 We’ll never know if this year’s list of the “Best Of”/ “Top Ten” Movies of 2020 are what they are because of the oddity of being a pandemic year, or in spite of it. There are plenty of movies that never got released due to theater closings or low attendance. Some of those will either be pushed to a theatrical release, post-pandemic, or come to a streaming outlet early this year. Still, there were many films that maybe normally would have gotten lost in the shuffle of a normal “theatrical release” year, that got noticed thanks to streaming availability.
Any way you slice it, 2020 was an especially challenging year for the film industry that lost millions, if not, billions of dollars, with theaters closed and audiences shying away from theaters even when they were briefly reopened. It was also an odd year for reviewers like myself. What qualifies as a movie-movie? Are short films or series part of that? Is anything on Amazon, Netflix and Hulu a legit contender? What can be considered for awards this year and is it really the “best of” the year, or the best under the circumstances? Below is my list based on my criteria, coupled with the Academy’s considerations. For myself, I considered if the movie, on one hand, rose to the level of exceptionalism in several categories such as screenplay, cinematography, editing, performances, and come together with seamless execution (it’s not enough to just have an outstanding performance, but a mediocre script). On the other hand, did I also enjoy, appreciate and like or love the movie and its story, along with all the technical aspects? Did I finish it wanting more or wanting to re-watch it? Will it hold up beyond 2020? Based on all that, the following are my carefully considered selections in order of quality (#1 best, 2nd best, etc.) Nomadland (Chloé Zhao)- This haunting film is a great example of being minimal and quiet, yet full of heart and drawing viewers in from the start and through to the end. It is easy to understand why it won the MVFF “Audience Favorite” in two categories of the festival, and has much Oscar buzz already, with its star, Frances McDormand, said to be a frontrunner for “Best Actress.” Following the death of her husband and the loss of her job, Fern (McDormand) decides to leave her town in rural Nevada. Packing up her van, she hits the road, exploring a life outside of conventional society as a modern-day nomad. Along the way, she meets others like herself, forging a new life on the road, looking for work here and there. Many of these roles are filled by actual nomads who know this lifestyle first hand. The film is very slow moving and sparse, but incredibly engaging. Coming soon to theaters and On Demand. Another Round (Thomas Vinterberg) - Although the premise of four middle-aged men testing a theory to maintain a certain daily blood alcohol level to improve their disposition, sounds a bit odd, even off-putting and definitely destined to failure, instead it soars with creativity, poignancy and delight. The drinking and the drinking culture of Denmark is in the foreground or the catalyst for the film’s deeper meaning and goals which are the importance of one to reclaim life’s purpose and passions. Leading the ensemble cast is the tremendously talented, Mads Mikkelsen (“The Hunt,” “Hannibal”). He handles the character’s large arch and various stages of inebriation with aplomb. Writer/director Thomas Vinterberg, forever known for his stunning directorial debut, “A Celebration” (1998), affirms his unique talent in focusing on a singular, seemingly simple story and masterfully building on life’s complexities. On Demand One Night in Miami (Regina King) - Go here for full review http://www.paulafarmer.com/film-blog/one-night-in-miami-movie Mank (David Fincher) - A young wunderkind filmmaker, Orson Welles, enlists the services of veteran screenwriter and social critic, Herman Mankiewicz to pen what would be his masterpiece movie, “Citizen Kane.” The problem is Mank is an alcoholic and recuperating from an injury. While resting his physical impairment, he is surrounded by a few characters tasked to keep him sober in order to finish the script. Along the process, he reevaluates his time in Hollywood and his associates. This isn’t the type of film subject one would expect from Hollywood heavyweight David Fincher (“The Social Network,” “Gone Girl,” “Zodiac Murders”), but working from a script of his late father’s, Jack Fincher, this departure is clearly a labor of love and it is imbued with imaginativeness, spectacular performances (Gary Oldman as Mank), old Hollywood charm and innocence, and packaged in glorious black and white imagery. The Fight (Elie B. Despres, Josh Kriegman) Go here for full review - http://www.paulafarmer.com/film-blog/the-fight-documentary-film-review Palm Springs ( Max Barbakow) - Wow, I didn’t see this one coming. What a wholly enjoyable surprise this film that mixes fantasy/time travel with comedy is. When the two main characters, Nyles and Sarah, played by Andy Sandberg and Cristin Milioti connect by chance at Sarah’s sister’s wedding in Palm Springs, one thing leads to another and they find that they can’t leave the day … ever. This is “Groundhog Day” but better. Hulu Soul (Peter Docter, Kemp Powers)- It’s rare that I watch animation and even more rare that animation lands on my “Top Ten” list. This is not for lack of appreciation of the genre, but more attributed to a lack of interest. That said, there are a select few exceptions, and this is definitely and most appropriately one. When music teacher-wanna-be-professional-jazz-musician, Joe, gets what should be his big break to play with a musical legend in a NYC club, he ends up falling through a manhole and lands in between life and the sweet hereafter. In trying to get his soul back to his earthly body, he is enlisted to mentor a young soul called 22 (Tina Fey). 22 needs assistance in finding her passion and purpose before she is allowed to go to earth. At first Joe is only focused on his determination to avoid death and make his gig on earth, but along the way he learns from his young mentee, connecting with the real meaning of life and reassessing his priorities. Throughout, the audience is treated to Pixar at its best. Prepare to laugh, cry and become a part of the journey of life. Joe is voiced by Jamie Fox, and the music is largely attributed to Jon Baptiste. Batiste is perhaps best known as the bandleader on The Late Show with Stephen Colbert, releasing a Grammy-nominated album in 2019 and serving as Co-Artistic Director of the National Jazz Museum in Harlem. In addition to writing music for Soul, Batiste acted as a cultural consultant on the film. (Disney + 40-Year-Old-Version (Rhoda Blank) - Washed up New York playwright, Rhoda, teaches theater to tough and cynical high school students in order to pay the bills while struggling to get her new play produced. Haunting her endeavors are the thoughts centered on an upcoming significant birthday, and her recently passed mother, who was also a struggling artist. To compensate, Rhoda explores a new dream of being a rapper. The film was shot in black and white to evoke the music videos of the rappers from the 80s and 90s. That aesthetic actually had added value, helping to create an intimate feel. It is a small story, taking place over a few short weeks, a personal, somewhat autobiographical story, and it is filled with a fun supporting cast, and great observations and humorous lines from Rhoda. In some ways “40-Year-old-Version” is very New York and seemingly could limit it’s audience and appeal, but Blank makes a personal story universal, relatable and oh so enjoyable. It’s a great example of what a debut should be- writing what you know, not over-reaching but succeeding wonderfully. Where have you been Rhoda Blank?! Now that we discovered you, we need more, more, more. (Netflix) Never Rarely Sometimes Always (Eliza Hittman)- Who knew that in 2020 it could still be a struggle for some young women to obtain an abortion or for a teenage girl to feel safe in what should be an innocent relationship? This movie follows soft-spoken, broken-hearted Autumn who is from a small working-class town in Pennsylvania as she finds herself with an unwanted pregnancy and feeling unable to reach out to her parents for help. Initially, she goes to a local clinic that gives her misinformation and attempts to dissuade her decision to abort by showing her videos. As a result, she and her cousin skip out on what they thought would one day of school and one night of work as grocery store check out clerks to go to a clinic in New York City. Because Autumn was misinformed regarding her due date, she is referred to another clinic to go to the next day. Once there, she is made aware of needing a medical procedure that will take two days. The girls’ planned