Four-time Oscar winner Nick Park and his Aardman Productions have netted stop-motion animation’s finest, most clever, laugh-out-loud creations. His third Oscar-winning animated short film starring Wallace & Gromit, A Close Shave, introduced the Aardman’s international audience to Shaun, a “teenage” sheep whose adventuresome spirit gets him into trouble and who went on to star in several series and films of his own. The latest comes directly to Netflix in time for Christmas, Shaun the Sheep: The Flight Before Christmas, a story that mixes the best aspects of the finest holiday classics with a reflection of the trappings of our modern world.
Ten years of movie reviews. How do you pick the best? Our theory from the very first day of publishing borg has been reviewing only those things we like, things we think are fun, imaginative, or just plain cool—because if we think they’re cool, maybe you will, too. What makes a great movie? #1 for us is great writing—great storytelling. #2 is re-watchability. Lots of movies are good, but if every time you watch it you enjoy it all over again and maybe find something you didn’t see before, then you likely got far more value from the movie than the price of a movie ticket. #3 is innovation—there’s nothing to top off a good story like new technology surprising us. Finally, the experience must be fun—why else would you devote two hours or more of your valuable time?
So in Casey Kasem style, here are the Top 40 movies we recommend, spanning 2011 to 2021. These are our favorites. How should you use lists like this? If you like what we talk about at borg, you’re probably going to like these movies. If you’ve missed any, odds are you have some new movies to take a look at. Let’s start at #40 and move our way to #1. As with everything borg, we’re stressing genre movies, so don’t expect to see strict dramas or a lot of Best Picture Oscar winners here. Title links are to our original borg review.
Surprisingly great, surprisingly real, and surprisingly… current? Sony Pictures Animation, the studio that brought you Spider-Man: Into the Spider-verse brings its latest and greatest animated film to Netflix this weekend. It’s The Mitchells vs. The Machines–a sci-fi, apocalypse, coming of age, story about a weird family that ends up being the last family on the planet to be exterminated from the planet by the very technologies humans are so addicted to. Gravity Falls creators Michael Rianda and Jeff Rowe wrote and directed this story, a visually stunning spectacle reflecting life as we knew it in 2020… and may know it again, with contributions by Phil Lord and Christopher Miller (both known for the LEGO movies and Into the Spider-verse). The themes are influenced by Tron and Tron: Legacy,National Lampoon’s Vacation, and the Terminator movies, leaning hard on the plot of Terminator: Genisys. It’s loud, colorful, crazy, and it gets family relationships just right, at least of the 21st century variety. It’s also the movie I was hoping for with The Incredibles 2.
When we created last year’s preview of 2020 movies we were pretty sure we were going to have some great movies this year, but we were surprised by what ended up being the best, mainly because what were to be the big box office hits were delayed to 2021 because of the covid pandemic. All year we wondered what we’d get to see and what we wouldn’t–and thanks to Netflix, Amazon Prime, Vudu, and similar streaming services, an impressive array of movies kept us entertained, especially by way of genre content. Ultimately we think the Best Movies of 2020 will stand up against any other year.
Genredom. As always, we’re after the best genre content of the year–with our top categories from the Best in Movies. There are thousands of other places that cover plain vanilla dramas and the rest of the film world, but here we’re looking for movies we want to watch. What do all of this year’s selections have in common? In addition to those elements that define each part of genredom, each has a good story. Special effects without a good story is not good entertainment, and we saw plenty of films this year that missed that crucial element.
