A key part of any time loop project is nihilism. A person stuck in it is forced to relive the same events over and over again, and in the end it breaks him down: he stops taking everything seriously. This is exactly what happens to Niles (Andy Samberg) at “Palm Springs”. Stuck in one day in a small Californian town, he lives for several millennia without changing at all. Sarah helps him to become different and wake up, who also finds herself in a time loop.
Based on a familiar plot, the authors of “Palm Springs” create a touching love story in which two people meet and help each other become better under strange circumstances. Thanks to the perfect mixture of humor, tragedy and romance, one of the best films of the year was born, which skillfully entertains the viewer, at the same time making them think about how to change themselves.
The Trial of the Chicago 7
Aaron Sorkin nurtured the film about “The Trial of the Chicago 7” for more than 10 years. His script, dedicated to the trial of activists who were tried as instigators of strikes in 1968, was supposed to be turned into a film by Steven Spielberg at the end of the 2000s – it did not work. A decade later, Sorkin himself shot a caustic drama about human injustice based on it.
As in any Sorkin’s scenario, it is full of fiery speeches and flamboyant characters. Eddie Redmayne plays a neat politician with ambition, Sacha Baron Cohen plays a middle-aged hippie, Mark Rylance plays a nervous lawyer. But best of all – Frank Langella in the role of the vile judge, and the short release of Michael Keaton, who for 10 minutes subordinates all the audience’s attention to himself. “The Trial of the Chicago 7” continues the rich tradition of the court drama genre, and Aaron Sorkin feels like a fish in water in it.
The unsuccessful distribution messiah, the film “Tenet”, whatever one may say, still remains among the main cinema events of 2020. Large-scale and top-secret filming, inversion simulation on the site, blown up planes instead of CGI effects – this is already enough to get on the final list. Like any Nolan film, “Tenet” became a source of memes and divided the film community into several camps: one thing became clear after watching, others did not understand anything, others were delighted, the fourth was enraged by the exhausted Nolan complexity. There were no indifferent people, and discussions of storylines and time travel surpassed the intensity of the debate about whether the top fell or not in the finale of “Inception” 10 years ago.
You may not like Nolan and his films, consider him a charlatan or an overly calculating artisan, but he is still able to captivate, entertain, and make any viewer think – as they say, from pioneers to retirees. Admit it, you wondered who Neal is to the Protagonist? How did the inverted Kat get off the yacht? And what is the paradox of the murdered grandfather? If you still haven’t figured it out, it doesn’t matter: we have compiled a cheat sheet.
One of the main representatives of American indie, Greta Gerwig this year finally came out to a wide audience: Sony Pictures entrusted her with the adaptation of the important American novel – “Little Women” by Louise May Elcott. It would seem, where is Gerwig with her mumblecore heroines from big cities and where is the costume drama about the 19th century and the Civil War. But in the story of the four March sisters, the director found familiar motives for herself: the difficulties of growing up and adolescent rebellion, tender female friendship and unhappy love, the search for oneself and the desire for self-realization. The result is a nostalgic (and even slightly idealized) story about youth, in which you can find echoes of Lady Bird, Gerwig’s directorial debut. And the new scenery of this story only suits the face: provincial balls and home performances, lush crinolines and checkered woolen shawls (costumes are a separate pleasure in “Little Women”), ice skating right on the pond and Christmas miracles – Gerwig got a charming portrait of the old America.
But the main advantage of the film is, of course, an ensemble of four bright young actresses (Saoirse Ronan, Florence Pugh, Emma Watson and Eliza Scanlen), which neither the languid handsome Timothy Chalamet and Louis Garrel nor the venerable ladies Laura Dern and Meryl can overshadow. Strip. It seems that it is “Little Women” with their homeliness and youthful idealism – a great movie that can be watched at the end of this difficult and hectic year.
With their plot ingenuity, “Gentlemen” could well compete with “Tenet” – with the only difference that Richie’s narrative experiments are combined with great humor. One cannot fail to note the work with the actors: the eternal honey Hugh Grant opened in the film from a completely unexpected, dark side, and Colin Farrell and Matthew McConaughey appeared in their usual roles, but especially cheerfully and selflessly.
In Russia, with its football-related Anglomania, “Gentlemen” has become a truly national film. The temporal distance also contributed to the crystallization of the director’s style, its certain ennobling: “Gentlemen” is, after all, a classic hop-stop of the 2000s, which we watch 10 years later and no longer see the vulgarity of the streets, but a pure style with its own laws and conventions. It does not hurt to recall that for contemporaries and Shakespeare was also not a boring classic, but an action-packed thriller with intrigues, corpses and cruel jokes.