overnight excursion, is now stretched to several more, with not enough money to cover their needs and their parents unaware of their whereabouts. The scene between Autumn and the kind intake nurse at the clinic is worth the price of admission alone. The nurse gingerly asks Autumn routine questions to obtain information as to whether or not she lives in an environment/ has relationships in which she feels safe. “I’m going to ask you some personal questions,” the nurse quietly warns. “All you have to do is answer either never, rarely, sometimes or always.” We hear the questions, but the camera is focused on Autumns face. This is clearly an emotionally fraught situation for her, faced with the reality of her untenable home life with each question. With each response, we get clues to her situation and sympathize or empathize. “Never Rarely Sometimes Always” is a quiet movie, with little dialogue and action. It explores one situation, one character and over only a few days, but its message and impact will haunt long past its 93 minutes of viewing. His House (Remi Weekes) - A vulnerable yet courageous couple escape from war-torn Sudan, but struggle in their new setting of a low income neighborhood in a small English town. Instead of being welcomed into what should be a safe environment, they are given a list of what they can and cannot do; how they should behave. Even more evil than the unfriendly officials, is the government house assigned to them. It is run down and unclean for sure, but it is haunted with ghosts in the walls and thoughts of their tormented past permeating the couple’s dreams and thoughts and threatening their marriage. All the while, an odd and ominous next-door neighbor seems to be always lurking with unsettling glances and comments. Although there is a bit of a redundancy in the horror aspect of the story line, and certain characters are not fully drawn, the film’s shortcomings are cleverly balanced out with a unique mix of political messaging and refugee social issues at its core. This is an impressive debut for writer/director Remi Weeks and undeniably strong performances from the principal actors, Sope Dirisu and Wunmi Mosaku. Netflix Honorable Mention Uncle Frank (Alan Ball, director) - Amazon Prime Ma Rainey’s Black Bottom (George C. Wolfe, director) - Netflix The Sound of Metal (Darius Marder, director) - Amazon Prime The Dissident (Bryan Fogel, director) - On Demand All In: The Fight for Democracy (Lisa Cortes, Liz Garbus, directors) - Amazon Prime
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 There are talented investigative journalists. There are outspoken activists, and there are those rare, self-sacrificing dissidents. Sometimes, there are those who are all three. Washington Post reporter Jamal Khashoggi was one such person. Khashoggi went from maintaining a closely guarded status as journalist covering the volatile politics of his homeland of Saudi Arabia, to crossing that line and embracing activism against the corrupt regime. “The Dissident” explores the self-exiled Khashoggi’s transition and the ultimate price he paid for it- murdered in the Saudi consulate in Istanbul. The film, directed by Bryan Fogel (“Icarus”) is a real-life thriller of this horrific 2018 crime believed to have been ordered by the Crowned Prince, Mohammed Bin Salman (MBS). Fogel sets up a mystery, allowing it to craftily and believably unfold over its nearly two hour run.
Taking advantage of incredible access, including never before seen surveillance footage from inside the consulate, numerous interviews with Khashoggi’s fiancé, Hatice Cengiz, Turkish investigators and United Nations officials, Fogel puts forth a plethora of damning information, and does so in a compelling way. Although at one point in his career, Khashoggi actually was an Saudi monarch insider and had been hopeful that MBS would implement progressive reforms he claimed to ascribe to, Khashoggi’s hope gave way to disillusionment and anger. It was then, he became an outspoken advocate for necessary reform. His weapon was his voice and his pen. He was a respected journalist; a man of principles who wanted to be a part of creating a more open society in his homeland. The film uses interviews with key characters such as Khashoggi’s friends and colleagues, combined with interviews of officials linked to the investigation, graphics and crime scene transcripts. The friends and colleagues provide insight into Khashoggi's personality, personal life, dedication and strong sense of professionalism. In 2018 when his murder could have faded quickly in the era of an already over indulgent news cycle, these people kept the story going and the injustice front and center. Fogel appropriately puts particular focus on two of Khashoggi’s closest allies: his fiancé Cengiz and Omar Abdulaziz, a young Saudi activist with whom Khashoggi was secretly collaborating. The two truly drive the plot along while never allowing the audience to forget the humanity at the center of it. In the case of Abdulaziz, he opens up an equally intriguing sub-plot of social media propaganda, government hacking and the importance of counter intelligence and privacy protection. If you liked “Icarus,” you will want to watch “The Dissident.” If you did not see “Icarus,” you will want to after being enthralled by “The Dissident.” With the two films, Fogel is proving to be a uniquely talented investigative documentarian, deftly combining his filmmaking skills with his personal sense of social activism. Per the film’s final messaging, “Learn more. Take action. Make a difference.” “The Dissident” - in theaters Dec. 25; On Demand Jan. 8. Trailer - https://thedissident.com/#videos Director: Bryan Fogel Writers: Bryan Foge, Mark Monroe Stars: Hatice Cengiz, Omar Abdulaziz, John O. Brennan Country: USA Language: Arabic, Turkish, English MPAA Rating: PG-13 Run Time: 119 min  Fictionalizing an incredible night in 1964 when four friends, luminaries who later become legends, gathered to celebrate boxing’s biggest night. A young, up-and- coming athlete, Cassius Clay (Eli Goree) won the heavyweight champ title from Sonny Liston at the Miami Convention Center, and taking the world by storm. There to witness the victory and support their friend, were singing sensation, Sam Cooke (Leslie Odom, Jr.), college football hall of famer, Jim Brown (Aldis Hodge), and a young social justice leader called Malcolm X (Kingsley Ben-Adir). Being the year that it was in the midst of the Civil Rights Movement, and Malcolm X being the dedicated Muslim and passionate activist that he was, the conversations between the four friends go from fun and frivolous, to heated, pointed and inspired. The fact that Clay would be using the national spotlight of his victory to announce his conversion to Muslim and changing his name to Muhammad Ali, increases the already heated exchanges between the characters. In all, they were faced with what would be their individual roles in the movement and for history. Their discussions from over 50 years ago, resonate today, with contemporary issues of race and systemic racism in America. Based on a play by Kemp Powers who also adapted it for the screen, the movie has the look and feel of a play, which depending on your sensibilities, can either be a good thing or less appealing. For this, Oscar winning actress, Regina King delivers an impressive directorial debut. She keeps the focus narrow, in context of shots and angles, as well as regarding themes and dialogue. Most of the movie, rich in deep tones, takes place in a couple small interior locations, and the supporting cast is nominal but noticeable, including Beau Bridges. The performances throughout are believable and powerful. All four actors hold their own and then some, but Ben-Adir as Malcom X and Goree as Clay, are stand outs. Between the portrayals of these iconic figures, and the deeply moving dialogue, “One Night in Miami” is definitely worth a night of viewing for audiences of all ages. This film will be available for streaming soon on Amazon Prime. Director: Regina King Writer: Kemp Powers Stars: Kingsley Ben-Adir, Leslie Odom, Jr., Eli Goree, Aldis Hodge Country: USA Language: English Runtime 110 min. MPAA Rating: ? Trailer: https://www.youtube.com/watch?v=ZprXMxKg-- Film festivals in the time of Corona Virus are varied and limited. Some festivals chose to cancel altogether for this year, while a few, like the New York Film Festival, went completely virtual. The Mill Valley Film Festival (MVFF) attempted the “best” of both by offering audiences mostly streaming options, but also a select few movies at a makeshift drive-in theater on the Civic Center grounds in San Rafael, California. Here are some of their samplings, which you can expect to come to a theater near you or through streaming options in the comfort of your home.
