25.Black Bear (2020)
Actress and director Allison (Aubrey Plaza) arrives at the Lake guest house to work on the script. There she meets a couple who are not particularly happy in their marriage — musician Gabe (Christopher Abbott) and his pregnant wife Blair (Sarah Gaydon), who are always fighting with each other (including on the basis of feminism). Allison unwittingly becomes a participant in their arguments, then suddenly finds herself in the same bed with Gabe, and then the plot, as well as its heroine, begins to split — and we see Aubrey Plaza in completely different proposed circumstances. The impact that David Lynch has had on millennial filmmakers is undeniable: this is the second homage to Mulholland Drive in five years. The previous one was “Always Shine” by Sofia Takal. It is not surprising, by the way, that” Black Bear ” is dedicated to Takal, because it was directed by her husband — Lawrence Michael Levin. In the movie there is a lot of caustic satire on the filming process (and indie cinema), and Aubrey Plaza after the series “Legion” again gets up such that it immediately wants to write in the best actress of her generation. This is a very strange, sometimes muddy, but not for a second boring metakino, reflecting on the boundaries of directorial power, acting dedication, family relationships (on and off the set), and the trigger makes the figure of a black bear.
24.I’m Your Woman (2020)
Jean (Rachel Brosnahan, “The Amazing Mrs. Maisel”) is married to Eddie (Bill Heck), a gangster who can’t get her pregnant. One day, Eddie brings a small child to their house and says that it is now their son. Discouraged, Jean first calls the boy Harry, and then finds herself forced to flee because Eddie killed his boss and now everyone is looking for him. To save the woman and the baby, a dark-skinned brute Cal (Arinze Kene), also a gangster, helps Eddie. This release on Amazon Prime, stylized as a seventies movie crime thriller, is the fourth directorial work of Julia Hart (“Miss Stevens’ ‘, “Fast Color”) — and her exit to a new level. An aesthetic, smart, exciting picture is not just a stylization, but a story with an interesting expanded concept. The movie about a woman with a child on the run we have already seen in” Gloria ” (1980) by John Cassavetes and the remake of Sidney Lumet (1999), but if the heroines of Gina Rowlands and Sharon Stone deftly owned a gun, the same can not be said about Jean. She, like any normal person, pulled out of the usual life, is simply not ready for an extreme situation, which is why some scenes with her participation turn into a horror about a babysitter, like “Halloween”. But this is the main point of the picture. This story is told not from the point of view of the central characters of the batch, as is usually the case in crime thrillers (for example, in “The Thief” by Michael Mann), but a girl exiled to a safe place, which in such tapes, as a rule, is given a third-rate role. Immediately, it is brought to the fore — and the slow evolution of the heroine Brosnahan, who slowly but surely turns from a victim into a defender of what everything was started for. It should also be said that the final credits of the movie have a special thanks to Michael Mann, and Hart this year Disney released another picture-the teen melodrama “Stargirl”.
23.Dark Waters (2019)
Incriminating movie journalism from director Todd Haynes (“Carol”,” Far from Paradise”), which he conceived and implemented in the company of fellow eco-activists — Mark Ruffalo, who played the main role, and Tim Robbins (the role of the hero’s boss). The movie is based on a New York Times Magazine article about lawyer Robert Bilotte and his crusade against American chemical giant DuPont. In the story, a budding corporate lawyer (Mark Ruffalo), trying to help a simple farmer, discovers the terrible truth — that the company that gave the world teflon pans has been poisoning millions of people around the world for half a century. Now he has to almost single-handedly not only bring out the greedy bigwigs, but also prove to thousands of ordinary Americans that fighting for their rights is not only a right, but also a duty. A meticulous and meticulous documentary story about a whole range of things that are important to everyone-from caring for their own health and the public good to dealing with learned helplessness. It was shot and played masterfully, although without revelations: in places, the team of the movie was obviously under pressure from the burden of social responsibility. But the main thing this movie has already succeeded: after the release of the movie, DuPont shares significantly lost in price.
