2020 in Review: Top 10 TV Shows

Most of us had spent the better part of 2020 social distancing in our homes, so I guess it was a good thing then that there wasn't any shortage of quality shows to watch on the various streaming services like Netflix. And as the dust slowly settled on long-running shows like Game of Thrones, the void it left behind is already being filled by a number of new and ongoing shows. Here are the ones I consider my Top 10 for 2020.

10. Money Heist Season 4

I was admittedly a bit late in boarding the Money Heist hype train. But after a lockdown-inspired binge session of the first four seasons, I can finally see what all the noise was about. Like any great show, it has enough characters for fans to care about, and the execution of the increasingly-audacious plans of "The Professor" is something that needs to be seen to be believed. The whole thing does start to wear a bit thin after a while though. Still, that final season can't come soon enough.

9. Animaniacs

Any kid that grew up in the 90s should easily remember the Steven Spielberg-produced cartoon show, Animaniacs. The show was known for its slapstick humor and numerous pop culture references. This past year, it joined the long list of classic shows that recently received a revival, which aired on Hulu. The new 13-episode season proves just how timeless and relevant the show is; even though most of the gags have been updated to appeal to modern sensibilities, there's plenty for old and new fans alike to love.

8. High Score

Netflix had blessed subscribers with a number of high-quality documentaries this past year. But the retro gamer in me holds one of them above the rest. And that show is of course High Score, the 6-part documentary that chronicles several pivotal developments that paved the way for the current gaming landscape. I've been a gamer since the 8-bit era, so a lot of what was covered really spoke to me, more so than the similar CBS All-Access documentary, Console Wars.

7. Rick and Morty Season 4

The second half of the Adult Swim cartoon show, Rick & Morty, aired earlier in the year. And it proved to be the stronger of the two halves, leaving fans with instant classics like The Vat of Acid episode. And while, taken as a whole, the fourth season might not quite match the first one in overall quality, it still has all the self-deprecating humor and social commentary that fans enjoy.

6. Fargo Season 4

After taking a three-year hiatus since Season 3 aired back in 2017, the FX anthology series, Fargo, was back for its fourth season this year. This time around, the show was set in 1950, with Chris Rock serving as one of the main headliners. And while each season is usually considered standalone, it was revealed during a post-credits scene that this one actually had a very strong connection to the second season of the show.

5. Lovecraft Country

After only just gifting us with the stellar limited series Watchmen last year (which by the way was my favorite show that year), HBO made another claim for the King of TV Shows title this year with Lovecraft Country. The show serves as both an adaptation and continuation of the 2016 book of the same name, which itself borrowed heavily from the works of famed horror writer, H.P. Lovecraft. The show boasts enough blood and guts to please gorehounds, while still managing to tell a thought-provoking tale for those viewers looking for something more cerebral.

4. The Queen's Gambit

And speaking of cerebral, things don't get more so than in a show about chess. The Queen's Gambit made its debut on Netflix this year, and the limited series starred Anya Taylor-Joy, who it seems is having a solid 2020 overall, between this and her appearances in both Emma and The New Mutants. She plays an orphaned girl who would become a chess prodigy, and she convincingly brings the character to life in what is sure to remain a career highlight for the young actress.

3. The Umbrella Academy Season 2

The Five Hargreeves siblings returned to Netflix for another season of The Umbrella Academy this summer. And once again, they had to deal with the threat of yet another extinction level event. I didn't actually get into the Umbrella Academy until a good friend of mine had questioned its omission from my list of favorite TV shows last year. I could easily see why, because it definitely has a quirkiness to it that is unlike any other ongoing show, which only adds to its overall appeal.

2. The Boys Season 2

One show I did thoroughly enjoy last year was The Boys, and if it wasn't for the fact that HBO had also put out Watchmen, I would have easily awarded it my favorite TV show for the year. The second season was even more bunkers, with exploding heads galore and more double dealings and conspiracies than you can shake a stick at. But I'm sure you must be wondering why it is sitting here at number 2 then, a fact that only speaks to the strength of the show at number 1.

1. The Mandalorian Season 2

The Skywalker Saga might have ended with what many considered a heap of a mess in The Rise of Skywalker last year, but Jon Favreau and crew have proven that Star Wars is still very much alive and well with the stellar second season of The Mandalorian. If the first season was renowned for introducing the ever adorable Baby Yoda to the world, then it was in this one that we witnessed just where the show fits in with the greater Star Wars timeline.

