In Andre Ahn’s touching indie, Dennehy is Korean War vet Del, who comes to befriend socially awkward young Cody (Lucas Jaye) after the boy and his mother Kathy (Hong Chau) take up temporary residence next door, cleaning out the pigsty that used to belong to Kathy’s deceased sister. At the same time, he reveals the ways in which the white status quo – embodied by villainous PC Pulley (Sam Spruell) – sought to destroy it. Plus, it boasts 2020’s most gruesomely inventive use of an umbrella. Not all the dialogue was audible. But it was a film that kept us all talking throughout the dog days of summer, the actual 150-minute tale just a launchpad for feverish time-travel debates that made some at Empire turn into Charlie Day jabbing at an evidence board in It's Always Sunny In Philadelphia. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. Putting a poignant face on a contentious social topic, Never Rarely Sometimes Always tells the story of pregnant Pennsylvania 17-year-old Autumn (Sidney Flanigan), who with her loyal cousin Skylar (Talia Ryder) by her side, travels to New York to procure an abortion. Ver en español. But what Steve McQueen's second â and arguably best â Small Axe entry lacks in narrative, it makes up for with its loving exploration of Black British culture. At every turn, what Mari discovers is a lack of urgency about, if not outright indifference to, her daughter’s disappearance, even after other bodies are found in the very same area. Everything is connected in this economical and thrilling sci-fi saga, as the writer/directors – aided by understated performances from their Hollywood leads – deliver a unique vision of intertwined fates, the links between the past and the future, and the importance of cherishing the present moment. Menu. Czech artist Barbora Kysilkova responded to the theft of two prized paintings by befriending Karl-Bertil Nordland, the drugged-out gangster behind the crime. Hewing closely to its source material, the film charts Emma Woodhouse’s efforts to find a suitor for her doting companion Harriet Smith (Mia Goth) while struggling with her own blossoming feelings for her sister’s brother-in-law, George Knightley (Johnny Flynn). You may be able to find more information about this and similar content at piano.io, The Best Cookbooks (and Cocktail Books) of 2020, 59) Nomad: In the Footsteps of Bruce Chatwin, 27) Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan. to other highly-anticipated treats (Last Night In Soho! Brian Eisch’s overseas tours of duty took an immense toll on his two young sons, Isaac and Joey, and his return home from the battlefield with a catastrophic leg injury only compounded their unique family dynamic. It's a bleak film about the impossibility of hope and the fragility of life, but it finds its soul and centre in Buckley, who gives Kaufman's cerebral ideas vulnerability and emotion. Empireâs list will be reviewed at the end of December to account for any late arrivals to the Top 20. Despite appearances that Griffin has committed suicide, Cecilia is convinced he's still haunting her. Topics: Character Strengths and Life Skills, Healthy Media Habits. Best Family Movies of 2020. Growing through the cracks, flourishing in their own way, movies have been as green and verdant and resilient as ever. Drenched in silence that expresses the loneliness of its heroine, and speaks volumes about the tacit understanding and compassion shared by women, it’s a sobering study of perseverance in the face of individual, and systemic, oppression. Willem Dafoe gives a raw, unvarnished performance as a proxy for Abel Ferrara in the writer/director’s Tommaso, the story of an American filmmaker named Tommaso now residing in Rome with his young wife and child. Those jaw-dropping sights alone make Nelson’s latest a must-see. Framing characters amidst forest greenery or through constricting cabin windows, and setting its action to the serene sounds of its rural environment – snapping twigs, chirping birds, running water, human breath – it’s an empathetic vision of profound male friendship and perilous capitalist enterprise. At her side, however, are a group of fiercely loyal friends who try their best to keep Rocks' feet on the ground. You can see the fire in Leslie Odom Jr.'s eyes as he sings 'Wait For It', feel Phillipa Soo's utter heartbreak in 'Burn', and â yes â almost feel the spray of Jonathan Groff's liberal saliva in the King George numbers. Yet greatly enhancing its trip back in time are the many recollections from WWII vets—including marine Hershel “Woody” Williams, who earned the Medal of Honor for singlehandedly taking out a series of enemy pillboxes with his flamethrower—whose commentary about their wartime duty serves as the film’s guiding narration. Tenet practically demands to be watched again at home over Christmas. Also focused on a Collectiv survivor attempting to rebuild her shattered body and life (replete with a new, artificial hand), Nanau’s doc is a harrowingly immediate dissection of a country that seems to be so