Come back tomorrow for our best on television and later this week for our print media picks and our annual borgHall of Fame inductees. And if you missed it, check out our Best Kick-Ass Genre Heroinesof 2020here. Wait no further, here are the Best Movies of 2020:
Best Film, Best Sci-Fi Film, Best Drama, Best Director, Best Cinematographer, Best Writing, Best Suspense/Thriller, Best Retro Fix – The Vast of Night (Amazon Prime). The man of many hats, writer-director-producer-editor Andrew Patterson dazzled us this year with the sleeper sci-fi film The Vast of Night, from Amazon Prime. Amazon hadn’t before stunned us with a feature film, but this one sure blew us away. We knew this was the #1 science fiction offering of the year at first viewing, but when we went back and watched films again, it also stood out as the clear winner for top prize. Part American Graffiti, part The Twilight Zone and The X-Files, and filmed as faithfully to the era as a Francis Ford Coppola masterpiece (with Orson Welles flair), this story sneaks up on the audience thanks in part to its two talented young lead actors. The script is impeccable and rich, dotted with great jargon that dances artfully like music from the characters’ lips. Expert Chilean cinematographer Miguel Menz adds just the right lighting and camera angles for a film we hope can get recognized by the Oscars, if only so we can see more of these filmmakers and actors in the future. Honorable mention for Best Sci-Fi Film: Altered Carbon: Resleeved(Netflix).
Best Borg Movie, Best Superhero Movie, Best Borg – Bloodshot (Sony Pictures). The story of slain soldier Ray Garrison provided the year’s best look at life as a borg. What do you do with cybernetic enhancements, how do you use them, and what toll does take from your humanity? Jeff Wadlow’s story really kicked in once the audience slides into the plot twist. The Six Million Dollar Man didn’t get to decide to get his bionics, and neither does Ray. Once you give up control of yourself to someone else, more and more of you vanishes. Especially if the person in control is using you as a tool of evil. The best superhero films tend to be about the B-level superheroes, and Bloodshot proved that true again this year. Honorable mention for Best Superhero Movie: The New Mutants(20th Century Studios).
Only mere seconds into Farmageddon—the next big production from frequent Oscar-winner and stop-motion pioneer Aardman Animations–and viewers will feel the pangs of their favorite classic Steven Spielberg movies, complete with a magical score that has all the beats of a John Williams-esque adventure, thanks to composer Tom Howe. This is a return to the lovable Aardman underdog Shaun the Sheep, star of several series and films who we last saw on the big screen in 2015’s Shaun the Sheep movie. But this time our lovable wooly hero encounters an alien visitor and the resulting effort by directors Will Becher and Richard Phelan with writers Jon Brown, Mark Burton, and Nick Park may be Aardman’s most effective, most lovable, and most far-reaching crowd-pleaser to date. A direct-to-Netflix presentation, it also stands a chance at being a contender for best full-length animated film at next year’s Oscars.
Shaun the Sheep steps in for Spielberg’s Elliott in this modern close encounter with a lovable extra-terrestrial named Lu-la, so adorable that she may even make Baby Yoda go “awww.” The impeccable stop-motion animation viewers expect from Aardman is here, as well as the cast of endearing anthropomorphic farm animals, but the heartfelt story, unthinkably successful chemistry between clay characters, exquisite visual effects, lighting, and cinematography, and an emotional score make for a triumph of sci-fi and family storytelling, proving a common language is not necessary to understand relationships between someone that might be a bit different. Here that’s a sheep and an alien, but the story is effective enough that kids (and attentive adults) will apply the message to everyone. In fact, Aardman proves language isn’t necessary at all–the story is told entirely without spoken English dialogue, relying on expressive visuals, animal voices, and sound effects, making it truly internationally (or intergalactically) enjoyable.
This fun new sci-fi/fantasy adventure begins with a dog guarding his sheep–a motley but crafty band who live at the farm including Shaun–followed by a great homage to Looney Toons classic barnyard antics as the show establishes the farmyard bond between sheep and dog and dog and man. The man and dog– The Farmer and Bitzer–show Aardman going back to its roots, what first made the filmmaker internationally known through its award-winning shorts. Wallace and Gromit could be cousins to this man and dog duo, and anchoring the film with the ensemble here again (as with past Shaun stories) instead of going off in a different direction was a wise choice. It takes a special combination to merge classic animation with expert laugh-out-loud comedy situations, and the creators at Aardman are the closest thing I’ve ever seen to the spirit and creativity of Jim Henson. The story is sweet and can appeal to a variety of audiences. The older crowd can try to spot all the influences, and the young at heart can marvel at Farmageddon′s sheer joyous presentation.