Crossovers were made with existing shows like Clone Wars and Rebels as we saw fan favorite characters from those shows make an appearance. The long-rumored return of a certain other Mandalorian was another highlight of the season. But the biggest achievement of all came in its final episode, where long-time fans were finally given what they'd been clamoring for since The Return of Jedi. All in all, the show is further proof that it is a good time to be a Star Wars fan.

2020 in Review: Top 10 Video Games

With 2020 finally coming to an end, it is time for us to take a much-needed step back as we examine some of the things that have kept our minds off the many troubles of "these uncertain times." Throughout this week, I'll be counting down my Top 10 movies, video games, TV shows and songs. But unlike previous years, I'll be ranking my picks from 10 to 1, in keeping with all the Top 10s I've been posting over on YouTube.

I'll be starting the week-long Year in Review with a rundown of my Top 10 video games. But first, I must once again begin with the disclaimer that I'd skipped out on some notable games this past year. Most of them were PS4 exclusives, and there is no doubt that hardcore gamers will notice their absence on this list. That said, this leaves more room for some smaller indie games and hidden gems you'd typically not catch on these types of lists. So without further ado, here are my Top 10 video games of 2020.

10. Paper Mario: The Origami King

2020 was a comparatively quieter year for Nintendo, and one of the few first party titles to come out for the Nintendo Switch was Paper Mario: The Origami King. The game boasted the same witty writing and colorful paper-styled visuals the series is known for, and introduced a new ring-based battle system. And while it was not the return to the series' RPG roots that long-time fans had hoped for, it still managed to pack its own kind of thrills.

9. Fall Guys: Ultimate Knockout

The battle royale genre received a surprising new entry this year in the form of Fall Guys: Ultimate Knockout. The game featured up to 60 players competiting against each other in several game show-styled events, until only one is left standing, doing battle across several rounds filled with many obstacles and colorful perils. The game had exploded onto the scene in August, and while it might have fallen in popularity since then, it remains a major gaming highlight for many this past year.

8. Genshin Impact

Of all the games on this list, Genshin Impact was probably the one I'd never imagined would turn out as good as it did. But here we are. The game first got on my radar last year, after it made the news for its similarities to The Legend of Zelda: Breath of the Wild, and the spirited reaction that caused in one particular Nintendo fan at a Japanese gaming convention. But what surprised me the most after finally getting to play the game this year, was its overall quality and the amount of content it offered for free, and how it has no doubt raised the bar for free-to-play games.

7. Streets of Rage 4

My 90s beat-em-up itch was very much scratched this past year, thanks to Streets of Rage 4, the long-awaited entry in the once-popular game series. And by long awaited, I mean that it has literally been some 26 odd years since fans last got to throw punches and kicks at random thugs milling about the crime-ridden streets. The latest entry replaces the 16-bit graphics of those earlier games with some beautifully handrawn sprites and backgrounds, and has original series composers, Yuzo Koshiro and Motohiro Kawashima, returning to help compose and curate some truly incredible tunes for the game.

6. Resident Evil 3

My favorite video game released last year was none other than the Resident Evil 2 remake by Capcom. So you could imagine my excitement when we'd first learnt that we would also be getting a remake of the original game's sequel, Resident Evil 3: Nemesis, and just one year later. The new game somehow manages to improve on the previous game's already lifelike visuals, as well as ratchet things up several notches with even more action setpieces. The game was accused of being comparatively shorter though, a shortcoming it attempts to assuage by coming bundled with an online multiplayer mode called Resident Evil: Resistance.

5. Doom Eternal

The 2016 version of Doom was already every bit the perfect first-person-shooter game, but the developers at id Software were obviously not satisfied. And following a short delay from its original 2019 release date, its sequel, Doom Eternal, was unleashed onto the world (along with a certain other game further down this list). The introduced even more hordes of enemies to do battle against, as well as new platforming abilities and a fleshed out story mode. But the one facet of the game that resonated with me the most during my long play sessions was its rocking soundtrack.

4. Hades

I've never been particularly keen on roguelike games, even though I did feature both Dead Cells and Cadence of Hyrule in my list of favorite games last year. But all that changed with my discovery of Hades this past year, the latest game from acclaimed indie developers, Supergiant Games. The game marries a beautiful art style with a fun gameplay loop that involves hacking and slashing your way through its procedurally-generated underworld. Like most roguelikes, players would die often and things reset at the start of each run. But the fact you unlock new abilities and upgrades ensures that you also get that sense of progression regardless.