rotten to its core, no amount of heroic crusading and reform can sanitize it. “Handsome, clever and rich” is how Emma’s tagline describes its matchmaking heroine (Anya Taylor-Joy), but it’s also an apt summation of director Autumn de Wilde’s Jane Austen adaptation, which is energized by meticulous style, spirited wit and passionate emotions. Few films are this tough to sit through—or difficult to forget. January 3, 2020 by: Chris Bumbray. By the time the filmmakers’ story begins, urban 13-year-old Ahmed (newcomer Idir Ben Addi) has already been indoctrinated by a jihad-encouraging imam (Othmane Moumen). The most joyous moment of the film â and perhaps 2020 â comes during the instantly iconic 'Silly Games' sequence, in which everyone on the dancefloor sings Janet Kay's 1979 hit acapella for four euphoric minutes. Also fixing its gaze on a one-legged chicken cautiously trudging through tall grass, and a herd of cows whose dark, mysterious eyes gaze intently at the camera, Kossakovsky’s dialogue-free portrait conveys essential truths about survival, togetherness and love through protracted takes that creep around and alongside its four-legged subjects. Beginning with those infants’ births, the film—from a startlingly close proximity that exudes tenderness and empathy—captures animal life in all its drudgery and beauty, full of struggle, nurturing, conflict, exploration and abandonment. Driven to first prove the viability of alternate-current electricity, and then to create a revolutionary wireless energy system that will connect humanity – bringing light, power and resources to the dark corners of the globe – Tesla is an alienated soul embodied with mysterious, self-destructive passion by a superb Hawke. Teaming with his former production designer Juliano Dornelles, director Kleber Mendonça Filho (Neighboring Sounds, Aquarius) delivers an allegory of zonked-out weirdness with Bacurau, which quickly has locals engaging in a do-or-die battle with a pair of interloping São Paulo bikers and a group of murderous Western tourists (led by a hilariously peculiar Udo Kier) who’ve traveled to South America to partake in a variation of The Most Dangerous Game. Switching tones and registers with skill and ease, Da 5 Bloods is Spike Lee through and through â and boasts a stunning monologue from Lindo that ranks among the year's most unforgettable scenes.Read the Empire review, Released just before the pandemic ramped up, Pixar's adventure fell prey to cinema closures â but turned out to be the ideal film for lockdown, with its fantastical escapism, gags galore, and themes celebrating the life-affirming bonds of family. All of the above, and more. Nonetheless, amidst such incessant, graphic cruelty, compassion fleetingly materializes in the form of a kindly priest (Harvey Keitel), a Nazi soldier (Stellan Skarsgård) and a Russian sniper (Barry Pepper) who teaches him about “eye for an eye” justice. Ryan’s powerhouse performance as the fiercely determined Mari is the nucleus of this dispiritingly bleak tale, in which there are few concrete answers to be found, but plenty of blame to pass around. Brown stages his mayhem with assured efficiency, creating an air of impenetrable mystery through uneasy silence, compositions that devolve into cascading bubbles and a squishy foot-surgery sequence that would make body-horror maestro David Cronenberg proud. As with her acclaimed debut, Decker’s latest recounts its action through expressionistic visuals—smeary, off-center compositions; intense close-ups; dreamy interludes in which fantasy and reality blend together—and a score of jangly, strident strings, rumbling bass and thunderstorm crashes. Catrin Einhorn and Leslye Davis’ intimate direction captures this family’s saga through ups (Brian’s new marriage) and downs (an unthinkable loss), in the process conveying how our dispositions and adult paths are inherently shaped by our parents (and the values they teach) as well as by the calamitous incidents that detonate our sense of stability. Less an attempt at a cohesive life story than an act of experimental expressionistic portraiture, it’s an audacious drama that energizes the staid biopic genre. Although it's based on a novel by Ian Reid, i'm thinking of ending things (no capitals) is 100% Kaufman, a blackly funny, meta meditation on the human condition that is more head-scratching than a symposium of fleas. Diao’s neo-noir follows a gangster named Zhou Zenong (Hu Ge) who, after killing a cop in a criminal enterprise gone awry, partners with a “bathing beauty” prostitute named Lu Aiai (Gwei Lun Mei) in order to reunite with his estranged wife Yang Shujun (Wan Qian), all so she might collect the reward on his head. With modern economic and social dynamics as its narrative backdrop, Zhao’s film locates beauty, fear, danger and quiet euphoria in Fern’s wandering search for contentment, which proves that being alone and being lonely aren’t always the same thing. 