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By Sean Boelman and the disappointment media Staff
Last Updated: 1/14/2021
Note: Commentary does not include films not yet screened. 
One of the safest bets right now seems to be Chloe Zhao’s road movie Nomadland (Searchlight). Gaining support in the directing, screenplay, and Best Actress categories, in addition to a slew of below-the-line plays, the film seems likely to pick up a lot of nominations, and likely even win a few trophies. However, it is possible that the Academy may go for something a little less subtle for its highest honor.
Also a major player is Regina King’s feature directorial debut One Night in Miami (Amazon). The film picked up a lot of initial steam in the acting categories after its festival debut but seems to have lost most of it since, apart from supporting actor Leslie Odom Jr. and a long-shot nomination for Kingsley Ben-Adir. However, we can expect this to easily lock in a Best Picture nomination, in addition to directing and screenwriting nods (and possibly wins). Netflix has a sure-fire nominee in David Fincher’s Mank, if only from goodwill for the director and the industry-centric nature of the film. That said, this seems like the type of film that will rack up a bunch of nominations but strike out with the exception of one or two minor wins. And since Netflix has such a robust awards slate this year, this is one of the tougher sells for the big win. Other Netflix titles that seem pretty likely to get a nomination are The Trial of the Chicago 7 and Ma Rainey’s Black Bottom. Aaron Sorkin still has plenty enough goodwill for his newest film to get a nod, even if there are also other films about civil rights in play this year. As for Ma Rainey’s Black Bottom, love for the work of playwright August Wilson in addition to support for the late Chadwick Boseman’s performance make it a likely contender. Perhaps the most unlikely frontrunner is Emerald Fennell’s darkly comedic thriller Promising Young Woman (Focus). At first glance, one wouldn’t expect this to make that much of a splash, but it is gaining a lot of support from the screenwriting and acting branches. It may not have enough buzz to win, but with the preferential ballot system, it should get the required mentions to get a nomination. Those six films seem like the most likely to be in play for the big honor. However, with the way the category is set up, there could be anywhere from five to ten nominees. In this unorthodox year, it’s possible that there is a diverse enough crop of films to get a full slate, but it seems more likely that there will only be eight or nine players. But what will get those last few spots? There seems to be a lot of support for Spike Lee’s latest, Da 5 Bloods. Delroy Lindo is becoming quite the underdog in the Best Actor race. Yet with an early summer release date, and the fact that Netflix has a bunch of other releases that they seem to be pushing harder, it’s entirely possible that this one gets lost in the shuffle. The sole contender from Sony Pictures Classics, who has been one of the few studios supporting theaters during the pandemic, is Florian Zeller’s The Father. It’s all but guaranteed to get a nomination in Best Actor, Best Supporting Actress, and Best Adapted Screenplay, but will that be enough to push it towards the top of the pack? Another studio with only one player is STX. Unfortunately for the political thriller The Mauritanian, though, STX is pretty new to the awards game. Last year, there seemed to be a campaign for Jennifer Lopez ramping up for Hustlers, but it lost steam at the last minute. The Mauritanian is good, maybe enough so to get that ninth or tenth spot, but that inexperience could let the film down. Indie studio A24 has two contenders after sitting out most of the year, but both seem to be fighting for a tenth spot that probably won’t exist. Lee Isaac Chung’s Minari and Kelly Reichardt’s First Cow are both very good films that have gotten a lot of critical praise, but they seem to be too low-key to really connect with voters, especially when another quiet film (Nomadland) is getting more buzz. Other possible contenders include Amazon’s Sound of Metal, which will pick up some technical and acting nods but doesn’t have the widespread support to get a spot, Universal’s News of the World, which is one of the few contenders from a major studio but is utterly forgettable, and Disney’s Soul, which has a lot of support but isn’t likely to get much attention outside of the Animated and Score categories. Ramin Bahrani’s The White Tiger (Netflix) is pretty excellent and has a small chance of making it in should the right people connect with it. As for non-starters, Netflix has quite a few. Ron Howard’s Hillbilly Elegy is not a very good film and will be fighting for a sole Best Supporting Actress nod for Glenn Close. The Dig is surprisingly good, but too slight to make much of a splash above-the-line. Pieces of a Woman may pick up nominations for Vanessa Kirby and Ellen Burstyn, but had its overall hopes quashed by controversy. And The Midnight Sky and The Prom are both entertaining, but don’t seem to have the praise that they’d need to make a showing. Apple TV+ has two films that feel like awards bait, but will likely be ignored in this socially-conscious year. The best chance for Sofia Coppola’s On the Rocks is a Supporting Actor nod for Bill Murray, but even that seems unlikely as it is her worst film in years. The Justin Timberlake-starring Palmer is good, but just a sentimental crowd-pleaser. Still, it deserves to be in the conversation more than Hillbilly Elegy. NEON will almost certainly be completely absent from the Best Picture race this year after bringing Parasite to a win. Their only legitimate contender is Ammonite, a pretty but otherwise mediocre period piece that is unlikely to turn any heads. Palm Springs (co-distributed with Hulu) is fun, and might be a long-shot for screenplay, but doesn’t seem like a serious player. Of course, there are also films submitted for consideration that everyone knows won’t have a shot. Warner Bros. is mounting campaigns for Tenet and Wonder Woman 1984, but their chances are virtually nonexistent. Other films, like Lionsgate’s Antebellum and Fatale seem to be getting FYC campaigns out of contractual obligation. Yes, it is shaping up to be one of the more predictable Best Picture races in recent memory. At this point, it’s starting to become relatively clear what will and won’t be in contention after all is said and done. After those last few wild cards end up screening, it should be easy to call where everything is going to land. Sean Boelman's Picks
Locks:
1. Nomadland 2. One Night in Miami 3. Mank Likely: 4. The Trial of the Chicago 7 5. Ma Rainey’s Black Bottom 6. Promising Young Woman Possible: 7. Da 5 Bloods 8. The Father 9. The Mauritanian 10. Minari 11. Sound of Metal 12. News of the World 13. First Cow 14. Soul 15. The White Tiger Camden Ferrell's Picks
Locks:
1. Nomadland 2. Mank 3. The Trial of the Chicago 7 Likely: 4. One Night in Miami 5. Minari 6. Ma Rainey's Black Bottom Possible: 7. Promising Young Woman 8. Da 5 Bloods 9. Soul 10. First Cow 11. Sound of Metal Dan Skip Allen's Picks
Locks:
1. Nomadland 2. One Night in Miami 3. The Trial of the Chicago 7 4. Promising Young Woman Likely: 5. Ma Rainey’s Black Bottom 6. Minari 7. The Father Possible: 8. Soul 9. Pieces of a Woman 10. News of the World 11. Sound of Metal 12. First Cow 13. Mank
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By Sean Boelman
Interview still from Demi Lovato: Dancing with the Devil | Credit: OBB MEDIA.
