Just A Little Bit Random

Top Ten Best Films Of 2020

2020 is a year that many will likely agree can only be described with itself as the adjective. With fallouts between cinemas and distributors, lockdowns leading to the close of cinemas for a large portion of the year and a limited amount of releases thanks to multiple delays, it may come as a surprise to some that there were even ten films released this year.

However, despite everything that’s happened, we’ve still managed to see a number of great films. At the very start of the year we saw awards hit Jojo Rabbit and Guy Ritchie’s gangster movie return The Gentlemen. While at the end of the year we still managed to see the cinema release of Wonder Woman 1984, Warner Bros also making a pandemic gamble in the summer by releasing Tenet to the world. Meanwhile Bill and Ted once again taught us to be excellent to each other, Parasite became the first ever foreign language film to win the Best Picture Oscar and Borat made an unexpected return.

Streaming services saw an even more rapid rise compared to the one they were already having in previous years. Netflix released awards hopefuls I’m Thinking Of Ending Things, The Trial Of The Chicago 7, Uncut Gems and Da 5 Bloods. Disney made the most of Disney+ by releasing big films such as Mulan and Soul, and PVOD saw some smaller films, such as Days Of The Bagnold Summer, Clemency and Farewell Amor.

Alongside all of this in a year that was already scary enough audiences turned to a number of top horror releases. Social horrors such as The Invisible Man, His House and Relic received great deals of praise, alongside inventive pieces like Host and Possessor. And, let’s not forget isolation horrors Vivarium and The Lighthouse.

Despite everything that happened throughout it 2020 still managed to be a great year for films. Whether available to stream, rent through PVOD or on the big screen there were very few films that I personally considered weak or bad. It was still difficult to whittle everything down to a top ten. But, finally, here are what I believe to be the top ten films released in the UK in 2020.

10. A Beautiful Day In The Neighbourhood

Tom Hanks absolutely shines as Fred Rogers. He might not look like him or sound like him and yet he perfectly captures the pure kind essence of the US TV icon. While this isn’t a film about Rogers, it follows Matthew Rhys’ cynical journalist Lloyd Vogel, it perfectly gets across his messages of care to the viewer. As Hanks walks in at the start of the film smiling and singing, asking the viewer “won’t you be my neighbour?” it’s impossible not to feel a sense of warmth and welcoming, even if you aren’t aware of Mr Rogers’ Neighborhood.

As Rhys’ magazine writer finds himself struggling with his relationship with his father (Chris Cooper) and trying to look after his newborn son with his wife, Andrea (Susan Kelechi Watson) there’s a rather genuine tale of someone turning their life and attitudes around. While being released at the start of the year in the UK throughout the year this film has still managed to provide a feeling of warmth throughout the year.

There’s a traditional feeling to Marielle Heller’s direction and Micah Fitzerman-Blue and Noah Harpster’s screenplay. Yet the film avoids an overall feeling of cliché and tiredness because of how invested you become in the characters. Heller and the cast treat them with respect and a true sense of heart and control. It never pokes fun at them or their situations while managing to avoid a feeling of it being overly-sweetened. The film simply feels like a well-constructed tale of people coming together and simply learning to be better – while teaching us along the way that “anything mentionable is manageable” and truly capturing the warmth, charm and kind spirit of Mr Rogers.

9. On The Rocks

Bill Murray truly does shine when he works with Sofia Coppola. He’s excellent in her latest finely tuned venture, exploring a father-daughter relationship between Murray and Rashida Jones – also on fantastic form. The two have a brilliant chemistry that feels genuine and allows for the natural humour of most scenes to effortlessly drift through, and a bond between viewer and characters to be easily formed. When paired with Coppola’s fine screenplay there’s a lot to enjoy about the central figures as they roam the streets and restaurants of New York trying to work out whether the husband of Jones’ character (played by a wonderfully restrained Marlon Wayans) is having an affair.

Such elements push forward the point that this is a film about humans simply being humans. Admittedly very wealthy humans that personally know the concierges of the best hotels in London, still somehow managing to avoid the feeling of exaggeration. Nevertheless the film gently looks into their worries and stresses, their fears and desires, and most of all their behaviour.

On The Rocks might look at humanity, although certainly with a light touch, yet it’s a piece of true escapism. It’s hard not to be caught up within the various scenery’s that lines the piece. bright city lights as Jones and Murray cruise around in a small red car that shines in the New York City nightlife. It all springboards from Coppola’s screenplay, brought to life by two award worthy central performances that shine as bright as the small red car in the bright lights of the New York City nightlife that Jones and Murray cruise around in. It’s a pure joy to watch. The 96 minute run-time breezes past quickly and effectively, barely dropping or missing a beat. Simply creating a joyful, entertaining and finely tuned piece of work that clicks because of the light conversation of humanity that it so fluidly demonstrates.

8. Host

One of the first films to be produced and released during lockdown, Host was such a big hit on streaming service Shudder that it found itself with a cinema release later in the year. It also happens to be one of, if not the, scariest films of the year. It’s hard to believe that this is director Rob Savage’s feature debut, this feels like a masterclass in terrifying timing. As a Zoom séance leads to angered attacks from spirits the assaults become increasingly frequent, not to mention brutal.

The onslaught that occurs over the course of 56 relentlessly shocking minutes is perfectly staged and timed. Much like the people in the online call you feel helpless and unable to do anything, stuck on the other side of a screen, not in the same room and simply forced to watch it all unfold. Each moment made more effective by the fact that the effects were set up by the cast in their own homes, due to this being thought of and submitted in just 12 weeks.

Very rarely do I hide behind something in fear, and Host had me doing just that as the demonic attacks simply get worse for you and the characters. I found myself wincing, squinting through my hands and simply wanting to leap behind the seat I was glued to in pure fear at what was happening on-screen. Never taking delight in its lightly bloody details the film sparingly uses blood for full effect when it comes to the highest point of brutality, just to emphasise to the viewer the true amount of torture and pain that the on-screen figures are going through. It’s expertly timed and once the build-up of the first 20 minutes is out the way Host is nothing but fear and terror; even the credits have an air of tension about them.