22.The Whistlers (2019)
Fresh work of one of the leaders of the Romanian new wave and a favorite of Cannes Corneliu Porumboyu (“Treasure”, “Endless Football”). Here, for the first time, he both theoretically and productively goes beyond the borders of his homeland, transferring part of the action to the exotic Canary Islands. The main character of the story is a corrupt policeman Christy (the hero’s name is the same as his colleague from the director’s last work “Policeman, adjective”), performed by one of the main export actors of Romania, Vlad Ivanov. Long and thoroughly entangled in other people’s and his own intrigues, he decides to pull off a big deal and release a recently caught bandit from custody to help his bosses find out where he hid the mafia money before his arrest. To do this, he will have to go to the Canaries to learn there the secret language of whistling (actually existing and called silbo), in which, in addition to local thugs, he is helped by the fatal beauty Gilda (Katrinel Marlon). The name of the heroine refers to the classic noirs of the middle of the last century, from here Porumboyu borrows the plot matrix with femme fatale in the center of the web of universal deception and setups. And the final shootout, for example, takes place in a two-story town straight out of American Westerns, not to mention the well-worn movie stamp from Hitchcock’s “Psychosis”. However, Porumboiu’s quotes are not just cinephile fun, but rather a search for new (or old) movie spaces where the Romanian melancholy and melancholy that he is used to would take root. After all, in a world where everyone lies to each other endlessly, you can only whistle about important and intimate things.
21.Queen & Slim (2019)
An action-packed drama also on the theme of Black Lives Matter. The romance of a first date for young people suddenly ends with the murder of a police officer. After that, they have to go on the run, and the trials they meet on the way will harden their feelings. The movie stars Daniel Kaluuya, who became famous for the horror movie “Away” and the Marvel blockbuster “Black Panther”, and Jodie Turner-Smith. Also in the cast were Chloe Sevigny, Sturgill Simpson and others. Directed by Beyonce and Rihanna’s music videos, Melina Matsukas. Her video for Rihanna’s song ” We Found Love “was awarded a Grammy Award.
One of the best thriller movies is “Shirley” – a free portrait of Shirley Jackson (Elisabeth Moss), an important American writer of the mid — twentieth century (a mystery like “The Ghost of the House on the Hill”) – is in the status of a living classic, but suffers from depression and alcoholism and rarely leaves the house. Her husband (Michael Stalbarg) – officially a charmer and the soul of any company-in a relationship constantly undermines her self-confidence and finishes her off with regular infidelities. It is at this point that a young copy of a mature couple arrives on campus — a future professor with a pregnant wife: the naive young girl Rose, of course, has hopes for an exciting university life. Two women at first do not get along, then they are friends, then they merge into one.
19.The Assistant (2019)
A young secretary against an important boss-producer. In short: about how Harvey Weinstein was possible, “why they were silent” and what merciless capitalism leads to. A young girl, Jane, comes on probation to a production company with big dreams of producing a movie in a few years. But for now, she is a terrified, sleep-deprived and overworking young girl who comes to the office first and leaves later than anyone else.
18.Promising Young Woman (2020)
Cassie (Carey Mulligan) lives with her parents (Clancy Brown and Jennifer Coolidge, Stifler’s mom from “American Pie”), works in a candy store during the day, and in the evenings, pretending to be drunk in bars, preys on rapists. So she tries to cope with the trauma that the death of a close friend of Nina caused her: she was raped at a medical college, where the girls studied to be doctors, but the case was put on the brakes, and the budding Cassie decided to devote herself entirely to revenge. And even a fleeting crush on a former classmate (Beau Burnham) will not make her deviate from her intended path. Full-length directorial debut of the “Crown” actress and screenwriter of the TV series “Killing Eve” Emerald Fennell. Like Coralie Farge’s recent “Revenge, “”The Girl” is also a rape and revenge movie, but it’s a much trickier one. This is not a tooth-crushing thriller with people tearing pieces at each other, but a lightweight and even romantic criminal tragicomedy that works with the injuries revealed by the #MeToo movement, but precisely because of its lightness, it strikes in the final. So don’t be confused by the slightly ironic, ironic tone of the picture and the mocking string cover of Britney Spears ‘ “Toxic” — it will all end very, very badly. This is not a female version of “Death Wish”, and the main character is called Cassandra by her full name for a reason. The ending of the movie will be thinner and, what is there, discouraging.