On January 14, 2021, the South by Southwest film festival announced select titles that will be screening as part of the 2021 program ahead of the full program announcement on February 10, 2021. The festival, which will occur in an online-only fashion this year, will take place from March 16-20, 2021.
The most significant announcement made is that the opening night Headliner selection will be the YouTube Originals documentary series Demi Lovato: Dancing with the Devil. A highly personal documentary exploring both Lovato’s career and struggles with addiction, this is sure to be an interesting watch for the music fan database to which the festival frequently caters. Also for music fans is the North American premiere of the documentary Poly Styrene: I Am a Cliché, which will screen as a part of the 24 Beats Per Second section. Other documentary selections include Joe Berlinger’s Confronting a Serial Killer (Episodic Premieres), Nathaniel Kahn’s The Hunt for Planet B (Documentary Spotlight), Andrea Nevins’s Hysterical (Documentary Spotlight), and Paola Calvo and Patrick Jasim’s Luchadoras (Global). In terms of narrative features, highlights include the newest film from SXSW alumnus Travis Stevens, Jakob’s Wife (Midnighters). Starring genre favorites Barbara Crampton and Larry Fessendsen, the film is sure to be a must-watch for anyone who frequents the iconic late-night portion of the festival. Also slated to debut is Mallory Everton and Stephen Meek’s COVID-19 feature Recovery. Exploring an outbreak in a nursing home, the film will definitely dial into current anxiety about the pandemic. Other recent festivals have included films produced and set during the pandemic, so we can expect that to be the case for the near future. The final film that was announced to be a part of this year’s lineup was Justine Bateman’s Violet. What makes this film so interesting is that it was also a part of the 2020 lineup during the cancelled festival. And while some of the finest films of last year’s selection went on to debut at other festivals or even get released in the meantime, there were still some films left displaced. The “2020 Spotlight” section of SXSW will provide a launching pad for those which have been holding out for a more favorable time to debut. With the extraordinary nature of what is going on in the world, it is nice to see that the folks at SXSW are still planning a great festival for fans. And since the selection can be watched from hope, hopefully some of these great films and series will be able to reach new audiences and introduce them to a version of the festival experience. The 2021 edition of SXSW runs online from March 16-20, 2021.
By Sean Boelman
Even though this year saw some unfortunate changes in the way in which films were viewed, there were still plenty of memorable releases. And while some great movies decided to stick it out to 2021 in the hopes of receiving a full-force theatrical release or to take advantage of the extended awards eligibility windows, 2020 offered some great flicks. Here are some of our favorites.
Note: Due to repeated infractions against disappointment media's strict anti-gatekeeping policy, all Netflix titles have been blacklisted from coverage on the site for a period of 30 days. This includes mentions in this article. 10. The Donut King
Telling the story of Cambodian immigrant Ted Ngoy, Alice Gu’s The Donut King is arguably one of the most poignant documentaries to come out in 2020. And while this is certainly a treat for foodies — because who doesn’t love donuts, after all — the focus is more on exploring the American Dream and Ngoy’s struggles with addiction and how they influenced his unlikely empire. Of course, the cinematography is pretty gorgeous, particularly when it comes to those delicious-looking food shots, thanks to Gu’s previous experience as a cinematographer, but it is the story that will cause this film to stick with viewers.
9. David Byrne's American Utopia
David Byrne, former frontman of the Talking Heads, already had one of the greatest concert documentaries of all time made about him (Jonathan Demme’s Stop Making Sense), and now he has two with David Byrne’s American Utopia. Directed by master filmmaker Spike Lee, this is a truly joyous experience, the magic of Byrne’s music translating to the screen in an absolutely wonderful fashion. However, Lee’s touch on the film is obvious and welcome, as the more socially-conscious elements of the show have quite the impact. Offering both thought-provoking commentary and serious escapism, this film really embodies 2020.
8. Sound of Metal
The directorial debut of frequent Derek Cianfrance (The Place Beyond the Pines) collaborator Darius Marder, Sound of Metal is brilliant. Although it took a little over a year after its 2019 TIFF debut to make its way to wider audiences, it was worth the wait, as its powerfully subtle story about a heavy metal drummer who loses his hearing is touching and harrowing. Riz Ahmed delivers the finest performance of his already prolific career, and the sound design is truly magnificent and ambitious, cementing this as not only one of the best first features of the year, but also one of the best films of the year in general.
7. Farewell Amor
The second film on this list about the immigrant experience, Ekwa Msangi’s Farewell Amor starts seeming like it is going to be a relatively straightforward family drama but adds layer upon layer of nuance. This film about an immigrant family reuniting in the United States after spending many years apart doesn’t aim for the easy targets, with a few familiar plot points, but mostly focusing on the ones that are uniquely heartwarming. The ambitious nonlinear structure is also an ambitious swing for the fences, and it delivers, allowing this to be a phenomenal character study.
6. Bad Hair
Six years after his fan-favorite satire Dear White People, filmmaker Justin Simien’s sophomore feature Bad Hair offers an entertaining and insightful blend of social commentary, laughs, and thrills. The film follows an aspiring professional in 1980s music television who discovers that her weave may have a supernatural connection. It’s definitely a plus that the film is both hilarious and legitimately scary, but what really stands out is the way in which Simien immerses the viewer in the film. Both in terms of the ‘80s culture and the mythological foundations of the story, the film is very detailed, and that goes a long way in making it feel more atmospheric.
5. Cockroach
Artist, activist, and filmmaker Ai Weiwei has delivered one of the year’s most important films with his documentary Cockroach. Even though the film may not be the most pleasant watch, this portrait of the protests in Hong Kong is urgent in every sense of the word. Utilizing repetition and an interesting soundscape, Wewei’s film has an interesting and challenging emotional effect. Some viewers may be put off by the graphic and unflinching nature of the footage used in the film, but it is meant to be upsetting and infuriating. This is the social activism film of the year.