3. Hyrule Warriors: Age of Calamity

While Sony and Microsoft were busy preparing to launch their respective next-gen consoles this fall, Nintendo was quietly prepping its big holiday title. And if we were going by the sheer magnitude of its eventual reveal alone, then Hyrule Warriors: Age of Calamity would most likely be topping this list. Billed as a prequel to the events that transpired in The Legend of Zelda: Breath of the Wild, the hack and slash adventure game would take that other game's story in a bold, new direction. And despite being marred by performances issues, it still stands tall as one of the better games to grace the Nintendo Switch this year.

2. Cyberpunk 2077 (PC Version)

It is almost impossible to discuss Cyberpunk 2077 without first acknowledging the current state of its console ports. The game has had the rockiest of launches to say the least. And while those versions of the game continue to get patched into a more playable state, we can't overlook the gem of a video game hidden underneath all those bugs and glitches. And that gem currently shines the brightest on PC, with all the next-generation bells and whistles gamers could possibly hope for. Its massive open-world is filled with delights and side attractions at almost every turn, while its main campaign offers the high-quality storytelling fans have come to expect from CD Projekt Red.

1. Animal Crossing: New Horizons

Was there ever even a doubt that Animal Crossing: New Horizons wouldn't be topping my list of Top 10 games of 2020? I mean, you only need to take a scroll through my Twitter page to see how much it dominated my free time this past year. No other game had managed to fill a void the way the latest in the series of life simulation games from Nintendo did when lockdowns began in mid-to-late March.

And through all the craziness and uncertainty of 2020, this game continued to provide a respite from all of it for millions of players all over the world. Some 26 million players to be precise, at least going by the last reported NPD numbers. Those numbers speak for themselves, which is why I feel that no other game was as significant this past year to the gaming landscape as a whole.

Ma Rainey's Black Bottom (Movie Review)

It might be winter time in several places around the world right now, but the Oscar race just keeps on heating up. And the latest film to stake its claim for some Oscar consideration this awards season is the eagerly-anticipated Netflix drama, Ma Rainey's Black Bottom. Based on a play which was itself based on the real-life recording of the titular song, the movie is perhaps on most people's radars because it marks the final film appearance of the late Chadwick Boseman, who passed away earlier in the year.

Set in the late 1920s, the movie centers upon a single session at a music recording studio in Chicago. Viola Davis stars as Ma Rainey, the real-life singer that is often credited as "The Mother of Blues." A prima donna in every sense of the word, she is just as difficult to please as she is talented at what she does. And on this particular day, she is running late for her session at the studio.

Chadwick Boseman plays Levee, an ambitious trumpet player with dreams of putting together a band of his own. He has written a new arrangement of the song they were to be recording, one that his band mates have reservations about rehearsing despite the producer signing off on it. But when Ma Rainey arrives and insists on doing her own version, amidst several other demands, her manager (Jeremy Shamos) must do everything in his power to ensure that cooler heads prevail.

There's a lot to unpack in the relatively short runtime of Ma Rainey's Black Bottom. And at the top of the list is the pair of stellar performances given by both Viola Davis and Chadwick Boseman. The former was oftentimes unrecognizable as she fully embodied the character of Ma Rainey. Her larger-than-life presence was felt in every scene, and to say that she deserves a nomination at next year's Oscars is itself an understatement, not when she should be considered the current front runner.

Chadwick Boseman on the other hand was every bit her equal. He played the smooth talking yet hot-tempered trumpeter so well that I literally caught myself holding my breath during one particularly heartfelt monologue. And while he has given a number of transformative performances in the short time we've spent with him, no one can say that he didn't go out on a high note. Between this and Da 5 Bloods earlier in the year, the Black Panther actor had given two of his strongest performances.

But beyond the top-notch acting and period-accurate production design, Ma Rainey's Black Bottom has things to say about interracial relations during the 1920s. Most of us already know what it was like for African Americans during those times. We've seen countless depictions in countless other movies. But it is the poignancy of this particular depiction that makes it so relevant to the experiences of the modern day African American.

