Today’s Top 10 list is a celebration of the films that got pandemics more or less correct from the micro or macro (or both) side of things.
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Warren Cantrell
A quick-cut assault on the senses brimming with flashbacks and text overlays, ‘Get Duked!’ feels like an 85-minute TikTok video.
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A genre-bending romp through the old west that mixes cowboys with cauldrons, ‘The Pale Door’ is bloody good fun.
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A suspense thriller desperately short on suspense, ‘The Silencing’ feels less like a fully formed movie and more like the first cut of a first draft.
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‘The Tax Collector’ has an interesting premise, yet is a cobbled together mess of almost-art that recycles interesting components of better work.
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‘Yes, God, Yes’ is a decent flick that takes a run at a very real, albeit uncinematic, moment in every person’s life (sexual discovery).
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If a person ever asked themself what it might have looked like if Alfred Hitchcock screwed around in the slasher genre, ‘The Rental’ might be the ticket.
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‘Mr. Jones’ is a well-acted, timely, and important film that nevertheless finds itself bogged down by the larger narrative and choppy character work.
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Well shot, tightly scripted, and superbly acted by Joseph Gordon-Levitt, ‘7500’ soars.
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A blood and gore-soaked romp through a Home Alone-esque scenario with 21st century sensibilities, ‘Becky’ is all sorts of fun.
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A jumbled, chaotic mess of imagery, character sketches, bad jazz, and even worse storytelling, ‘Adrift in Soho’ is just that: adrift.
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A slow-burn psychological odyssey through the mind of one man with the power to liberate a nation, ‘The Man Standing Next’ does more right than wrong.
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A feel-good story based on real events and people, ‘Military Wives’ is often breezy, sometimes poignant, and rarely offensive.
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‘Deerskin’ is a brutally weird movie with a rambling narrative that often feels more interested in its thematic elements than its plot and character ones.
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Interesting, though a bit fragmented during its final 10-15 minutes, ‘The Quarry’ feels like Cormac McCarthy Lite.
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