Lei Howden establishes himself as a genre voice to be reckoned with and personally I can't wait to see what he comes up with next.


#10. Da 5 Bloods

Spike Lee's latest, book-ended by the history of civil unrest in modern black America, feels even more timely than his previous feature - BlacKKKlansman. Unfortunately, the emboldened director gets a little too ambitious for his own good as the sprawling pace, heavy handed monologues, and unnecessary shifting ratio aspects hinder what could have been his crowning achievement. The story on it's own is particularly sobering in these turbulent times, especially due to the harrowing performances from the film's impeccable ensemble consisting of Jonathan Majors, Clarke Peters, Isiah Whitlock Jr. and Delroy Lindo. But Lee's heavy handed delivery could have benefited from a tighter editing room and touch more reserved approach. The 2 and a half hour runtime isn't necessarily out of the ordinary for the war genre but with the limited action and overly dramatized scope, it's hard not to feel the film wearing out it's welcome at times. Even if the landmark moments of the story themselves are remarkable, there's too much fluff around them to fully appreciate them.


#9. Happiest Season

It's been a while since we've gotten a straight (no pun intended) comedy this good. Especially one touting a holiday theme. Written and directed by Veep's Clea DuVall, Happiest Season concocts a hilarious tapestry of characters and their complicated relationships with one another. Mackenzie Davis leads an incredible cast highlighted by Mary Steenburgen, Alison Brie, Dan Levy and Aubrey Plaza in this surprisingly heartfelt story of self acceptance and rejecting standards set upon you by anyone other than yourself. DuVall has a knack for juggling ensemble casts and her ability to breath life into each of these characters is what makes this such a well rounded outing and a rare comedic triumph.


#8. I'm Thinking Of Ending Things

Charlie Kaufman's latest existential crisis set to film explores multiple layers of perception through a dizzying tumble down the rabbit hole of isolation and self examination. Much like the majority of his work, Kaufman crafts a precise yet universally appealing experience through someone else's sensibilities and frame of mind. Jessie Buckley delivers an incredible performance as the avatar through which this melancholy acid trip of broken relationships and inexplicable longing for the past occurs. And though some of it's wild swings may turn viewers away (especially the ending) it's surely unlike anything else you've seen before it. A haunting and fascinating exploration of the human experience like only Kaufman can deliver.


#7. Big Time Adolescence

More of a cautionary tale than a straight comedic vehicle, Big Time Adolescence is an enthralling take on the typical coming of age story. Pete Davidson's lovable loser character has so much charisma that he absolutely steals the film in what's actually more of a supporting role. The older brother-like bond that develops between Monroe and Zeke is easy to invest in as the viewer, despite how deplorable Zeke's advice and general lifestyle can be at times. He's a living embodiment of adolescent recklessness and while you feel for Zeke's inability to grow, the moment Jon Cryer (who delivers a remarkable performance as Monroe's father) ends Zeke and Monroe's relationship, you can't help but root for Monroe when he finally closes this chapter of his youth. Funny, heartfelt, and insightful - Big Time Adolescence is a solid dramedy that serves as a well rounded launching pad for what's sure to be a great film career for Davidson.


#6. The Mauritanian

Much like last year's The Report, The Mauritanian dives into the dirty no so distant past of America's morally repulsive military tactics in interrogating suspected co-conspirators post 9/11. But rather than just examining these injustices from the outside looking in, the Mauritanian chronicles the real life wrongful imprisonment of a man from Mauritania held at Guantanamo Bay for 14 years without being charged with a thing. The story itself is fascinating and director Kevin Macdonald does a phenomenal job of trying to show every angle of the story through it's absolutely stacked cast. Tahar Rahim and Jodie Foster are deserving of the praise they've received thus far but for me, Benedict Cumberbatch stole the show as the attorney assigned with defending the U.S. government.


View the Rest of the 2020 Tiers Here:


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