Ammonite - The most alluring aspect of this highly toted period drama is the casting of its stars, Kate Winslet and Saoirse Ronan who portray strangers that become unlikely friends- turned forbidden lovers. Taking place in 19th century England during an era when women could neither vote, let alone be taken serious in scientific circles of the day. As such, Anning (Winslet) was obliged to sell foraged fossils to support her groundbreaking research, her mother, and herself. While she excels at the research, foraging and academics of her discoveries, she gets little notice and hardly an income from it. When she is temporarily hired as a companion for Charlotte Murchison (Ronan), the young wife of a visiting geologist, she ignites a curiosity for the stones in Charlotte, and a mutual attraction quickly ensues. While all this seems an interesting premise, the execution is anything but. Even the talents of these two acting heavyweights couldn’t elevate the lackluster script and overall execution. In fact, their characters, as well as any other characters of this film are detached, underwhelming and unappealing, making it impossible for audiences to connect. While it is fine to be a simple film, a quiet film, or a small film, you cannot be all of that and soulless as well. It was a missed opportunity to explore- as in dig deeper- provocative timeless themes. For a similar, but better option, please refer to last year’s “Portrait of a Lady on Fire.” Director: Francis Lee Writer: Francis Lee Stars: Kate Winselt, Saoirse Ronan, Gemma Jones Country: UK, Australia, USA Language: English MPAA Rating: R Run Time: 120 min. Trailer: https://neonrated.com/films/ammonite Banksy Most Wanted - This is one of several documentaries about the ever elusive, internationally popular street artist, and it probably won’t be the last. As long as he keeps creating brilliant and evocative art with political and social messaging, people will be intrigued. And as long he remains incognito, people will want to know who he is. It is just that mystery that is at the heart of this documentary directed by Laurent Richard and Seamus Haley. The film deftly combs through numerous theories as to the identity of Banksy, including interviewing investigators and journalists who are certain they’ve cracked the case. Beyond the possibility of discovering who is behind the stencils and spray paint, the film tracks the artist’s career, popularity and allure. It also asks the question, do we really want Banksy to be revealed? Although “Banksy Most Wanted” isn’t the best film of its kind, it is interesting and engaging while exploring the intersection of art and a real life mystery. For fans of the artist and his art, it’s a “must see.” Director: Seamus Haley, Laurent Richard Writer: Seamus Haley, Laurent Richard Country: France Language: English, French Runtime: 82 min. Trailer: https://www.youtube.com/watch?v=8PbqSnG7wcI The Father - This is a unique and interesting character study of Anthony, an elderly man in the throes of dementia who is in denial of his situation and resisting help from his daughter Ann. Adapted from Florian Zeller’s play titled, “Le Pere,” the ornery dad is portrayed brilliantly by Anthony Hopkins. Equally effective is Olivia Coleman as Ann who is equal parts worried about her father and hurt by his harsh edges as he takes out his dire situation on her. Although in recent history there have been several films with an Alzheimer theme, including “Still Alice,” which garnered Julianne Moore an Oscar for the title role. That film, and others like it, are mostly done from the perspective of the family or a family member deeply impacted from the health decline, or from both the perspective of family members and the victim. Where “The Father” differs is that it is almost entirely from the dementia patient’s point of view as he tries to make sense of what is happening. This makes for a very trippy and confusing audience viewing, but in an interesting way. For example, in one scene Ann comes to check up on her father in his apartment, and prepare him for his new home caretaker and for the fact that she will be moving to Paris to live with her fiancé. In subsequent scenes Ann is not Ann, as in Olivia Coleman, the apartment is actually Ann’s, not Anthony’s, and Ann is not moving from London to Paris. Which scene is the truth? The movie’s best features are these deeply moving performances and the unusual point of view. While the cinematography is rich and beautiful, it is purposefully shot very narrowly, taking place in just two indoor settings. In that, it feels like a play, which is not necessarily a detractor, but rather a descriptor that this film has a very small, intimate feel, as plays-turned-movies often do. Like the way it was shot, “The Father” will most likely have a small audience, but get big notice for Anthony Hopkins come awards season. Director: Florian Zeller Writer: Christopher Hampton Stars: Anthony Hopkins, Olivia Coleman, Olivia Williams, Rufus Swell Country: UK/ France Language: English MPAA Rating: PG-13 Run time: 97 min. Trailer: https://www.sonyclassics.com/film/thefather Nomadland - This haunting film is a great example of being minimal and quiet, yet full of heart and drawing viewers in from the start and through to the end. It is easy to understand why it won the MVFF “Audience Favorite” in two categories of the festival, and has much Oscar buzz already, with its star, Frances McDormand, said to be a frontrunner for “Best Actress.” Following the death of her husband and the loss of her job, Fern (McDormand) decides to leave her town in rural Nevada. Packing up her van, she hits the road, exploring a life outside of conventional society as a modern-day nomad. Along the way, she meets others like herself, forging a new life on the road, looking for work here and there. Many of these roles are filled by actual nomads who know this lifestyle first hand. The film is very slow moving and sparse, but incredibly engaging. There is an undeniable natural look and feel to it, with multiple rural and small town landscapes, some of which are ruggedly beautiful and cold. Although the lifestyle portrayed can seem sad and hard to witness, there is absolute audience sympathy and connection, especially for the affable and positive Fern. Even if this were not an unconventional movie year, with fewer than usual contenders, “Nomadland” would be on every “Best Of”/ “Must See” list. Director: Chloé Zhao Writer: Jessica Bruder (book), Chloé Zhao (screenplay) Stars: Frances McDormand, David Strathairn, Linda May Country: Germany Language: English MPAA Rating: R Run Time: 108 min Trailer: https://www.searchlightpictures.com/ One Night in Miami - Fictionalizing an incredible night in 1964 when four friends, luminaries who later become legends, gathered to celebrate boxing’s biggest night. A young, up-and- coming athlete, Cassius Clay (Eli Goree) won the heavyweight champ title from Sonny Liston at the Miami Convention