As June comes to a close, there is one tragic truth that we all must face down: 2020 is halfway over. In a year that’s been full of nonstop chaos, some may see it as a relief while others are wondering where the time has gone.
In the world of entertainment, it’s been an especially interesting challenge to try and stay relevant when a normal production remains largely nonexistent. As a result, the summer months don’t bring with them the familiar tent pole films, where Marvel is unveiling their latest epic. Instead, it’s a golden age of streaming, where most of the best movies are currently available at your fingertips, serving as a friend you can turn to late at night when you’re bored and want to experience some sense of normalcy.
That’s why The Class of 2020™ feels special in the bigger picture. These are films that have managed to unify us during troubling times, raising questions about how we perceive entertainment. While I will fully admit that I am far from seeing all of the biggest titles, these are the ones that have given me plenty to think about and appreciate the cinematic art form on a deeper level. While I don’t often do official reviews for movies on The Memory Tourist, consider this a shout-out to a few films worthy of your time.
I can only hope that there are dozens more to join this list as the year goes on. If anything, I’m still feeling disappointed that I haven’t seen In the Heights (2020) three times by now. But oh well, these titles have done a good job of making this year have some significance, even if it’s sometimes hard to remember the good in this world.
1. Never Rarely Sometimes Always – Dir. Eliza Hittman
On the surface, this may be one of the most controversial movies of 2020. It’s one that could’ve been even more hot-buttoned if it was allowed to play in theaters, allowing audiences to discover a painfully honest look at how a teenager goes about obtaining an abortion. It’s one that lacks any theatrics, relying more on the personal pain of unwanted pregnancy and the burden of a society that has no choice but to criticize. While the ultimate message is that this behavior is normal, it’s also creating a discussion meant to destigmatize something that cinema has had an issue being honest about. It’s provocative, but also one of the most humane and heartfelt experiences of the year.
In the titular scene, Autumn confronts a clinician for the first time and is asked a series of personal questions, needing to answer on a scale of never to always (for example: how often do you have sex?). The moment is overwhelming not because of what it reveals, but because of how nonjudgmental it all feels, allowing warmth and safety that the outside world hasn’t offered her. The journey to this room has been difficult, but now it’s a chance to be honest and open in powerful ways. It’s symbolic of what this film achieves by tackling such a tough issue with tenderness and care.
Sidney Flanigan gives a performance of the year as Autumn by reflecting a timidity and unwillingness to open up for fear of a world that will reject her. Her journey is one that will continue to exist, and her fears provide a glimpse into those who may not fully understand her plight. It’s a drama that lacks shock value, and in the process reflects how film can present complicated situations in such an empathetic and powerful way, making us understand that the world won’t change just because of one decision. By ripping apart the taboo, it finds the humanity and soul inside, waiting to have an honest discussion with us.
2. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) – Dir. Cathy Yan
With a baseball bat in hand, the journey of Harley Quinn is given a masterful new chapter with one of the greatest, most energetic superhero movies of the 21st century. Cathy Yan packs the frame with so much personality that you’re constantly feeling dizzy by the countless twirls amid a bright background. The editing is manic, reflecting the mind of a woman coming to terms with her recent break-up, pulling away from sensitive details, and finding herself sidetracked by the people she had scorned. All of it is a wonderful madhouse of slapstick and heart as Margot Robbie elevates this performance into a pantheon of immortal greats.
Rarely has a comic book movie fully realized its full potential of a character. Whereas we’ve been stuck watching brooding boys club movies, this is the gal pal alternative where everyone is having fun while taking on the patriarchy. Every character in Birds of Prey have had some conflict with the male gaze, and they’re ready to smash it into a bazillion pieces. While some could argue that Black Mask is an uninspired character, he’s the perfect embodiment of male entitlement, hiding behind a mask while spewing hate and appropriation. He’s the perfect face to take down in his sassy awfulness.
As a form of popcorn entertainment, this is an achievement that films like Wonder Woman (2017) was prepping us for. Rarely has a woman as flawed and complicated as Harley Quinn been allowed to be given a film this rich, exploring her own psyche while never skimping on the fun. In an alternative world, this would be the start not only of more interesting superhero movies but of more compelling female antiheroes who are allowed to be awful and sympathetic in equal measure. Yan has set the bar high for comic book movies this decade, and let’s hope that everybody lives up to that potential.