7. The Trial Of The Chicago 7

If stories about humans being themselves is something I’m into then I’m definitely a real sucker for a courtroom drama, and with a screenplay by Aaron Sorkin of course The Trial Of The Chicago 7, which he also directs, makes my top ten of the year. Sorkin’s film, while pushing some figures aside, manages to capture the personalities of its characters well as they are put on trial for riots outside the 1968 Democratic National Convention. Each figure is brought to life by a wonderful ensemble cast, including; Eddie Redmayne, Mark Rylance, Frank Langella, Yahya Abdul-Mateen II, Sacha Baron-Cohen and Joseph Gordon-Levitt just to name a few. All give great dramatic performances to truly capture the scale of this seemingly never-ending courtroom drama. One which questions whether the trial in question is political or not.

There’s a clash of views not just in the scenes set in the courtroom but amongst the defendants themselves. All have strongly held, passionate views that they want to argue and get across, however often these get in the way of the people they are fighting for justice with. Something which isn’t helped when there’s clearly prejudice from the judge from the very start.

Sorkin is known for his fast-paced ‘walk and talk’ film style and screenplays. And yet, courtroom dramas are often gradual and slightly slower in pace. Yet, he manages to blend the two rather well, packing detail into every scene, making the most of montages – the opening ten minutes is fantastically set up with a fast pace and high level of energy as all characters are introduced and their motives easily established, boosted by Daniel Pemberton’s racing score. It simply draws you in, connects you with the characters and prepares you for the punches and force of the rest of the film. You’re strapped in for shock – especially when it comes to the treatment of Abdul-Mateen’s Black Panther co-founder Bobby Seale.

As usual Sorkin’s screenplay is carefully sculpted and filled to the brim with detail to make for an interesting and engaging courtroom drama that also works as an ensemble character piece. One with fantastic performances throughout to truly capture the drama and the clash of views in and out of the centre stage that forms of the titular trial. Certainly something different from the writer-director, yet the various montages and flashbacks help to push forward his style, alongside the general tone of the film. It all comes together to be something truly engaging and not without its true sense of shock and fighting drama.

6. The Lighthouse

Perhaps it was foreshadowing that back in January a film about two men going mad while being stranded on a rock for a continuously extended amount of time was released. Whether it was or not The Lighthouse – Robert Eggers’ superb follow-up to his brilliant horror debut The Witch – is undeniably a truly great atmospheric psychological horror. You can’t help but feel the biting cold wind and have your nostrils infected with salt and brine as Robert Pattinson and Willem Dafoe (both sporting some smashing facial hair) are kept on a small island, maintaining a lighthouse for more than the initial four weeks they were meant to be there for due to harsh weather conditions preventing boats from making it to the island.

As the pair’s time on the island is lengthened their sanity begins to slip – particular for Pattinson’s newbie, Ephraim Winslow, who has traded trees for sea. Visions haunt him of demon mermaids, unsettling seagulls and more as his fascination with the forbidden light of the building is always kept from out of his reach. The giant bulb is treated as a person in itself. A mysterious, controlling, alien force that tries to consume and take over those who look into it. Simply adding to the fear factor and mystery of this unique isolation feature. Various questions are asked throughout. Is this all real? Is this all in the minds of the characters, or even just one of them? Is it the harsh conditions? Is it the island itself? Perhaps it’s the drunken state of the pair – Dafoe’s Thomas Wake is himself a commanding booze-hound. The longer the pair spend together the more their personal feelings of rage, upset, boredom and even sexual frustration turn to demons on the outside.

Enhanced by the decision to shoot the film in a cramped box-like aspect ratio and in black and white the feeling of the 1890’s, but more importantly the severity of the environment and its surroundings. When you add in Jarin Blaschke’s stunning, highly cinematic, cinematography the full intensity of this mostly two man piece is released. Eggers use of frequent close-ups shows the terrified nature of the two, particularly Ephraim, as the constant stream of madness almost begins to feel like The Shining but with a more sea-salt drenched narrative.

5. Vivarium

Yet another film about people trapped somewhere for what seems like an endless amount of time – although this time released at the very start of the first lockdown – Vivarium may be the film that’s stayed with me the longest out of everything from 2020. Each time I’ve seen it it made me feel as if I needed to go and sit in a dark room to properly think about what I’d just seen. I’ve known that I’ve really liked it and that I’d gladly watch it again, yet I feel that no matter how many times I view this film I’ll need to have time to properly process it after.

Jesse Eisenberg and Imogen Poots find themselves trapped in what seems like an extended episode of Inside No. 9. Trapped in an infinite estate of identical houses, after being abandoned by a mysterious, almost robotic, estate agent. After being forced to raise a rapidly growing baby in the hope of freedom the two gradually find themselves losing hope and going mad in fading desperation for escape. There’s a consistently unsettling and creepy sense to every action and event that happens over the course of the narrative. Never dropping such feelings the film consistently travels along its course delving the two central figures – wonderfully performed by Eisenberg and Poots – into further hopeless depths over the course of the slow-burn narrative, which somehow makes it all the more effective as the viewer is dropped into the same new lifestyle structure.

Director Lorcan Finnegan almost never misses a beat as he knows just when to add new details and elements to keep the viewer intrigued and in near suspense and tension as they too are trapped in a repetitive maze of green houses – but mostly within number 9, potentially an intentional choice?

When it comes to films that are possibly going to be future cult classics I would list Vivarium as one of them. It’s a fantastically unsettling acid-trip of mind-warping trickery, especially in the final stages – truly the points that push you over the edge to needing a dark room to sit in afterwards. Just as effective on re-watched and bound to stay with you, it stayed with me for many months after first seeing it in October 2019, this is a great piece of slow-burn isolated entrapment horror.