4. Never Rarely Sometimes Always
Although its theatrical release was derailed because it started right before the COVID-19 pandemic hit its full force, Eliza Hittman’s exceptional Never Rarely Sometimes Always has still found the respect it deserves. Following two teenage girls who must travel from their conservative community to New York City in order for one of them to receive an abortion, this is undoubtedly one of the most emotional watches of the year. Additionally, lead actress Sidney Flanigan stands out in her very first role, giving one of the finest and most nuanced performances of the year.
3. Boys State
Even though it may be about teenage boys forming a mock government, Amanda McBaine and Jesse Moss’s documentary Boys State reveals a lot about the state of our country right now. Equal parts funny, endearing, and disturbing, McBaine and Moss draw the viewer into this story in an unexpected way. Shot and edited dynamically and making its subjects very compelling, this documentary is thoroughly entertaining while still maintaining its depth and substantial material. Since 2020 was an election year, it was filled with political documentaries, and this stood out as the most unique, and arguably the most effective.
2. The Climb
Michael Angelo Covino’s buddy dramedy The Climb represents the best of what independent filmmaking has to offer. Featuring a brilliant screenplay brought to life by two charismatic performances and a kinetic shooting style, this is one of the funniest movies of the year. Taking the form of different scenes from the central friendship, the film includes some really impressive long takes. However, Covino’s film isn’t the flashy and gimmicky type. Instead, it is the charm of the performances and relatability of the script that really causes this one to stand out.
1. She Dies Tomorrow
Amy Seimetz has received her due in the film community thanks to her talents as an actress, but it’s about time she is recognized as one of the most exciting filmmakers working today. Her surreal and hypnotic thriller She Dies Tomorrow was extremely lucky to have been released in the middle of a global pandemic, but its message about paranoia and fear would ring true in any age. It has been divisive among audiences because of its loose narrative, but its dedicated fanbase has stood behind its gorgeous visuals and darkly funny moments. If any film screams 2020, it’s She Dies Tomorrow.
What were your favorite movies of 2020? Let us know!
By disappointment media Staff
Note: Due to repeated infractions against disappointment media's strict anti-gatekeeping policy, all Netflix titles have been blacklisted from coverage on the site for a period of 30 days. This includes mentions in this article.
Sean Boelman's Pick: Mercedes Hernandez, Identifying Features
A scene from Identifying Features, courtesy Kino Lorber.
Oftentimes, the performances that get the most attention on end-of-year lists like these are those which are big, flashy, and command the screen. However, it is just as important to recognize those turns which have a quiet power to them, and that is exactly what Mercedes Hernández brings to her role in Identifying Features. As a mother looking for her lost son who went missing while emigrating to the United States, Hernández doesn’t have a ton of dialogue, but when she does, she delivers it in a way that is entirely subtle. Instead, it is the emotion of her performance that she is able to convey through her smaller mannerisms and movements that is more impressive. In a year full of great performances from seasoned veterans and newcomers alike, Hernández’s is one that could be overlooked, but certainly deserves the attention.
Camden Ferrell's Pick: Sidney Flanagan, Never Rarely Sometimes Always
Sidney Flanigan stars as Autumn in NEVER RARELY SOMETIMES ALWAYS, a Focus Features release. Credit: Courtesy of Focus Features.
Sidney Flanigan's lead performance in Never Rarely Sometimes Always is one of the most profound and moving experiences of the year. Playing Autumn, a teenage girl traveling to New York after an unintended pregnancy, Flanigan is able to speak volumes without much dialogue. Every pause, breath, and action she performs is meaningful, and she does it with such grace and ease. Her role is more subdued than her peers this year, but it is one of the most brilliant performances you may ever see. She plays the role so convincingly that it will simply tear you apart into pieces with its authenticity and emotional power. Flanigan's debut performance will leave you speechless and in desperate need of a tissue. It is an awe-inspiring exhibition of her raw talent as an actress, and it shows the promise of a star in the making.
Dan Skip Allen's Pick: Frances McDormand, Nomadland
Frances McDormand in the film NOMADLAND. Photo Courtesy of Searchlight Pictures. © 2020 20th Century Studios All Rights Reserved.
Frances McDormand has had a pretty good career if I do say so myself. Her two Oscar-winning performances couldn't be more different, though. One was this happy go lucky police chief who fell into a murder investigation, and the other was a no-nonsense woman who would take any crap from anybody. Once again, McDormand changes it up for her turn as Fern, a woman with nowhere to turn after the plant she worked at and the town it was in both shut down. She is forced to become a nomad traveling from place to place and town to town looking for work just to survive. She lived in her van and eventually finds a community she can feel at home with. Chloe Zhao used a similar style to her previous films with Nomadland. It was semi-nonfiction because of the people Fern comes across, but the character of Fern is fictional. The world she resides in is all too real. This is a much more subdued performance from McDormand than her ones in Three Billboards Outside Ebbing, Missouri and Fargo.
Sarah Williams's Pick: Kate Lyn Sheil, She Dies Tomorrow
She Dies Tomorrow is a surreal oddity, made more real with Kate Lyn Sheil playing a version of director Amy Seimetz. Sheil is an actress who many say is an acquired taste, but her tactile, on-edge acting style and distinctive voice work wonders to bring the psychological horror to life. For every flashing neon light and dramatic tearful closeup, there is a distant moment of monotony, one of acceptance and forced emotionless. Between these, there's a sweet spot where her performance shines brightest, these raw cracks in the masks her character puts on, whether it be one of acceptance or hysteria, shown in her relationships to one of the year's finest ensembles, scenes with Sun Don't Shine co-star Kentucker Audrey perfectly encapsulating the alienating chemistry of a toxic relationship on the outs.
Adam Donato's Pick: Elizabeth Moss, The Invisible Man
Two of the best performances last year were Lupita Nyong’o in Us and Florence Pugh in Midsommar. There’s just something so satisfying about watching a character navigate their way through a horror movie to come out a badass by the end of it. Elisabeth Moss was so good that she made her co-star seem invisible. Usually, performances torpedo when an actor has to act opposite a green screen, but seeing all the effort behind the scenes in how it was made to work is impressive. After mostly being known for the hit series The Handmaid's Tale, it’s nice to see Moss in a leading role for a blockbuster-type movie. It’s been months since this movie came out and Moss’s face at the end of the movie is still ingrained in the audience's heads. Moss is so good in The Invisible Man that she’s not just the final girl, she’s the only girl and that deserves some recognition.