2020's Best Movies; New Year's Movies; 2021's Most Anticipated; Top 100 Movies of All Time. That the Russian-controlled state is on a genocidal mission to “cleanse the blood” of the nation by exterminating its homosexual population is a terrifying reality brought to light by France, who details the efforts of these brave souls to use subterfuge to sneak at-risk individuals to safer European enclaves. These are the best of the best. Romanian director Corneliu Porumboiu once again melds his interests in language and genre filmmaking with The Whistlers, a neo-noir about a police officer named Cristi (Vlad Ivanov) who travels to the Canary Island of La Gomera to learn an ancient whistling language that doesn’t sound anything like a human form of communication. Although most were viewed on inadequately small screens, the legion of fiction and non-fiction releases that helped us cope with our pandemic-wracked reality delivered welcome doses of excitement, drama, terror, and humor. The film’s gimmick is that said drinking establishment is actually located in New Orleans, and its patrons have been cast to play improvised versions of themselves—a formal approach that allows the directors to faithfully capture the entire spectrum of sloppy, joyful, self-pitying, antagonistic and regretful emotions that invariably materialize in (and define) such a joint. Thereâs no getting around it â 2020 has been a tough, tough year for so many people, in so many ways. Between Sandler's jittery performance (you'll root for him, while cursing every single terrible choice he makes), the hectic soundscape of overlapping chatter, and a wobbly Jenga tower of dodgy deals that threaten to collapse at any second, it's a pulse-pounding adrenaline ride without a single action set piece.Read the Empire review, On an isolated island in 18th Century Brittany, artist Marianne (NoÃ©mie Merlant) is commissioned by a noblewoman (Valeria Golino) to paint a picture of her daughter HÃ©loÃ¯se (AdÃ¨le Haenel) as a means of attracting wealthy suitors. New DVD Releases; Digital Releases; Release Date News; New Movies; Top Movies; 4K UHD; 3D; … Then it enters its own zone of madness involving euthanised farm animals, the recurring image of a school janitor, a faux Robert Zemeckis film, a ghost pig, modern dance and a naked man bawling in the back of a truck. Few directors are as attentive to the rhythms of nature – human and otherwise – as Kelly Reichardt, and the filmmaker’s formidable skill at evoking a sense of place, thought, emotion and motivation is on breathtaking display in First Cow. Worse, they’re plagued by specters that live in the walls of their ramshackle new government-issued abode, promising to return the daughter they lost during their treacherous overseas journey if only they’ll make a sacrifice in blood. Even amidst such insanity, however, the filmmaker never loses sight of his characters’ humanity, nor their humorousness, be it Tommy Chong’s local squatter or Cage’s paterfamilias, a dork prone to fits of rage and weirdness – such as when he demonstrates the proper way to milk an alpaca. Nov 25, 2020 Netflix / Courtesy. Using Robert Kolker’s book as her source, director Liz Garbus recounts Mari Gilbert’s (Amy Ryan) efforts to find her oldest daughter Shannan, a prostitute, after she vanished following a house call in a gated Long Island community. By means of a job coaching his Catholic alma matter’s struggling team, Jack is blessed with a shot at salvation, turning around the fortunes of his players and, by extension, his own life. Either way, it's one of the most outstanding and defining pieces of popular culture of the last decade, Lin-Manuel Miranda turning dry American history into a dazzlingly entertaining tale of bitter personal rivalry, revolutionary war, and the power of words. Its studied imagery suggesting a daintier variation on Wes Anderson’s trademark visuals, Emma boasts an aesthetic confidence that’s matched by its performers. Writer/director Bryan Bertino once again takes a simple premise and maximizes it for unbearable tension, drawing out white-knuckle suspense from Louise and Michael’s efforts to grapple with tragedy (and impending loss) while simultaneously reckoning with unholy forces beyond their comprehension or control. Ruben is a recovering junkie whose quest to regain his auditory senses is its own form of addiction, and Ahmed embodies him with equal parts ferociousness and anguish. Like its central character, the film around her is brittle and jagged but carefully controlled, with a tone that shifts seamlessly between ghoulish dark humour, psychosexual imagery and bloody frights. Release Calendar DVD & Blu-ray Releases Top Rated Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Showtimes & Tickets In Theaters Coming Soon Coming Soon Movie News India Movie Spotlight. Aided by Liberato’s accomplished performance, first-time writer/director Jeffrey A. Best of Rotten Tomatoes. