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best-rap-hype-songs-2020-full The year's boldest flick from the platform Netflix that also brought you Hubie Halloween. This is only the beginning for Seth, and he's got a massive start. Check the box if you do not wish to receive promotional offers via email from TIME. It does jokes and brightness and kindness. For hpe producers, full projects were the way to solidify their stamp on

Episode 2 will change the way you think about your morning coffee. Through its infectious and mostly good-natured absurdist energy, the series lives up to its name with endlessly quotable and memable sketches. The comedy effectively explores and skewers gaming culture, but a knowledge of the industry is not at all necessary to enjoy the program.

Mythic Quest works so well because of how it grounds its quick comedy in powerful character dynamics. What began as a comedic mystery series about a group of prototypical Brooklyn millenials on a quest to find their missing former classmate shifted in its third season to become a satire on celebrity trials and how tabloid spotlight can turn unassuming people into sociopathic narcissists.

Life is strange. If you take a moment to actually watch and analyze many of the seemingly ordinary, day-to-day things you witness while walking down the street in a major U. In New York City in particular, every imaginable human behavior is on display somewhere, and documentarian John Wilson is out there capturing it all on camera.

Wilson also is wise to go down the rabbit hole and follow weird digressions wherever they lead him, like a Mandela Effect conference or the home of an anti-circumcision activist. Further, the series finale is the first piece of television to fully capture the reality of post-pandemic city life, putting Best Rap Hype Songs 2020 Review to shame all of those half-assed Zoom created depictions of life in Few shows can effortlessly glide between cringe comedy and poignant moments like this.

How To with John Wilson is unlike any other show on television, an absurdist masterpiece that makes the mundane feel surreal and vice versa. In a time full of reboots and remakes, High Fidelity earned its existence and then some. To its many admirers, it warranted a second season for more eclectic music choices, guest stars, and beautiful lingering shots over the credits.

Sadly, that is not meant to be. Zoe Kravitz carries this beautiful mood piece, sharing chemistry with just about everyone. While it seems relaxed and fun on arrival, High Fidelity eventually reveals itself to have plenty to say about being accountable for our actions and allowing oneself to be happy, before wrapping Rob in a warm summer night and sending her on her way.

Though it still has its fair share of laugh-out-loud moments, the comedy in the second season has, admittedly, been scaled back a bit, but it makes perfect sense for where Pen15 is right now. From the start, what the series has done painfully well is zero in on the utter nightmare of living through our stressful and confusing pubescent years.

The character seemed destined to be a one-off goof. The end result was one of the most essential new comedies of the TV season. The show proves that this fish still had plenty of more time to spend out of water after all. More important, however, is how aggressively wholesome and optimistic it is. In a year that saw ugly Americans all over over TV screens, Ted Lasso represented the stars and bars the only way he knew how: by believing in the best of people from aging football star Roy Kent, to selfish young buck Jamie Tart, to even the woman who got him this job in the first place as an elaborate revenge plot.

They start out wooden, obnoxious and alone. It does smart and absurd and naughty. It does jokes and brightness and kindness. However painful it was to say goodbye, the alternative — another six seasons with diminishing returns — would have been much worse. Though BoJack Horseman premiered only the back half of its final season in , those eight episodes were some of the best dramatic and comedic storytelling on television this year. He has just finished rehab and is prepared to embark on a career as an acting professor at Wesleyan.

Of course, something from his past has to pop up to shatter his fragile equilibrium, just like it always does.

What follows is as sadly predictable as it is tragic… also there are jokes! BoJack Horseman has been a frequently occurring item on many of our year-end best-of lists since the show first premiered in That temptation remains for this final season, which is as devastating as they come. Yes, this is an exploration of the human condition and how the only way to repair our damage is to acknowledge it and then put in the work to get better.

That it is able to do so is remarkable. Adapting a beloved indie comedy film to the small screen seems a near impossible task. But when Taika Waititi convinced Jemaine Clement they should do exactly that, it was a stroke of genius.