Ma Rainey's Black Bottom is one of those rare gems of a movie where a solid script, stellar performances, great production design, and beautiful cinematography come together in the hands of a capable director. And as stacked as the competition for next year's Oscars is fast becoming, it is hard to see a ceremony where the film isn't represented in at least a few of those categories.

Wonder Woman 1984 (Movie Review)

It's funny to think that the last superhero movie released in theaters was Birds of Prey all the way back in February. At the start of the year, we had a good slate of tentpoles to look forward to. But then the pandemic happened and the countless release date changes and delays began. One of the films affected was of course the highly-anticipated DCEU sequel, Wonder Woman 1984.

The film had burned through its own share of release dates, before it was finally announced to be getting a simultaneous release on both HBO Max and theaters. But having been starved off big-budget superhero fare for the better part of the year, I was quite eager to see if Wonder Woman 1984 would be able to satisfy my craving for such. I'm pleased to report that the film not only meets those expectations, but in fact packs a few surprises worth experiencing on a big screen.

Set roughly 70 years after the events of the first movie, the film finds the exiled Amazonian princess (Gal Gadot) fully integrated into life in 1980s America. But when she is faced with a new threat in the form of two villains, Max Lord (Pedro Pascal) and The Cheetah (Kristen Wiig), she is forced to fallback on the teachings of her childhood as she goes toe to toe with the powerful pair.

The less said about the plot of Wonder Woman 1984 the better, as even the trailers for the movie had done their best to paint the movie's story with the broadest of strokes. All you need to know is that it contains all the elements of your standard superhero fare. A villain that desires to rule the world? Check. A hero that is forced to overcome both said villain and some personal demons along her journey? Yep. That's here too. A rousing score by Hans Zimmer that is sure to get your blood pumping? Present and accounted for. 

But where the movie excels is in the way all these elements come together to create something truly epic. The film does a decent job of capturing the spirit of its 1980s setting. This extends beyond the presence of 80s movie staples like colorful fashion, big hair and the music, to the way the film is shot and presented. It had that throwback look and feel that classic superhero films released during that decade tended to have, and as such, serves as a sort of homage to that era of superhero filmmaking.

The film was also never light on action, presenting several setpieces that helped shake things up between its more dramatic moments. None of it quite managed to reach the same heights of the No man's land crossing from the first movie, but they did manage to reach heights of their own. I especially loved seeing more of Themyscira during an extended flashback sequence at the start of the movie, and a part of me wished we had gotten more of that in the movie.

Another highlight is of course the villains. Rather than the typical one-dimensional villains we usually get in these types of movies, the movie boasts two fully fleshed out villains with a surprising amount of depth. And both Kristen Wiig and Pedro Pascal put in their best to help bring both characters to life. This is not to say that they were on the same level as top-tier DC villains like the Joker, and they did get to do their fair share of mustache twirling during the course of the movie.

One of my major gripes with the movie was its overall length, as well as its pacing during its opening acts. The film clocked in at two and a half hours, and not all of that runtime was well utilized in my opinion. It tended to drag in bits, and I would've personally preferred if they were able to tighten its pacing by shaving off an additional 10 to 15 minutes of the film. That said, the film never became a slog to watch, so there's that.

And for those people wondering if the movie has a mid or post credit scene, well, it does have one (unlike the first) and it is totally worth staying back to see, as it managed to put a smile on my face that was bigger than any I'd had while watching any of the past DCEU post credit scenes. This one was specially done for long-time fans of Wonder Woman like myself.

A part of me can't help but wonder (no pun intended) how moviegoing would have fared this past year had Wonder Woman 1984 swapped places with TENET. After all, the latter was accused of being confusing and joyless by the few who ventured outside their homes to see it, while the former is just the kind of crowd-pleasing event movie that moviegoers look forward to. I suspect that we wouldn't have had that much of a different outcome, but still, where was Wonder Woman when she was most needed?

Wonder Woman 1984 is the much-needed jolt in the arm that theaters have been deprived of for all these months. It does more than enough to ensure that fans of the DCEU and superhero movies would be pleased. And while I still consider the first movie the superior of the two, this one is very much a worthy follow-up in more ways than one.

Sound of Metal (Movie Review)

The Oscar race continues as more hopefuls land limited releases in those theaters that are open, as well as on the various streaming platforms that have become the go-to destinations for such movies. The newest kid on the block is Sound of Metal, a movie that acts as a vehicle for the immensely talented actor, Riz Ahmed. Released in theaters last month, the movie is now streaming on Prime Video.