Center, and taking the world by storm. There to witness the victory and support their friend, were singing sensation, Sam Cooke (Leslie Odom, Jr.), college football hall of famer, Jim Brown (Aldis Hodge), and a young social justice leader called Malcolm X (Kingsley Ben-Adir). Based on a play by Kemp Powers who also adapted it for the screen, the movie has the look and feel of a play, which depending on your sensibilities, can either be a good thing or less appealing. For this, Oscar winning actress, Regina King delivers an impressive directorial debut. She keeps the focus narrow, in context of shots and angles, as well as regarding themes and dialogue. Most of the movie, rich in deep tones, takes place in a couple small interior locations, and the supporting cast is nominal but noticeable, including Beau Bridges. The performances throughout are believable and powerful. All four actors hold their own and then some, but Ben-Adir as Malcom X and Goree as Clay, are stand outs. Between the portrayals of these iconic figures, and the deeply moving dialogue, “One Night in Miami” is definitely worth a night of viewing for audiences of all ages. Go to Longer review HERE Director: Regina King Writer: Kemp Powers Stars: Kingsley Ben-Adir, Leslie Odom, Jr., Eli Goree, Aldis Hodge Country: USA Language: English Runtime 110 min. MPAA Rating: ? Trailer: https://www.youtube.com/watch?v=ZprXMxKg-- 
Never have the stakes seemingly been so high for the ACLU than the last few years. Since Donald Trump took office in 2017, the already thinly stretched staff of the ACLU, have been working overtime tackling key, high profile cases, clocking in a whopping 173 lawsuits against the Trump administration … and counting. The documentary film, “The Fight,” chronicles several of these cases headed up by four hard-working, determined ACLU lawyers. These defining situations that make up “The Fight” are brought to us by the filmmakers of the 2016 award-winning documentary “Weiner” (Elyse Steinberg, Joshua Kriegman, Eli Despres). Like in that film, they further prove with this one that they have a keen talent at mixing politics with personal drama, and a dab of humor along the way. Filmmakers introduce each featured issue and case through the vehicle of clients, but mostly through the tireless lawyers themselves. Starting with Brigitte Amiri, a deputy director for the nonprofit’s Reproductive Freedom Project. Although she handles many cases that fall under this division, the film focuses on the Jane Doe case, which challenged the Trump administration’s ban on abortion for unaccompanied immigrant minors. Joshua Block is a senior staff attorney with the National ACLU’s Lesbian Gay Bisexual Transgender & HIV Projects. Together with Chase Strangio, the only Transgender lawyer at the ACLU, he is lead counsel in Stone v. Trump. This case was its challenge to President Trump’s attempt to ban transgender people from serving in the military. Taking up the case for the ACLU’s Immigrant Rights Project, is the film’s most high profile lawyer. Many viewers may recognize him from adding insight and commentary on legal matters through such media outlets as MSNBC and CNN. Lee Gelerent is widely considered one of the nation’s leading public interest lawyers. As such, he has argued dozens of pivotal cases throughout the country, including in the U.S. Supreme Court. In “The Fight” he takes one of his cases concerning family separation to the high court, arguing on behalf of asylum seekers. Rounding out the group of heroic attorneys is Dale Ho, the director of the ACLU’s Voting Rights Project and supervisor of its voting rights litigation. Like his colleagues, Ho is involved and has been involved in numerous other cases pertaining to his area of specialty. At one point, prior to the Trump election, he had planned to take time away from the ACLU, but he realized and admitted, “If I’m not going to be a civil rights lawyer now, in this moment, then when?" For the film, the focus is on Department of Commerce v. New York which challenged the inclusion of a citizenship question on the Census. Viewers witness Ho’s journey to the U.S. Supreme Court for this particular case. All of the film’s featured lawyers are equally engaging and impassioned. They are classic examples of unsung heroes, fighting our battles, regardless of political affiliation. You see them not only with their game faces on in court, but also in their houses interacting with their spouses, children and siblings, at times particularly vulnerable, like when Ho is rehearsing arguments in front of the bathroom mirror. We’re also taken into the ACLU office, seeing the lawyers interacting with colleagues, taking important calls, and in one scenario, Gelerent stressed when he can’t get one of his cell phones charged up or anyone to assist with needed tech support. It is this office access that is truly unique to the film as the ACLU has never granted video access to its offices. While, obviously, some conversations are sensitive and one can assume not all matters were available for public consumption, the unusual open access is undeniable and key to the documentary’s success. Especially poignant in this regard is witnessing the internal turmoil over the agency’s decision to represent the white supremacist’s right to protest in Richmond, Virginia in 2017. ACLU officials were conflicted and in conflict over the matter. When things turned out as they did, the agency was criticized, in some cases even blamed. The lawyers were devastated, but some of the ACLU leadership stood by the decision to represent “the right to protest, even if by a group they personally disagreed with.” All the lawsuits are important in their own way for each of the lawyers, personally committed to client and cause, and to the individual clients, but more broadly, the cases speak to what’s at stake for all Americans - the preservation of democracy. In fact, separately, any of the cases and causes could be a documentary onto itself, but collectively, it is absolutely raw and riveting. To say that “The Fight” is timely and necessary is an understatement. The only way it could have been even more so, would have been to include a legal issue pertaining specifically to police brutality and race given the current state of affairs. Beyond the inspiration of the real life characters, and the legal journeys explored, “The Fight” ushers in hope. In spirit and structure, it is similar to last year’s “Knock Down the House” documentary following several outsider candidates, including Alexandria Ocasio-Cortez, as they campaign in 2018 for the Congressional election and to make a difference. If you liked that film, you will definitely want to experience “The Fight.” It is in select theaters and On Demand on July 31st. Directors: Eli B. Despres, Josh Kriegman, Elyse Steinberg Stars: Brigitte Amiri, Lee Gelerent, Dale Ho Country: USA Language: English MPAA: PG-13 Runtime: 96 min.  