The astounding Gone Girl, unfortunately, it is not. The disappointing The Girl on the Train it, fortunately, is not. First-time director Emerald Fennell’s Promising Young Women (intentional or not) is a film that falls somewhere in between, even if that was never an intention or a consideration by anyone else watching the film. I mention comparing the three because 2014’s nearly flawless Gone Girl was this intense, methodical movie based on a novel centered on revenge against a man she felt had wronged her. Then it felt like 2016’s The Girl on the Train was a movie that was rightfully or wrongfully being compared and expected to be as successful as Gone Girl, partially because it was also based on a very successful novel, had an A-list leading actress (Rosamund Pike, Emily Blunt) had an edgy and creepy vibe to it, and ironically had the word “Girl” in the title. Promising Young Woman has elements of both movies. It has an amped-up revenge plot similar to Gone Girl and the mystery detective aspect of The Girl on the Train. You don’t need to watch either of the movies mentioned above to see Promising Young Woman. While there are some aspects of each, this film carries its weight, though it doesn’t hurt to be in the same conversation as two well-known films in the movie community.
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The Trial of the Chicago 7 (2020)
Just because a film has the revered Aaron Sorkin (The Social Network, Steve Jobs, The American President, Charlie Wilson’s War, Moneyball) attached to it as a screenwriter doesn’t mean we should automatically assume it will be a hit. The screenwriter has hit some home runs on the big screen. He’s the mastermind behind a few of the most revered television shows (The West Wing, Sports Night, The Newsroom) of the last 25 years. But that doesn’t mean that everything he touches will turn to pure gold. Venturing into just his second movie as a director (Molly’s Game), The Trial of the Chicago 7 is far from a film that should receive a Best Picture nomination. Sadly, it could very well win the top prize for 2020. Of the eight Best Picture nominated movies for 2020, only three finished in my top ten. In other years, I don’t think any of the three would have found a spot in my end-of-the-year list. 2020 was not a great year in the history of the world. The year in film was no exception.
The Father (2020)
Anthony Hopkins (The Remains of the Day, Amistad) gives the second-best performance of his career (The Silence of the Lambs) in a film that fails to overwhelm, like most of the other best picture nominees. Disguised by the outstanding performances of many of the other movies nominated for Oscar’s most prominent award of the night, The Father (Florian Zeller’s directorial debut) is a very well-made film that we should remember for its story, its performances, its execution, and its all too real haunting reality. I’ll concede to that if these things meet the checklist of a Best Picture-nominated movie. But there was something while watching this highly engaging film that felt like it didn’t deserve to be a movie that was one of the eight best in any year. With that said, 2020 as a whole did not generate many great films. In that regard, The Father merits its acclaim. The counter-argument is that the Academy doesn’t have to nominate up to ten films. Before 2009, only five films were able to receive a nomination. Since then, the fewest number of Best Picture nominated films for a given year has been seven (2018). 2020 would have been a year that warranted the minimum number of selections. However, the top movies, as a whole, were so poor that it would be just as challenging to distinguish five that are that much better than eight.
One Night in Miami (2020)
Adapted plays that play out on the silver screen in a fashion that makes you feel like you are watching a play are not my favorite. That’s not to say they don’t always work because sometimes they do. Fences is an excellent example of this done correctly. That movie undoubtedly was successful because of its actors (most notably Denzel Washington and Viola Davis). Like Regina King’s One Night in Miami, Fences only had a couple of stages (in the backyard, front porch, and house). But while each movie was based on a stage performance, Fences felt raw and honest, whereas One Night in Miami felt…well…staged.
Da 5 Bloods (2020)
Something that seems too good to be true usually is war is hell, don’t count your chickens before they hatch, or a variety of other euphemisms can be used to describe Spike Lee’s (Malcolm X, He Got Game) 2020’s Da 5 Bloods. While this is not Lee’s first venture into a historical war drama (2008’s Miracle at St. Anna), it is his first look at the Vietnam War. While a strong contender for a Best Picture Oscar nominee, Da 5 Bloods could also give Lee his second Best Director nomination (2018’s BlacKKKlansman). Its best Oscar nomination chance is Best Actor (Delroy Lindo – The Cider House Rules, The Last Castle).