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. In 2020, the cheque might not be as blank, but it's clear Netflix (or as they're here temporarily retitled, 'Netflix International Studios') have given David Fincher the carte blanche he deserves to make precisely the film he wanted to make: a typically meticulous monochrome masterpiece. His aesthetics as probing as his writing is dexterous, Kaufman overstuffs his material with literary and cinematic shout-outs (and critiques), all while blurring the line between reality and fantasy until such distinctions cease to matter. Acting doesn’t come much bolder and more blistering than in Ma Rainey’s Black Bottom, George C. Wolfe’s adaptation of August Wilson’s 1982 play about a 1927 Chicago recording session by real-life blues legend Ma Rainey (Viola Davis) and her backing band, comprised of trombonist Cutler (Colman Domingo), bassist Slow Drag (Michael Potts), pianist Toledo (Glynn Turner) and trumpeter Levee (Chadwick Boseman). TV Shows. Rife with betrayals, manhunts and shootouts, the auteur’s narrative is constantly taking sharp, unexpected turns, and the same is true of his breathtaking direction, which reveals unseen figures, and twists, via elegant camerawork and expressionistic flourishes that are married to a realistic depiction of rain-soaked Wuhan and its lawless lakeside communities. Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). Directors Jesse Moss and Amanda McBaine’s documentary follows a number of kids as they make their way through Texas’ week-long Boys State program (sponsored by the American Legion), in which hundreds of teenagers are split into two political parties (Federalists and Nationalists) and asked to create a unified platform and elect officials. From a witch-y medicine woman who buries him up to his neck (the better to let the crows peck at him) and a bachelor (Julian Sands) with pedophilic inclinations, to a violently jealous old man (Udo Kier) and a young girl with bestial desires, the individuals whom the Boy comes into contact with are a wild, wicked bunch. Since said predator isn’t visible to the human eye, however, that’s not an easy task. Dropped on the streaming service right in the middle of lockdown, Hamilton was vital escapism â and completely democratised a theatrical experience that everyone should seek out.Read the Empire review, Much was made of the sheer technical achievement of Sam Mendes' World War I movie, presented as one extended take through the Boschian hellscape of the frontlines. No matter its conventionality, however, Parkes’ heartfelt performance as Crichlow, a man who wanted to realize a dream and came to understand that he’d created a vital hub for his community, is so enraged and aggrieved that, alongside Letitia Wright’s turn as Altheia Jones, it invigorates this legal affair. 2020 Best TV, Movies, Music And More : Pop Culture Happy Hour At the end of the year, we like to look back on some of our favorite things from … Familiar faces delivered astonishing fresh work. In the fictional northeast Brazilian town of Bacurau, residents are puzzled to discover that their home has disappeared from all GPS maps, and their cell service has ceased. As Steve soon learns, synchronic has the capacity to spirit users to bygone eras, which instigates a quest that speaks directly to larger issues of mortality, loss, grief, and the push-pull between dreams and reality. Nonetheless, Lee’s action-movie investigation of internal, domestic and global racial dynamics—and defiance—thrums with timely anguish and fury, and is bolstered by an Oscar-worthy turn from Lindo as a MAGA-supporting man drowning in chaotic rage. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Movies. There may be no more suspenseful moment in cinema this year than the sight of David running after Soon-ja – nor one more affecting. Nonetheless, writer/director Francis Lee’s film follows in the grand tradition of The Age of Innocence in recounting its protagonists’ flowering relationship, which is complicated by not only the women’s different dispositions and situations, but by a society that prevents them from expressing their amour. But still, this was an all-caps EVENT MOVIE in a year with very few of them â and a staggeringly smart one too, scenes looking like a Bond flick but sounding like a Mensa convention. Directing his first feature since being booted off of 1996’s The Island of Dr. Moreau, Richard Stanley brings trippy majesty to his adaptation of Lovecraft’s short story about a family – led by Cage’s cassoulet-cooking dad and Joely Richardson’s breadwinning financial-whiz mom – whose lives in rural Arkham are upended after a meteor crashes in their backyard, spawning menacing magenta foliage, absorbing lightning, and radiating not-of-this-Earth colors. That, in turn, allows the HBO feature to rest on the sturdy shoulders of Jackman, who never resorts to caricature in embodying Tassone as a discontent striver whose eagerness for validation dovetailed with his lifelong deceptiveness, to disastrous ends. Autobiographical tales of trauma don’t come much more wrenching than Rewind, director Sasha Neulinger’s non-fiction investigation into his painful childhood.
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