What is happening in America now is more than a moment. It is a movement. As a reaction to the murder of George Floyd, an unarmed Black man, at the knees of white police officers, people of all races are peacefully taking to the streets demanding justice. This police "incident" is one of way to many in just recent years. Before it was George Floyd, it was Eric Garner, Sandra Bland, Trayvon Martin and too many more. This particular movement is an important one that has been decades, if not centuries in the making. Slavery, the fight for Civil Rights, the Rodney King verdict, and all the tragic shootings by white police and others of unarmed black people in recent years, has led to this. Although we often look to films to entertain and to escape from reality and problems, now is not necessarily the time for that. It is a good time to learn from our history, learn from our mistakes, or to be inspired by the lives and stories of leaders, agents of change. Here are a few movie suggestions for your viewing education and inspiration. (In alphabetical order by title) 1. 1 Angry Black Man (2020, Hans Charles) - A hard-hitting, engaging film evolving around heady issues of race, class and identity as experienced by a black liberal arts student. https://rafaelfilm.cafilm.org/ 2. 13th (2016, Ava DuVernay) - This documentary gives a painfully hard look at the racial inequities pertaining to America’s prison system, past and present. 3. The Black Power Mixtape (2011, Goran Hugo Olsson) - Recently rediscovered audio and video footage from a Swedish news agency of interviews with characters from the Black Power movement has been put together and released as a captivating documentary titled “The Black Power Mixtape 1967-1975.” The Swedish journalists who launched the project during that period were intrigued by the movement and were determined to discover “Black America” from a non-biased, non-white American perspective. 4. Dear White People (2014 Justin Simien) - A fun, but poignant satirical look at college life for a group of black students on a predominantly white campus. The central character is Samantha White, a bi-racial black student who moderates an anti-racism show on the campus radio station. This feature film has since been developed as a Netflix series. 5. Do the Right Thing (1989, Spike Lee) - During a sweltering summer week in the Bedford-Stuyvesant community of Brooklyn, issues of racism come to a head as the black residents clash with bigoted Italians. 6. I am Not Your Negro (2016, Raoul Peck) - Based on the unfinished work by author James Baldwin, “Remember This House,” this documentary discusses the state of race in contemporary America. Directed by Raoul Peck and featuring James Baldwin and Samuel L. Jackson. Now available on Amazon Prime. 7. Say Her Name: The Life and Death of Sandra Bland (2018, Kate Davis) - This documentary gives carefully researched look into the bizarre and maddening arrest and subsequent suspicious death in jail of Black Lives Matter activist Sandra Bland. 8. Selma (2014, Ava DuVernay) - Before there were Black Lives Matter and the current wave of righteous race protests, there was the Civil Rights Movement and the fight for black voter rights. This movie explores the campaign spearheaded by Dr. Martin Luther King, Jr. to secure equal voting rights via what became a dangerous and iconic march from Selma to Montgomery, Alabama in 1965. Now available on Amazon Prime 9. Seven Seconds (2018, Veena Sud) - This vibrant Netflix mini-series is hard to watch because of the rage-inducing characters and scenes, but even harder to look away from because of the issues explored and the taut performances by a fantastic ensemble cast. An outer borough neighborhood is shaken to its core when a young black teen is critically injured by white cops. The case is officially investigated by a troubled black prosecutor battling her own demons, but unofficially investigated by the victim’s angry and suffering mother. 10. When They See Us (2019, Ava DuVernay) - An accurately fictionalized depiction of the arrest and conviction of five young men falsely accused of raping a white woman in Central Park in 1989. Made into a limited mini-series for Netflix by writer/director Ava DuVernay recreates the over 20 year time period in which the accused- mostly teens and pre-teens at the time- were arrested, coerced into confessions, convicted and spent many years in jail before being exonerated. The examination of the young men that came to be known as “the Central Park five,” going through the system that beat them up and let them down, is riveting and heart wrenching. Every member of this cast gives a stellar performance, leaving audiences with a portrayal that will haunt long after the final scenes. Yama Rahimi is a correspondent for Ioncenima magazine. Although he watches and reviews many types of films, personally and professionally, he believes films with focus on social issues have particular significance in the cinematic world. "Movies are a great way to get personal perspective and take you on an emotional journey. The best way to understand other points of view is to watch a movie on a topic such as social injustice." He further describes how many of the films comprised of this list resonated with him personally. "While I was familiar with some of issues in the films above, they gave a better perspective and information that I wasn't aware. Each film affected me profoundly and gave me empathy that I wouldn't have otherwise." Some may call it fanning the fire, some may say it’s soothing the soul. I believe it’s art responding to relevant issues of our times, be it the Civil Rights marches of the 60s, the protests against the Vietnam War, the fight for the ratification of the Equal Rights Amendment, or police brutality against a race of people or peaceful protesters. As such, these films- some features, some documentaries- inspire and educate. While StayingAtHome, you may want to take a break from the news and take advantage of streaming platforms giving a platform to concerns of race, identity and other pressing issues.  At the the intersection of Noir mystery thriller and art appreciation is the film, “The Burnt Orange Heresy,” by director Giuseppe Capotondi. When an ambitious, but fallen-from-professional-grace art critic, James Figueras (Claes Bang) gets approached to steal a painting from an acclaimed but reclusive elderly artist, Jerome Debney (Donald Sutherland) and redeem his standing in the art community, James takes the bait. The deal was at the initiation of the odd, beguiling and wealthy art dealer, Joseph Cassidy, portrayed surprisingly, yet somewhat convincingly by Mick Jagger. Joseph lured him into the deal by inviting James and his new love interest, Bernice Hollis (Elizabeth Debicki) to his estate which is along the elegant and lush coast of Italy. While there, Joseph does a bit of blackmailing to get James’s cooperation, which is initially unbeknownst to Bernice who has actually taken a liking to the elderly artist.