17.Lost Girls (2020)
A hard-hitting best thriller Netflix movie based on the powerful Mother Protector trope (last resonated with such power in “Three Billboards on the Border of Ebbing, Missouri”). When the daughter of Mary Gilbert (Amy Ryan) becomes a murder victim, no one is taken to investigate the incident. She was a sex worker, which meant she was “expendable.” Then Miss Gilbert herself begins the search, for there is no one else. “Missing Girls” has happily managed to avoid the placardiness and excessive politicization: personal is political, but above all personal. It’s a very anthropocentric movie, not least because director Liz Garbus (“Good Work: The Stories of the New York City Fire Department, “” Fragments: Marilyn Monroe, “” Bobby Fischer vs. the World”) comes from a tradition of social documentaries. “Missing Girls” is a call to destigmatize sex workers (and other vulnerable groups) and end the fascist division of people into “worthy” and” unworthy ” of protection. Separately, it is worth noting the outstanding acting performance of Amy Ryan. To some extent, this movie adaptation is also a nod to the movie “Goodbye, Baby, Goodbye” (the plot is based on the search for a kidnapped girl), for the role in which Ryan was nominated for an Oscar.
16.Blow the Man Down (2019)
In a run-down fishing town, two sisters Priscilla and Mary Beth (Sophie Lowe and Morgan Sailor, better known as Brody’s daughter from “Homeland”) have their mother die, leaving the girls with debts and a bunch of problems. As if this is not enough, the sisters also get involved in one murky murder story, which turns out to involve a local brothel and a matriarch who secretly runs the city. Formally, this is a noir with an ancient Greek chorus (its role in the movie is performed by sailors-songwriters), in which every plot detail has acquired the prefix ” fem -“. Despite the fact that the old-fashioned men here are either murderers or corrupt cops (although, to be fair, there is one young and honest), the main villain will be a woman, and the sisters will take over the functions of detectives. Thus, the director’s tandem, consisting of two women, as if reclaims noir, a native male genre — and it is worth saying, does it brilliantly: for a half boring hours rushing on all sails village detective turns into an almost ancient tragedy.
15.Come to Daddy (2019)
The directorial debut of Ant Timpson, producer of the horror anthology “The ABC of Death”, “Turbopacan” and “Greasy Strangler”. In the story, a mustachioed thirty-year-old hipster Norval (Wood), who suffers from alcohol addiction, but has gone to the eyeballs and lives with his mother, comes to the country to see his father, whom he has never seen. The father (Stephen McHattie) lives in a house that looks like a UFO, and behaves, let’s say, eccentrically. First of all, he accidentally gets rid of Norval’s smartphone, and then starts actively shaming and bullying him. The young man can not stand the emotional pressure and is already preparing to run away, when suddenly the over-drinking father falls dead with a heart attack. The police officer who arrives looks at Norval suspiciously, and the female coroner says that they can’t take the body yet, so the guy will have to live with the dead man for a while. Out of desperation, Norval gets drunk, and then begins to hear some strange and terrible noise in the house, as a result of which he has a feeling that his father has settled in the pipes after his death. “Go to Daddy” is one of those movies that deceives all expectations, although the main plot feint is guessed from the first minutes. The fact is that Timpson’s thriller is based on the same artistic assumption as M. Night Shyamalan’s “Visit”, but, really, this well — worn trick does not deprive you of the pleasure of further viewing-simply due to the fact that Timpson relies not only on Shyamalan’s plot shifters, but also on the characters. Wood’s preposterous, awkward, and repulsive character is too familiar a type to be dismissed so easily. Fatherless and millennial, he is from the generation that is in no hurry to grow up and move out from his parents. As in “Maniac,” Elijah plays a perverse character, but this time much more sympathetic, vulnerable and touching.
14.Saint Maud (2019)
A devout girl named Maud (Morfydd Clarke) takes a job as a nurse to a terminally ill ballerina, Amanda (Jennifer Ehle). Between them are tied, as it is now customary to say, codependent relationships, thickly mixed up in religion and obsession. This is a transparent, shallow, but poignant (especially in the final) story that abuses homage to “Carrie” and is built, in fact, on one reception, but it lasts for an hour and a half, and this movie does not need more. For the particularly impressionable, a sharp plot twist is reserved for the curtain.