What are your favorite performances of 2020? Let us know!
By disappointment media Staff
Note: Due to repeated infractions against disappointment media's strict anti-gatekeeping policy, all Netflix titles have been blacklisted from coverage on the site for a period of 30 days. This includes mentions in this article.
Sean Boelman's Pick: Kingsley Ben-Adir, One Night in Miami
Kingsley Ben-Adir stars in ONE NIGHT IN MIAMI. Photo: Patti Perret/Amazon Studios.
Audiences probably thought that they had seen the definitive Malcolm X performance when they saw Denzel Washington’s turn in Spike Lee’s biopic, but Regina King and Kingsley Ben-Adir would like a word. Ben-Adir’s performance as the iconic Civil Rights leader in One Night in Miami doesn’t feel like an impersonation, but rather, an embodiment of the qualities that made him who he was. The entire ensemble is great (Leslie Odom Jr. also shines in his supporting role as singer Sam Cooke), but it is Ben-Adir’s presence that brings the whole thing together. And even though Ben-Adir has been a relative unknown up to this point, expect this performance to bring him a level of notoriety that will allow him to do big things in the future.
Camden Ferrell's Pick: Riz Ahmed, Sound of Metal
SOUND OF METAL. Courtesy of Amazon Studios.
Sound of Metal succeeded in exposing and educating a wider audience about the deaf community, but this message was boosted significantly by the strongest leading actor performance of the year. Riz Ahmed gets a chance to shine in the spotlight as a lead actor, and he doesn't waste any time in proving how talented he is. From the start, Ahmed's performance as Ruben is engaging, but it slowly becomes mesmerizing to watch as the narrative progresses. Faced with a spiritual dilemma when he loses his hearing, Ruben's story is equal parts frustrating and heartwarming. This journey is one that isn't without challenge, and Ahmed does an astounding job of taking the audience along for the ride and to learn with his character. It's an extremely emotional performance that solidifies Ahmed's place in the future of film.
Dan Skip Allen's Pick: Anthony Hopkins, The Father
Anthony Hopkins as Anthony in THE FATHER. Photo by Sean Gleason. Courtesy of Sony Pictures Classics.
Sir Anthony Hopkins has been acting for quite some time now. His career spans over fifty years, not including his stage work. A lot of his work has been of the dramatic fare, but he has been known to take a role for its comedic elements. Being knighted by Queen Elizabeth has shown what his career has meant to the English people and monarchy. His latest film, The Father, might arguably be the best of his career to date. In The Father, Sir Anthony plays a man who is dealing with dementia. His daughter is dealing with him and her at her wit's end. She doesn't know what to do. Director Florian Zeller puts the person watching the film in both the shoes of the main character and his daughter at various points in the film. We feel the disorientation Anthony is going through as well as what his daughter feels like dealing with a man with this debilitating disease. It's not a good feeling being in either person's shoes. Sir Anthony makes the viewer believe he has this disease at every point in the film. It's not an easy thing to digest, having a loved one go through this.
Sarah Williams's Pick: John Boyega, Red, White and Blue
While best-known for Star Wars, John Boyega's strength as a serious actor has been made more clear than ever with this year's Small Axe. Red, White and Blue is the story of a young man who chooses to join a police force that actively works to keep him down, and he learns the corruption and unchanging nature of a police state through the inside. Boyega embodies the two poles here, from hopeful, young belief, to the quick descent into a seasoned man who's learned too soon how corrupt his world can be. His journey from realizing that what he wants for the police is not a mission of doom, but one not possible for this system is a deeply human portrayal of a young man who just wants better, and his inner turmoil is clear, making a tricky story to tell nuanced.
Adam Donato's Pick: Sacha Baron Cohen, Borat Subsequent Moviefilm
Borat Subsequent Moviefilm. Courtesy of Amazon Studios.
The Academy has yet to recognize Sacha Baron Cohen for his acting, despite a nomination for Best Adapted Screenplay in 2007 for Borat. Some movies are better if you know the behind the scenes of what went into making the movie, and Borat Subsequent Moviefilm is definitely one of them. The fact that he had people tweeting about a KKK member walking through a Republican event over a half year ago before the world even knew it was getting a sequel to Borat is amazing. Just think about how much improvisation goes in this performance as Borat is interacting with actual people who are unaware of the celebrity that lies before them. He didn’t consume actual raw bison liver like former Best Actors, but he did quarantine with some old fools for days during a pandemic. This performance gives life to an iconic character that can only be pulled off by one man and the world is lucky it got to see it a second time.
What are your favorite performances of 2020? Let us know!
By disappointment media Staff
Note: Due to repeated infractions against disappointment media's strict anti-gatekeeping policy, all Netflix titles have been blacklisted from coverage on the site for a period of 30 days. This includes mentions in this article.
Sean Boelman's Pick: Catherine Deneuve, The Truth
Japanese filmmaker Hirokazu Koreeda’s first film not in the Japanese language, The Truth, may be more about the phenomenally talented Juliette Binoche’s character, but it is Catherine Deneuve’s performance as her mother that absolutely steals the show. Playing an aging actress dealing with her own mortality while experiencing family struggles, this is a shining performance in an otherwise low-key film. However, Deneuve’s turn still has all of the subtlety and grace of which audiences know her to be capable of. In terms of supporting roles, Deneuve’s is on the meatier side, giving her plenty of both time and material to deliver something completely powerful. Also impressive is the way in which she lights up the screen with co-star Binoche, embodying the mother-daughter relationship in a way that is both completely believable and entirely empathetic.
Camden Ferrell's Pick: Maria Bakalova, Borat Subsequent Moviefilm
Borat Subsequent Moviefilm. Courtesy of Amazon Studios.
When news of a new Borat movie surfaced, it was no surprise that it ended up becoming a cultural event that spoke volumes about the state of America. However, few expected to see a surprise breakthrough performance in Maria Bakalova. Playing Borat's daughter, Tutar, Bakalova fits perfectly into the chaotic and funny environment of the film. She holds her own extremely well alongside Sacha Baron Cohen, and she even tends to outshine him in some of the film's scenes. She has amazing chemistry with her co-star and a natural talent for the shock comedy in the film. Her performance also serves as the emotional core of the film, and she provides a heart to the film that wasn't expected but much appreciated. After her hilarious performance in Borat Subsequent Moviefilm, it's safe to say we'll be seeing her plenty in years to come.