Because James is bored with his “new” life as an art history teacher to tourists in Milan, it doesn’t take much coaxing to get him onboard an executing the theft. As such, he quickly launches a lame attempt to befriend Debney, which is in contrast to Bernice’s sincere and successful execution of garnering Debney’s trust. She is kind to him and demonstrates respect and affection toward him and his work within a matter of hours. This gives James his in … or so he believes. He also thinks his crime was small, but with large benefits to him. Once again, the movie unfolds to prove anything but. Although the film successfully weaves in aspects of the meaning of art and the cost of selling your soul, aka, value of art and moral values, the first thing that will really attract any arthouse film lover to this movie, is undoubtedly, the cast. It is a small cast making up these four main characters. The older two, Jagger and Sutherland, are in the smaller, supporting, but undeniably pivotal roles. Sutherland is, of course, a legend, bringing gravitas and credibility to any part and every movie he’s in. At this point in his career, he’s worth the price of admission to any project. Jagger too is a musical legend, but also has a recent and impressive history of producing films and occasional cameos. While his presence and role is a bit of a surprise, it’s somewhat believable and effective. As for Bang and Debicki, they may not be as recognizable, but they should be or will be with impressive credits to their seemingly new, short careers already. Physically speaking, both actors are stunning and alluring. He is tall, dark (haired) and handsome, and she is just as tall, fair and beautiful. Beyond their physical achievements, so to speak, the two are as alluring, professionally as physically. Debicki seem to sneak up on audiences in 2016 with her role in the wonderfully intense John le Carre TV mini series, “The Night Manager.” The part in this proved she had range and was one to watch. Then she seemed to explode on the big screen two years later in director Steve McQueen’s heist thriller, “Widows.” As for Bang, his “seemingly new career,” is just that- seemingly- because he is a Danish actor with an actual long career in his homeland and Europe. He seems to be new because the few Americans who know of him now, did not so until his lead role in the 2017 odd drama-edy, “The Square,” which was nominated for the Oscar’s Best Foreign Language film in 2018. While the premise of “The Burnt Orange Heresy” is intriguing, the locations and look of it is captivating, and the ensemble is spot on, the script adapted Charles Willeford's 1971 novel, falls a bit short in certain ways. While there is a definite successful Hitchcockian style, the actual story and execution is not as successful throughout. It does not maintain interest and allure. This is because the character interactions and pacing for the first part of the film, are awkward and lacking. Stick with it though, because despite its shortcomings, the strengths of “The Burnt Orange Heresy” make it worth the slow, burning ride. Director: Giuseppe Capotondi Writers: Scott B. Smith, Charles Willeford (novel) Stars: Claes Bang, Elizabeth Debicki, Donald Sutherland Country: UK / Italy Language: English MPAA Rating: R Run Time: 99 minutes  Real-life hero lawyer Bryan Stevenson, founder of the Equal Justice Initiative (EJI), and an advocate for death row inmates and others unfairly incarcerated, comes to life on the big screen in “Just Mercy.” Adapted from Stevenson’s memoir of the same title, it is a depiction of one of the pivotal cases he took on at the onset of his legal career. When Stevenson, who is from Philadelphia, went to Harvard Law School on a scholarship, he hadn’t planned to relocate to Alabama afterwards, let alone work on death row cases. Like many of his classmates, he assumed a lucrative profession in corporate law lay before him, but fate had other plans. After a summer internship in the late 80s of working Civil Rights cases and meeting several death row inmates who were victims of abject racism and unfairly incarcerated, bonds were made and an activist was born. Stevenson did a U-turn back to the deep south upon graduation to the fear and disappointment of his mother. It was almost just as hard to develop a law firm dedicated to this cause as it was taking on cases of this kind. To say it was an uphill battle is an understatement.
It is at this point of Stevenson’s life and legal practice that writer-director Destin Daniel Cretton begins the adaptation. He smartly puts acclaimed actor Michael B. Jordan (“Creed,” “Fruitvale Station”) in the lead role of Civil Rights attorney, Stevenson. Not surprising, Stevenson’s Harvard degree, professional persona and attire, and good intentions couldn’t shield himself from being a victim of racism as well as anyone he represented. Early on in his arrival in Alabama, he meets Eva Ansley (Brie Larson) a young white wife and mother who is dedicated to Stevenson’s cause. She and her husband welcome him into their home while he settles in. After helping him set up the office and law practice, she naturally falls into the role of legal assistant, even at the risk of her family’s safety. One of their first cases is appealing the conviction of Walter McMillian (Jamie Fox) who is wrongfully convicted of killing a white young woman despite an avalanche of evidence proving his innocence. The audience is ushered into and through a true human story and legal drama. Jordan portrays Stevenson appropriately as a naive, earnest and quiet young attorney. Much of his performance is in being restraint, communicating more in his demeanor and expressions than words or outrage. By contrast, Ansley in real life and in the hands of Larson, is tough and brash. It’s a good role for Larson and likable and impressive performance. Although Fox is in a supporting role and surrounded by a stellar cast, he as Walter is the standout performance. His portrayal is a deeply moving combination of anger and fear, mixed with a bit of optimism as he begins to trust Stevenson and hangs on to hope. Playing the part with soul and conviction, it is Fox’s best performance since “Ray.” Unlike the movie, Stevenson’s memoir is set up as vignettes of numerous cases he took on at the same time as Walter’s and after. The adaptation narrows the focus to just the one case. For fans of the book that may come as a surprise and/or disappointment, but it makes sense within the movies’ time limitations. Also, if there was just one of Stevenson’s laudable cases to portray, this is the best choice. It ended up being his most high profile, changing trajectory of his practice, and launching the EJI. Beyond that, there is nothing else for followers of Stevenson or fans of the book to bemoan because "Just Mercy” the movie is solidly good adaptation and a compelling drama. It will bring a tear to your eye, but more importantly, shine a light on an honorable man, admirable causes and a little-known case. Director: Destin Daniel Cretton Writers: Destin Daniel Cretton, Andrew Lanham Stars: Michael B. Jordan, Jamie Fox, Brie Larson Country: USA Language: English MPAA Rating: PG-13 Run Time: 136 min.  .