American Horror Story: Diane Sherman (Sarah Paulson) she surrounds her wheelchair-bound daughter Chloe (Kira Allen) with overprotection and pills, but soon the girl suspects that the medicine is not for her good, but for harm, and her mother is not going to let her out of the house. The second movie of Anish Chaganti, previously famous for the screen-thriller “Search”, produced by Timur Bekmambetov. In the new movie (the main hit the streaming service Hulu for all time of its existence), he also surrounds himself with a bunch of legalistic restrictions, but its main advantage is not the suspense (quite, by the way, decent) and actress keira Allen, who’s not faking one bit, because in real life wheelchair users in 2014. This fact hits the nervous system harder than all screamers, especially against the background of the fact that Allen is the first wheelchair user in 70 (!) years to star in a Hollywood movie.
12.A Good Woman Is Hard to Find (2019)
Sarah (Sarah Bolger) is raising her children (a boy of six and a girl of four) alone because her husband was killed on the street by some gangsters. Sarah launched herself: the woman has permanent bags under her eyes, and from the joys — a vibrator under the pillow, which runs out of batteries. Suddenly, a small — time criminal Tito (Andrew Simpson) breaks into her home and life, who has stolen a bag with a large batch of cocaine from serious mafiosi-and who is ready to take Sarah’s share if she keeps quiet. Absolutely incredible, truly fierce movie, the degree of violence and cruelty comparable to Refnovsky’s third “Drug Dealer” and harsh post-Perestroika cinema-specifically with ” I myself “(coincidences down to the details: there, the main character also avenged her husband, and her son was speechless). Journalistic ethics demands to warn that such pleasure, of course, is not for everyone, but if as a child” in the dashing 90s “you saw how Amayak Hakobyan in” Thieves in Law “cut off his hand with a hacksaw, as in “Mad Max”, then you will not be frightened by anything.
11.Hunter Hunter (2020)
Ann (Camille Sullivan), along with her husband (Devon Sawa) and teenage daughter (summer H.Howell) lives in the wilderness. She tries in every possible way to convince her husband to move closer to the village, explaining that their daughter did not choose such a life. The husband-hunter casually resists, besides, all the attention is drawn to himself by the wolf that has appeared in their region, about which the heroes think that he brings trouble with him, but everything will be worse: he will bring with him a real ancient tragedy. A small and very scary Canadian thriller, in which the characters are constantly breathing in the back of the head, followed by fate — and from which the jaw is guaranteed to drop in the final. We will do without spoilers, but still say that every claimed detail in the movie will work — right down to the cutting knife. In the infernal, as usual, the role will be Nick Stahl (John Connor from the third “Terminator”). It’s funny that director Sean Linden in his previous movie “Pleasant Lies” took another John Connor-Thomas Dekker from “The Sarah Connor Chronicles”.
10.Blood on Her Name (2019)
The girl Lee kills the man, panics, but somehow hides the body in the trunk. After swimming half the lake with the body, she suddenly feels compassion: the man, it turns out, is waiting for his son and wife. Unable to think of anything smarter, Lee leaves the body in a shed near the family trailer, so that the family at least knows. Lee herself has problems above the roof without this: the ex-husband is serving time, the car repair shop that remains of him is living out his last days, the son is on parole, and the father is a policeman not without sin, retiring from day to day. Is it necessary to specify that all this rich criminal biography will be crucial for all the plot moves of the film? The main advantage of this dramatic thriller is in the setting. A hundred times seen pastoral American backwater, where they still trade in car theft, and the auto repair shop is used primarily for washing and covering. The edges where the Internet did not seem to come, and laconic and detached people talk to each other only directly — with the obligatory squint and exclusively on business. Each of them is sure to have a sawn-off shotgun in the back seat of a pickup truck, which will always find a real use if someone behind the endless bar counter allows himself too much. And all this, in principle, would be enough, but the picture still offers a simple and pleasant, like breakfast in diner, a provincial story about revenge and honor. Nothing new: the sins of parents, life downhill, an eye for an eye-the years-formed rules of the southern hinterlands on the other side of the ocean. Unless in the final showdown, typical of such slowberners, two women will be ready to riddle each other in the course of, let’s say, a family conflict, while the composer duo of the Blair brothers convincingly pumps up synthesizer overflows. This one is worth calling the best thriller movies of all time.
