If anyone is reading this, then that means you’ve somehow made it through 2020. I’d congratulate you, but 2021 hasn’t started out very well either. But, let’s not focus on anything negative. Despite 2020 being the worst year in quite a while, this was actually a decent year for movies. Thanks to a remarkably strong awards season, as well as the continued perseverance of movie theaters across the country, 12 movies received a grade of an A- or better, and we’ll be talking about 10 of them.

Before we get started, I want to remind any and all people reading that this is just my personal list. There’s nothing factual here, so don’t worry if your personal favorites aren’t here. 

10. “Da 5 Bloods”

Spike Lee proved that his last film, “BlacKkKlansman”, wasn’t a fluke with this harrowing, disturbing and incredibly overlong film about four Black veterans from Vietnam trying to find the body of their long-dead captain. Before I move on to what I actually thought about the film, let’s talk about the runtime: a whopping 156 minutes. To say that it’s difficult to not notice the length might just be the understatement of the year. The film suffers from very slow pacing, and it’s hard to tell if it was a deliberate decision or not. If the filmmakers had cut out around 15-20 minutes, this film would have been much higher on this list. That being said, what kept “Da 5 Bloods” so entertaining and so interesting was the talent in front of and behind the camera. Lee could not have picked a better group of actors, who are all at the top of their game. Delroy Lindo gives one of the best performances of the year as Paul, the leader of the group who is tormented by events that took place during the war. In one of his final performances, Chadwick Boseman gives a truly memorable performance as the deceased Captain. My only problem with his character is how little screen time he has. It makes sense as to why, but the character and Boseman’s performance are both so likable that I wish he had more to do. Also, the film looks incredible. Lee does an amazing job with directing both the action scenes and the smaller, dialogue-driven scenes, and Newton Thomas Sigel’s cinematography is truly beautiful, using different aspect ratios to great effect. However, just as with “BlacKkKlansman”, the film runs into trouble when it attempts to force a message about the political state of America. There are some hilarious jokes that are made about Paul wearing a MAGA hat, but when it attempts to take sides about a subject that doesn’t matter to the film and its story, it risks the danger of losing its audience. That being said, this is still a very good film, and one that proves that Spike Lee is still a force to be reckoned with as a director.

9. “Ma Rainey’s Black Bottom”

Ladies and gentlemen, I give you the final performance of the future Oscar-winner Chadwick Boseman. His electrifying performance as Levee should make this film worth watching for any audience member. However, if this film just had great acting, it would not be anywhere near this list. Thankfully, “Ma Rainey’s Black Bottom” has much more to offer, aside from its strange title. This is a beautifully-made film, with some brilliant examples of wonderful production design and the best costume design of the year. George C. Wolfe does a brilliant job behind the camera, using slick camerawork and claustrophobic environments to provide a truly visceral experience. As the film is adapted from one of August Wilson’s plays, it should be obvious to any fan of his work that the dialogue is going to be spectacular, because it is. Every line flows like poetry, and each actor does some amazing work. As mentioned above, Boseman’s final performance is, without a doubt, his best of all time, and possibly the best performance of the year. It’s a performance that will most likely act as a dinner bell being rung to Academy voters. However, he´s nearly matched by Viola Davis, who gives another mesmerizing performance in a career that’s already filled with them. As for flaws, the film makes a strange choice of focusing more on Levee than Ma Rainey, who is the title character. Although it makes for a more compelling narrative, it does create problems when the film asks its audience to care for Ma Rainey’s plight, because the film never spends enough time for us to do so. Also, something happens at the end of the film that comes so far out of left field that it actually causes the entire tone of the film to shift in about five seconds. However, this event takes place so late in the film that it should not detract from any audience member´s enjoyment of the film. Anchored by two of the best performances of 2020, Netflix´s latest film has proven that the streaming giant has found its footing in the film industry, and this won´t be its last appearance on this list.

8. “Mank”

David Fincher´s first film since 2014´s “Gone Girl” did not disappoint. Although unlike anything Fincher has made, that’s arguably one of the best things about “Mank”. In fact, it’s unlike any movie that’s come out in the past few years. As mentioned before in my earlier review, the film might as well be a movie that came out in the 1930s-40s. The film is black-and-white. It uses a period-accurate score and even utilizes the same sound mixing techniques as films from that era. Yet all the while, Fincher’s trademark style of meticulous filmmaking still pulls through. Erik Messerschmidt’s cinematography is mesmerizing, and the score by Trent Reznor and Atticus Ross is one that will likely give them their first of two Oscar nominations this year. However, for the first time since “The Social Network”, Fincher has ceded control of the film to the script, written by his late father. The two scripts are eerily similar, consisting of witty, rapid-fire dialogue and less of an emphasis on what the characters do instead of what they say. However, the film’s biggest sin is what will cost it on Hollywood’s biggest night: it’s not very accessible. In fact, it’s nearly impossible to see anyone but film aficionados admiring the film for anything beyond its technical mastery. The film is incredibly slow, despite being edited by two-time Oscar winner Kirk Baxter, and Tom Burke’s performance as Orson Welles is nowhere near as good as the performances from the rest of the cast. Gary Oldman is just as great as ever as the title character, and Amanda Seyfried’s amazing performance will most likely lead to an Oscar. Between this and “The Trial of the Chicago 7”, another Netflix production, it seems that Netflix might have a chance at Best Picture after all.