1917 - This is by far the best war movie ever made and absolutely be experienced on the big screen! How such a large movie can be so intimate is testament to the superb writing and cinematography that makes "1917" an incredible feat of filmmaking. It is as much a thriller as it is a war movie or period film, in large part due to how it was shot/edited in one take and in real time. Sometimes creative techniques and technology elevate a movie to something very special. Such is the case here, with the film being edited as if in one continuous shot. Plus, we all need an occasional good hard look at the atrocities and realities of war. Parasite - Exquisitely shot, great ensemble cast, off the charts creative, stunning, disturbing and poignant. In a word … MASTERPIECE! Les Miserables- Strap in and get ready for a wild ride from the slums of Paris, with a heavy dose of social injustice and blatant racism. This is what happens when burnt out bad cops are left to their own devices and in urban neighborhoods unfortunately riddled with crime. “Les Miserables” is fantastic entry into American audiences for relatively newish director, Ladj Ly. Joker - Wow, this is as dark, grim and violent (at end) as it gets, but undeniably fantastic. The Joker is an excellent origin story, of the famed villain from "Batman," with a significant side of social commentary. Joaquin Phoenix's performance is outstanding and director Todd Phillips' chronicling of the making of a killer is haunting, captivating and actually poetic. No wonder he's been said to be a lock for all the awards from the day the movie released. Just Mercy - I loved the book the movie is based on, and appreciate the film adaptation (although pretty different, so please do read the book!) Real-life hero lawyer Bryan Stevenson, who advocates for death row inmates and others unfairly incarcerated, comes to life on the big screen with this depiction of his career and one of the pivotal cases he took on and won. Jamie Fox should get an Oscar nod for this excellent supporting role performance. Us - This may not quite be the cinematic revelation “Get Out” was when it came out two years earlier, but as a follow-up, Jordan Peele does not disappoint. There is a wonderful genre mix of Twighlight Zone eeriness and uncertainty, with Hitchcock level cinematography and story structure. Knock Down the House- I loved re-wathching and re-living AOC’s 2018 path to victory, along with several other agents of change who didn’t quite make it but gave it a great try. It gives hope for the 2020 election … and we all need a bit of hope. The Great Hack- Anybody who has a computer or engages in social media of any kind (in other words, everybody), should watch this informative and striking documentary about the Cambridge Analytica scandal and key persons impacted by it. 1917 - Sometimes creative techniques and technology elevate a movie to something very special. Such is the case here, with the film being edited as if in one continuous shot. Plus, we all need an occasional good hard look at the atrocities and realities of war. Pain and Glory- Pedro Almadovar directs Antonio Banderas in the best role/performance of his career as a deeply personal send up to Almadovar’s career. Booksmart- Clever, outrageous and wickedly funny. It’s the female version of “Super Bad,” but better. Kudos to actress-turned-director, Oliva Wilde! - HONORABLE MENTION - The Report - Can we say waterboarding, even suspected terrorists, is immoral and illegal?!! Yes, America! What can I say, I’m a sucker for a good political thriller, and when you add reality/based on actual events, even better! Yesterday - I didn’t think anything could make me appreciate the Beatle’s anthology more than I always have, but this film did just that. Along the way, I was wildly entertained by this wholly unique script of a musician who, through a freak event, is the only one in the world that knows the Beatles’ songs and struggles with the ethics of taking advantage of that.  This decade of film has had years that were lean, where it was a stretch to pull ten exceptional for the “Best Of” list. But then there were glorious years, brimming with examples of excellence. Overall, it was hard to capsulate all the choices to just ten, with much deliberation taking place if only in my mind. Below is my conclusion (in alphabetical order), and I hope, standing the test of time. “Boyhood” (2014) by Richard Linklater - This was my top pick for best movie the year it came out, and holds up as one of the best of the decade. An absolutely special and wholly unique movie because of the subject and how it was created and crafted. As the first of its kind, it was shot in real time with the same actors and non-actors in the case of the children, literally taking place over twelve years in the life of a boy from age six to eighteen. The film chronicles a family- a young divorced mom and dad and their two children- through the eyes of the son, Mason. They, like all of us, are all impacted by divorce, re-marriage, re-location and simply, life. There was no wowing by slick dialogue, beautiful cinematography or contrived performances. The sensibility of the project seemed completely organic and true. It was utterly fascinating to witness the cast aging and changing over the twelve year period while sitting in the theater for three hours. By movie’s end you didn’t know if you wanted to clap or cry. Most did both. “Call Me By Your Name” ( 2017) by Luca Guadagnino This is a deeply moving coming-of-age film and love story of two young men trapped by the times they live in and unable to take their love beyond the summer of 1984. Elio, an archeology professor’s teen son, becomes smitten with the older charming, attractive and seemingly womanizing, Oliver, (Armie Hammer), a visiting grad student. Although Elio is sexually experimental with a first girlfriend of sorts that summer, he is undeniably (and understandably) drawn to Oliver. The performances by Chalamet and Hammer are seamless and effective, but just as impressive is the supporting role of Michael Stuhlbarg who plays Elio’s dad and Oliver’s professor. As such, he delivers the film’s most poignant speech in support of the love between the two young men he has keenly observed. Between the film’s setting of a rustically charming home in an Italian village, and Guadagnino’s mesmerizing small story depicting a strong and true love that starts but cannot continue, “Call Me By Your Name” will haunt you long after the credits roll. “Get Out” ( 2017) by Jordan Peele - What a revelation this film was, taking movie audiences by storm in early 2017. When a young black man goes to visit his white girlfriend’s seemingly liberal parents in Upstate New York, things start off innocently enough, but soon take a disturbing twist on many levels. More than just story of intrigue and scares, this cinematic journey is layered with messages of race and racism. Fresh on the heels of the director’s retirement from being the second half of the dynamic comedy duo Key and Peele for their self-titled TV show, he surprised Hollywood and fans alike. No one expected in the heart of a small screen funny man, lie a great horror movie writer/director. He put a fresh and socially relevant spin on what some might call somewhat stale, over populated genre. “Moonlight” (2016) by Barry Jenkins - Moonlight is both intense and sometimes hard to watch, as well as brilliant, haunting and not to be missed. This Oscar-winning film by Barry Jenkins is a coming of age story of sorts about a young, black, gay boy, Chiron, growing up in the South surrounded by abject poverty and raised by a drug-addicted single mother. But beyond what this film is about, is how the story is told. It is poetic and lyrical, subtle and minimal. It unfolds like a 3-part opera, showing the stages of the main character’s life – boyhood, teen, young adult. Each chapter, complete with brief musical interludes, has a title, based on the name he is commonly referred to at the time. Also, at each stage he gets a slightly stronger awareness of his homosexuality, whether he accepts it and lives that truth or not. Supporting each actor as Chiron is a strong supporting cast made up of Mahershala Ali and Naomie Harris. “The Revenant” (2015) by Alejandro G. Iñárritu - This period film of of a 1820s frontiersman left for dead in the wild was a definite departure from Iñárritu’s previous films and such a risk for any filmmaker. It was a bit of an experiment - working mostly outdoors and only with natural light, not to mention a bear rape scene- but it paid off. From the onset, the film garnered much acclaim and ultimately, Oscar gold. In so many ways this is a harsh film, made up of almost an entirely male cast, with little dialogue and lots of violence. Despite that, there is an undeniable beauty to it in the man versus man; man versus nature simplicity. What stands out most is the cinematography of a stark backdrop of a bitter cold mountainous frontier, along with a seamless per usual performance by Tom Hardy as the murderous villain and an outstanding gritty performance by Leonardo Di Caprio as