4. Les Misérables

Little to do with the musical or novel, Les Misérables is a close look into the abuse of police power and gang-related tensions. Director Ladj Ly uses his documentary past to capture the true chaos of this piece. Initially showing the peace and harmony of the joy in the streets as France celebrates a World Cup victory. However, this is all shattered when the police become involved in the case of a missing lion cub from a travelling circus that has arrived in the streets of Montfermeil. The group of police in question being new-to-the-force Stéphane Ruiz (Damien Bonnard), Brigadier Gwada (Djebril Zonga) and squad leader Chris (a superb Alexis Manenti). It’s Chris’ workstyle and seeming lack of boundaries and ethics that make him a dangerous force on the streets, frequently not following the rules – on one occasion seemingly doing so just to make the girl he’s searching at a bus stop feel uncomfortable.

Thus when brought into an already tense situation involving various gangs things quickly get out of order, with those who are meant to uphold the law coming off worst of all. During scenes of angered outbursts and potential street brawls Ly was inspired by 2008 Parisian riots – his various edits and shots truly capture the chaos and panic of such instances and throw the viewer directly into the confusion by not following one specific character. Throughout the narrative there are various key figures who come into play, although the trio of officers remain the central focus, each one adding to not just the films layers and potential directions but the risks that could be faced by other characters along the way. Each one easy to keep track of because of the well-structured course that the narrative takes place over.

As we meet new people and the various public fights, slurs and chases unfold the levels of tension are ramped up. Things become increasingly dangerous and they develop and get more worrying for the police as Chris’ actions, and Gwada’s acceptance of them, lead to further trouble. It all comes together to create a really well-told, finely flowing story. One that while feeling rather timely is , for 104 minutes, a blood-pumping, tension-filled piece of reflection. Yet, an admirable piece of reflection that never feels drab, bleak or as if it’s lecturing the viewer or talking down to them. A finely crafted non-documentary mirror of character, intrigue, action and tension

3. An American Pickle

Perhaps, for me, one of the biggest surprises of 2020 is that a Seth Rogen film has made my top ten best films of the year, the top five in fact – it’s a mild surprise that one was considered. Especially one about a man who wakes up in modern day America after being perfectly preserved in pickle brine for 100 years. This isn’t to say that I don’t like Seth Rogen, he’s made and starred in a number of films that I’ve enjoyed and An American Pickle is certainly one of them. In many ways it came at the right time. Just after the first lockdown as cinemas were starting to re-open with little new releases. Rogen’s film was a light, entertaining, uplifting and very funny and reintroduction to the big screen.

The film might have its moments of silliness that perfectly match the very basic gist of the plot. But ,in many ways that’s what brings the laugh out loud funny humour that runs throughout, main character Herschel Greenbaum (Seth Rogen in one half of his brilliantly performed duel role) voices many olde-age views that are now considered offensive. Yet, amongst all the humour that the film holds there’s plenty of more serious moments. Herschel’s great-grandson Ben worries about disappointing his deceased parents, not having as strong of a Jewish faith as they, or his other ancestors, may have had. There’s a layer of sorrow to such moments and to an extent you can feel this as a personal piece for Rogen and all involved in this clearly collaborative effort, the directorial debut of frequent Rogen collaborator Brandon Trost.

When everything is combined An American Pickle feels like a collaboration between Mel Brooks and Taika Waititi. It feels cared for and impassioned as the heart that’s gone into the film helps to form the hilarious nature of the piece, helping to form an effortlessly charming tale. There are highly observed performances, writing and direction that simply help to form one of the most accessible and entertaining, not to mention pleasantly surprising, films of the year. It simply makes me happy, even on re-watches, but part of that may very well be the fact that it happened to come at the right time, and just so happens to be rather great.

2. Portrait Of A Lady On Fire

One of the best things about Céline Sciamma’s expertly handled love story is that it never asks ‘will they, won’t they?’ it simply asks ‘when will they?’. It’s clear from the very beginning as the two central lovers meet that something is going to happen between them, however, much like them, the viewer has no idea when or how it will happen. As painter Marianne (Noémie Merlant) and Héloïse (Adèle Haenel), the woman she’s secretly painting a portrait of for her upcoming marriage, bond more their relationship doesn’t get closer, instead it opens up. It’s a unique view of a relationship and writer-director Sciamma portrays it with great precision, pushed further by her two leads.

Love and passion burn bright throughout the entirety of this highly artistic and stunningly framed piece of cinema. The relationship and the actions within and around it feel genuine and heartfelt, simply drawing the viewer further into it, emotionally willing it on and wanting it to be explored. There’s something deeply poetic about the whole thing – if there’s a film that sums up the idea of something being ‘poetic’ it’s very likely this. Many of the key conversations and moments of the film are birthed through some form of art, whether it be paintings, theatre, writing and storytelling. All allowing for both parties to increase their adoration and expressions of love for each other.

Even the character’s longing gazes and the lingering shots of the wonderfully captured landscapes – thanks to the stunning cinematography – manage to keep the viewer in awe throughout the entire film. There’s an honest delicacy that lies throughout the entire piece when it comes to Sciamma’s direction. What brings this honesty is the fact that this is clearly a film told entirely from the female gaze – almost every single figure who appears in the film is female. They understand what the film is aiming for, what Sciamma wants to achieve with the finished piece and the collaborative effort shines. Forming a stunning feature that captivates the viewer from the the very start to the very end. It would be very easy to spend many more hours with these two characters, in fact even just in the world of the film through the gaze that events are seen through.

This truly is one of the most stunning and effective expressions of love seen on-screen in recent years. It’s an emotionally invested pouring of adoration and passionate embraces. A truly fantastic effort from all involved; the wonderful performances, the precise direction, the specific, if little, dialogue in the screenplay and so, so much more, simply pushes this even further to create a unique and brilliant piece of cinematic storytelling.

1. Jojo Rabbit

When going into Taika Waititi’s adaptation of Christine Leunens’ novel Caging Skies a number of people may have been expecting a biting, scathing satire. However, what they got was another bittersweet Taika Waititi gem. This is more than just a film about a young boy whose imaginary friend is Hitler (a hilarious performance from Waititi who did no reasearch for the role “because the guy is a f*cking c*nt”). It’s about the boy who discovers a Jewish girl in the walls of his house and gradually forms of a bond with her, despite it being against what he’s being taught.

