Most years, I begin this list by commenting on how fast time flies when you’re not paying attention. But this year has been anything but normal. Thanks to a combination of political, social and economic factors, every second seemed to last an eternity.
Unfortunately, the film industry followed that theme, falling short of the usual quantity of top-tier releases. Most years, I have to kill some darlings to meet a tight margin. This year, I had to stretch a bit, with many titles unlikely to repeat their placement on my end-of-year best list. Still, every film listed here is one I enjoyed, and we should always be thankful for what we have.
As a rule, only films released before July 1 are eligible. I’ll also include viewing options for each title, in case you’re motivated to watch them.
10. ‘Caught by the Tides‘
Watching “Caught by the Tides” without seeing the rest of Jia Zhangke’s filmography is a bit like taking a test without doing any homework. Sparked by the limitations set by the COVID-19 pandemic, the Chinese director decided to revisit two decades’ worth of footage from his previous works, mixing and matching to create a documentary-fiction hybrid that explores a love story and China’s social transformation. While largely incomprehensible for the uninitiated, it’s still marvelously fascinating to watch it all weave together, kind of like a puzzle in a language you can’t understand.
Where to watch: To be announced
9. ‘Presence‘
To label “Presence” as a horror film feels a bit misleading. The scares are never in your face, with director Steven Soderbergh using his bold, experimental camerawork to craft a voyeuristic feeling of unease. The actors are all fine, especially Callina Liang and Chris Sullivan, and the technical experiment is perpetually interesting. This is more than a VR experience, though it could easily serve as a starting point for something of that caliber in the future.
Where to watch: Hulu
8. ‘Parthenope‘
As evidenced by his previous works of “Youth” and “The Great Beauty,” the complexities of love, youth and beauty are not newfound themes for Italian writer-director Paolo Sorrentino. Newcomer Celeste Dalla Porta is radiantly beautiful and intriguing in the lead role, imbuing Parthenope with much more depth than the script reluctantly presents. Even if this amounts to style over substance, the performances and overwhelming seductiveness are temptingly attractive. For Sorrentino, style is as much the substance as the substance itself.
Where to watch: HBO Max
7. ‘Thunderbolts*‘
The theme of “Thunderbolts*” is recovering from driftlessness by finding purpose alongside friends and family. For as much as a gun or a fist can accomplish, some nice words and a hug can do a lot more. To be talking about ideas and themes instead of Easter eggs and cameos is a breath of fresh air for the MCU, one that I dubiously hope they’ll maintain as they wade into their ensuing behemoth chapters.
Where to watch: Online rental
6. ‘The Gorge‘
“The Gorge” is a B-movie with A-level talent. Known for delivering grisly violence, one would think that the PG-13 rating here would tie director Scott Derrickson’s hands behind his back, but the interesting creature design and expert overall craftsmanship never let that thought occur. Cinematographer Dan Laustsen and composers Trent Reznor and Atticus Ross create an unsettling atmosphere through Cold War aesthetics. For those who have regularly played the Zombies game mode in the “Call of Duty” video game series and have longed for it to be brought to the silver screen, this is your dream come true.
Where to watch: Apple TV+
5. ‘Materialists‘
It’s natural and odd that after writer-director Celine Song tenderly explored the concept of destiny and love in “Past Lives,” her follow-up takes a cold, hard look at the facts. Fortunately, Song still makes sure there are a lot of laughs to be had along with all the nonsense that is modern dating. But everything is funny because people are saying the quiet parts out loud, and deep down, we all know we do it, too. Honesty is still the best policy, and Song continues to show she’s a master of telling us how it is in the ways we want to hear it.
Where to watch: Currently in theaters
4. ‘Sinners‘
Shot and marketed with IMAX cameras akin to something only Christopher Nolan would do, Ryan Coogler’s “Sinners” plays big and tall as it spans both centuries and genres to tell a story you’ve never quite seen before. Coogler has illustrated a near-masterful skill for diffusing incisive social commentary into the muscular frame of a popcorn blockbuster. In a time when America is having an identity crisis (then again, when aren’t we?), “Sinners” looks back and forward with the gumption that only a wild premise such as this could achieve.
Where to watch: HBO Max
3. ‘Black Bag‘
The latter entry in this year’s David Koepp-Steven Soderbergh double feature, “Black Bag” illustrates that the greatest weapon in a spy’s arsenal is not a gun or some nifty gadget, but the ability to have an open conversation. Making the traditionally important aspects of a story the least interesting thing about them is a common practice for Soderbergh. That decision could, should and would disappoint those looking to be greeted by the familiar trappings of the spy. But Soderbergh is always one step ahead, using subversion to his own benefit and ours. And even when you strip away all the fancy artistry and subtextual analysis, you’re still left with something extremely entertaining.
Where to watch: Peacock
2. ‘The Phoenician Scheme‘
Wes Anderson is a lot like the Marvel Cinematic Universe. At this point, you’re either in or you’re out. I’m so deep in the bag that it might as well be the one from “Mary Poppins.” I’ve seen a lot of films, and the majority of them all follow the same pattern. Anderson’s films certainly aren’t an exception, but there is always something magical about their sameness. And like Nicole Kidman always says: We come to this place (the cinema) for magic.
Where to watch: Currently in theaters
1. ‘April‘
Nowadays, almost every movie that brags that it needs to be seen in theaters is filled with extravagant visual effects and booming sound effects. The beauty of the cinema is not just in the sheer size of the speakers and screen, but the opportunity it gives us to break away from our world and be transported to a different one. Georgian writer-director Dea Kulumbegashvili has crafted a film where absolute patience and concentration are a prerequisite, with any glances at your phone or minor distractions at home stripping away the spellbinding effect.
Between the unsettling abstract visuals at the beginning of the film and the brutal real-life truths about bodily autonomy, this is one of the most bone-chilling films of the year. A miracle would need to occur for it not to repeat its placement on my end-of-year list.
Where to watch: To be announced
Eden Prairie resident Hunter Friesen is a film critic who owns and operates The Cinema Dispatch, a website where he writes reviews, essays, and more. He currently serves as president of the Minnesota Film Critics Association and travels the globe covering film festivals big and small. To view his entire body of work, you can visit his website and Instagram.
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