What We Do in the Shadows began with a solidly silly first season but came into its own during a stellar second season which leaned into the absurdity innate to the idea of ancient vampire roommates. What makes season two so excellent is the writing and performances that play on the fish out of water setup the show has so much fun with. Most of the hilarious runtime focuses on the crew trying to uncurse themselves.

Onward brought cathartic laughs and tears in a year when people really needed both. After the CIA-wetwork-level secrecy, the hype, the endless headlines about its release-date slippages and whether it could save cinema, Christopher Nolan's palindromic pulse-pounder turned out to be, well, just a film.

But it was a film that kept us all talking throughout the dog days of summer, the actual minute tale just a launchpad for feverish time-travel debates that made some at Empire turn into Charlie Day jabbing at an evidence board in It's Always Sunny In Philadelphia. Not all the dialogue was audible.

The third act required DIY flowcharts to track. Tenet practically demands to be watched again at home over Christmas. This time with subtitles on. Casting Tom Hanks as the nicest man in America is a no-brainer. But, rather than rest on its laurels, Marielle Heller's study of the relationship between beloved children's personality Fred Rogers Hanks and cynical journo Lloyd Vogel Matthew Rhys finds more interesting dynamics and flavours.

This is partly through Heller's filmmaking, bringing Mister Rogers' worldview to life through charming flights of fancy, and partly through performances; Rhys makes Vogel's journey from cynic to something approaching openness believable and affecting, as Hanks embodies Rogers warmth and intelligence without being afraid to hint at a darker side.

The film's standout scene sees Rogers invite Vogler to enjoy a minute's silence, a chance "to remember all the people who loved you into being. In a move that surprised absolutely no-one, it took Charlie Kaufman to deliver 's biggest cinematic headfuck. Then it enters its own zone of madness involving euthanised farm animals, the recurring image of a school janitor, a faux Robert Zemeckis film, a ghost pig, modern dance and a naked man bawling in the back of a truck.

It's a bleak film about the impossibility of hope and the fragility of life, but it finds its soul and centre in Buckley, who gives Kaufman's cerebral ideas vulnerability and emotion. The year's boldest flick from the platform Netflix that also brought you Hubie Halloween. Is it a film or not? Either way, it's one of the most outstanding and defining pieces of popular culture of the last decade, Lin-Manuel Miranda turning dry American history into a dazzlingly entertaining tale of bitter personal rivalry, revolutionary war, and the power of words.

It's a vantage point that might ordinarily cost you hundreds of dollars. You can see the fire in Leslie Odom Jr. Dropped on the streaming service right in the middle of lockdown, Hamilton was vital escapism — and completely democratised a theatrical experience that everyone should seek out.

Much was made of the sheer technical achievement of Sam Mendes' World War I movie, presented as one extended take through the Boschian hellscape of the frontlines.

And it is an astonishing feat — seamlessly stitched together, Roger Deakins' camerawork fluidly taking in every assault and eerie landscape. But is an emotional, visceral experience too, George MacKay and Dean-Charles Chapman putting in excellent, empathetic performances as the soldiers dispatched across No Man's Land to stop thousands of British soldiers walking into a devastating ambush.

A frequently harrowing, heart-stoppingly tense cinematic odyssey — and filmmaking at its most immersive. Following two young African Americans who meet on a Tinder date and get plunged into a nightmare when a cop car pulls them over, Melina Matsoukas' film tackled police brutality and mass protest in scenes that echoed out in real life as the year progressed.

A road movie with an important destination, it gets there in style. Right from its opening minutes, the sense of time and place in the first of Steve McQueen's Small Axe films is utterly transportive. The filmmaker faithfully recreates s Notting Hill to shine a light on Frank Crichlow and the 'Mangrove Nine' — a true story of police brutality, institutionalised racism, and a Black community fighting for the right to live without the constant threat of unprovoked attack, right in the heart of London.

In a year where so much focus was on racial inequality in America, it felt vital to see a story make clear that this is also very much a British issue.