In Sound of Metal, Riz Ahmed plays Ruben, a punk metal drummer who performs alongside his girlfriend, Lou (Olivia Cooke), in a two-person band. After many years of playing small gigs, he suddenly begins to lose his hearing. Devastated by the development, he is convinced by their sponsor to seek out the leader of a deaf community for help. But Ruben struggles to accept his fate, and he is willing to do anything to get back a semblance of his former life.

Sound of Metal succeeds at emulating what its like to lose something most of us take for granted every day. It lets viewers experience the world through the ears of its protagonist, Ruben, as he comes to grips with the loss of his hearing, and this is accomplished by a combination of some effective sound mixing, as well as a heartfelt performance from Riz Ahmed. The actor has given great performances before in films like Nightcrawler and the limited series, The Night Of, but here he gives what is arguably a career best, which should hopefully be enough to garner him some consideration at next year's Oscars.

The film also brings to the forefront the experiences of those living in the deaf community. But rather than romanticize those experiences, it presents them in a manner that is very much grounded in reality. These are people that have chosen not to approach their condition as something that needs to be fixed, but rather as one of life's many challenges to be accepted and dealt with.

In terms of cons, I don't really have that much to complain about, other than the fact that I had hoped for a stronger focus on the musical aspects of the film, which was admittedly what had drawn me to the movie in the first place. But we didn't really get to see or experience much of Ruben's life as a struggling musician, save from an opening performance or two at the start of the movie.

Sound of Metal is a heartfelt drama that explores the human condition from a unique viewpoint. The fact that it is expertly presented and made only goes further to enhance its overall message. Ultimately, the film is about finding acceptance amidst unprecedented change, and how such changes don't have to spell the end of everything one cares about, or impede one's ability to find inner peace.

Mank (Movie Review)

Any film critic or enthusiast worth his or her salt probably already knows that Citizen Kane is regarded as one of the greatest movies of all time. But just in case you are uninitiated, the black-and-white classic was released all the way back in 1941, and would mark the feature film directorial debut of talented theater director, Orson Welles, who also starred in the leading role. Talk about making a good first impression.

The film had earned a total of 9 nominations at the 14th Academy Awards, going on to snag the award for Best Original Screenplay. But they'd been much debate about who actually wrote that screenplay. Mank is the story of that man, a biographical drama directed by a man who is no stranger to biographical dramas himself, David Fincher.

The film stars Gary Oldman as Herman J. Mankiewicz, an American screenwriter tasked with coming up with a screenplay in just 60 days. This was mere days after he'd broken his leg in a car accident. Considered eccentric by most of his peers, he struggles with an alcohol dependence that has helped spur most of his notoriety. And with the deadline for the latest work fast approaching, he channels his past experiences as he comes up with his magnum opus.

Mank is both a biography and the story behind the writing of the screenplay to one of the greatest films of all time. As such, it takes a lot of inspiration from the work whose inception it is centered upon, including its striking black-and-white presentation which is evocative of the time period being depicted. The film paints a vivid picture of 1930s Hollywood, with a cinematography that not just mirrors the great Citizen Kane itself, but oftentimes rivals it in sheer mastery.

But perhaps the most noteworthy thing about Mank is the character of Mankiewicz himself, who was brought to life by Gary Oldman in yet another Oscar-worthy performance. We saw him literally transform into Winston Churchill in Darkest Hour, and here it is hard to imagine the actual Mankiwewicz being any different from his portrayal of the character. His co-stars also gave stellar performances, with Amanda Seyfried in particular being another standout.

Mank is without a doubt one of the better films we have gotten this year. It serves as a love letter to the 1930s Hollywood era of filmmaking. And much like The Disaster Artist, which had chronicled the making of a different type of noteworthy motion picture, this one also manages to reach unprecedented heights of its own.

Happiest Season (Movie Review)

It's almost Christmas and you can expect to see more holiday-themed movies popping up just in time for the holidays, ensuring that we should have no trouble finding that Christmas spirit come December 25th. I personally enjoy watching romance comedies like Love Actually, which has been a Christmas Day staple in my household for many years now. But it looks like it is in trouble of finally being dethroned by a new romantic comedy that is all but guaranteed to become another holiday classic.