Dan Skip Allen's Pick: Saoirse Ronan, Ammonite
Saoirse Ronan came onto the acting scene with a bang in 2007 with her star-making performance in Atonement. She would later receive three more Academy Award nominations for Brooklyn, Lady Bird, and Little Women. In Ammonite, she teams with the also prolific actress, Kate Winslet, a six-time Academy Award nominee and one-time winner (for The Reader). The pair play two women who are forced to live together because of melancholia. Romans character is not feeling good so her husband leaves her with Winslet's character to see if she can somehow get her out of the doldrums she is in. They go for walks on the beach and look for fossils. They start becoming closer as the film moves forward. This is a little different for Ronan because she usually plays more upbeat characters. The solemn nature of her character requires a lot of subtlety, taking full advantage of her range as an actress.
Sarah Williams's Pick: Vasilisa Perelygina, Beanpole
Vasilisa Perelygina in a scene from Beanpole, courtesy Kino Lorber.
Released in the dead of January before chaos broke out, Beanpole is still one of the finest films, even if this had been a less odd year. Vasilisa Perelygina's role as a former soldier and mother who has lost her child and been sterilized to fight is one with a deep humanity within it, even with every twisted desire her character has to try to fill that hole left by the death of her young son. Perelygina fills the character of Masha with life. A sequence in which she tries on a new green dress and spins to see the light hit the fabric is one of the most moving in the film. As Masha spins faster and faster, she laughs, gleeful, like a child. It's a small moment of pure humanity in a film that is otherwise so brutal, one that humanizes all the suffering around it.
Adam Donato's Pick: Anne Hathaway, The Witches
ANNE HATHAWAY as Grand High Witch in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release. Photograph Courtesy Warner Bros. Pictures
Flying under the radar due to its straight to streaming release, The Witches was surprisingly good and Anne Hathaway carries the movie. In terms of fun villains, Hathaway channels her inner Streep from The Devil Wears Prada. It’s easy to tell how much fun she is having. Also, it’s nice to see Zemeckis not have his own ambition get in the way of her performance. Hathaway is truly terrifying in this movie, while also being so over the top evil that the audience can laugh at her. For anyone that read the book, it’s as faithful of an adaptation that fans could ask for. The ballroom scene alone sells the movie. Hathaway gives the most terrifying speech about her resentment for children, and it is at the edge of your seat material. It’s almost difficult calling this a supporting performance as she is front and center. Still, what a fun villain to hate.
What were your favorite performances of 2020? Let us know!
By disappointment media Staff
Note: Due to repeated infractions against disappointment media's strict anti-gatekeeping policy, all Netflix titles have been blacklisted from coverage on the site for a period of 30 days. This includes mentions in this article.
Sean Boelman's Pick: Kyle Marvin, The Climb
Left to Right: Kyle Marvin as Kyle, Michael Angelo Covino as Mike, Gayle Rankin as Marissa Photo by Zach Kuperstein. Courtesy Sony Pictures Classics.Left to Right: Kyle Marvin as Kyle, Michael Angelo Covino as Mike, Gayle Rankin as Marissa. Photo by Zach Kuperstein. Courtesy Sony Pictures Classics.
Michael Angelo Covino’s lovely and darkly hilarious buddy comedy The Climb is one of the best depictions of friendship to grace the screen this year, largely thanks to the chemistry between real-life friends Covino and Kyle Marvin. And while Covino is great as the eternal screw-up who drags everyone around him down, Marvin steals the show as his lovably goofy and endearingly forgiving best friend. Whether struggling to cycle up a steep incline or failing to seduce his girlfriend with an embarrassingly funny dance, Marvin is absolutely wonderful in his role. He holds his own against his more experienced co-stars, turning a role that easily could have been little more than a vector of development for the flawed protagonist into something far more enjoyable and memorable. As he wrote the film with Covino, it’s clear that these roles were written for themselves, but we can expect great things from him in less specific roles too.
Camden Ferrell's Pick: Daveed Diggs, Hamilton
Daveed Diggs is Marquis de Lafayette in HAMILTON, the filmed version of the original Broadway production.
Hamilton, the live stage recording of the hit Broadway musical, was one of the best movies of the year, in part due to its outstanding supporting actor performance from Daveed Diggs. He delivers an undeniably energetic and vibrant dual turn as Marquis de Lafayette and Thomas Jefferson. He radiates joy and has a lively stage presence in many of his numbers while also proving to be a formidable foe to Hamilton in act two. He especially shines in songs like "Guns and Ships" and "Washington on Your Side". Playing two fundamentally different roles is a challenge, but Diggs effortlessly adopts both characters and creates some truly engaging turns. He gracefully handles the rapid-fire raps, the witty banter, and the show's enjoyable choreography. There is phenomenal chemistry between Diggs and his co-stars, and his palpable charisma is one of the shining moments in film this year.
Dan Skip Allen's Pick: Leslie Odom Jr., One Night in Miami
LESLIE ODOM JR. stars in ONE NIGHT IN MIAMI. Photo: Patti Perret. Courtesy of Amazon Studios.
Leslie Odom Jr. is best known as one of the stars of the hit Broadway play Hamilton. But since his fame on Broadway, he has ventured out into the medium of film, starring opposite Cynthia Erivo in Harriet as William Still, and that was just dipping his toes in the water. His role as Sam Cooke in One Night in Miami is one he really could sink his teeth into. Odom Jr. starred opposite Kingsley Ben-Adir as Malcolm X, Aldis Hodge as Jim Brown, and Eli Goree as Muhammad Ali/Cassius Clay. He stood toe to toe with Ben-Adir and the others from the very beginning of the film. Like Sam Cooke, his discussions with Malcolm X opened up some new avenues of thought for him, making him think about all the aspects of being a black man in America during the civil rights movement. He even had some conscious thought-provoking moments of his own. Odom Jr. has started coming into his own as a character actor to reckon with in the future.