But for all that the police attack sequences feel visceral and distressing, McQueen's camera doesn't linger on the brutality, and he creates space to depict the joy and interior life of the neighbourhood's West Indian residents. Filled with powerful imagery of protests, and depicting a court case which saw Black British people defend themselves in their own voices, Mangrove is captivating and essential. A spiritual successor to Boy and Hunt For The Wilderpeople, it's another film about a lost boy and the role models he chooses to help him chart a path into adulthood.

As you'd expect with Taika, there are imaginary friends, meticulously framed images, and montages set to pop music. And… Nazis? Yes, because Jojo, living in Germany near the end of World War II, has unquestioningly swallowed Nazi propaganda, and his imaginary friend is a rancid, hate-spewing version of Hitler played by Waititi himself.

Waititi unwaveringly walks a tonal tightrope that moves swiftly from broad comedy to an unflinching embrace of the consequences of the war — and all with huge heaps of the heart that his films have had since day one, as young Jojo slowly bonds with the Jewish teenager Thomasin McKenzie his mother Scarlett Johansson is hiding in the walls of their home. Long may Taika continue making his movie.

In , the cheque might not be as blank, but it's clear Netflix or as they're here temporarily retitled, 'Netflix International Studios' have given David Fincher the carte blanche he deserves to make precisely the film he wanted to make: a typically meticulous monochrome masterpiece.

The personal parallels are everywhere: in telling the story of a genius creative obsessed by a Hollywood he doesn't quite fit into, it may be the closest to a Fincher autobiography we'll ever get — given added personal dimension by the script, written by Fincher Sr.

But it's also a sad portrait of a self-destructive artist, making his best work at the expense of almost everything. The deep dives into the intricacies of Old Hollywood will be too specific for some, but for Golden Age film nerds, it's absolute heaven.

Subtext swirls and swells in Robert Eggers' head-tripping psychological horror. Both adorned with outrageous facial hair, Robert Pattinson and Willem Dafoe are the 'wickies' — aka lighthouse keepers — stranded together on a rain-lashed rock, slowly losing their grip on sanity and displaying an obsession with the pulsating lamp at the top of the tower.

Equal parts Lovecraftian and Freudian, Eggers' film is a freaky and fascinating blend of folktale, sea myth, homoeroticism, and psycho-thriller, full of unforgettable imagery and deeply unsettling sound design. And Pattinson and Dafoe give raw, wild-eyed performances, hemmed into the frame by a near-square aspect ratio that lends the whole thing the feel of an unholy long-lost film reel, freshly dredged up from the ocean depths.

Aubyn, in a sensational debut as she sneaks out of her family home to go to a party in s West London. But what Steve McQueen's second — and arguably best — Small Axe entry lacks in narrative, it makes up for with its loving exploration of Black British culture.

That includes close-ups of women preparing goat curry stew that you can almost smell through the screen, and evocative dance sequences that make you long for the pre-pandemic parties of old.

The most joyous moment of the film — and perhaps — comes during the instantly iconic 'Silly Games' sequence, in which everyone on the dancefloor sings Janet Kay's hit acapella for four euphoric minutes. That McQueen still finds the time in this 68 minute film to gently yet effectively remind us of the harsh world that exists outside this bubble of Black bliss is a sign of a director at the top of his game. Rising from the ashes of the Dark Universe, the iconic Universal Monster got a thrilling reinvention from Leigh Whannell.

His take centred not on the Invisible Man himself, but on his victim — Elisabeth Moss' Cecilia, who, in a breathlessly tense opening sequence, escapes from her abusive relationship with optics engineer Adrian Griffin. Despite appearances that Griffin has committed suicide, Cecilia is convinced he's still haunting her. Whannell imbues shots of empty spaces with a sense of utter dread could Adrian really be lurking there?

The result is a deeply effective meditation on gaslighting and trauma, but one that still absolutely works as a tense and terrifying horror-thriller — with one of the most downright shocking moments of

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