9.Let Him Go (2020)
When former Sheriff George Blackledge (Kevin Costner) and his wife Margaret (Diane Lane) lose their son and their grandson falls into the hands of an extremely dangerous Weeboy family, they have no choice but to tear a Winchester from the wall, jump into a shabby pickup truck and go to the rescue of the baby. That’s just the widow of the deceased son of the Blackledges is not in a hurry to give her grandson and has already sniffed with one of the Beboys. “Blood Ties” is based on the 2013 novel of the same name by Larry Watson, and the book was adapted for the big screens by director Thomas Bezucha, who previously shot comedy melodramas. Oscar-winning Michael Giacchino (“Up,” “Coco’s Secret,” “Rogue One: Star Wars”) is responsible for the music in this neo-western. Stories”). The movie is a case in point where the uneven mix of adult drama and revenge thriller is smoothed over by a strong older cast.
8.The Shadow of Violence (2019)
Former boxer, bully Douglas “Arm” Armstrong (Cosmo Jarvis) and his blond-dyed friend Dimfna (Barry Kegan) work as farmhands for the Devers gangsters, who keep a tight rein on a run-down Irish neighborhood and call their gang family. However, Arm has a real family — ex-girlfriend Ursula (Neve Algar) and a seemingly autistic son Jack (Kiljan Moroney). And now, when the Devers order him to kill a man, Arm will have to make a difficult choice, which family is closer to him. The best thing about this compact and conceptual (the finale will put everything in its place) thing is acting. Everyone tries, but especially Cosmo Jarvis stands out, who with childlike spontaneity plays an angular criminal, a teenager imprisoned in the body of an incredibly strong man. In this situation, it is easy to understand the tired Ursula, who can not cope with one child, and then another. But Armu will have to grow up — and, in fact, this process is devoted to one and a half sparkling hours of the movie, inside which, in addition to muscles, a big heart will be hidden.
7.Disappearance at Clifton Hill (2019)
Curious canadian Noir, which takes place in Niagara falls next to the falls. The heroine in her childhood saw how some people shove a teenager with one eye into the trunk. A quarter of a century later, she returns home (since her mother died and left a shabby motel) and tries to investigate the story, being perhaps not a completely reliable narrator. Among the characters are suspicious local bigwigs, a pair of magicians with tigers and a smarmy but harsh local history podcaster, played by David Cronenberg (he appears in the frame literally out of the water, in full diving gear). References to “Chinatown” may look a little presumptuous, but the movie is really intriguing — at least at the expense of the specific atmosphere of Canadian Las Vegas. A really good thriller movie!
The first opportunity in four years to see Joseph Gordon-Levitt, surprisingly this small European thriller is the debut of a German who reached the Oscar shortlist with a short movie. The entire movie — with the exception of the credits shot as if by security cameras at the airport-we do not leave the cockpit in a passenger plane that flies from Berlin to Paris. The plane is hijacked by three Muslim would-be terrorists. Gordon-Levitt plays the co-pilot, an American (most of the movie is therefore in English) who has to make difficult decisions; among other things, the stewardess is his girlfriend. Collected in German firmly, nothing wobbles: suspense, claustrophobia, a lot of interesting technical information. Another thing is that all this, of course, we have seen many times, and towards the end of the movie, like the characters, completely exhausted. But, in principle, a good BMW.
Going through difficult times, Jessica (Jules Willcox) meets a man on the road (Mark Menchaca) who looks like all maniacs at once, but most of all — John Ryder. The girl gives the gas, but, as the movie classics show, you can not run far from such serial killers. The new movie by John Hyams-director of the last two “Universal Soldiers” and son of famed genre director and cinematographer Peter Hyams — is as simple as a stick, but stings like a wasp. It seems that everything is clear and visible a million times, but for some reason it is not boring at all. Perhaps it’s the good artists who are in their place. Perhaps in a tactile, electrified atmosphere. Or maybe in a classic dramatic shifter: the maniac does not yet realize that he has contacted the wrong victim. Be that as it may, these catch — ups are not the most useless reason to spend an hour and a half-especially impressive shooting and sound design. The swaying and rustling of the trees, the wind in the willows and the emptiness in the heart.
