2020 is not a year for cinema but there are still good films produced. Here are the best movies of 2020 by Wiin Channel
The Invisible Man
Runtime: 2h 5m
Stay in the first place of the best movies of 2020 is a horror-thriller movie by Leigh Whannell. In his remake of Universal’s 1933 sci-fi/horror classic The Invisible Man, Leigh Whannell turn empty space into a weapon. So much of the film’s tension comes from parking the camera with nothing in its frame, and you wait, and you wait, and you wait. But nothing is ever there, because a person’s anxiety and traumas aren’t something you can see. Sure, The Invisible Man tells the story of a sociopathic tech-genius (Oliver Jackson Cohen) who develops a way to become invisible, and it tells the story of the woman (Elisabeth Moss) who can’t escape him. But The Invisible Man is actually a story about abuse and the scars it leaves.
It’s been years since a horror movie so effectively conjured up the fear of not being believed, to the point where you might not even believe yourself. Of course, Whannell—who has been rejuvenating the genre since Saw—does this with a might assist from Moss, who puts in the type of full-body, a to-the-bone performance that will have you A) Concerned for a performer’s well-being and B) Mad all over again that the Academy Awards so often ignore horror. In a year mostly devoid of trips to the theater, I still think about The Invisible Man’s restaurant scene, which I saw in a packed house, at least once a week.
Da 5 Bloods
If you are a fan of the war movie genre, you don’t want to miss this movie. And why it is in the list of best movies of 2020. Here is the reason. In any year, Da 5 Bloods would have been a strong movie: Spike Lee’s tackling of the Vietnam War, mixing action sequences with themes of memory, how America treats its veterans, specifically people of color, and even more broadly still racism in the United States back then and now, is a strong message, especially in the hands of one of cinema’s most vital voices, which Da 5 Bloods proves Lee absolutely remains.
In 2020, releasing amid the Black Lives Matter protests, then Da 5 Bloods took on even greater relevancy and urgency; this wasn’t just a historical drama, but a powerful statement on the current tumultuous period in American history. The film is crammed full of ideas, ambition, and emotion, with its energy and anger bursting out of the screen, and builds to an incredibly affecting conclusion, with a stunning monologue from Delroy Lindo’s Paul that should put him – along with the rest of the movie – right in awards contention.
Birds Of Prey
Runtime: 1h 49m
Birds of Prey came out in 2020, a fact as surprising as the movie itself. Loosely continuing on Harley Quinn’s story from Suicide Squad, Birds of Prey (And the Emancipation of One Harley Quinn) delivers the kind of showing for the ever-popular DC character that many hoped 2016’s movie would. Birds of Prey bombed at the box office even before the pandemic, but it is an injection of pure adrenaline and fun that deserved so much more. Delightfully violent, darkly comic, self-aware, and brimming with enjoyable characters – from the titular Birds, each of whom gets a moment to shine, to the villain Black Mask, with Ewan McGregor having the best time anyone’s ever had in a DCEU movie- and kinetic, creative action, Birds of Prey is a non-stop blast.
At the center of it all is Robbie’s Quinn, who brings more layers to the performance and gives a great comic book movie showing, confirming the casting really was perfect. Movie delays meant that 2020 was short on comic book movies but, with Cathy Yan’s exciting, vibrant direction and Christina Hodson’s sharp script, few would’ve matched Birds of Prey anyway in terms of pure superhero movie entertainment. Yes, Birds of Prey must be one of the best movies of 2020.
The Wolf of Snow Hollow
Runtime: 1h 23m
The unholy concoction that is Fargo meets The Howling meets The Thing probably shouldn’t work, and yet here is The Wolf of Snow Hollow, a truly genre-defying werewolf tale from Jim Cummings. The writer/director also stars as John Marshall, the struggling alcoholic sheriff of a small, snowbound town who is already dealing with an ailing father (Robert Forster) and rebellious daughter (Chloe East) when something big and furry starts tearing the residents of Snow Hollow to shreds.
In his second feature, Cummings proves he’s one hell of a juggler; this film is deeply funny, but also deeply depressing, and every so often someone gets demolished by a werewolf. But the creature haunting Snow Hollow is just a stand-in for the impossible burdens we put on ourselves, and Cummings’ blowhard main character must learn how much those burdens affect the people around us. “Do you think women have had to deal with shit like this since like the Middle Ages?” Sheriff Marshall asks Officer Julia Robson (Riki Lindhome), and the look she gives him makes it clear that the joke is on a very familiar type of real-life wolf who hunts under a full moon.
Runtime: 2h 30m
Christopher Nolan’s palindromic movie didn’t quite wow audiences or save cinema as the director might have hoped, but it did deliver on being one of the most intelligent, challenging, and unique blockbuster movies of recent years. Even by Nolan’s standards, Tenet’s use of and meddling with time is confusing, but at its core is a thrilling spy story with high stakes and bombastic action; the director hasn’t made a James Bond movie, but this is his own spin on 007, taking those tropes and packaging them into something new and exciting – mixing Quantum of Solace with quantum physics; less No Time To Die, and more just No Time.
It’s a movie that begs to be explained, but there’s also something to be said for going along in the ride, which aside from Nolan’s typically great action set-pieces features a great cast (with Robert Pattinson and Elizabeth Debicki both shining in particular), and gorgeous cinematography. Issues with Tenet’s sound mixing are present, if a little exaggerated, and it’s a film that demands re-watching because of how difficult it can be to follow. But there’s also something to be said for a $200 million movie that does that, and those re-watches are ultimately incredibly rewarding, but even without them this is a dazzling, slick event movie that’s better on the big screen, but still very good at home. This movie deserves to be among the best movies of 2020 list.