The film tackles the idea of people being easily indoctrinated into something through easy persuasion, want or simply following the crowd. In one of the opening scenes footage of people swarming and cheering at the presence of Hitler, compared to Beatlemania as the German version of I Wanna Hold Your Hand is played. And yet, amongst all such serious themes, and a fair deal of emotion, there is the usual brand of laugh out loud funny humour in a style and tone that only Taika Waititi seems to be able to capture.

Released at the very start of the year and after a number of re-watches Jojo Rabbit has managed to remain my personal best film of 2020 for its entire run. While there have been a number of other great releases that I’ve loved this is the one that I’ve most enjoyed. Perfectly balancing comedy and tragedy, packing both a humorous and emotional punch – managing to instantly change tone in a split second and never feeling like an idea is out of place. It’s far from a satire ripping modern day figures to pieces, it’s a warm, sweet, perfectly balanced, occasionally tragic and consistently hilarious Taika Waititi feature about two people developing, bonding and growing together as the walled off world outside attempts to spread a thin veil of hate and unacceptance. It’s just wonderful. And it also happens to be what I believe is the best film of 2020.

LFF 2020: Soul – Review

Release Date – 25th December 2020, Cert – PG, Run-time – 1 hour 37 minutes, Directors – Pete Docter, Kemp Powers

Music teacher Joe (Jamie Foxx) has just been given the chance to fulfil his dreams and play piano in a jazz club. However, after dying and trying to escape the afterlife he finds himself trying to get back to Earth with reluctant unborn soul Number 22 (Tina Fey) by his side.

Pixar are iconic for their colourful and imaginative worlds. With Inside Out they took this to another level by visualising elements of the mind such as lost memories and emotions while weaving them into an engaging story. With their latest venture, Soul, they manage to do even more of this. By looking into themes such as lost souls, people not sure as to where they are in the world and what people’s purpose in life actually is there’s a lot of deep themes to visualise within this latest feature.

And encountering all of these ideas and worlds is Joe Gardner (Jamie Foxx), a music teacher and aspiring jazz musician. When given the chance of a lifetime to play piano at a jazz club he falls down a manhole while crossing the road and immediately finds himself travelling along a large conveyer belt to a bright light. His form has changed to a sort of multi-coloured blob, a mixture of blue, green, turquoise and more. It represents him on earth, his form is now his soul after all. Unwilling to enter the afterlife Joe falls off the track and finds himself in The Great Before – a place where souls are given their personalities before being sent to Earth to take human form.

It’s here that he meets soul Number 22 (Tina Fey). A small, childlike soul (who happens to sound like a middle-aged woman – a joke made in the film) who has wreaked havoc since day one. After going through various mentors who have tried to get the soul to unlock a final trait it’s no use. 22 doesn’t see the point of living if life just ends with death and returning to just soul form, not understanding why Joe wants to get back to his body so badly. Through this Pixar creates a deep thinking and mature film for all ages. They prove that there are such themes and ideas that can be tackled in a way that can be accessed by younger viewers as well as adults. All while managing to tell an engaging and humorous story at the same time.

Soul may not pack as much of an emotional punch as some of co-director Pete Docter’s other Pixar ventures, but there’s an authenticity within not just its story but its characters. Perhaps it comes from Kemp Powers (who also helped to co-write the film with Docter and Mike Jones), whose screenplay adaptation of his own play One Night In Miami also has a genuine sense to it. There’s a clear sense of care and detail that has gone into all elements of the film, into story, character, detail and more. Meanwhile, with Jon Batiste composing free-flowing jazz pieces for the scenes set in New York City and Trent Reznor and Atticus Ross working on the score for scenes in the world of souls/ The Great Before. Never do the different ideas in either score clash or conflict with each other. They simply work hand-in-hand and help to emphasise the various elements and ideas of the story, and the differences between Joe and 22’s human experiences and life as simply as a soul.

There’s clearly a lot of effort that has gone into all aspects of the film, including the voice performances. The two leads clearly understand their characters and the internal emotions, and especially confusions, of them both. It simply makes for a mort heartfelt and engaging piece that connects more with the viewer as they become absorbed into the brightly-coloured, brilliantly animated (as is standard from Pixar) worlds. Visualising concepts that are difficult to think of a physical form for. It might not have the emotional punch, but there’s certainly a lot of detail within the story, animation and general ideas of the piece that this is still another high-quality and original piece from the ever-inventive minds at Pixar.

While not quite a tear-jerker there’s still a lot to enjoy within the heart, humour and care that’s poured into and emitted from Pixar’s latest. Finely animated and filled with detail Soul is another hit from the ever inventive and heartful studio.

Alternative Christmas Film Advent Calendar 2020 – Christmas Evil

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

It’s Christmas Eve. A time of anticipation, hope and excitement. It’s certainly not often associated with fear and revenge. Fear caused by revenge and attacks from a man in the guise of Santa, almost believing that he is the much-loved yearly home-invader all in red. It’s another cult Christmas slasher.

Harry Stadling (Brandon Maggart) is a dedicated toy factory worker. Having been promoted through the ranks he now has a nice desk job where he can ensure further that products are of the highest quality, so that all children are happy on Christmas Day. He’s dedicated to the festive season and making it as best as possible, trying to avoid a specific Christmas of his childhood when he saw Santa sexually touching his mother, not knowing that it was just his father in a costume. However, Harry’s obsession with Christmas has got to the point where he himself seems to have taken on the role of Santa in his neighbourhood. He keeps track of all the local children, making notes of them in large books to decide whether they’re naughty or nice – asking what they ‘wish’ for each day to know what they want for Christmas. He cancels holiday plans with his family, making them and his brother (Jeffrey DeMunn) all the more concerned about him and his mental health.

Everything leads to Harry’s Santa obsession causing him to don a big red suit and dirty near-grey beard to initially deliver a large load of toys to a local childrens hospital. However, as Christmas Eve moves on his intentions shift. While he doesn’t quite go on a killing spree blood is certainly spilled at his cause, and certainly one caused by a want for revenge. Soon there’s a full police investigation into Santa’s Christmas slay (not quite on the same scale as “he knows if you’ve been bad or good, and he’s got an axe” – see Ernest Saves Christmas’ fake film Christmas Slay).