7. “Promising Young Woman”

This year’s dark horse in the Oscar race might not be much of a dark horse after all. “Promising Young Woman” is 2020’s “Get Out”: a genuinely disturbing film that works as a thriller and a timely piece of social commentary. If this film is any measure, first-time director Emerald Fennell will definitely go far. This is, without a doubt, the best-looking film of 2020, and it pains me that cinematographer Benjamin Kracun will most likely not receive an Oscar nomination for his work. Fennell does a brilliant job as both writer and director. This is one of the rare films where you’re watching someone who resorts to unethical methods to get what she wants, someone who could possibly be a little unhinged, and yet you still understand why she’s doing what she’s doing. However, none of this would work as well as it does without the right actress, and Carey Mulligan rises to the occasion with a truly special performance, possibly the best of any actress in a leading role this year. However, she’s not very showy, and that might be detrimental to her Oscar chances. Her performance is very subdued, where her stoic expressions hide a world of pain behind her eyes. Even when she does show emotion, it always seems false, like a wolf hiding in sheep’s clothing, and it works. As for flaws, the last 10-15 minutes are incredibly disappointing. It’s not that I didn’t like the ending, because I didn’t hate it either. It’s just a mixed bag. If the ending had changed slightly, “Promising Young Woman” would be much higher on this list. That being said, it’s still a great film.

6. “Love and Monsters”

When “Love and Monsters” was dumped on a straight-to-VOD release in mid-October, I was expecting that Paramount Pictures had done so in order to minimize their losses on a mediocre film. Instead, it was the opposite. “Love and Monsters” was a blast, from beginning to end. In a world where most movies are prequels, sequels or remakes, it was very refreshing to see an original, witty action movie that wasn’t based off of some other property. Dylan O’Brien gives a brilliantly charismatic performance, showing great comedic timing and a lot of range. As the only human character for long stretches of time, the film relies on a great central performance, and O’Brien is able to pull it off. The only problem with this film is (surprise, surprise) the ending. The last 15 minutes are incredibly cliche, and it’s hard to fathom why the filmmakers couldn’t keep the originality that the first two hours were filled with. However, it’s fair to say that, aside from the movie at first place on this list, “Love and Monsters” is the biggest surprise of 2020. Do not miss it.

5. “Sound of Metal”

Possibly the most overlooked movie of the year, “Sound of Metal” is a film that not enough people are going to see. Despite the fact that it’s on Prime Video right now and costs nothing, it won’t get the attention it deserves. What a shame. Anchored by a career-best performance from Riz Ahmed, this is one of the most emotional movies that I’ve seen all year. Ahmed is absolutely deserving of an Oscar nomination, playing a drummer whose hearing is deteriorating rapidly. It’s heartbreaking to watch someone lose his life, although not in the sense that he’s dying. Instead, he’s losing the ability to do what he loves the most, a fate that he thinks is worse than death. It’s this struggle to regain a semblance of a normal life that provides the film with the majority of its heart, which it has in spades. However, the best performance comes from Paul Raci, who has a real fighting chance at an Oscar as a Vietnam War veteran who is deaf as well. Just like Carey Mulligan in “Promising Young Woman”, he acts mainly through his eyes, which is oddly much more effective than a more expressive performance would’ve been. As for flaws, I can say that the film isn’t paced very well. Despite the amazing performances and the beautiful story, I still found the film a little slow. But, don’t let that discourage you from watching “Sound of Metal”. You won’t regret it.

4. “Soul”

Aside from “Toy Story 4”, it’s been 10 years since I actually loved a Pixar movie. I grew up watching the “Toy Story” movies, and to this day, “WALL-E” is still one of my favorite films. Ever since I was seven years old, I’ve been waiting for the day that Pixar makes a truly great movie again, and my only regret with “Soul” is that I didn’t get to see it in theaters. This is Pixar’s best movie in over a decade, filled to the brim with some of the best animation I’ve ever seen and a truly beautiful story. For those who don’t know, “Soul” follows Joe Gardner, a middle school teacher trying to find a way to follow his passion, which is playing jazz. After successfully winning a spot in a well-known jazz quarter, Joe is involved in an accident that separates his soul from his body. If it sounds stupid, don’t worry. It isn’t. Despite only hearing his voice, Jamie Foxx is amazing as Joe, a middle school teacher trying to find his way to follow his passion, which is playing jazz. Tina Fey is also great as 22, a soul who doesn’t see the point in going to Earth. However, if you’ve followed Pixar for a while, you most likely already knew that the voice acting was going to be great, and that the animation was going to be amazing. The two things that really stood out to me were the music and the story. The score is absolutely breathtaking, and Trent Reznor and Atticus Ross closed out the year with their best work yet. It’s impossible to see a future where the duo doesn’t win their second Oscar. But, the best thing about “Soul” is the story. Both Joe and 22 have an arc that feels real and earned, and by the end, I actually cared about them. I can’t see the film having much in terms of replay value, but other than that, it’s close to perfect, and I’m ready for whatever Pixar does next.