Sarah Williams's Pick: Orion Lee, First Cow
Orion Lee as First Cow's King-Lu is a large part of what made that movie so genuine. Amidst the rugged landscape, his character is soft-spoken and steady, with this articulate charm that stands out among a landscape of men either silent or gruff. Lee's performance isn't a flashy one, but it has the sort of heart that adds so much warmth and depth to a character, one that quietly blends, hardly telling actor from character, that is noteworthy for how it lingers. First Cow is quite accuracy-centric as a period film, with the actors taking on survival training and fully loving and breathing as their frontiersmen for a bit, and the comfort in their characters shows. Without being showy, Orion Lee makes a simple foil for our lead, John Magaro's Cookie, memorably heartfelt, and it's the kind of simple, subtle, warm acting role that's overlooked.
Adam Donato's Pick: Jim Carrey, Sonic the Hedgehog
Jim Carrey in SONIC THE HEDGEHOG from Paramount Pictures and Sega. Photo Credit: Courtesy Paramount Pictures and Sega of America.
Remember Jim Carrey from the ’90s? Well, he’s back in a big way. One of the reasons Ron Howard's version of How the Grinch Stole Christmas works so well is that Carrey is very animated and over the top. So seeing him flex this strength again as another animated villain is perfect. Sonic the Hedgehog works as a movie, but without Carrey as Robotnik, it would have been painfully generic and bad. His relationship and chemistry with his henchman, Agent Stone, is absolutely hilarious. Not to mention, the "Where Evil Grows" dance number is one of the greatest scenes in any movie ever. What happened to the cartoonish villain who revels in being evil despite their goofiness? Seeing as the film was a success at the box office, it’s exciting to see where Carrey will get to go in the sequel, especially after where his character is at the end of the movie. It’s just really nice to see Jim Carrey harnessing what made him so great in the past. Thanks for coming back.
What were your favorite performances of 2020? Let us know!
By Dan Skip Allen  Martin Scorsese came into his own as a filmmaker while he was making Raging Bull. As a human being, he was coming off of the toughest time in his life. He never wanted to direct Raging Bull. It was a sports movie and he wasn't interested in sports. And Rocky had come out a few years before, so he figured he couldn't get another boxing film made. Robert De Niro came to Scorsese about this book about Jake LaMotta, and he changed his mind based on their relationship. He knew Marty and what he was going through. Scorcese found a place he could come from after reading the book. It was a difficult place in LaMotta's life. He used it as a framing device and went into the meat and potatoes of his life after that. "About a steak" is the scene that resonates with me because it reminded me of my own father and mother. They argued like cats and dogs very similar to this scene. The steak scene shows the explosive nature of Jake LaMotta and how he can go from a calm person to a "raging bull". Another scene is when Jake LaMotta (Robert De Niro) is questioning his brother Joey (Joe Pesci) about whether or not he had sex with his wife Vicki (Kathy Moriarty). He runs out of his apartment down the block and goes into Joey's apartment and starts attacking him. The very explosive nature of this man is at the heart of this film. That where the moniker of "raging bull" came from, not to mention he was an absolute beast in the ring as well. There have been some great boxing movies that came out over the decades. Rocky, Cinderella Man, Ali, and The Hurricane all come to mind. Filmmakers have learned from Scorsese and Raging Bull how to film boxing matches. The crane overhead circling the ring kept the scenes moving quickly and very frantic. They kept it hit some of the fighters looked weary and tired while filming scenes as well. These fights were some of the best ever put to the screen. LaMotta fought "Sugar" Ray Robinson six times and they were all great fights. They split most of them but Robinson had the edge on the win-loss record. LaMotta won one big one though. The scene near the end of the film was very prophetic though, "You never got me down, Ray." This is a play on Scorsese's own life. Drugs and alcohol never took control of him and got him down. This line was the most powerful in the film because of the double meaning it had.  Scorsese had made personal and working relationships on Raging Bull that he would keep the rest of his life. Obviously, Robert De Niro, Joe Pesci, and Frank Vincent are actors he's worked with for over forty years. Thelma Schoonmaker his editor and friend for nearly fifty years as well. She has won three Academy Awards. Her first film editing for Scorsese was Raging Bull and it allowed her to win her first Oscar. Paul Schrader, a great writer and director in his own right, wrote the script for both Taxi Driver and Raging Bull.
An indicator of how great something is is how people rank it or list it. People Magazine put out their ranking of the best films of the '80s and Raging Bull was number one. The most famous film critics of the time, Gene Siskel and Roger Ebert, both had Raging Bull as their number one film of the decade as well. The big precursor of greatness as far as films go is the Academy Awards. Raging Bull was nominated for eight Academy Awards, winning two: Robert De Niro for Best Actor and the aforementioned Thelma Schoonmaker for Best Film Editing. Scorsese, Pesci, and the film all lost to Robert Redford, Timothy Hutton, and Ordinary People at that year's Oscars. This film really resonated with me as a six-year-old child because it reminded me of my life. The arguing and fighting were like my parents. The types of places they lived in were like my homes as a little kid as well. The loud neighbors as well. The violent nature of La Motta really reminded me of my father growing up. This seemed like my life. Not the idyllic life portrayed in Ordinary People. I'm sure I'm not the only person who can relate to this film. These types of people existed everywhere then and still do today. These days there is medicine for anger issues. Sports films are one of the best genres of film now and years ago. They can inspire like Chariots of Fire or they can make you sad like Rocky. In the case of Raging Bull, they can make you angry. Jake LaMotta is a despicable human being. He has no redeeming qualities except that he is an incredible boxer. Is this an excuse for all his behavior in this film? Probably not! Sports films take you as a viewer on a trip down a road. Sometimes it's a fun and enjoyable trip and sometimes it's not. Raging Bull isn't for the faint of heart. But the best films aren't always happy. Sometimes they are just depressing and upsetting. As far as life goes, it's not always fun, enjoyable, or happy. It can be a bad experience. For Jake LaMotta, he had good times, but mostly bad times. Most people have more bad times in life than good. Raging Bull is a picture of a damaged, dark human being. That doesn't mean it's not a good film. From my perspective and many others, it means it's a great film. Scorsese is a great director for taking these dark characters like Travis Bickle, Rupert Pupkin, and Jake LaMotta and giving them life on the big screen. But Robert De Niro gets a lot of credit for imbuing them with everything emotion he could.
By Sean Boelman
Even though the way we have viewed films for much of the year has changed due to the circumstances, 2020 has still been a phenomenal year for nonfiction cinema. And the DOC NYC festival, which historically serves as a predictor of some of the films that will be getting buzz come awards season, proceeded with a virtual festival that allowed viewers across the United States to check out some great documentaries. Below are some of the films that disappointment media had the opportunity to screen.
