Honestly, in terms of top ten for movies, not a lot stuck with me this year. Perhaps because everything I saw was on the small screen and all of the “great” stuff got so much critical hype that it felt a little flat (or I’ve missed it). Here are the ones I did like:
Extra Ordinary, Color Out of Space, The Invisible Man, Shirley, Small Axe Mangrove and Lovers Rock (haven’t seen the rest of that series yet), Palm Springs, An American Pickle, American Utopia, The Assistant (although it’s so documentary-like and dry—it reminded me of when I interned at a small production company in college—that it’s hard to recommend to people who aren’t intensely fascinated by the subject matter). I know there are more, but I can’t think of them right now.
Film that was most praised that I was underwhelmed by: She Dies Tomorrow (I think I’m getting burnt out on the art-house horror trend . Didn’t hate it but it just didn’t leave much of an impression).
Film that was critically trashed that I was legitimately surprised how much I enjoyed: Underwater. It’s no masterpiece, but for an Alien knockoff, I liked it a helluva lot more thanPrometheus or Alien:Covenant.
Top TV: Big Mouth, Good Lord Bird, The Queen’s Gambit, The Flight Attendant, Schitt’s Creek, Lovecraft Country (it was hit-or-miss, but overall I liked it), Search Party. There are more, but that’s what I remember.
TV that was less than the sum of its parts: Devs. And the third season of Westworld sucked.
I spent a lot of 2020 playing more videogames than I can count.
There was a lot of music I liked this year, but RTJ4 and Fetch the Bolt Cutters were by far what I listened to the most.
Finally, I will sincerely promote the latest album from Deep Sea Diver called Impossible Weight. They’re an up-and-coming Seattle band and —full disclosure—friends of mine. They were recently profiled on Rick Rubin and Malcolm Gladwell’s podcast and their album has a 79 on Metacritic.