3. Emma. – Dir. Autumn de Wilde
For those wondering if Jane Austen still has any value in 2020, all they need to do is watch this romantic comedy that does more than pay lip service. With a delightful lead performance by Anya-Taylor Joy, the story of a woman who is handsome, clever, and rich becomes a delightful observation of the world around her, wondering why she is incapable of settling down and living a normal life. Along with co-star Mia Goth, Joy finds plenty of delightful whimsy in observational moments, finding ways to be scathing without ever losing her charm.
It’s a costume drama with luscious, vivid details that pop off of the screen and makes the audience want to update their wardrobe. So much of the film gets by on having a good time and Autumn de Wilde’s direction is precise in capturing the soul of Emma in every mundane moment. Every moment is delightful and lets the audience in on the hijinks as we discover a world that has been seen before, but not quite like this. Like Emma herself, it challenges our relationship to this material and what value we get out of living vicariously. Why not just fall in love? Until that day, just fall in love with this movie.
4. Da 5 Bloods – Dir. Spike Lee
In an era where streaming has become the new (and mostly only) normal, it makes sense that Netflix has provided one of the first major Oscar contenders of 2020. With this movie, Spike Lee explores the Vietnam War through the prism of Black Veterans, creating a flashback of sorts as they explore the history of a controversial war. This isn’t just Lee creating an over-the-top narrative. This is as much a history lesson as it is a film studies course on how Black Americans have been largely ignored in the big picture. Lee’s making up for lost time as he packs every frame with a visceral image, making one question the very fabric of the war.
Along with a great performance by Delroy Lindo, this is a film that is unrepentant, thrusting the audience into difficult conversations. He doesn’t stop until the point is so clear that we have no choice but to accept it, and the journey is one full of memorable exchanges that feel relevant to the ongoing Black Lives Matters protests nationwide. It’s asking everyone not only to listen but to understand and hopefully make a difference. It may be scattershot and way too chaotic at points, but there’s no denying that Lee’s urgency is impossible to ignore, and he’s made war into a stomping ground for a conversation that deserves more attention than it gets.
5. Shirley – dir. Josephine Decker
When discussing an artist, it is important to not only discuss what made them significant but understand what they did. In the world of film, this is best conveyed through atmospheric and tonal alterations that throw the viewer into their own surreal worldview. That is why it’s a relief that Josephine Decker didn’t go for the conventional, instead turning Shirley Jackson into a neurotic case, making you question her sanity as she does everything in her power to write a horror novel – itself considered pedestrian and beneath her. Her obsession with a missing woman breaks into a pseudo-fantasy that is uncomfortable, where even the score sounds like it’s scratching at the door, waiting to tear your sanity out.
It helps that it also features yet another great turn by Elisabeth Moss as Jackson. Her eagerness sells the story, allowing those dives into the creative process into something tolerable. Most of all, it understands what makes her a compelling character and someone deserving of her acclaim. There’s little that’s conventional about it, maybe even being more in line with a Jackson story than her own life. With that said, it’s a visceral experience that is at times shocking but overall satisfying, showing how creativity can eat at us and consume our waking hours. If there had to be one homage to Shirley Jackson, this is a great one to consider.
Honorary Mention
The King of Staten Island – Dir. Judd Apatow
Even if you can argue that this isn’t a stretch for Pete Davidson and that he’s playing himself (he’d be the first to tell you that), it’s still one of the best explorations of millennial ennui ever put to film. As a mentor, Judd Apatow has managed to fine-tune his improvisational style in such a way that it turns into a story about family and how much we all need somebody to support us as we grow older. Davidson loves doing tattoos as a way of creating permanent lasting impressions with his friends. It’s also a way to distract him from any pain found underneath the surface, making his friends more likely to ask about his Jaws (1975) tattoo than his dead father.
While it has all of the highs and lows of an Apatow production, it’s still a film with such an earnest heart that it’s hard to ignore its charms. With excellent supporting performances by Marissa Tomei and Bill Burr, the story finds value right before our eyes with heartwarming results that never let up on the dirty jokes or weed smoke. There have been endless coming of age stories, but none have felt as organic and lived in like this, serving as a tome for a generation who’s been told that everything’s awful and will never get better. This is that quest to find a silver lining, and thanks to an impeccable performance by Davidson, the film gets there with satisfying results.
What movies have resonated with you the most from 2020?
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