1917 was the only movie I watched in the cinema during 2020. The attempt to create a 'single take' film is artificial, but adds to the film's suspense and sense of unease. It's in the Hitchcock tradition (ala Rope) and I quite enjoyed it.
Kanopy has a heavy emphasis on world cinema; some great international films I saw were Beauty and the Beast, the great French adaptation of the fairy tale; O Heroi, an Angolan film about a one-legged veteran and an orphan boy both trying to find a place in post-war Angola; The Loyal 47 Ronin, a great version of the Japanese historical incident; and A Separation, an Iranian film with a surprisingly compelling interpersonal conflict that kept me enthralled.
As a fan of classic cinema there aren't many great films left for me to see, but in 2020 I found a few notable ones: Intruder in the Dust, a surprisingly frank look at racism for 1949; Pygmalion, the fine 1938 adaptation of the play; and True Confession, a great screwball comedy which did a lot to help me glean why Carole Lombard was such a great comedienne.
I saw a number of great documentaries during 2020: I Am Not Your Negro on the life of James Baldwin; The Great Buster on the life of Buster Keaton; Hearts and Minds about the USA's pull out of Vietnam; A Time for Burning, a phenomenal picture about racial tension in Nebraska and the church's inability to confront the problem; Music for the Movies: Bernard Herrmann on the life of the great film composer; and Magician: The Astonishing Life and Work of Orson Welles.
Some other strong films I saw were To Build a Fire, an adaptation of Jack London's story; the Disney sequels Toy Story 4 and Incredibles 2; Mr. Holland's Opus; Reginald Hudlin's bio-pic Marshall, which I sought out after Chadwick Boseman's death; the political film Game Change; and Hamilton (which I'll review on its own soon).
Tomorrow: Books
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