Assassins
Not to be confused with the 1990s Stallone/Banderas action flick of the same name, Assassins is one of the most engrossing documentaries that played as a part of this year’s lineup. Exploring the story of two young women who were tried for the assassination of Kim Jong-un’s half-brother, the film questions whether they were cold-blooded killers or unknowing pawns in a political conspiracy. Ryan White’s film plays out like a real-life espionage thriller, and it’s thoroughly entertaining as a result, but there is a bit of a disconnect created by the fact that the film jumps between the perspectives of the accused, their lawyers, and the journalists who covered the case.
Calendar Girl
For those who love watching adorable old people reminiscing about the good ol’ days, look no further than Christian D. Bruun’s Calendar Girl. Telling the story of the nonagenarian woman who single-handedly shaped the fashion industry with her publication, the film offers an interesting glimpse into the goings on of a business that is often somewhat secretive. The biggest strength of Bruun’s film is undeniably the lovable charisma of his subject. And even though the film does fall back on some biographical tropes, especially in regards to overzealous interviews, audiences will easily stay invested in the story nevertheless. *Not participating in DOC NYC Encore.
A Cops and Robbers Story
There is no denying that the police system in the United States is broken, and filmmaker Ilinca Calugareanu hopes to bring attention to a very different side of that issue with her new film A Cops and Robbers Story. Following a former drug pusher who becomes a prominent member of the NYPD, this film shows how institutional racism affects those both within and outside of the system. Although the reliance on reenactments in the first act is a bit distracting, the interviews are telling and the story itself is riveting. It’s a challenging watch, but a thought provoking one at that. *Not participating in DOC NYC Encore.
A Crime on the Bayou
A Crime on the Bayou tells an interesting and shocking true story, but often loses sight of what makes the story so important. Tracking the courtroom battle that occurred after a Black teenager was arrested in Louisiana in the 1960s for confronting him nonviolently, this is an interesting examination of the racial injustice of the justice system of the era. However, despite the obvious connections with some of the discrimination being faced by BIPOC in America today, filmmaker Nancy Buirski fails to create a sufficient connection between the struggles depicted in the story and the modern day. *Not participating in DOC NYC Encore.
Five Years North
If Zach Ingrasci and Chris Temple’s documentary Five Years North is able to get one thing across to the viewer, it should be that the system is broken and it prevents people who want to do the right thing from making an impact. Blending the stories of a young undocumented Guatemalan immigrant trying to live his version of the American Dream and a Cuban-American ICE officer coming to terms with newly stricter regulations, this is an urgent wake-up call for Americans. It’s admittedly a bit unbalanced in the way that it approaches its two subjects, but it’s powerful regardless. *Not participating in DOC NYC Encore.
In Silico
In Silico is obviously a passion project for filmmaker Noah Hutton, made clear by the fact that he dedicated ten years of his career to following the subjects, and it shows in the final product. Although this voyage into the field of neuroscience is insanely detailed and intricate, Hutton manages to make it interesting even for those who won’t understand the technical goings on. Perhaps most impressive, though, is the way in which Hutton is able to connect the scientific subtleties of what he is showing with the bigger picture in which audiences are more likely to be invested. *Not participating in DOC NYC Encore.
The Jump
Perhaps even more so than narrative films, documentaries are reliant on the power of their story to be compelling. Giedre Zickyte’s The Jump tells one that is so captivating that it will have no problem entertaining viewers. Following a Soviet sailor who attempted to defect in the 1920s but was refused asylum, resulting in a highly-publicized scandal, this story is absolutely magnificent. Using a combination of archive footage and interviews relaying first-hand accounts, Zickyte’s documentary may not have the most timely message, but as a look back into that portion of history, it’s quite effective.
Kenny Scharf: When Worlds Collide
Painter and visual artist Kenny Scharf is just as quirky as his work would suggest, and filmmakers Max Basch and Malia Scharf do an excellent job of capturing this quality in their documentary Kenny Scharf: When Worlds Collide. Even though it is a relatively straightforward art documentary, Scharf is more than interesting enough as a subject to keep viewers’ interest for eighty minutes. Admittedly, it would have been nice to see the film do a bit more in regards to exploring Scharf’s place within the greater context of the art movement of which he was such a pivotal part, but as a testimony to his work, it’s quite good. *Not participating in DOC NYC Encore.
La Madrina: The [Savage] Life of Lorine Padilla
Raquel Cepeda initially seems to be setting up her film La Madrina: The [Savage] Life of Lorine Padilla to be a real-life Godfather-like crime saga, but there is much more to it than that. Telling the story of the former matriarch of a Bronx Boricua gang called the Savage Skulls as she tries to improve her community, this film is all about busting stigmas. There are stereotypes that people associate with Latinos and gangs, and Padilla is a perfect example of why these prejudices are often false. Tackling some timely issues under the guise of a human interest story, Cepeda’s film packs more of a punch than one would anticipate.
Los Hermanos/The Brothers
For those who like their music documentaries to mean more than following an artist, Marcia Jarmel and Ken Schneider’s Los Hermanos/The Brothers will be a welcome treat. Following two Afro-Cuban brothers who became virtuoso musicians and now split their lives between New York and Havana, the film is both a wonderful doc about their music careers and a surprisingly touching exploration of Cuban-American relations. Since the political side of this story is still developing, it’s understandable that the filmmakers had to pull a few punches in that regard, but nevertheless, they do a great job of using this small story to say something bigger.
The Meaning of Hitler
There is a lot going on in The Meaning of Hitler, and it seems like the type of movie that is a likely candidate for misinterpretation. On paper, the idea of disproving some of the myths involved with the fascist dictator sounds like the type of thing that would be problematic, but it soon becomes clear that filmmakers Petra Epperlein and Michael Tucker are more interested in making Hitler out to be even more of an inept loser than history books already do. The arguments made here are definitely very interesting and timely (given some of the similarities to Trump’s reign), but aren’t organized quite as well as one would hope.
Off the Road
When one thinks of compelling documentary subjects to go together, the immediate thought likely isn’t mariachi music and off-road racing, but that’s exactly what Off the Road does, and it’s a surprisingly strong combination. But José Permar’s film isn’t just about cars and guitarristas, it’s about a community whose identity and economy is tied to these expressions. And while the socioeconomic and cultural context of the film may be lost on those who are not already familiar with the Baja Peninsula in Mexico, it will undoubtedly be an enjoyable watch for most, whether they want to watch car races or hear great music.
