The best films of 2020 so far

07/31/20 • 70 min

The year is about halfway over, and though no new movies have hit theaters in months, plenty of very good ones have made their way to streaming platforms, video-on-demand, and virtual cinemas since everything shut down in March. Which got us thinking: If next year’s Oscars honored only the current crop of 2020 releases, which ones would be most worthy of consideration? On the first new episode of Film Club since June, critics A.A. Dowd and Katie Rife offer their picks for the best movies, performances, and scripts of the year so far, in what we’re calling The Midyear Awards. Don’t worry: Our “ceremony” is much shorter than the real one. And there are no montages.

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Previous Episode

Will The King Of Staten Island make you a Pete Davidson fan?

It’s almost July, and if release calendars can be believed (they probably can’t), we might see a few movies creep into theaters again. (Christopher Nolan’s Tenet and the live-action Mulan remake are both currently scheduled to debut in multiplexes by the end of next month.) Whether that actually happens remains to be seen, of course. For now, we’re still stuck watching movies at home—and plenty of new ones arrived over this last month. On the last new episode of Film Club for three weeks, A.A. Dowd and Katie Rife look back on two of June’s more high-profile digital releases: the Pete Davidson-Judd Apatow comedy The King Of Staten Island and the Gothic psychodrama Shirley, starring Elisabeth Moss as horror author Shirley Jackson. Plus, both critics offer their recommendations of the best news films currently streaming.

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Next Episode

The films of Christopher Nolan (1): Memento And Following

Later this month, audiences around the world (including—though this is less certain—some in the United States) will finally lay eyes on what once looked like the movie event of the summer, Tenet. In honor of the belated release of this time-bending thriller, we’re spending the rest of August talking about the filmography of its celebrated director, Christopher Nolan, who’s become possibly the premier blockbuster craftsman of the new millennium. Today, to kick off our four-part series, critics A.A. Dowd and Katie Rife are returning to Nolan’s pre-Hollywood work: his scrappy directorial debut, Following, and his big breakthrough, Memento. How well do these nonlinear indie noirs hold up two decades later? Let’s discuss.

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