When first released in 1980 the film was known as You Better Watch Out – which considering the tone and lack of overall horror is possibly a more fitting title than Christmas Evil, although this didn’t stop it from being part of the UK’s video nasty panic. The film is certainly more of a character study than anything else. You watch a person who loves and cares about Christmas become almost delusional because of it, partly relating to scarring at this time of year during his childhood. While passionately capturing the role of Santa in front of kids, jolly and consistently laughing, encouraging goodness with the promise of presents in exchange. However, around parents and adults he’s a figure of fear and pain.

Harry finds himself confused as to why people don’t like him when they clearly should, after all everyone loves Santa. But, when you create a Christmas Eve of trauma and distress it’s to be expected. It takes a while for such elements to kick in, and this could be seen as more of a dramatic character study than a horror -although there are certainly some, even if a bit unconventional, horror elements within the film when it gets to its final third. The festive themes of wanting to spread peace and goodwill are there for some scenes – even if they are shattered by the murders that the same character commits as part of their delusions. Either way with its firm Christmas setting and style, even if not the most conventional seasonal flick, this is a decent enough low-budget festive low-on-slashes ‘slasher’ character study that’s worth even just a one-off check-out viewing, even if the slightly festively-forced ending is a bit on-the-nose and unfitting of the rest of the film.

While it may not bee the most horrifying or slash-filled Christmas Evil, more fittingly titled You Better Watch Out when first released, does have a handful of festive themes. It’s about a man who loves Christmas and cares about it being as magical and enjoyable as possible for children, one where they won’t be disappointed. He takes it too far and there’s a slightly interesting character study to be found there amongst everything else that happens across the film. Deeply rooted within a Christmas Eve/ Day setting Christmas is a core setting for the piece, and, of course, so is Santa. It’s just unfortunate that in this film he’s coming to town with a resulting thirst for revenge.

Christmas Evil can be watched in the following places:
Shudder
You may have a physical copy of the film on DVD and Blu-Ray (it was passed uncut with a 15 certificate in the UK in 2012, alongside a Blu-Ray release from Arrow Video). It’s always worth checking JustWatch to see where the film is available to buy, rent or stream in your country.

Alternative Christmas Film Advent Calendar 2020 – The Curse Of The Cat People

1942’s Cat People is regarded by many as an early horror classic, while it’s 1944 sequel isn’t as widely seen, or known. Not as dark as the original (which isn’t a necessary watch to engage with this mostly separate feature), but still with its elements of horror, The Curse Of The Cat People is possibly the most conventional Christmas film in this year’s calendar.

Six year old Amy (Ann Carter) is something of an introvert within her class. She has few friends and prefers to spend time on her own exploring instead of playing games with the class. Her imagination and behaviour reminds her father, Oliver (Kent Smith), of his estranged ex-wife Irena’s behaviour before she passed away. However, Irena (Simone Simon) appears in a ghostly form to Amy. The two form a close friendship that’s supposed to remain a secret, all Amy’s parents (her mother, Alice, played by Jane Randolph) think is that she has an imaginary friend. However, as more details of this bond unravel the two become increasingly concerned about their daughter and the things that she’s seeing.

Irena isn’t the only person that Amy gets to know over the course of the film. After walking into a mysterious house in which it’s believed by the local children a witch lives. After venturing in the young protagonist discovers ailing retired actor Julia (Julia Dean) and her daughter Barbara (Elizabeth Russell). There’s a clear rift between the two figures in the house, made darker and more mysterious by the fact that Julia claims that Barbara isn’t actually her daughter, claiming that her real daughter died when she was the same age as Amy and that the person she lives with is some form of disguised spy.

Yet, throughout the film the emphasis is on the friendships and bonds that Amy creates throughout the film, particularly that with Irena. As their bond strengthens Christmas comes more into play, with the final stages playing out across Christmas Eve. There’s something about the idea of people coming together that boosts the festive spirit held within the film. However, Amy’s parents still continue to worry, with their concerns only increasing as the film goes on and their daughter’s behaviour becomes more and more unusual and like that of Irene’s before her passing – her ghost, on the other hand, is a presence of calm and kindness.

With all of this going on the horror elements are never forgotten – this is a ghost story after all, and isn’t A Christmas Carol? While the film isn’t a direct horror there are, what may be seen as, some underlying eerie moments, and undeniably a handful of themes relating to the genre. In a number of scenes campfire style spooky stories are retold – such as tales of the Headless Horseman and Sleepy Hollow – and yet it all goes towards the idea of people coming together at Christmas. There’s a slight warmth to a number of the scenes between Amy and Irena, as they converse in the snowy garden while carollers sing in the background – the initial title for the film was Amy And Her Friend until studio RKO changed it to something seen as more marketable to bring in the profits, as Arnold Schwarzenegger classic Jingle All The Way shows, Christmas is nothing but commercialism.

Certainly the most conventional Christmas film in this year’s calendar there’s a fair share of warmth and goodwill within The Curse Of The Cat People and its themes of friendship during the festive season. However, with a plot that revolves around ghosts and multiple mysteries surrounding the living and the dead there are a number of horror related elements within this film. It might not be the scariest, it’s certainly not trying to be, but there are at least one or two moments that might create a slight chill within some viewers watching the cold and frosty settings of a number of scenes.

The Curse Of The Cat People can be watched in the following places:
BBC iPlayer
You may have a physical copy of the film on DVD or Blu-Ray, or even VHS (remember those?). If you don’t and you want to watch the film it’s always worth looking at JustWatch to see where you can buy, rent or stream the film in your country.

Alternative Christmas Film Advent Calendar 2020 – The Wolf Of Snow Hollow

After the relentless savagery of yesterday’s calendar feature today the film behind the door is something a fair deal milder – but not without its horror elements. Christmas for many is a time to break out the board games, Cluedo sometimes being a particular favourite; so, let’s take a look at mystery-thriller The Wolf Of Snow Hollow.