The movie stars Kristen Stewart and Mackenzie Davis as Abby and Harper, a lesbian couple living together in Pittsburgh. It's just days before Christmas and Harper invites Abby to come and spend it with her and her family back home. Abby plans on seizing the opportunity to pop the question, despite the objections of her best friend, John (Dan Levy). But things do not go according to plan when Abby finds out that Harper was yet to come out to her parents.

And so they arrive at Harper's parent's house, with Abby having to pretend to be Harper's orphaned friend and roommate. Her father (Victor Garber) is currently trying to secure some backing for his forthcoming campaign for mayor of their town, which puts additional pressure on the entire family to be on their best behavior. But when that pressure begins to reveal a side of Harper Abby didn't know existed, she begins to have second thoughts about her proposal plans.

Happiest Season is one of the better romantic comedies out there right now. It features a solid acting ensemble, with Dan Levy in particular being a standout for his dry wit. Kristen Stewart was also decent as Abby, even though she never quite managed to soar to the same heights as the other actors. It was always a joy to see these characters play off of one another, and those were the moments were the film shone the brightest.

My only problem with the movie was with the character of Harper. There was nothing inherently wrong with the character per say, and Mackenzie Davis did a solid job overall in the role. But in the context of a romance, it was hard to see how anyone could fall in love with her, much less stay in a relationship for that long. She came across as a douche bag half the time, by making selfish decision after selfish decision, so some suspension of disbelief might be required.

All that said, I'd still recommend Happiest Season on the strength of its ensemble alone. The movie was funny and heartwarming at the same time, and shows how the holidays and family in general can bring out the best and worst in people. If you're like me and you've been looking for a movie to put a much-needed smile on your face this holiday, then you don't need to look further than Happiest Season on Hulu.

Freaky (Movie Review)

With most major tentpole movies having been pushed forward to next year, it is no wonder that smaller-scale genre films are getting their moment in the sun. This is definitely the case with the horror genre in particular, which has seen the release of quite a number of noteworthy releases this past year, with films like The Invisible Man coming to mind. We can add Freaky to that conversation, the latest Blumhouse production from the director of Happy Death Day.

The movie stars Vince Vaughn as the Blissfield Butcher, a serial killer that inadvertently switches bodies with a teenage girl named Millie (Kathryn Newton), after he stabs her with a cursed dagger. Socially awkward and frequently bullied by the kids in her high school, Millie has a hard time convincing her best friends, Nyla and Josh, that she is not who she appears to be, while the Butcher continues his murderous spree with her body. And she has just 24 hours to reverse the curse, before the switch becomes permanent.

Freaky successfully marries two movie styles that have never been seen together before, the slasher and the body swap, and the result is glorious. The film has the most fun factor of all the Blumhouse productions we have gotten this year, and most of that can be attributed to how well the whole thing fits together. It borrows quite liberally from works that came before it, for sure, but it balances horror and comedy so effectively that it never starts to feel too derivative.

Vince Vaughn also helped sell the concept even further, by giving another one of his ace performances. He was especially hilarious as Millie, with his girlie mannerism standing in sharp contrast to his imposing frame. His appearance as Millie never failed to garner a laugh from the people in the theater where I'd seen the movie, and it was easy to see why.

My one main gripe with the movie was the fact that it didn't really kick into gear until after the body swap occurred roughly 30 minutes in. This led to those first 30 minutes following a rigid by-the-numbers approach typical of most slasher films, except this was not your typical slasher film.

Freaky is a horror-comedy that is just as gruesome as it is laugh-out-loud funny. The film has some of the most over-the-top kills I have seen in a horror film, so gorehounds should be pleased by all the carnage on display. It is currently showing in theaters, but would be available on the various video on demand platforms this Friday.

Riding with Sugar (Movie Review)

One of the downsides of Netflix having such a massive library of films is the sheer amount of bottom-of-the-barrel offerings viewers need to wade through to get to the good stuff. But every now and then, a gem pops up out of the muck, shining brighter than everything else around it. I'm talking about films like last year's The Irishman and Marriage Story, or The Trial of the Chicago 7 just a few weeks back. Well, we can add another one to that growing list of gems. 

Set in the slums of Cape Town, South Africa, the movie follows a Zimbabwean refugee named Joshua (Charles Mnene), who harbors dreams of becoming a professional BMX racer. But after he is involved in a hit-and-run accident just weeks before a major competition, those dreams come to a screeching halt as he is told he might never be able to ride again.

