CREAM THECROP OF
‘First Cow,’ ‘Nomadland’ lead AP’s top films of 2020
Good movies kept coming in 2020, even when everything else stopped. In a year that often felt like its own kind of cataclysmic Hollywood production, the movies — even if relegated to smaller screens — were as necessary as ever. It was the year of the drive-in, the backyard-bedsheet screening and the streaming service. But wherever they played, the best films of the year offered some escape and connection: the possibility of grace, a spark of fury — and something the rest of the world couldn’t offer: the assurance of an ending. Here are our picks for the best movies of 2020.
Jake Coyle
1. “First Cow”: Any sweetness in life in Kelly Reichardt’s radiant frontier fable is both fleeting and eternal. Set in the Oregon Territory of the 1820s, it’s a portrait of a friendship forged on kindness and baked goods. The movie’s harsh Western landscape for two poor travelers (played by John Magaro and Orion Lee) suggests a critique of capitalism. But the tenderness between them, despite it all, could hardly have felt more suited to the times.
2. “Small Axe”: It’s five films not one, but I’d have as hard a time splitting up Steve McQueen’s anthology as I
would “The Decalogue.” It functions best a whole, as a cycle of racism and resistance stretched over two decades of London history. The second chapter, “Lovers Rock,” is a bass-thumping standout.
3. “Mank”: Leaving aside its much-debated history, it’s simply a head-spinning, gorgeously atmospheric and wonderfully acted character study about a guy who finally gave something his all — and out came one of the greatest movies evermade.
4. “Dick Johnson Is Dead”: Kirsten Johnson has made two films as a director, both masterpieces of human connection. Following her collage documentary “Cameraperson,”
her father, Dick, began slipping away to dementia. Johnson resolved to make a film with him, rehearsing elaborate death scenes and reminiscing in between as a way to spend time together and preserve something of him on film.
5. “Minari”: Lee Isaac Chung’s richly detailed, autobiographical film is a classic immigrant tale and a compassionate family drama about his Korean immigrant parents (Steven Yeun, Yeri Han) after they moved to rural Arkansas. Its warmth and gentleness slowly, but steadily, bowls you over.
6. “David Byrne’s American Utopia”: Spike Lee’s concert film of Byrne’s Broadway show — an exuberant, dancing celebration of togetherness — encapsulated so much of what was off limits in 2020.
7. “Never Rarely Sometimes Always”: Eliza Hittman’s film, about a 17-year-old Pennsylvania young woman (Sidney Flanigan) having to travel to New York for an abortion, is a delicately restrained, heartbreaking neo-realistic drama.
8. “Soul”: Pete Docter’s latest Pixar marvel spins deep existential troubles into a wondrous and wise family film.
9. “Collective”: This piercing Romanian documentary, about corruption in the country’s health care system, is one of the most powerful journalism dramas you’ll see this side of “All the President’s Men.” And it shifts midway to examine — after an unlikely team of reporters exposes rot within the system — change within the system.
10. “Sound of Metal”: Riz Ahmed’s potent performance as a punk-metal drummer with a heroin habit who loses much of his hearing paces this sometimes uneven, always unpredictable drama of recovery and self-realization.
Lindsey Bahr 1. “Nomadland”:
There is an unfortunate, inevitable hurdle when you come to something that already has scores of accolades, but Chloe Zhao’s “Nomadland” is that rare creation that not only lives up to the hype but also makes you forget about it. This is a gentle, humane and dizzyingly poetic ode to the people on the fringes of American society, the ones who choose to wander and drift across the great Western landscape. Frances McDormand gives a performance that is so alive and unguarded that it feels like nonfiction.
2. “Kajillionaire”: Miranda July’s “Kajillionaire” is also about people on the fringe, but her protagonists aren’t highway exiles. The Dynes, Robert (Richard Jenkins), Theresa (Debra Winger) and Old Dolio (Evan Rachel Wood), are lousy small time con artists hiding in plain sight in sunbeaten, concrete Los Angeles. Original and dazzlingly surreal, you may be surprised at the emotional punch this odd and lovely story packs.
3. “Lovers Rock”: A pulsating, 68-minute dance party directed by one of our living greats, Steve McQueen. It is sweaty, glittery, heady and, like a great guest, doesn’t overstay its welcome.
4. “Collective”: It’s hard to recommend something that is likely to enrage, but “Collective,” a searing Romanian documentary about the aftermath of a deadly Bucharest nightclub fire is just too good and eye-opening to deny.
5. “Mank”: Directed by David Fincher and written by his late father Jack, this film is nostalgic but not mawkish, reverent but not blind. Gary Oldman as the titular character and Amanda Seyfried as Marion Davies are splendid.
6. “On the Rocks”: Sofia Coppola’s latest goes down so easy, it might seem a little insubstantial. But although its surface pleasures are many, it’s also a work of subtle power. It’s is an accessible, thoughtful and wonderfully adult treatise on men and women in the most unlikely of packages — a father/ daughter comedy.
7. “Tenet”: There was no more thrilling, glamorous and purely cinematic film this year.
8. “Never Rarely Sometimes Always”: One of the year’s quietest but most devastating films looks at the decidedly unempowering experience of existing in a female teenage body. It is a tremendous exercise in mood and a beautiful showcase for some up-and-coming talents.
9. “Promising Young Woman”:
A messy, bold movie about a messy, bold woman (Carey Mulligan) who has given up on her own life to become a kind of #MeToo vigilante, scaring strangers and enemies into seeing that there are no gray areas when it comes to sexual misconduct. It’s garish, beguiling and unapologetically itself.
10. “Eurovision Song Contest: The Story of Fire Saga”: No film made me laugh more this year than “Eurovision,” a knowingly silly lark about an Icelandic pop duo (Will Ferrell and Rachel McAdams).