Snow Hollow is a small, secluded ghost-white town where something very rarely goes wrong. Life is calm and mild and because of this the local police force is small. However, when dead bodies begin to turn up every full moon the paranoia begins to get to the town – despite the claims of officer John Marshall (writer-director Jim Cummings) that werewolves don’t exist. John already has his own problems, he regularly attends alcoholics anonymous, he struggles to have a proper relationship with his teenage daughter, Jenna (Chloe East) and at work he begins to feel as if he’s losing power, especially in the face of the ailing health of the sheriff (the final film role of Robert Forster).

As the stresses pile up so do the bodies, each one with all the gruesome markings of a wolf attack. Hysteria begins to flow through the town and its police force, including John’s partner Detective Julia Robson (Riki Lindhome), with John himself still being the only one claiming that it’s the work of a murderer, nothing else. The question begins to be asked whether he’s the werewolf, or rather if there really is a werewolf. His sanity begins to decline across the film as the demand to catch the killer rises more and more with every corpse found in the now deep red snow. As his parental obligations are forgotten and he risks not being able to see his daughter again, losing his job and so much more gradually we see the mental state of the protagonist also decline as more obscure happenings occur in an otherwise small, quaint and quiet town that’s still embracing the festive spirit.

Most of the film’s events seemingly take place between Christmas and New Year. Slow carols drone in the background of a number of scenes, while frosty decorations that look as if they’ve seen better days sit, scattered loosely around, in front gardens. The town, cold with its snow, is clearly still embracing the season of peace and goodwill and doesn’t need a series of murders disturbing it. Although, an amusing piece of folklore could certainly give them all something to talk about – The Wolf Of Snow Hollow does sound like it could be a folktale after all.

John is trying throughout to try and get closer to his daughter, both feel that he’s slightly distanced from her. And what better time to show people trying to bond and coming together than Christmas? A number of the themes and ideas throughout the film can certainly be found in more conventional Christmas films. There are some who have already labelled this as a Christmas film, with Cummings gladly accepting such comments – although with it very much in the background and not often mentioned, and most of the other themes in the film, this is certainly, for my money, an alternative Christmas film. With its horror elements fuelled further by the mystery that it brings in, and Cummings already solidified brand of humour, sometimes bordering on dark – this is only his second feature after 2019’s debut indie gem Thunder Road – pushes this further.

Instead of turning the figure of Santa into a murderer, kidnapper, or creating dark, twisted fantastical abilities The Wolf Of Snow Hollow simply goes down the werewolf route. Or at least it implies that it does. It’s a guessing game with various elements that all add to the horror feeling. A film about people, particularly John, struggling to work together around Christmas with increasing worries and stresses. With an element of dark comedy it certainly has its lighter moments, and helps to feel even more like something slightly festive because of this. But, it never forgets its horror related elements and the mysterious potential werewolf that, like Christmas, is always in the background to remind the viewer of the tones and themes of the film.

The Wolf Of Snow Hollow can be watched in the following places:
Amazon
YouTube
Rakuten TV
Google Play
Microsoft Store
Or you may have a physical copy of the film on Blu-Ray or DVD. It’s always good to check JustWatch to see where the film is available to buy, rent or stream in your country.

Just A Little Bit Random Audience Best Films Of 2020 Vote

Despite cinemas having been closed for much of the year 2020 has still seen a number of great new releases – remember January and February? As usual at this time of year, it’s time for you to say what you thought was the best of them all.

Simply vote via this poll by 5pm on Wednesday 6th January for what you think was the best film of 2020. The results will be announced on the radio show from 6pm on the same date, with a piece here on the website afterwards.

From the heights of the few big screen blockbusters such as Tenet and Wonder Woman 1984 to VOD hits such as Clemency and Days Of The Bagnold Summer – possibly more widely seen thanks to such releases – there was a lot to love in the handful of films released this year. Perhaps your favourite is one of Netflix’s many streaming hits, including Da 5 Bloods, Mank and The Trial Of The Chicago 7. It could even be a film you connected with a lot during lockdown, Vivarium and The Lighthouse come to mind. Whatever your personal favourite is it should be included in the poll. (All films featured are by UK release date. Hence why films such as Jojo Rabbit, Parasite and A Beautiful Day In The Neighborhood are included, while the likes of Sound Of Metal, Promising Young Woman and Ammonite – all of which currently have release dates early next year (at time of writing) – aren’t).

A huge thank you to anyone who votes, helps spread the word, or both. All shares are greatly appreciated. The results will be announced from 6pm on a review of the year show on Somer Valley FM on Wednesday 6th January, alongside a piece here on the website.

Alternative Christmas Film Advent Calendar 2020 – Inside

The week of Christmas has arrived, the home stretch towards the day itself has arrived. And so behind today’s calendar is possibly one of the least festive films set during the Christmas period there is. One truly not for the faint of heart – and even those used to films that serve lashings of gore may find this particular feature difficult to stomach. Dare you venture Inside today’s door?

As already delved into as part of this year’s calendar Christmas is a time of celebration and welcoming – especially when it comes to the bloated man in red whose home intrusions are encouraged on an annual basis. However, Inside is far from this, and is certainly a jet dark – even darker than the almost black shade of crimson blood that lines many of the later shots – home invasion.

Alysson Paradis’ Sarah is hoping for a quiet, isolated Christmas. After losing her partner in a fatal car accident four months earlier she’s still grieving, while heavily pregnant with their now overdue child. Unfortunately the plans for a calm and almost ignored Christmas is shattered when a character simply called La femme (Béatrice Dalle) breaks into Sarah’s home in the middle of the night with the intent of stealing her baby. After waking up to her stomach attempted to be cut open the frightened protagonist finds herself fighting for not just her life but her unborn baby’s too as a merciless attacker attempts to slash through every door and obstacle in her way. All while Sarah desperately locks herself away in her bathroom, gasping for breath after the initial attacks.

More characters get involved, including Sarah’s publishing employer, Jean-Pierre (François-Régis Marchasson), and her mother (Nathalie Roussel), and yet La femme’s tirade refuses to stop. It simply gets increasingly bloody until the lens itself is drenched, capturing the relentlessly savage action with an extra sheet of red that simply adds to the brutality of the piece. All captured with lingering shots from writer-directors Alexandre Bustillo and Julien Maury. Shots which simply add to the long-lasting flinching pain the viewer feels throughout; as the situation becomes vastly more intense and worrying for Sarah, despite her resourcefulness and determination.