Quiet Sarah starts a new life in Los Angeles: zero friends, an internship in a law office, has a dream to drape clothes. But with the search for housing, everything works out in an amazing way: in the first week, Sarah moves into a cozy condominium with pleasant and sympathetic neighbors, who arrange a small feast in honor of the newcomer. But in a big city, nothing happens just like that, even the good-natured smiles of the residents are somewhat hypocritical, and this thesis is fiercely insisted on by director David Marmor. “Hell next Door” is a very regulated horror about the complexity of life in a megalopolis, loneliness and the difficulties of accepting a family. Marmor’s debut, which in the first third arranges entertaining cat and mouse with the audience, by the second hour offers a completely different coordinate system-similar to what a good movie about sects promises. For example, the worthy paranoid thriller “Invitation” by Karin Kusama, with which ” 1BR “(the original title of the film) has an almost identical ending.
3.Body Cam (2020)
One of the top thriller movies about police brutality, talking about the nature of evil under the continuous rain and red-blue reflections of flashing lights on puddles. Renee (Mary J. Blige) has a shift after an eight — month suspension: at the last detention, it was difficult for her to restrain herself, experiencing the death of a child in a neighbor’s pool. As a partner, she got a green novice (Nat Wolff) — as an additional responsibility. On their first patrol through the outskirts of Los Angeles, they find the body of Rene’s former partner Kevin-crucified on a gate with a disfigured face. The murder has a clear mystical character. The movie will inevitably remind you of the protest summer of America this year: officers exceeded authority, riots, uncontrolled looting and detention.
An old-fashioned social horror story from director Derrick Borte, best known for the satirical comedy “The Jones Family” with Demi Moore and David Duchovny. This time he decided to look at the problems of our vicious time with a serious face, and as a” selling star ” in the movie took a slightly worn-out Russell Crowe in an unusual role of a maniac who went off the rails-redneck. The movie also became famous for the fact that this summer it became one of the first swallows of the resurgent movie distribution after the first wave of the pandemic (which, however, did not help it pay off much). In the center of the plot is a young single mother Rachel (Karen Pistorius), mired in a million household problems and always late everywhere. One hot summer day, as she and her child made their way through traffic to school, she honked the horn at the driver in front of her. And everything would be fine, but behind the wheel of the car was a finished psychopath (Russell Crowe), who chose an impolite driver as the object of his revenge on the whole world. “Furious” is a classic urban thriller in the spirit of ” I’ve had enough!”, based on the thesis that the pace of life in the metropolis and constant stress make people angrier (although science has been saying the opposite for half a century). At the same time, the authors of the movie did not compose any other answer to the hero of Crowe, except for the same violence. But the picture manages to keep the viewer in suspense for an hour and a half, and someone after viewing may even want to live a day according to the precepts of Leopold the cat.
Already on super (anti)the heroic “Chronicle”, in which three fools got incredible powers and arranged destruction, it became clear that Josh Trunk has no illusions about the destructive nature of humanity (the fact that he failed to repeat the same trick in the “Fantastic Four”, only says that the studio” XX century Fox ” came to its senses in time). And now, five years later, the director seems to take revenge, but the key word is “as if”. Trunk seems to be venting all the anger that has accumulated after the failure of the “Four”. It is obvious that “Capone” is destined to disperse into memes and remain in the memory of that strange kinchik, in which a disfigured Tom Hardy in his underpants shoots at the household servants from a golden machine gun. Nevertheless, this movie is a little more interesting than it might seem from its confused retelling. The main feature of the picture is that this is not an ordinary gangster drama, but do not understand what. Hardy plays not a man here, but a beast living out its last days. He doesn’t speak, but growls, doesn’t look, but devours you greedily with his eyes, and it’s as if he’s trying to smoke the rest of his life through a cigar. It’s as if Roger Corman decided to make a horror movie out of “Capone” with Ben Gazzara. Or if David Cronenberg remade Martin Scorsese’s The Irishman. By all formal signs, this is not a staid biopic, but a brutal body-horror with a high-octane performance: the hero of Tom Hardy is locked in a cage of his body (and mind), while the keys to it seem to have been stolen by either Stanley Kubrick or David Lynch to have a good time with the decaying consciousness of a gangster. It is no exaggeration to say that the whole movie is a figment of a sick imagination and only you can decide whether you are ready to plunge into it with your head.