the embattled and embittered protagonist determined to exact revenge on his fellow hunters. This is more than a movie, it’s an experience and filmmaking at its finest and grandest. “Roma” (2018) by Alfonso Cuarón - Set in 1970 in Cuarón’s homeland of Mexico, specifically a section of Mexico City, the film is a loving homage to his childhood home, his community and his family, made up of a stay-at-home mother, a father who is a doctor, a maternal grandmother, four small children and the family’s domestic help. The thinly veiled story is from the perspective of the family’s housekeeper, Cleo (Yalitza Aparicio), a young, hardworking kind soul who notices everything, cares for everyone, but judges no one. Cleo puts the kids to bed, wakes them in the morning and accompanies them to school each day. She empathizes with the mother as she is crushed by her husband’s decision to walk away from the family, leaving them with little money to maintain their somewhat affluent lifestyle. In between caring for the family, Cleo endures her own personal drama of falling in love and suffering loss. The dialogue is sparse, the story line is minimal, yet this film seems to convey volumes. It manages to be intimate while also epic; simple, yet complex; covering multiple classes of people, social issues and political upheaval, and all while navigating various physical landscapes. “Searching for Sugar Man” (2012) by Malik Bendjelloul - This is a great example of a documentary that feels more like a good movie than just a documentary. This is the real life story of Rodriquez, a little-known, but hugely talented musician from the 70s who faded quickly into obscurity. Decades later, when one of his songs became an anthem of sorts for many South Africans during the anti-apartheid movement, it rose up the charts there and sparked an interest to find him by two fans. Early in their research, they heard many tall tales of Rodriquez’s whereabouts, including that he had committed suicide. The movie starts at the recounting of their search, then develops into a story of Rodriquez’s background as a failed musician-turned struggling carpenter in Detroit. It comes to a wonderful crescendo when the fans from South Africa find their musical hero, fly him in to perform, showering him with the accolades he never received in the States. “Searching for Sugar Man” begins as a mystery and unfolds as a heartwarming human story. I defy anyone to watch this movie only once and not download the soundtrack. You too will become a Rodriquez fan. “Sicario” (2015) by Denis Villeneuve - I’d like to say I experienced this movie on the big screen when it was first released, but like for most, “Sicario” fell under the radar and was discovered afterwards through word of mouth and On Demand TV a few months later. No matter, when or how the buzz about this small, sophisticated thriller ignited, ignited it did, and for good reason. The story revolves around the combined efforts of a special CIA task force going a bit rogue, and the FBI as they are assigned to take on a Mexican drug cartel. That all sounds like a pretty standard good versus evil set up, but in the hands of Villeneuve and excellent writing newcomer, Taylor Sheridan, it’s anything but. There ends up being as much, if not more tension between the law enforcement factions than with the cartel. The chameleon-like Emily Blunt is pitch perfect as the suspicious and nervous, yet resilient young FBI agent Kate. She’s recruited to work along with the task force headed up by a quietly brooding Alejandro, played by Benicio Del Toro, and Josh Brolin is as convincing as ever as the brash and opportunistic Matt. Rounding out the stellar cast is Daniel Kaluuya as Kate’s sidekick. Between the taut script, superb casting/performances and impeccable pacing, you’ll have to remember to take a breath. “Social Network” (2010) by David Fincher - The cinematic union of famed and acclaimed writer Aaron Sorkin and Fincher for this their first collaboration is brilliant, especially given that in theory it could have had every reason not to work. Sorkin, creator and writer of television masterpiece, The West Wing, among other things, is known for words, and a lot of them, spoken very rapidly by intelligent characters in heady situations. Fincher is known for being a slow moving, visual director, creating worlds in which dialogue can take a back seat to images, expressions and mood setting. In this movie about questionable provenance of Facebook and its awkward creator Mark Zuckerberg, their artistic worlds collide deftly. Although a work of fiction, Sorkin defends his sources and the inspiration for the characterizations, including accessing the book, Accidental Billionaire by Ben Mezrich. Zuckerberg, who is depicted as unquestionably tech smart, but brooding, bitter and downright unlikable, may have opted to distance himself from the project, others involved in the subsequent lawsuits did not.To be sure, the “real” story, along with the ensemble cast and their performances standout. Careers such as Rooney Mara, Army Hammer and Andrew Garfield, were launched with this stunning film, while Jessie Eisenberg, perfection as Zuckerberg, and Justin Timberlake, a wonderful surprise supporting role as Napster founder Sean Parker had their movie careers solidified. But they all take a backseat to the real stars of this 2010 stunner- the script, the look, and oh that pitch perfect, keep-you-on-the-edge-of-your-seat brisk pacing, which was masterfully maintained throughout. “Zero Dark Thirty” (2012) by Kathryn Bigelow - Last but definitely not least is this political/war drama based on real events leading up to the historic capture and kill of 9-11 mastermind, Osama Bin Laden. The film chronicles the desperate many years pursuit for Bin Laden and his cohorts, headed up by the relentless Maya, a CIA operative. Throughout, not only did she take on the terrorist enemies, but what she saw as the enemies within that made excuses, dropped the ball and let politics and policy take precedence over the ultimate and important goal. Jessica Chastain embodied Maya heart and soul, portraying her as book smart, tactical savvy and tough as nails, even when surrounded by political and military heavyweights and challenged by her CIA superiors. Behind the camera, Bigelow, like with her earlier film, “The Hurt Locker,” proved to be in her element, but on a much bigger scale. With both films, she displayed aplomb in handling the small budget and intimate movie, as well as the grand. Despite differences in size and budget, both films were somewhat quiet. thoughtful and piercing. Kudos for her not backing away from the controversy of U.S. military tactic of prisoner tortures, such as waterboarding. It may have cost her wins during award season, but years later, her intel was proven accurate. I am aware that Bigelow is the only female director represented on this "official" top ten list, but know there were several others that are worthy, and with a longer list, I would have been included rock star filmmakers such as Ava DuVernay, Lisa Cholodenko, Greta Gerwig. As it is though, Bigelow is representing brightly and greatly. # # # Honorable Mention, aka, if I expanded my list beyond 10 (alpha order), and since this is my website, unlike Culture Vulture, I can! 20 Feet from Stardom (2013) by Morgan Neville - Where most films would center around the headliners and stars, this one focuses on the little-known back-up singers for some of rock n rolls biggest and brightest. These singers are tremendously talented and hard working, but fame always seem to elude them. Who are they and why are they out of the spotlight? This documentary explores their situations in an alluring and humane way. Bridesmaids (2011) by Paul Fieg, starring Kristin Wiig (written by) Maya Rudolph, and Rose Byrne. This comedy of bridesmaids competing for best-friend-to-the-bride status was unexpected and mad fun. Human Flow (2017) by Ai Wei Wei - A stunning and necessary documentary by artist/activist, Wei Wei, regarding the plight of global refugee crisis and how countries and leader are, or are not, handling it. See my full review here - http://www.paulafarmer.com/film-blog/human-flow-by-ai-weiwei The Kids are All Right (2010) by Lisa Cholodenko La La Land (2016) by Damien Chazelle, starring Emma Stone and Ryan Gosling. To say this was a fresh take on an old and forgotten genre, is in understatement and you knew it from the opening musical number. Read full review here - http://www.paulafarmer.com/film-blog/la-la-land Parasite (2019) by Bong Joon Ho - Wow, I came so close to including this in the Top Ten, and still wonder if I shouldn’t have. It’s an amazing film on so many levels, appreciated and understood even more after a second viewing. Read full review here - http://www.paulafarmer.com/film-blog/parasite-movie-review Selma (2014) by Ava DuVernay - With this small but truly powerful and important historical film about Martin Luther King, Jr.’s crusade to secure voting rights for all, Ms. DuVernay went from obscurity to a filmmaker in demand. |
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