Broken in both body and spirit, Joshua is haunted by visions of the horrors of the past life he has tried so eagerly to get away from. But when he is taken in by a professor named Mambo (Hakeem Kae-Kazim), who runs a makeshift orphanage for young refugees, he slowly regains a sense of hope and belonging, as they work together to get his life back on track.

Things start to get complicated though, after Joshua meets and falls in love with a girl named Olivia (Simona Brown). Aside from the distraction that she could pose, he also has to deal with the fact that she is from a totally different world than his. Except things in his world are not as they seem, and he'll soon have to decide how far he is willing to go to protect what he cares about the most. 

There's plenty to love about Riding with Sugar. First off, the movie is beautifully shot and tightly edited, weaving surrealist imagery into its narrative so effortlessly that it was never anything short of breathtaking to look at. Much like City of God or Slumdog Millionaire before it, the movie paints a vivid picture of life in a shanty town, and this was accomplished using some of the best cinematography I've seen in an African production.

And that mastery extended to its sound mixing, which also helped to create that heightened sense of immersion the filmmakers were going for. Maybe it was because I had seen the movie with headphones on, but I really appreciated how the mix complimented the visuals, as it should. And while on the subject of sound, its soundtrack was filled with an eclectic mix of South African music, including one of my personal favorites, kwaito. 

Then there was of course the top-tier acting done by its three principal actors. Hakeem Kae-Kazim is no stranger to big productions, having starred in films like Hotel Rwanda, so it should come as no surprise that he gave the best performance in the movie. His acting was restrained and nuanced when it needed to be, and scenery-chewing when the material called for it. 

Likewise, Charles Mnene and Simona Brown did great as the star-crossed lovers. It was easy to buy into their romance, which was well developed over the course of the movie, so that by the time the tough decisions needed to be made, no suspension of disbelief was required. If only other movies with romantic subplots would adhere to this one rule. But, oh well. 

And all that high praise does not mean that the film didn't have any issues worth touching upon. The movie tended to go a bit overboard with its surrealist imagery. There were several flashbacks to the war-torn homeland of our protagonist, as well as xenophobic riots in South Africa, which were events that helped shape his worldview. But there are only so many flaming tires rolling down a dusty street you could look at before the whole thing starts to feel old. It is hard to complain about such nitpicks though, when everything else was as well executed as it was.

In case you haven't guessed it already, Riding with Sugar earns an easy recommendation from me. The movie delivered on all its early promises, while still managing to spring a few surprises along the way. I hear that the filmmakers had spent several years developing it, and I've got to say that it shows.

Superintelligence (Movie Review)

Nowadays, there aren't many comedic actresses as bankable as Melissa McCarthy. This is not to say that she hasn't been in a number of duds over the years. But with films likes Bridesmaids and Spy under her belt, one should understand why her name carries as much weight as it does. All that is to say that expectations were high going into Superintelligence, her latest film that just released today exclusively on HBO Max.

In Superintelligence, Melissa McCarthy plays Carol Peters, a distinctly average woman who is singled out by a sentient computer program as humanity's last hope for survival. Voiced by James Cordon, the program intends to conduct a test, at the end of which it would choose to either save, enslave or destroy humanity. And the basis for that decision rests upon Carol's ability to convince it by trying to win back the affections of her ex-boyfriend, George (Bobby Canavale).

Superintelligence is a romantic comedy with a science fiction twist. It takes the familiar trope of an old couple getting back together, and adds some end-of-the-world mayhem to help spice things up. And the combination works, mostly because the film never takes itself too seriously. The gags are delivered at a fairly consistent pace, and Melissa McCarthy slips into the role of Carol quite effortlessly. But then again, this is the same role she has played at least half a dozen times now.

James Cordon was also likable as her mostly disembodied sidekick, and their interactions were always a joy to see. Likewise, Bryan Tyree Henry was also fine as her best friend, Dennis, even though he was mostly relegated to providing comic relief. The one area where I felt the film was a bit lacking was the chemistry between its two leads.

Bobby Cannavale was up to task in his role as her ex-boyfriend, but I still found his scenes with Melissa to be rather bland and somewhat forced. The movie never spent enough time establishing their romance, nor did it convincingly tell us by its end why the fate of humanity had to rest on this fairly unremarkable couple.

Superintelligence might not be one of the better Melissa McCarthy vehicles out there, but it is certainly an enjoyable enough ride for anyone looking for a few laughs and some lighthearted romance.