There is very little, if any at all, festive spirit within Inside. It’s a brutal slasher filled with intensity and scares for the scenario that the central character finds herself in. It could be said that her determination to survive, and keep her unborn child alive – especially at Christmas – show a want for peace at this time of year. The lack of joy and festivities oppose the standard feel of conventional Christmas films, but creates hope that there’s a way out of this, mother and child will survive and that, even if not properly celebrating, they will be safe when the day finally arrives.

Christmas might not play a huge part in Inside, it’s very much in the background. A tree appears in the side of the frame in a scene or two and Christmas Eve, on which the events occur, is only mentioned once or twice. Yet, thematically you can’t help but feel the impact of this slight detail on the unfolding horror. It adds to the tension, the fear, the deep cut of the violence and gore – this is the opposite of a scratch, and once again not for the faint hearted – and the overall theme of Sarah’s desperate battle for the survival of two. Definitely fitting in with this year’s horror theme this is certainly a very alternative Christmas film.

To find out where you can watch Inside it’s worth checking out JustWatch to see where you can buy, rent or stream the film in your country. Or, you might already own a physical copy of the film on DVD.

Alternative Christmas Film Advent Calendar 2020 – Rare Exports: A Christmas Tale

Today marks the day before the week of Christmas. People may be beginning to properly prepare for the festivities and embracing them as the home stretch arrives. And so behind today’s calendar door is a true Christmas film. One that embraces the magic of the season with its fantastical elements. Fantasy that stems from eeriness and horror in the rather great cult hit Rare Exports: A Christmas Tale.

Set in the build-up to Christmas this film sees a British mining expedition in Lapland impact a nearby village of few people, including three reindeer slaughterers. However, when the expedition discovers something dark within the mountains all the nearby reindeer are murdered overnight and it’s believed that Santa Claus has been awoken. As the children in the area begin to disappear one by one the one left is perhaps the most inquisitive about Santa – Pietari (Onni Tommila). After capturing the dishevelled lanky figure of what appears to be the face of Christmas himself Pietari’s father (Jorma Tommila) attempts to hide what he has captured, alongside his two co-workers. However, it’s not long until darker forces come into play and the Christmas Eve that the story plays out over could very well be the last.

Throughout the film many fantastical elements are played with, especially when it comes to the folklore of Santa, at times mixing it with the figure of Krampus. Either way as the situation becomes increasingly desperate and the threatening hoard of elves being to play their part there’s uncertainty as to what should be done – especially when thousands of dollars are wanted for the damages that will have been done by the unleashing of the figure trapped in a butchery. Yet, the spirit of Christmas and time of year are never forgotten about – even if they are slightly twisted for a horror effect.

Rare Exports can certainly be viewed as a film with its festive conventions – and not just because of the presence of a quasi-Santa – mostly in the form of people coming together during the festive season, even if it is to defeat an evil presence. The cold sheet of snow that surrounds all landscapes in the film push the harsh scenarios, yet when the film plays with its fantasy and moments of effective, and not overly dark, black comedy there’s a slight bit of seasonal cheer held within the twisted conventions.

By not going into the mountains to find Santa or solve the problem all action is kept above ground. While this may have been done for budgetary reasons; this is a film relatively free of any major CG shots, it’s something that helps the film feel unique and original. By staying above ground and following all the actions there, allowing for the unknown creatures to come to the protagonists, there’s a level of suspense and extra threat added – while allowing the characters to plan how they may respond, with limited resources. It all might be a build-up to a punchline, although better than one found in any cracker, but it all works and clicks rather well. This is a creative and well-formed film that manages to have a slight, if darkly subverted, Christmas feel to it – while never forgetting its fantasy infused moments of horror.

A dark tale about the Santa that we never get shown, the one that’s a threat to children, Rare Exports truly is something different. Helped by its black comedy, and of course elements of horror, there’s a a lot to like about it. All while being a twist on the genres and formats which it holds. Yet, the idea of people coming together, especially family, to save Christmas, although initially their business and livelihood, in this circumstance holds something rather entertaining to see. It’s no surprise that this has gained a growing cult status over the years since its initial release in 2010.

Rare Exports: A Christmas Tale can be watched in the follow places:
Amazon/Prime
BFI Player
Shudder
iTunes
YouTube
Sky Store
Alongside a number of other places, including being available on physical formats such DVD and Blu-Ray. It’s always worth checking JustWatch in your country to see where the film is available to stream, rent or buy.

Alternative Christmas Film Advent Calendar 2020 – The Day Of The Beast

Day two of this year’s calendar and after delving into a Santa Claus home invasion let’s take a look at another big figure of the festive season. For many Christmas is marked by the birth of the baby Jesus, not the antichrist. Yet, in The Day Of The Beast on Christmas Eve the presence of the devil and the antichrist are felt by a Catholic Priest intent on stopping them from bringing about the apocalypse.

Christmas is largely known as a time for kindness and generosity, however Father Ángel Berriartúa (Alex Angulo) announces in the opening scene to his fellow priest that he intends to commit as many sins as possible. Away he goes stealing, pushing over street performers and committing all sorts of minor crimes and grievances. Once meeting record store owner José María (Santiago Segura) the two form a partnership intent on fulfilling Ángel’s aim of ridding the world of the soon-to-be-born antichrist – on Christmas Eve of all nights, when the streets are packed with last minute shoppers. Throw in an alleged TV psychic (Armando De Razza) and the horrors of communicating with the devil begin to properly come into play.

Yet, before any actual confrontation with the face of evil; and even after the first effects of a summoning circle are witnessed, a lot of the potential fear, and some of the dark comedy that’s prominent throughout the first half of the film, Ángel’s mental state is almost questioned. Is everything he claims true, or is it all simply part of a descent into madness and delusion? Has he an ulterior motive that links to darker intentions? As the film plays out and the three central figures become increasingly battered and bruised by their investigation this question is asked more and more.