3. “News of the World”

Arguably the best Western in 10 years, “News of the World” is filled with great performances, excellent production design and a surprising amount of emotional weight. In other words, it’s the movie you’re going to have to watch every Father’s Day until they remake “True Grit” again, for better or worse. This is a beautiful-looking movie, with some excellent cinematography and uncharacteristically restrained direction from Paul Greengrass. This is the man who made the shaky-cam, ADHD style of the “Bourne” movies popular, and yet this style is nowhere to be found. In fact, there’s only one zoom in the entire film. The only real problem I have with this film is that aside from one scene, I never felt scared for the two main characters, played by Tom Hanks and Helena Zengel. The film rarely puts them in any sort of peril, which could have an effect on how much the average audience member cares about our protagonists. That being said, the one scene where the characters actually run into trouble is one of the best of the year. In order to avoid spoilers, let’s just say you’ll know it when you see it. However, what made this film so great to me was how well-drawn the characters were. Despite the film having less action than one would expect from a Western, the filmmakers make up for it by making the characters as strong as possible, and it works.

2. “Tenet”

Leave it to Christopher Nolan to release a film that requires several viewings to fully appreciate while the world is in the middle of a pandemic. If “Tenet” wasn’t as good as it was, I’d be mad. Thankfully, it is. In this film, John David Washington plays a character who is literally just called The Protagonist. That’s right. That’s his name. The Protagonist is recruited by a secret organization called Tenet to use a method of time travel known as “inversion” to save the present from being attacked by people in the future. “Does your head hurt yet?” This line is asked by Neil, played by Robert Pattinson, with around 40 minutes left in the film, and I have a feeling that this line was meant for the audience. Depending on your level of concentration, your answer could be yes or no. And for the first half-hour, my answer would’ve been a “yes”. Just like the Protagonist, we’re immediately thrown into the action, and it does feel like a struggle to catch up for a while. And the one thing that kept this film from receiving my highest grade is that the Protagonist isn’t a very compelling character. We know next to nothing about him, and this decision makes it nearly impossible to care about him. However, I’m fairly certain that this decision was made to make the Protagonist literally be the audience character. With no backstory or reason to care about him, he’s basically us, and as a result, I suppose that’s an understandable decision. However, once “Tenet” reaches its halfway point, the film takes off and everything begins to click. At its core, this is an extremely well-made movie, possibly one of the best directed movies I’ve ever seen. Nolan pulls every rabbit out of every hat imaginable, directing action scenes that might set a new bar for what can be accomplished in camera. Most of the film is done practically, and the small amount of CGI is about as seamless as possible. Ludwig Goransson’s score is incredible, possibly the best of the year. The acting is also incredibly strong. With this and “BlacKkKlansman”, Washington has proven himself more than capable of headlining a movie. However, Pattinson and Elizabeth Debicki are the clear standouts, and I’d love to see all three of them in another Nolan film. Despite some complaints from others about the script being a little confusing, which could stop many from watching it, I thought it was easy to follow, and if you’ve seen any of Nolan’s films, you can expect some mind-blowing twists and turns along the way. The one thing that kept this movie from claiming the top spot is that despite the obvious craft on display, it affected me on a cerebral level, and not an emotional one. The film that took the top spot did both of these things.

1. “Synchronic”

I wouldn’t blame you if you had no idea what “Synchronic” was. Just like my top movie of last year, “Ad Astra”, this film tanked at the box office despite its positive reviews and bankable stars. Nevertheless, “Synchronic” is the one film released in 2020 to receive my highest grade, an honor which is becoming rarer by the year. This feels like the type of movie that just doesn’t get made that often. Why? Because, it’s not based on an existing property. It’s not a sequel or a comic book movie, which might explain its lack of success or buzz at the box office. “Synchronic” is its own beast, and it’s better than the vast majority of the sequels and superhero movies that have plagued cinemas for the last decade. Despite its small budget, the film looks amazing. The cinematography is excellent, using long takes and tracking shots to give a better sense of geography or heighten the tension of a certain location. The time travel scenes are also incredibly well done, foregoing the usual awe and wonder of a different time period in favor of sheer terror. Some of this comes from the ethnicity of the main character, played by Anthony Mackie in what might be his best performance. Thanks to sheer bad luck, he occasionally finds himself in a time where African-Americans weren’t just discriminated against, but also persecuted. As a result, “Synchronic” has a surprising amount of subtext when it comes to racism in America and substance abuse. The idea of having time travel come from a designer drug is a particularly clever idea. However, style and good performances can only get a movie so far. What makes the film work is its story, and that’s mainly due to an incredibly effective first half. The two main characters, played by Mackie and Jamie Dornan, are fleshed out incredibly well. It takes 40-50 minutes to get to the time travel part of the story, which gives us a lot of time to look into the lives of these men. By the end, they felt real, and I felt a surprising amount of emotion towards the film’s surprising, albeit ambiguous, climax. Let’s just hope 2021’s best film is anywhere near as good as “Synchronic” was.