Promising Young Woman
Runtime: 1h 54m
A fun exercise in ruining friendships is showing someone the film Promising Young Woman and then asking who they feel bad for. Writer/director Emerald Fennell’s feature debut is challenging in a few ways, but what it seeks to challenge most is who we empathize with, and why. An absolutely out-of-this-world Carey Mulligan stars as Cassandra, a former med student who spends her nights pretending to be blackout drunk at local bars, only revealing her sober self to the men predatory enough to take (see: carry) her home.
Promising Young Woman is not quite the sexy revenge thriller teased by the marketing, but that’s also largely the point; Fennell’s neon-glow vision mixed with the film’s pitch-black undertones succeeds in reclaiming a sparkling aesthetic you might just have underestimated on the surface. (See also: “Stars Are Blind” by Paris Hilton.) Mulligan is astounding, offering silent looks sharper than most actual cutlery, while an equally vital supporting turn from Bo Burnham gives Promising Young Woman the rom-com vibes it needs until it shockingly doesn’t. I wrestled with including this movie for a while because it’s ending, which I won’t spoil, is the only false note in a film that expertly navigated a ridiculously tight rope to get there. But it’s an ending that doesn’t dilute the power of what came before or the questions you’re forced to sit with afterward.
Runtime: 1h 5m
There may be no movie as of its time than Host, the 2020 horror movie that was conceived, shot, edited, and released during the COVID-19 pandemic. In Host, a group of friends meet up for a weekly Zoom call, for which one of them has hired a medium. The seance inevitably goes wrong, and what follows plunges the Zoomers – and audiences – into a horror that, in under an hour, is exciting, terrifying, and so perfectly captures feelings of being in lockdown.
Host’s use of Zoom is as inventive as it is zeitgeist-y, but it’s also genuinely scary in ways that go far beyond its premise, and never lets that concept become simply a gimmick. Instead, Host mixes its new devices with tried and tested horror movie techniques, expertly utilizing elements such as darkness, isolation, and jump scares alongside characters and a story that draw you in. And, as further testament to the genre awareness that crafted it, Host encourages multiple rewatches for the impressive number of hidden horror movie references smuggled in there. Host is a great horror movie for 2020, but it’s also just a great horror movie.
Hulu’s time-loop romantic comedy, Palm Springs, excels by not only nailing its two individual aspects – the Groundhog Day-Esque concept and the rom-con – but by how ingeniously it fuses the two together. Following two strangers who, at a wedding in Palm Springs, meet and become embroiled in a time-loop, Palm Springs puts its own twist on the concept by making it about two people instead of one, and using the time meddling to explore their lives and bring them closer to one another. It’s wickedly smart and uproariously funny, but also sweet, romantic, and charming.
That’s in part thanks to Andy Siara’s clever writing and Max Barbakow’s confident direction, but Palm Springs would ultimately fail with lesser leads. Andy Samberg and Cristin Milioti have proved their comedy credentials in the likes of Brooklyn Nine-Nine and How I Met Your Mother, and they make for one of the best rom-com pairings in years here. They expertly complement one another, making audiences root for them (and laugh and cry along the way), and most importantly, are perfectly believable and authentic, giving Palm Springs a necessary grounding amidst its time-travel shenanigans that holds the movie in place. Surely, this film is considered one of the best movies of 2020 with a high rate by IMDb.
Next in the list of best movies of 2020 that we recommend you to watch is a horror movie. Freaky is a movie about bodies. Well, hold on, Freaky is actually a lot of things, and the skill with which director Christopher Landon (Happy Death Day) blends them together makes him one of the most exciting genre filmmakers working today. It’s a classic slasher with a few genuinely gnarly kills. It’s a John Hughes-ian coming-of-age tale. It’s a body-swap comedy with all the tricks and tropes that the genre entails. But, yes, like most slasher icons, Freaky is obsessed with bodies, and a lot of that is down to casting: Kathryn Newton is Millie, a high school misfit who trades bodies with the deranged Blissfield Butcher (Vince Vaughn) and must perform an ancient ritual within 24 hours, lest the switch becomes permanent.
It’s occasionally easy to forget that Vaughn is a legit giant, and it’s wonderful to watch him embody a character who has never felt powerful in her life discovering she can hold a bully against a wall until he pisses his pants. Newton is equally fantastic, as the Butcher can no longer overpower his enemies, but no one goes more underestimated than a teenage girl. It’s not subtle, no, but it is the best of several worlds. Like the best body-swapping movies, Freaky questions how much of a person’s power truly comes from their physical shells, and like the best slashers, Freaky is a terrifying reminder of how those physical shells are basically just meat. It’s a movie that exists right in the middle of both those ideas, making it unlike anything you’ve ever seen.
Sound of Metal
Runtime: 2h 10m
It’s weird to introduce a film as “like nothing you’ve ever heard before,” but the sound design on Sound of Metal is straight-up revolutionary. What could have come across as a gimmick simply works to put you in the reality of Ruben (Riz Ahmed), a heavy metal drummer and recovering addict who loses his hearing and, with it, his entire sense of purpose. It’s immediately jarring for the audience to hear what Ruben hears, or, what he doesn’t, as the voices around him become muddled and muffled, giving us the sense of a person suddenly finding themselves living underwater.
But the beauty of Sound of Metal is that the film doesn’t ultimately ask us to feel bad for Ruben or present his disability as a lifeless fulfillment. Sure, the character has to learn that, too, and that’s where Ahmed’s truly extraordinary performance comes in, easily one of the best of the year. You can feel every muscle in Ahmed’s body rejecting the hard truths Ruben has to face, the unfair but unbeatable cards he’s been dealt, but then you get to see him soften step by step, and the result is something so achingly human you don’t need sound to understand it. You must watch this best movie of 2020.
If you have any suggestion that you want to add up to this best movies of 2020, let us know in the comment.