While it could be said that the central team come together at Christmas and there are bonds formed many of the films themes and ideas, in fact the base plot as a whole, are almost the antithesis of what most people associate Christmas with. Rooted in tones of darkness, fear and the potential end of the world there’s a lack of peace and harmony as the desperation of the characters heightens. The horror conventions are well and truly in place throughout, even if the film itself isn’t exactly the scariest, although playing more as a horror in the second half.

Black comedy is a key tone during the first half of co-writer (alongside Jorge Guerricaechevarría) and director Álex de la Iglesia’s film. His central figure is unsure as to how he should sin, and what crimes he should commit – finding himself listening to extremely heavy metal about Satan and asking for records to be played in reverse for devil worshipping messages, while the man behind the counter worries about it breaking the record player. The film initially pokes fun at the frantic situation that the narrative is made up of, as it seems that the priest may be foreseeing things that aren’t really there/ won’t actually happen.

Throughout the elements of horror and dark comedy the question about the visions and alleged foreseen future is, is it just in his mind, or is it real? Either way there’s a chance that it can help everyone have a better and more peaceful Christmas, and potentially save the world and prevent the apocalypse – perhaps there is a bit of festive cheer present after all.

The Day Of The Beast can be watched in the following places:
Amazon
Or, you may have a physical copy on DVD or another format. There may be other streaming options available, it’s always good to check JustWatch to see where you can watch the film in your country.

Wonder Woman 1984 – Review

Cert – 12, Run-time – 2 hours 31 minutes, Director – Patty Jenkins

Diana Prince (Gal Gadot) secretly acts as Wonder Woman, stopping or preventing small crimes, however she has to use all her power to stop business-owner Maxwell Lord (Pedro Pascal) from gaining world-threatening power.

Is Wonder Woman here to save 2020? Perhaps. However, the person more responsible for having cinemas backs may potentially be Patty Jenkins. Having initially fought for a summer release spot for her sequel to 2017’s Wonder Woman, facing multiple delays of almost over a year since the initial release date, Jenkins ended up fighting for a proper cinema release – with a simultaneous theatrical release and opportunity to stream on HBO Max available in the States. Her plan is clearly set out in Wonder Woman 1984, a film that tries to show traditional hope through heroism. Perhaps its how heavily the film is infused with it’s 80’s setting but there’s a feeling of Christopher Reeve Superman films that. In one of the opening scenes we see the leaping figure of Gal Gadot’s Wonder Woman stopping a theft in a shopping mall, alongside other accidents in the nearby street. Her stances are clearly set out, rolling her eyes as she disapprovingly states “I hate guns”. Yet, all of this happens while her alter-ego Diana Prince lives an almost happy quiet life.

A quiet life which is soon interrupted when struggling business owner Maxwell Lord (Pedro Pascal) finds a way to vastly increase his power, to a world-threatening degree after having a wish-granting stone fall into his possession. Pascal is having great fun throughout the film, truly capturing the classic-superhero-flick honouring villain he’s portraying. In fact, it seems as if the entire cast is having fun being a part of this feature, however perhaps the person most people were looking forward to seeing is Kristen Wiig’s Barbara Minerva. Initially a shy, nerdy Smithsonian worker over the course of the film she gains a dark confidence that flips her initial friendship with Diana to a selfish antagonism on her side. This kind of role is something different for Wiig and she pulls it off well, especially during the earlier changes of her character.

With all this going on plot-wise there’s still room found to explore Diana’s relationship with Steve Trevor (Chris Pine), somehow making an unaged return, despite his arc in the previous film set during World War One. While the arrival of Pine’s pilot does bring in some comedic attempts – some more successful than others – the focus is certainly shifted to his bond with Gadot’s Amazonian warrior. Taking away from her trying to investigate and track down Pascal’s increasingly powerful threat before his parallel madness leads the world to destroy itself, and even the development of Wiig’s sometimes sidelined figure. At one point the pair are meant to be rushing somewhere as fast as possible to avoid life threatening consequences and yet they take a moment to slow down and admire conveniently placed 4th July fireworks. It almost feels at times as if the film is nearing being put on pause to show something different, or as if a sub-plot to show Diana’s emotional pain takes major priority over the potential end of the earth, instead of being more woven into it. While she may feel in such a way the impact on the audience is unfortunately not quite the same.

At 2 and a half hours this is a long film. Partly because it frequently tells and repeats information instead of simply showing it, meaning that when action does kick in it sometimes takes a second or two to properly realise it in the later stages of the film. There are certainly third act issues, feeling somewhat more like a conventional/ mid-2000’s superhero flick than the rest of the film, as was the case with the first Wonder Woman feature, which at just over 2 hours and 20 minutes felt somewhat lengthy. This isn’t to say the action is bad. There are certainly a number of thrills to be found within this film – particularly in a number of close-combat fights and a particularly brilliant car chase sequence; which is excellently captured by Jenkins direction.

Yet, despite its slight flaws, this is ultimately a film or hope and heroism. A respectful look back to the classic Superman films that shaped many childhoods. Those which inspired a generation. And this Wonder Woman may likely have the same effect on a new generation. The character is very much still DC’s guiding light, thanks to the collaborative force of Gadot and Jenkins who have worked hard to create a character that people can be proud of. Strong yet not without their flaws, sometimes becoming a key focus over the narrative of defeating evil, and one who shows emotion – rarely do we see a hero actually display sorrow, loss or upset in a way that isn’t anger or revenge.

Wonder Woman continues to be something different amongst DC’s current catalogue, and a number of recent increasingly large-scale features from other studios. Venturing into new bright and hopeful reaches, while managing to capture the unmistakable feeling of classic 80’s grit-free heroism throughout, not just through the setting, but the style and character of the piece too. Don’t go for a huge superhero blockbuster with insane budgets, epic fight scenes and masses of visual effects, go for a true big-screen tale of good overcoming evil.

At times more Lester than Donner this is a well-told tale of good vs evil. There are some sidetracks that choose to tell rather than show, but this is still an enjoyable and mould-breaking flick. Holding well-captured action and most of all a character of hope powered by a united force, led by the passion of Jenkins and Gadot.