Once Upon a Time in Venezuela
Although its title may suggest that it’s a fairytale or a Western epic, Once Upon a Time in Venezuela is a powerful and intimate examination of an underdeveloped community in the eponymous country. The first hour of the film is devastating, showing how there is destruction both from outside forces and within the community, but it does lose some of its impact heading into the back half, which deals with more of the big picture. It’s definitely one of the most emotionally draining documentaries to come out of this year’s selection, but that doesn’t make the issues it addresses any less important.
The Place That Makes Us
There are so many documentaries about people suffering in the modern world, which is what makes it so nice to see Karla Murthy’s The Place That Makes Us focus on people who are trying to overcome these obstacles. While this portrait of a small-town community rebuilding after an economic crisis may not be entirely representative of America as a whole, it offers an interesting perspective on the true meaning of the modern American Dream. The film’s biggest problem is that it jumps between subjects a bit too often, preventing the audience from forming too deep of a connection, but there are definitely still some powerful moments.
Shut Up Sona
Recent years have seen a series of documentaries about feminist musicians trying to change the industry to allow for more representation, and filmmaker Deepti Gupta hopes to help do that with Shut Up Sona, her profile of Indian singer Sona Mohapatra. The access that Gupta has to her subject is amazing and allows some really interesting insight into the political side of Mohaptra’s career, but audiences may be left wanting more of an exploration of her music. It seems to be a film made for those who are already familiar with Mohapatra, and while its message still rings true regardless, it still may be a bit of a struggle to get invested in the story.
Songs of Repression
Every once in a while, there comes along a documentary with a really intriguing story that obviously has the potential to be an important work of filmmaking, but the filmmakers aren’t quite sure what to do with the material, and that is Songs of Repression. Exploring a German community in Chile that puts up a tourist-friendly guise but secretly has a dark past, it feels like there is a lot more to this story than is being shown. Of course, lack of access can’t be blamed on the filmmakers, but lack of interest can, and it too often feels like they aren’t interested in getting the real story out there.
Things We Dare Not Do
On a basic level, Things We Dare Not Do is a story of coming out in a conservative, rural community, but it is not at its most effective when it is an introspective exploration of identity. Much more fascinating is when filmmaker Bruno Santamaría dissects the values and traditions that lead a community to be so close-minded in the first place. With a brief seventy-five minute runtime, there isn’t a whole lot of room for Santamaría to explore these ideas with the desired level of depth, though there are enough powerful moments to make this a documentary worth recommending.
The Viewing Booth
Ra’anan Alexandrowicz’s film The Viewing Booth is, on its surface, a film about Israeli politics and identity, but there’s so much more to it than that. Exploring a study done by the filmmaker in which he observes an American student as she watches a series of clips and news footage about current events in Israel, this is just as much a dissection of the effects of the media as it is one of culture and religion. Regardless of how one falls on the political spectrum regarding the Israel-Palenstine conflict, Alexandrowicz uses his film to pose some fascinating and thought-provoking questions about what influenced that opinion.
The 2020 DOC NYC festival ran November 11-19, 2020, and an encore of selected films is continuing through November 29.
By Sean Boelman
Like so many other festivals this year, DOC NYC saw its plans change as a result of the pandemic we are all facing right now. However, the circumstances didn’t stop organizers from bringing some excellent nonfiction cinema to viewers across the country. Often a precursor to end of year awards, the DOC NYC lineup features a wide and diverse selection of films, and below are some of our favorites.
La Madrina: The [Savage] Life of Lorine Padilla
Raquel Cepeda’s La Madrina: The [Savage] Life of Lorine Padilla is the type of documentary that will hook viewers with an interesting story but leave them thinking something else entirely. On one hand, this is about the history of a notorious Bronx gang, but there is so much more going on in this film beneath the surface. A surprisingly hard-hitting exploration of the poverty that has decimated the BIPOC community in New York City, the film shows not only how the system has it out for the little guy, but also how the little guy can stand up and fight back against the system.
The Viewing Booth
The Viewing Booth isn’t an easy film to recommend, because it isn’t conventional in any sense of the world. In fact, the idea of watching a filmmaker having a conversation with a Jewish-American student may not sound like the most riveting way to spend seventy minutes. That said, Ra’anan Alexandrowicz does a phenomenal job with his film, creating a film that functions on multiple levels. As an examination of the Israel-Palestine conflict, the film poses some interesting questions, but perhaps more fascinating are those ideas which Alexandrowicz challenges about the public’s interaction with the media.
Zappa
Frank Zappa is without a doubt one of the most iconic and eclectic musicians in all of history. Even if one doesn’t exactly understand what he did, it’s impossible not to admire the way in which he experimented with his art. Filmmaker Alex Winter translates that awe into a captivating cinematic experience with his archival documentary Zappa, which utilizes the extensive collection of materials that Zappa preserved before his death. Avoiding the pitfalls of most biographical documentaries about musicians, Winter is less concerned here with nostalgia, instead focusing on preserving his subject’s legacy.
9/11 Kids
Elizabeth St. Philip’s 9/11 Kids may be one of the least feel-good documentaries in this year’s DOC NYC lineup, but that doesn’t make it any less of an important watch. Exploring the lives of the children who were with President Bush when the World Trade Center attacks happened, this film is less about that tragic day and more about how society has re-adjusted post-9/11. With hints of the Up series, St. Philip approaches her subjects with a unique empathy that makes the story resonate even harder than one would expect.
9to5: The Story of a Movement
Hot off their Academy Award win for Best Documentary for American Factory, documentarians Steven Bognar and Julia Reichert are back at it with 9to5: The Story of a Movement, again exploring labor issues. Although it isn’t as eye-opening or emotionally affecting as their last work, this more historical approach to labor movements throughout the years offers some interesting insight into some important issues. And unlike some of the other documentaries mentioned on this list, Bognar and Reichert’s film goes down comparatively easy, with slick editing and fast pacing keeping things consistently entertaining.
And this is just a sampling of the great documentaries screening online as a part of this year’s DOC NYC! You definitely won’t want to miss the chance to get to see some of these wonderful films now so that you can be in on the conversation when everyone else is talking about them come awards season!
The 2020 virtual edition of DOC NYC runs November 11-19. |